Sample Bali Brothers Script

8/14/2019 Sample Bali Brothers Script

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BALI BROTHERSLACY WALTZMAN : MICHAEL WIESE : MATTHEW BISHOP


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THE IDEA

No one doubts that the road to getting an independent film made is

filled with incredible obstacles. Not only is writing an original script a

laborious accomplishment that may take dozens of rewrites, but even

if its great, truly original and has something to say, sadly, that doesnt

guarantee it will get made.

To get made (by someone other than the writer) a script has to land

in the right hands at the right time. Many screenwriters do not live

in L.A. or New York. They do not have access to agents, studios, or

independent producers. And even if they did, their small (e.g. non-

blockbuster) movie would fall well below the radar of most executives

anyway. Therefore, their films need to be made outside the system, begreat, and then with the luck akin to lightning striking a penny, find

distribution and audiences.

The publication of this great unproduced script is the first of what

we hope will be a series of original, heart felt stories from screenwriters

seeking to get their independent visions into the world. By publishing

these scripts, we hope they will be read by producers, filmmakers,

or private investors seeking fresh material and that these films will get

made. If not, then at least the story will be read by many more people

than would normally read a script.

Weve been doing what we can to support independent film since 1981

when we released our first book, The Independent Film and Videomakers

Guideby Michael Wiese. At that time there was only one other how to

filmmaking book in the bookstores. Today weve published 150 booksabout all aspects of filmmaking. Weve helped define the genre. This next

step is an experiment to see whether publishing great scripts will assist in


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the process of getting great films made, that have something to say and

that will inspire audiences for generations to come for the benefit of all.

Once again, Michael Wiese steps up to the plate first, and his Bali Brothers

script a story he has been developing for years serves as the guinea

pig.

INTRODUCTION & BACKGROUND

Bali Brotherswas inspired by the time I lived with a friend in what was

then a remote village in Bali. It was 1970, and not far away, the Vietnam

War was in full bloom. We were film students setting out to discover

who we were and what life was all about.

A Balinese painting salesman found us on a beach and invited us to his

village. Dewa Nyoman Batuan, the kind and generous head of the village,gave us a tiny room to sleep in and fed us. We learned some Indonesian,

prayed in the temple ceremonies, participated in ritual magic, studied

painting and shadow plays, and played extraordinary gamelan music.

Besides being immersed in what has to be one of the most creative and

exquisite cultures on the planet, we saw a people who lived communally,

where the family and community came first, where the ego was

suppressed for the benefit of the whole, and where an entire people lived

in close harmony with nature and their gods.

After many months living in this remote location, being a participant

in the spiritual and ritual life of the Balinese, immersing ourselves

in the trance-invoking gamelan, and the mythic archetypal characters

channelled into life by the shadow master, we experienced various levels

of non-ordinary realities.

The time spent in Bali forever transformed me at the deepest level and

Ive been exploring those feelings and trying to find my place in the

world ever since not unlike the protagonists in our script.


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Ive returned to Bali more than twenty times during my life and maintain

a close relation with the village and my friends, now revered village elders.

In the early nineties, I started going through old diaries and reconstructing

the events of that first trip. In 1995, I published a novel called On the Edge

of A Dream: Magic and Madness in Baliwhich tells the story of that first

year. While it is written as fiction, 80% of it is true.

Then I started work adapting it into a film script.

For eight years, I wrote draft after draft. I had written some scripts before

but, as I found out, I knew little about what I was doing. This was more

complicated, because the scripts were based on autobiographical material

and even though some say write what you know, the fact that it was

based on my life gave energy to my ego and kept me from the core of

the material. As I learned, I was too busy protecting myself.

So I studied, took courses and published a lot of screenwriting books from

some of the greatest minds in the industry. This gave me an amazing ace.

I had access to the worlds greatest scriptwriters, script consultants, and

story editors. They not only wrote books for me but they were my friends.

Over the years, some very smart people consulted on the script and gave

me extensive notes and guidance.

I bow down and touch their feet with the greatest of appreciation for theircontribution to my work and my life: Christopher Vogler, Steve Katz,

Blake Snyder, James Bonnet, Mary Trainor-Brigham, Judith Weston,

Mark Travis, Jeffrey Schechter, Matthew Bishop and Lacy Waltzman.

Of course, more than anyone else, my wife, Geraldine Overton, has

watched me twist and turn in the wind, and I am grateful for her patience.

Ive come to call the project Michaels folly because of the vast numberof hours (and dollars) Ive put into this work over the years. Granted, Ive

been running a publishing company and making the occasional other film

and I havent been working on it every day, but it has been fifteen years,

and I have yet to make this film.


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Howard Suber, UCLA educator and mentor to just about every major

director and producer in Hollywood, says the average films takes nine

years to make. People dont realize this. They think a script is written, and

then shot, then appears in the theaters. Many times Ive despaired and

really questioned whether this was something I wanted to pursue and

every time I got yes as an answer and there would be another burst of

creative energy. If this is the film I was born to make, then let me make

it! I take frequent comfort in friend Bucky Fullers advice when he said

that great things like the redwoods, the great whales, and the elephant

have long gestation rates. I like to think of this film as one of those greatthings.

In 1994, after countless drafts, I realized I had taken it as far as I can. I

needed help. I needed a co-writer. I found Matthew Bishop, who gave

me notes and then came up with a strategy and structure for rewriting

it. I gave him my blessing and he ran with it.

I took this version and continue the process I had begun earlier of trying to

find producers, foreign sales reps, and talent to join in. I made the rounds

at Cannes. As Ive learned, no one says no but they dont say yes either.

They hope to remain friends with you and hope youll get your film made

and come back to them when its finished. There is so much film product

available, distributors do not need to finance anything, they just wait, go

to festivals, and pick the plums off the tree. The filmmaker is expected to

hock house and the family fortune to make his film and hence gain entryto this glamorous world.

Writing a film that is set in another culture presents other challenges.

Not only is a script a kind of blueprint that gives everyone the vision and

must tell a cracking good story, it has to do so within 120 pages. (The

right length in Hollywood this year is 106 pages!) The story has to be

told with great economy. So writing in a way that allows people to getBali is very difficult. Most readers had never been there. So how do you

create that image in their heads without them substituting Mexico?


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I would shoot a trailer. In 2002, a month after the Bali bombings, I took

two actors from Los Angeles, a U.K. cameraman, and a producer to Bali

for ten days, and we shot a short piece. I made DVDs of it, sent it around

with the script, and put it on YouTube. Of course the problem with this

is that we shot it for nothing on mini-DV and the style of the piece is not

the look well have the final movie. Also, by now, the actors in the trailer

are not the actors who will be in the film. Nevertheless, I learned that a

mixed Balinese and Western cast and crew can work very well together.

I learned how long things really take to shoot and what it would cost.

So, for that alone, it was well worth doing.

A few more years went by and I was not getting it financed. Part of the

problem is that I no longer live in the States, and I dont just mean L.A.

I live in Cornwall, England, a most powerful and beautiful place but

also one of the most depressed places in Europe with high rates of un-

employment. Talk about out of the loop! Its very remote, which I like,

and takes five to six hours by train to get to London. So I am unable to

have lunch meetings, attend parties, and do all those social networking

things that helped me find financing in the past unless I travel far

from home.

A sales agent at Cannes introduced me to an executive producer in Los

Angeles who liked the script. She started making pitches to help secure

young name actors. Curiously, and in contrast to what I expected would

happen, the agents of the actors likedthe script, but the actors passed. Wewere not able to find out whether it was the part they didnt like or that

they simply didnt want to leave their new girlfriends and spend seven

weeks in Bali. We started to get insecure about the script.

Another rewrite. I wrote another list of possible changes and I got more

notes from script consultants. (When you garner advice from experts,

theyll always find something.)


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In looking for another writer, I was given a moody script set in New

Orleans by Lacy Waltzman. It was very good and had a dark and mysterious

tone. I hired her and after many months we had a much-improved script.

Im a morning person. I get up a 4:30 a.m. and by 10 p.m. Im knack-

ered. The U.K. is eight hours ahead of L.A. So if I want to start pitching,

the earliest I can do so is about 6 p.m. my time. I found it far too difficult

to make late night pitches to actors agents or anyone, for that matter.

I decided to set up the production in the U.K. I did a series of auditionsand mixed and matched actors until I found a trio that I felt would

work very well with one another: Phillip Barantini and Leo Gregory

would play the roles of Nick and Eddie, and Rebecca Grant would

be Shakti, the mysterious apprentice to the shaman.

I made one-sheets (sales sheets) and appointments at the market of the

Berlin Film Festival. My actors, while I was confident they all had the

potential to be great stars, had not yet arrived at that place in their career

to be worth anything from a world sales perspective. They were not on

that short list of A actors or bankable stars.

I like these actors tremendously and have spent as much time with them as

I could every time I went to London. I know they can deliver memorable

and moving performances. That, it seems, isnt what the money people

want to hear. They want names that will guarantee box office sales anda great return on their money.

For anyone whos tried it, you know its a chicken and egg cycle that you

have to break out of. You need financing, but that wont come without a

bankable star, but a bankable star wont come without a firm cash offer.

You cant get the cash without the actor and you cant get the actor without

the cash. But, if you have a great script, you might be able to get the actor,if you can get the script to the actor without going through the agent.

Ultimately, of course, you need to work with the agent.


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So my strategy was to try to obtain an A actor for the small but impor-

tant role of Nigel, the expat. At Cannes and other film festivals, I met

several name actors who I thought would be good for the Nigel role. (It

can be played by a wide range of actors.) I got them the script, but they

passed. This time I found out why. The part wasnt substantial enough

for them.

I withdrew from the selling process. Lacy and I again worked on another

rewrite strengthening the lead roles and also deepening the ex-pat role.

When the script was finished, I gave it to the leading casting director inLondon, who presented it to the first person on our list. After about six

months we never got a reply so it was time to move on, assuming they

didnt want to do it. It is now with another A actor and we are waiting

to hear.

Without cash in hand and the ability to say we are definitely starting on

this date, months and years pass. If a name star does agree to be in your

film by the time you actually do raise the money, that A star could be

booked up for many years.

Even with an A star there are no guarantees. Every year there are many

films made with A stars that do not perform at the box office.

So, what you have in your hands is probably not the last version of the

script. It will go through more revisions until it is shot. And the film itselfwill be different again because the story actually gets told three times

once in the script, again in the performance, and lastly in the editing.

Regardless of whether or not the film is funded, I continue to do works

that will inform the envisioned film. A few years ago in Bali, I gathered

together a Balinese composer and a dozen musicians. I gave them ideas

for short sound sketches that related to scenes in the film such as Shadowson the Wall, Flirting, So Sad to Say Goodbye, Demons Approach,

and a few dozen others. In less than a day we recorded some twenty-eight


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cues, which, if they are not used in the film, they are a healthy start in

banking sounds and sound design ideas for the ultimate sound track.

Also, after years of watching Dewa Nyoman Batuan paint mandalas,

I published 140 of them in Mandalas of Baliin November 2009. These

mandala paintings will have a presence in the film.

For me, this is and has been a process of exploration and discovery, trying

to create something that was seeded in me decades ago that continues to

grow and find expression.

For the last twenty-five years, Ive given filmmaking seminars all around

the world. Ive heard hundreds of story pitches. Many of them fail be-

cause their creators are not able to communicate (or even know) what

their story is about. Okay, to some degree this criticism is not fair because

filmmakers and writers go through this process to discoverwhat their work

is about. Nevertheless, to deepen their understanding of what they

are trying to achieve and to help them articulate it, I put the attendees

through an exercise I call Whats it REALLY about?Two seated people

face each other. One runs the mind of the other (the writer/filmmaker)

with a simple question: Whats it really all about?The question is asked flatly,

without judgment. A short answer then erupts. Sometimes we run this

exercise for half an hour. All kinds of stuff come out, most of it rubbish,

but if the writer is really willing to dive deeply, a very powerful statement

often emerges that surprises everyone.

In all fairness, I run this exercise on myself about Bali Brothers: Whats

it really all about?

Its about freedom and responsibility.

Its about magic.

Its about love that heals.

Its about finding out who we really are.


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Its about discovering we are even more magnificent than we think

we are.

Its about two brothers who heal their differences through the beauty

and magic of Bali.

Its about the incredible capacity of human beings to pull back the veil

and enter new worlds.

Its about how we might live together.

Its about how we might create a world that benefits everyone.

Its about an amazing culture that has a great deal to teach us if we are

willing to listening.

May you enjoy Bali Brothers!

Michael Wiese

Cornwall, EnglandAugust 30, 2009


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