Talking Shop in Screenwriting and Music: John Wick (2014)
My perspective on the film from a screenwriting and end result basis
Quick Thanks to Reddit r/Screenwriting
Over time I’ve realized how little I fit in with many Reddit subs which pique my interests. This is mentioned to give a little “outsider” cushion to an otherwise established community such as r/Screenwriting. It’s very important to appreciate the wisdom, camaraderie, and anecdotes for what they offer a reader. One such element is the “Weekly Script Discussion.”
Normally I don’t participate in pinned threads. Why? I should be working on my craft, not chit-chatting. If I’m on the sub, I’m self-driving to research and check out things, not pitch in for free. Sounds pretty harsh but it’s just a teeter-totter, I eventually land back in participating in the community.
The choice this week? John Wick. Labeled wrong in the post, re: Directors & Writers, there’s at least a link to the script. See:
The Film — John Wick
I love this film. I’ve watched it 10+ times. These days I start at Chapter 3 when he gets off the bus because I’ve already seen the setup enough to know I don’t need it anymore. For fun and study I’ve listened to the Director’s Commentary track at least twice.
Nitty Gritty Swigging Beer Talk
One of the things I looked for in this script was how many mentions of “music” were included. 4 mentions. 2 of them in the Red Circle club.
What the screenplay structure and film do best is assume that viewers will join the ride, buy into the ‘genre’ of a revenge flick. In totality, the mechanics of the script work to reinforce that narrative wherever possible. As much as John Wick is an action flick, it’s also got built in suspense because of the “show the ending first then work up to it” framing employed.
Music is what gives John Wick its operative tension.
I cannot overstate how significant the Marilyn Manson track “Killing Strangers” is to the whole atmosphere of the film. It’s right up there with “Dead Souls” for The Crow or “Lust for Life” in Trainspotting for effect.
Next, toss in Kaleida’s “Think” from the basement of Red Circle:
Stripped down, potent. Lusty. Complex. The song was a thick braid beneath the visuals, the plotline… then the Dubstep whomper during the Red Circle fight scene, a huge contrast of tone, of ramping up what was to come…
…and also when Management revokes Percy’s membership…
Thinking in the Writer of Script vs. Film Result Context
The words on the page are essential to setting up a world, but I’m of the school that film works best as a total package. Execution means a lot and that’s why films take giant teams — actors, location crew, on and on and on. So considering my appetite to appreciate good work, there are three films in my current go-to pile: John Wick, Rush, and Fury Road.
So you can maybe imagine how lame I found John Wick Chapter 2. I paid my money, I got good and lit up, watched on the big screen and…the magic was gone. John Wick 2: John Wick-ier! The first film had one or two Akido over the shoulder throws, the second I stopped counting after 8 I think.
The music wasn’t as good. The sets were gorgeous but bigger and lost the compressive tension that the first film got so well. While I didn’t blink at the loose fibres of the plot overall, by the end, I kind of didn’t care why anything was happening anymore. Obligatory John talking slow moment. Fade Out.
In the discussion of “unnecessary sequels” I’m pretty sure this one fits. Most of the main elements were ported over just fine, then puffed up, longer. The biggest take away for me?
Audience fatigue is real and always keep it in mind
Pushes-Up-Glasses-Moment
There is one flaw with John Wick that I will forever laugh about in my Dr. Evil voice, and it happens in the church parking lot. Once they get John on the ground and out of action, walk up and put one between the eyes. BAM!
“No Scott, you just don’t get it do you?”
When a film gets so much gunplay and realistic effort to move dead bodies, it’s hard to get in a twist about a little Deus Ex wrinkle.
Morals of the Story
First, write an undeniably cool, 3-Act structured “genre” piece around 90 pages. Second, once up and running, find a genius who can assemble a cast with a combined global box-office career take in the billions. Last, because your music budget is empty, befriend a musician that can cut you a deal on one or more tunes that will make your film epic…even if it means drinking Absinthe in New Orleans with Marilyn Manson and Tyler Bates with no guarantees of making it to the airport the next day to fly home.
