Crazy, Stupid, Love

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The script, written on spec, was by Dan Fogelman, and it sold for two million dollars. If you change one of the causes, you change its effect and vice versa. So, permission to speak candidly, sir.

Jacob Palmer: Who looks like a carrot? Obviously I wanted things to work out for them because as individual characters I really liked them. But, what will happen when he pushes her away when she knows he needs her the most? Jacob Palmer: Because bar banter… Cal Weaver: …is boring.

Crazy, Stupid, Love. (2011)

The script, written on spec, was by Dan Fogelman, and it sold for two million dollars. You might be slightly stunned. I thought Carell was crazy to attach himself to the script. Just look at the logline: a guy finds himself back in the dating game after getting blindsided by divorce. Of course, when I saw the movie, I loved it…and I became really curious about the script. Obviously, it had to be really good for Steve Carell to attach himself to the project, which in turn, led to its incredible selling price. I found a rough draft from November 2009 and started comparing it to the movie. Considering Carell fell in love with the script, there were more changes between the screenplay and film than I had anticipated. Admittedly though, the killer climax and perfect execution of subplots and theme were all there, right from the get-go. So…how do you improve on a script which sold for two million dollars. His wife, Tracy renamed Emily in the movie is 42. It also creates another problem. If Hannah is 29, then Cal had Hannah when he was 15. Emily gave birth to Hannah when she was 13. Insert your favorite Appalachia joke here. A good second act is a tight chain of cause and effect. If you change one of the causes, you change its effect and vice versa. This concept also applies to elements rooted in character, like age. When you make last minute tweaks to your script, think carefully about how those changes might affect the internal consistency and logic of your screenplay. Cal may be the main character driving the events of Crazy Stupid Love, but, as his object of affection, Emily is equally as important. If you want to attract major talent to play your characters, than make sure you give those characters ample time to shine onscreen. Read for another example of how to write actorbait. Take this scene—Cal and Emily have returned from their dinner, where Emily just blindsided Cal with her desire to get divorced. At the door, they find Jessica, their babysitter, and Robbie, their precocious thirteen year old son. How was dinner… noticing Oh my God, Mr. Weaver told me she wants a divorce so I jumped out of the car. Contrast this scene with the way it played out in the movie. A rather flustered Emily asks Jessica if her daughter, Molly, gave Jessica a hard time with her broccoli, while Robbie focuses on extracting information from Cal. Not only did Emily have lines, drawing our attention to her as well as to Cal, she was operating in classic avoidance mode, lending more authenticity to her character. Instead of answering any of her questions, his responses all focus on how to operate their sprinkler system. Even better, we still have Emily in the picture, on the screen, without disappearing for a quarter of the movie. Neither was one of my favorite scenes, the one where Emily suddenly calls Cal, who, unbeknownst to her, is tending their backyard garden. He knows how to score with women, and he does so unapologetically. This allows Fogelman to have some fun with his character. But at the end of the day, if Hannah is to fall in love with Jacob, he has to be worthy of her love. In other words, Jacob can be a reprobate at the beginning of the movie, but he has to be a redeemable one. For example, he tries to pick her up like this: Jacob sits down at their table, uninvited. Again: not a cheesy pick-up line, just a fact. So, here we go, Hannah: can I buy you a drink. Maybe all my friends have abandoned me for wives and children and labradoodle puppies, who cares why. Do you remember exactly when it was that you lost it. Again, he comes across as too much of a jerk. Maybe you think it works for his character. Then why were the lines changed. This concept holds true for women too—the heroine has to be worthy of the hero. We see why Cal vows never to stop fighting for her, instead of cutting his losses, and marrying somebody new. This example is particularly good because it will help you appreciate how much more you can accomplish by showing something rather than telling it. Clair is dainty, bubbly little woman. Bernie is the size of an oak tree — he speaks in deep grunts. You told me I had to stop being friends with him after the split, I did. For one thing, it hits home that Cal has lost more than just his wife and his home. The divorce will cost him his best friend too, a loss which almost feels who plays in crazy stupid love. Bernie also plays a key role in the climax, so it was good to set up who he is early on, the way the movie did, instead of waiting almost until page 50, the way the script did. One little scene can accomplish so much—if you show, not tell. Go through your latest script. You may not ever end up using this scene, especially if your script is too long, but you just might find a nugget of screenwriting gold. Screenwriting Tip 5: Minimize phone calls Like the rule about showing, not telling, this one frequently pops up…in, andto name a few. Your mission, should you choose to accept it, is to find that way. There were two unnecessary phone calls in the Crazy Stupid Love script. In the adjoining kitchen, Cal who plays in crazy stupid love on the phone. Have you been getting out at all. He turns, sees Robbie staring. He heads into the bathroom with the phone, closes the door. It who plays in crazy stupid love wastes valuable screenplay real estate. There was another phone call too, which got nixed in the movie. Hey, David Jacobowitz, Robbie Weaver here. It was nice knowing you, stop sending flowers, stop writing notes, have a nice life. David stands there for a moment, crestfallen. After a beat, he picks up his phone. Cal Weaver…River Vale, I think. Boring, even if Kevin Bacon has retained his offbeat good looks. Apparently, she left it in his car during their date. So simple, so easy, so elegant. Crazy Stupid Love has examples of the good kind too. This phone call works because learning that Jacob has finally lost his heart is immensely satisfying. They have to talk on the phone. Can anyone think of a different way. Finally, my favorite phone call scene is the one between Cal tending the garden, while Emily is inside their house, pretending to need help with fixing the water heater. Why does this phone call scene work so well. It speaks volumes about the current state of their relationship. The only thing is, he makes this cozy little chat while in the middle of assassinating someone. Very well played, Hoeber brothers. Screenwriting Tip 6: Show the stakes Stakes are easy to show in a thriller like. Either the hero wins, or the world is destroyed. Showing the stakes in a comedy-dramedy about relationships is a lot harder. Not this time…but what about the next. In a romantic comedy, sometimes the best way to show the stakes is to focus on the threat. Final thoughts These are just a few of the screenwriting tips I learned by comparing the Crazy Stupid Love screenplay to its film. But, despite my nitpicking, it has a helluva lot of everything else: a kickbutt climax, solid who plays in crazy stupid love, reflections on theme, humor…and heart. This writing guide will help you get there. Excerpts from screenplays are used for educational purposes only. All other text © 2018, Scribe Meets World. This site uses cookies to provide an enhanced user experience.

His laid-back-but-firm confidence coupled with his looks and bit of arrogance is neutralized by buying her a drink off the bat. Decklan was on a crash course of self dest The opening prologue snared me in right away. At Robbie's eighth grade graduation, Robbie is the and gives a pessimistic speech about how he no longer believes in true love and. How much money have you got today for clothes? Jacob Palmer: You see what just happened, Cal? After landing in the bottom 2 in the episode You're Beautiful, Now Change for not using her ice-skating moves to her advantage, she rebounded and appeared in the top three for seven consecutive weeks. His life is spiraling downwards with his dependency for alcohol to numb away the pain. Because they fell in love and love is for stupid assholes. Robbie Weaver: You wanna talk about the Scarlet Letter, Miss Tafferty? After the encounter, Cal manages to successfully seduce other women at the bar. He learns his parents are getting a divorce. Gosling plays against type, and gives an absolutely hysterical performance.