COCO (Part 1): The Script and the Research

 COCO (Part 1): The Script & The Research

By Jacob Krueger

This week, we’re going to be discussing Coco, the new Pixar movie by Adrian Molina & Matthew Aldrich.

If you haven’t seen this beautiful film yet, then you should run to the theatre immediately, because not only is it perhaps the most visually stunning Pixar film yet, but also one of the most structurally interesting for us to learn from as screenwriters and as filmmakers.

Often, when you see a film that’s as perfect as Coco, you imagine that these writers must know something that you don’t. That maybe they worked backwards from their perfect ending, or started with the perfect idea.

But the truth is, Molina and Aldrich’s approach to this film was a journey in itself– a journey they took with director Lee Unkrich of 7 years into research of Mexican culture, and the traditions of Dia De Muertos, into wrong ways and missteps. In other words, it was a process of rewriting.

In fact, the first draft of the story was about an American kid with a Mexican mother, traveling to Mexico for Dia de Muertos and learning to let go of someone he loved and lost.

As an early draft, the idea made perfect sense. They wanted to teach an American audience about Dia de Muertos, so what better technique to do so than to bring us in through the eyes of the main character who didn’t know his own culture.

Because it was built around Dia de Muertos, they knew it had to wrestle with the theme of death, so what better idea than to tell a story about letting go of someone you’ve lost.

They wrote the whole script, and even got as far as developing art for the project, before they finally realized they were telling a story that, as Unkich put it, “thematically was antithetical to what Dia de Muertos is all about. We were telling a story about letting go. And Dia de Muertos is about never letting go. It’s about this obligation to remember our loved ones and pass their stories along.”

Writing is a search for the truth. A mining of our subconscious to find the real characters that live there, the real themes we’re wrestling with, the real structure that can take us where we need to go, the real meaning that makes our movies matter.

In this way, it’s a process by which we find out who we are– just like the main character of Coco, Miguel, finds out who he is and what he believes in, by exploring his art and his voice as a musician.

And sometimes that means realizing, just like Miguel does, that we are staring at half a picture, that our assumptions about our story or our character or our plot don’t match the truth, that we’re not telling the story we think that we’re telling.

Sometimes we find the truth through researching the world of our screenplay– and sometimes that means digging in lots of places to find where the truth lies.

It might seem obvious by the final draft that the theme of the movie and the structure of the character’s journey needed to tie together with the meaning of Dia De Muertos.

But sometimes it takes writing that early draft, or even several drafts that go totally in the wrong direction, before you uncover the source of the feeling that “something is off” and start to discover what the story really needs to be.

It may seem obvious by the final draft that an adorable animal character could generate some laughs for the audience. But who could have imagined that the fabulous dog in Coco, Dante, would spring from research about the Aztec traditions from which Dia de Muertos grew?

The Aztecs believed that a Xoloitzcuintli hairless dog was necessary to bring a spirit from the land of the living to the land of the dead. And this research led the writers into even more esoteric research about that breed of dog, and the discovery that Xolo dogs teeth tend to fall out, causing their tongues to loll out the side.

And who could have predicted that it was from that research, barely even connected to the idea of Dia de Muertos, from which a laugh out loud visual gag in almost every scene would be born?

 

A non-writer might assume that researching dog breeds for a Day of the Dead movie was a waste of time– or even worse, a willful act of procrastination. A non-writer might assume that writing a whole draft, or many drafts, of a structure that you may not even end up using would be a total failure.

But an artist follows the instinct, not even knowing where it’s going to take them. An artist allows themselves the freedom to follow the feeling that “this feels right” until the real truth starts to emerge.

That doesn’t mean that we should confuse historical research with the writing process. That doesn’t mean that we should try to squeeze in every detail of our research into the script. And that certainly doesn’t mean that we should confuse what we want our audience to learn with the real product we are delivering– the structure of our character’s journey.

But it does mean that we can use our research to find that point of entry. To find that one true thing, that helps us understand the character, or the world, or the entire structure of the film.

From our research we’ll start to find our theme, our characters, the look of our film, the world, our style, our rhythm, our tone.

 

Many writers think that research is something you have to do before you can start writing– something you have to get perfect, so that you can know everything and find your perfect plan, and not waste any time.

But research is actually something you do as you write.

In fact, the writing itself is research. Every word you write is research. A quest, guided partly by intellect, and partly by instinct, for the seeds out of which your real story will grow.

It’s a quest by which you’ll connect to that real voice in yourself, and transform your movie from something that “makes sense” to something that moves– that takes both you and your characters and your audience on a life changing emotional journey.

At the beginning often that means digging in many places, and playing and practicing and exploring and sketching.

And as you do so, some words you write will start to resonate with you. A single line of dialogue on the page. An image you can’t get out of your head. A moment that you don’t quite understand. A structural beat that makes you laugh or cry.

And other moments that should resonate, that intellectually make a ton of sense– ideas that seemed great in your head, or in an outline or in a pitch– will often surprise you by falling flat on the page. Plot points that should make you cry will instead ring hollow or false.

Until one day, something clicks. Sometimes it’s a moment, or a line, or a movement of your story, or something you learn in your research. Sometimes it’s something as minor as a single moment. And sometimes it’s as profound as a whole structure for your character’s journey.

And sometimes it’s as simple as a song. Like the Remember Me song in Coco. Which ends up being not only the song we’re all going to leave singing, but also the thematic link between Dia de Muertos and the journey of the character. The structure from which everything else will arise.

 

But what it really is, is your theme. The song inside you that’s been trying to get out. That little bit of truth trying to find its way onto the page.

And suddenly you’re not digging in many places any more. You’re digging in one place. And you’re digging as deeply as you can, because you’ve found that vein of gold, and you want to get as much of it out of the ground and onto the page as you possibly can.

That’s the place that we’re all searching for as writers. And sometimes our desire to find that place cuts us off from the process by which we can actually arrive there.

Sometimes we imagine we can get to there more quickly by thinking really hard or planning really hard or making sure we know everything before we start.

Sometimes we imagine we can get there more quickly by rushing through those early scenes, trying to get the “bones” on the page, rather than doing the real work– the real research– of writing.

Sometimes we imagine we can get there more quickly by getting “serious” about our scripts, rather than playing around and exploring. Or following some pre-programmed formula that some other writer made, or some coverage reader jotted down in their “notes” about your script.

But the truth is, none of these techniques will get you there faster. Rather they will cut you off from the real opportunity of arriving. Keep you digging on the surface, chasing the fool’s gold, when there’s acres and acres of real gold under your feet, gold that you, and only you, have the capacity to access.

To do that, like Miguel, you have to cross over into a land where you don’t normally go.

To do that, like Miguel, you have to remember what is really important to you.

To do that, like Miguel, you have to look the truth in the face, and take it back with you to the other side.

That means taking the time to do the research into your own truth, seeing, feeling and hearing every word you write. Applying both art and craft to every page as if it was the only page that mattered.

That means refusing to rush to the end, and instead keeping focused on where you are right now, so you can connect to each moment and each character and those little details in which the real theme lies.

That means allowing yourself to take wrong turns, so you can find the true path of your intuition.

That means surrounding yourself with great artists who push you past your own blind spots, just like Lee Unkrich pushed his writers. That don’t allow you to accept half truths when there’s still a whole truth underneath. That don’t allow you to stop digging until the full power of your voice is excavated.

And the only way to do that is to commit fully to keep on digging with everything you’ve got, until you find that place where everything suddenly comes into focus.

Stay tuned for the next installment of this podcast in which I’ll be breaking down the structure of Coco, and showing you how one song, “Remember Me” was used to generate a structure for the entire film and the entire journey for the character.

 

Want to learn more? Check out Jacob Krueger Studio’s Screenwriting & TV Writing Classes and One-on-One Mentorship Program. You can study with us in NYC or Live Online from anywhere in the world. Join any class of 4 weeks or longer and get a free one-on-one consultation with a professional writer.

Share this...
guest

0 Comments
Newest
Oldest
Inline Feedbacks
View all comments

COURSE PARTICIPANT AGREEMENT

Participant Agreement

By registering for the course, you are agreeing to the following terms, which form a legal contract between you and Jacob Krueger Studio, LLC (“Company”) and govern your attendance at and/or participation in Company’s course (the “Course”). 

  1. Course Participation.
    1. Admittance.  Your registration entitles you to admittance to the Course.  Any and all other costs associated with your attendance (including, without limitation, any travel or accommodation expenses) shall be borne solely by you and Company shall not be liable for any such costs.
    2. Media.  For good and valuable consideration, the receipt and sufficiency of which are hereby acknowledged, you grant Company the right to record, film, photograph or capture your likeness in connection with the Course, in any media now available and hereafter developed (“Course Footage”).  You further grant to Company in perpetuity the rights to use, license, edit, copy, distribute, publicly display and make derivative works of the Course Footage, including exploitation for marketing, advertising or merchandising related to the Course, throughout the universe.  You hereby waive any and all approval rights you may have over Company’s use of the Course Footage and acknowledge these rights are granted without any payment, including royalties or residuals, to you.
    3. Conduct.  You acknowledge that Company reserves the right to request your removal from the Course if Company, in its sole discretion, considers your presence or behavior to create a disruption or to hinder the Course or the enjoyment of the Course by other attendees or speakers.
  2. Fee(s).
    • Payment.  The payment of the applicable fee(s) for the Course is due upon registration or per your payment plan.  If such payment is insufficient or declined for any reason, you acknowledge that Company has the right and sole discretion to refuse your admission to the Course.
    •  
    • Taxes. The fee(s) may be subject sales tax, value added tax, or any other taxes and duties which, if applicable, will be charged to you in addition to the fee(s).
  3. Intellectual Property. All intellectual property rights, including trademarks, copyrights, trade secrets and patents, in and to the Course, the Course content and all materials distributed at or in connection with the Course (the “Course Materials”) are owned by Company. You may not use, license, copy, display, or make derivative works of the Course Materials without the prior written permission of Company.  For the avoidance of doubt, nothing in this agreement shall be deemed to vest in you any legal or beneficial right in or to any trademarks or other intellectual property rights owned or used under license by Company or grant to you any right or license to any other intellectual property rights of Company, all of which shall at all times remain the exclusive property of Company.
  4. Warranties; Limitation of Liability.
    • Other than to the extent required as a matter of law: (i) neither Company nor its employees, agents or affiliates (“Company Parties”) shall be liable for any direct, indirect, special, incidental, or consequential costs, damages or losses arising directly or indirectly from the Course or other aspect related thereto or in connection with this agreement.  The maximum aggregate liability of Company Parties for any claim in any way connected with therewith or this agreement whether in contract, tort or otherwise (including any negligent act or omission) shall be limited to the amount paid by you to Company under this agreement to attend the Course.
    • You represent and warrant that you have the full right and authority to grant Company the rights provided in this agreement and that you have made no commitments which conflict with this agreement or the rights granted herein.  You agree that your participation in the Course is entirely at your own risk and accept full responsibility for your decision to participate in the Course.  In no event shall you have the right to enjoin the development, production, exploitation or use of the Course and/or your Contributions to it. 
  5. Governing Law and Venue.  This agreement shall be governed by the laws of the State of New York without regard to its conflict of laws provisions.  The parties hereto agree to submit to personal and subject matter jurisdiction in the federal or state courts located in the City and State of New York, United States of America.
  6. Dispute Resolution.  All claims and disputes arising under or relating to this agreement are to be settled by binding arbitration in the state of New York or another location mutually agreeable to the parties.  The arbitration shall be conducted on a confidential basis pursuant to the Commercial Arbitration Rules of the American Arbitration Association.  Any decision or award as a result of any such arbitration proceeding shall be in writing and shall provide an explanation for all conclusions of law and fact and shall include the assessment of costs, expenses, and reasonable attorneys’ fees by the winner against the loser.  Any such arbitration shall include a written record of the arbitration hearing.  An award of arbitration may be confirmed in a court of competent jurisdiction.
  7. Miscellaneous.  Company may transfer and assign this agreement or all or any of its rights or privileges hereunder to any entity or individual without restriction.  This agreement shall be binding on all of your successors-in-interest, heirs and assigns.  This agreement sets forth the entire agreement between you and the Company in relation to the Course, and you acknowledge that in entering into it, you are not relying upon any promises or statements made by anyone about the nature of the Course or your Contributions or the identity of any other participants or persons involved with the Course.  This agreement may not be altered or amended except in writing signed by both parties.
  8. Prevention of “Zoom-Bomber” Disruptions; Unauthorized Publication of Class Videos. Company will record each class session, including your participation in the session, entitled “The Videos”. To prevent disruptions by “zoom-bombers” and provide Company and

    participants the legal standing to remove unauthorized content from platforms such as YouTube and social media sites, you agree that

    (1) you are prohibited from recording any portion of the Course;

    (2) in exchange for the opportunity to participate in the Course, you assign to Company your verbal contributions to the session discussions.

    To be clear, you assign to Company only your oral statements during recorded Course sessions. You retain all copyright to any and all written materials you submit to the class and the right to use them in any way you choose without permission from or compensation to the Company.

Welcom Back!

Log in to access your account

We will see you this Thursday!

7pm ET / 4pm PT

Check Your Email For The Link

(Don’t see it? Check your spam folder)

Donate To Our Scholarship Fund

We match every donation we receive dollar for dollar, and use the funds to offset the cost of our programs for students who otherwise could not afford to attend.

We have given away over 140,000 of scholarships in the past year.

Thank you for your support!

Other Amount? CONTACT US

Get Your Video Seminar

myth-three-act-structure-jacob-krueger-studio-free-seminar

Where should we send it?

"*" indicates required fields

Name*
Would You Like More Information About Our Classes?
This field is for validation purposes and should be left unchanged.

Need A Payment Plan?

We like working with artists and strive not to leave writers behind over money.

If you need a payment plan or another arrangement to participate in our programs, we are happy to help.

Chat us or give us a call at 917-464-3594 and we will figure out a plan that fits your budget.

Join the waitlist!

Fill in the form below to be placed on the waitlist. We'll let you know once a slot opens up!