[Kevin Patrick Goulet]

WIM Module 4, Lesson 8 – 8.27.22

Lesson 8: Depth – Intriguing Moments

Kevin Patrick Goulet’s – Intriguing Moments

My vision: Develop a career-making screenplay writing method.
What I learned: Figuring out where intrigue can be added will serve to elevate the story and better hold/invite further interest from the reader too.

FINDING DOCTOR FUNK

ASSIGNMENT

2. Give us a one-sentence explanation of intriguing moments in each Act of your project.

ACT 1

SCHEME: Vince’s Father Vincent shows up late (and drunk) to his Son’s 5th birthday party and offers a dirty brick layer’s trowel -wrapped in a brown paper bag- as a gift.

SCHEME: At the H.S. Talent show, a rival student musician locks Vince out of the back of the auditorium just before Vince’s turn to compete for the top prize in the contest.

MYSTERY: TV Producer Lee Mendelson arrives at Jazz Club in search of this ‘Vince Guaraldi’ whom he is about to offer the chance to score the new PEANUTS animated tv show.

ACT 2

COVER UP: Vince cannot read sheet music (!); when he ‘guest’ plays with a band at one of the Jazz Clubs he is ostracized (even though he can learn any composition from hearing it one time).

HIDDEN AGENDA: Vince has his ‘on-the-sly-GirlFriend’ Gretchen Katamay appear with Vince on the cover of his new 1964 record album “The Latin Side of Vince Guaraldi” -and suddenly the secretive ‘relationship’ is no longer so secret.

COVERT/AGENDA: In prep for his future as a band leader of his own, Vince -while playing with Cal Tjader’s Band- begins diverting from the expected; soloing new material of his own, thus upstaging Cal and the rest of his ‘Tjader’s Raiders’ band.

ACT3

COVERT/AGENDA: Old friend and S.F. Chronicle Jazz enthusiast Ralph Gleason invites Vince and the VG “Trio’ to appear on his JAZZ CASUAL television show -along with Bola Sete, but then makes Bola the Headliner of the show- not Vince Guaraldi and his new Trio.

COVER UP: Vince and Drummer Jerry Granelli purchase new Porsche 356 C sports cars… and also rent a secret airport hanger to keep the cars hidden from prying eyes… like wives, significant others, the press.

COVERT/AGENDA: CBS- at complete odds with the finished production of/upcoming airing of ‘A CHARLIE BROWN CHRISTMAS’- plan to put off ‘payment for service rendered’ to Guaraldi and the PEANUTS production team, due to expected poor reception (failure/flop) of upcoming ‘A CHARLIE BROWN CHRISTMAS’ animated show.

COVER UP/SUPERIOR POSITION: Fantasy Records Weiss Bros. Soul and Max have been duping Vince/other members of his band (other bands too) and taking far more of the profit from all record sales (keeping 90% from Guaraldi and his Trio!) – resulting in a major lawsuit and eventual shuttering of the Fantasy Label.

ACT4

SCHEME: Vince’s Father Vincent takes a very young Vince on an all-day excursion (visitation), trying to better the poor ”bond’ with his son, but purposefully does not communicate his plan for ‘extended time with the boy’ to divorced wife Carmella and Grandma ‘Biddy’… strictly for spite, thus sending the family into near hysterics of worry about young Vince.

SECRET/SUPERIOR POSITION: Vince’s wife Shirley files for divorce a second time, and this time completes the deal.

COVER UP: Vince’s poor diet, drinking, lack of rest are all (now) clear, contributing factors to a developing heart condition that -in the end- would be a factor in his death from a heart attack on February 6, 1976.

• This reply was modified 2 years, 8 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

WIM Module 4, Lesson 7

Kevin Patrick Goulet’s – Emotional Moments

My vision: Develop a career-making screenplay writing method.

What I learned: It is important to make sure moments are charged with/have an emotional quality. The more personal it can be will allow the characters to work in cadence/better deliver an emotional ‘punch’ component to the scene.

FINDING DOCTOR FUNK

ASSIGNMENT

2. One or two-sentence explanation of emotional moments in each act of your project.

(Reminder: FINDING DOCTOR FUNK is a ‘present-past’ style storytelling screenplay)

Act 1. ——————————————————————————

EXCITEMENT: (1964) Vince is in his zone, playing some of the best jazz of his lifetime, and the ‘standing-room-only’ Hungry-i Jazz club crowd is euphoric as he dazzles at the piano.

WOUND: (1932) Vince’s Father -Vincent Dellaglio- abandons his family; wife Carmella, and young son Vince.

DISTRESS: (1932) Both Vince and his Mother Carmella are excommunicated from their Catholic Parish because of the Parent’s divorce.

LOVE/COURAGE: (1932) Mother Carmella and Grandmother ‘Biddy’ work/live together to support & raise only child Vince.

SURPRISE EXCITEMENT: Lee Mendelson hears a song on Cab’s radio and the sound is intoxicating. The cab driver takes LM to the Hungry Club in S. F. Where he will meet the piano player from the song on the radio.

EMOTIONAL DILEMMA: (1935) Vince’s Father Vincent awkwardly visits Son Vince, and takes him to places like public parks or down by the ocean, where they mostly sit in silence.

SUCCESS/WINNING: (1946) Vince’s effort to compete in the Senior High School Talent Contest -is nearly sabotaged by a jealous rival musician, but Vince makes it to the main stage at the very last moment and wins (!) Talent contest! Prize: a real club ‘gig’ in Yosemite that summertime.

SURPRISE: (1964) Vince is tracked down and cornered by TV Producer Lee Mendelson at S.F. Club Hungry i. Lee offers Vince the opportunity to score new PEANUTS animated television special …( this is the beginning of the segment of the story’s ‘present’ period of time). Lee Mendelson’s offer signals the start of ‘THE EVENT’ that will change Vince Guaraldi’s life.

SACRIFICE/COURAGE: (1946) Vince is DRAFTED; He must now give up his dream of becoming a Jazz musician. The Army has called up his ‘number’ for active duty in the (pre) Korean War.

EMOTIONAL DILEMMA/SURPRISE: (1947) Homesick n Korea, and desperate to play any piano, Vince manages to locate a dusty, out-of-tune, old upright- hidden in a supply room.

EXCITEMENT/BONDING: (1948) Vince finds a couple of other musicians on base and together entertains the troops in the mess hall. One night an unexpected visitor…: None other than THE GENERAL DOUGLAS MACARTHUR comes into THE MESS to hear the music… tells Vince he needs to get the hell out of there and get home- become a professional musician…!

Act 2. ——————————————————————————

LOVE: (1948) Vince -back from Korea- looking for work to help support his Mother and Grandmother courts his former high school sweetheart, Shirley Moskowitz.

WOUND (actual physical injury): 1949) Vince nearly loses a finger working at the San Francisco Chronicle Newspaper basement printing press.

SURPRISE/WOUNDS: (1947) Vince is playing local parties, high school dances, college campus auditoriums -anything to play in front of live people.

HIDDEN WEAKNESS: (1950) It is revealed that Vince- [trying to move beyond piano gigs at birthday parties & Bat Mitzvahs] so desperate to land a ‘gig’ playing at a real Jazz club- cannot read sheet music; He learns everything by ‘ear’. Detrimental or very impressive…?

EXCITEMENT/SUCCESS: (1951-52) Vince gets a taste of recording a record as the piano player in Cal Tjader’s band (Tjader is under contract with the Weiss Bros. “Fantasy’ record label).

LOVE: (1952-53) Vince proposes to Shirley Moskowitz and they marry the next year.

WOUND: (1953) At Vince & Shirley’s wedding, Vince’s Father Vincent makes a spectacle of himself and embarrasses Vince.

Personality conflicts between Cal & Vince start to erupt.

SUCCESS/WINNING: (1954-55) Vince auditions musicians for his own Trio – gets his own contract with the Weiss Bros./Fantasy label as a solo act -and eventually his own trio.

SURPRISE/LOVE: (1954-55) Vince learns his wife Shirley is ‘expecting’ a baby; Son David is born the following year.

BONDING/EXCITEMENT: (1956) Vince records his own music with “The Vince Guaraldi Trio” of players- Colin Bailey on drums, Monte Budwig on double bass.

Act 3. ——————————————————————————

SURPRISE/LOVE: (1959, 60) Shirley tells Vince they’re having another child; Daughter Dia arrives.

COURAGE/SACRIFICE: Vince (1961) encounters Comedian Dick Gregory and becomes willingly involved in the CIVIL RIGHTS Movement. Together they march in the streets of S.F., protesting.

BONDING/EXCITEMENT: (1962) Vince records the Album, “Jazz Impressions of Black Orpheus”. It spawns Vince Guaraldi’s first major hit record, ‘Cast Your Fate To The Wind’ (‘A’ side) for ‘Fantasy’ Records (‘Samba De Orpheus’ was the ‘B’ side).

SURPRISE/BONDING: (1963) Vince sees Bola Sete at Bay Area Club one night- ‘wowing’ the crowd with his guitar virtuosity. Bola and V.G. communicate through an interpreter, Bola invites Vince on stage for a couple of songs- an instant friendship begins!

HIDDEN WEAKNESS/MORAL ISSUE/EMOTIONAL DILEMMA: (1963) Vince -between sets at Club- gets a drink, meets flirtatious Gretchen Katamay -seated at the end of a bar- begins a conversation. He is smitten. The beginning of the end of his marriage to Shirley.

SURPRISE: (1963) Vince’s very successful ‘Fantasy Records’ recording of ‘Cast Your Fate To The Wind’ creates a financial windfall for Vince.

HIDDEN WEAKNESS: (1963) One day driving the family station wagon, Vince sees a white Porsche 356 at a traffic light… Slick looking guy with a very pretty girl in the passenger seat. He must get a car like that.

EXCITEMENT/SUCCESS/WINNING: (1963) Ralph Gleason- producer established syndicated Bay Area TV Series ‘JAZZ CASUAL’ invites Brazilian Guitarist Bola Sete, The Vince Guaraldi Trio (Vince, Fred Marshall -Bass, Jerry Granelli -Drums) to record episode # 16 (of 31)- This show is syndicated around the country.

HIDDEN WEAKNESS/MORAL ISSUE/EMOTIONAL DILEMMA: (1964) We see Vince driving his new Porsche 356C -a Black one- w/Gretchen Katamay at his side.

SURPRISE/SUCCESS/WINNING: (1963) V.G.’s “Cast Your Fate To The Wind” WINS a Grammy (but cannot attend the event, collect statue) Best original jazz composition,.

SURPRISE/EXCITEMENT: (1964) Vince in his basement noodling on piano; notes Linus and Lucy are heard… Vince picks up the telephone and dials Lee Mendelson. Lee is very reluctant to listen over the phone but Vince presses Lee,” No! I have to play it for you before I forget it!” This is 1st-time the audience hears LINUS And LUCY (the first 2-3 lines of it anyway). Lee is beyond thrilled/ knows this music is really something new, different -and could be very special for everyone.

SURPRISE/DISTRESS: (1965) Friday, Dec. 3 – CBS has a screening of “A Charlie Brown Christmas” featuring VINCE GUARALDI’S MUSICAL Score-and the CBS Brass absolutely hate everything about it. There is even a TIME MAGAZINE review critic at the screening too. CBS fears the worst: a scathing review, but knows there is no turning back. The show’s air-date is already printed in the TV-GUIDE weekly publication and scheduled to air in ‘Prime-Time’ -8pm., coast-to-coast on Dec. 9th. The CBS Brass is certain (determined?) the 12/9/65 airing of ‘A CHARLIE BROWN CHRISTMAS’ will be the one and only time the cartoon will ever be seen.

EXCITEMENT: (1965) TIME MAGAZINE critic gives the new PEANUTS animated show ‘A CHARLIE BROWN CHRISTMAS’ glowing praise! Especially Guaraldi’s music! c. It is a Nationally recognized HIT for CBS and Charles Schulz… and Vince Guaraldi.

CBS is stupendously wrong. The show breaks all kinds of viewing records; it is the 2nd highest rated program of any prime time television program (2nd only to ‘Gunsmoke’) that evening in America.

SURPRISE/SUCCESS/WINNING:— Peanuts TV special is a huge hit! CBS orders “It’s The Great Pumpkin Charlie Brown”… and many more Guaraldi scored Musical PEANUTS Specials in the years to come.

DISTRESS: Vince is reticent… busy though he is with the recurring PEANUTS television gigs, the live dates at Jazz clubs around the S.F. Bay Area- he is restless; still determined to write a real Jazz ‘Standard’… unaware that he already has accomplished that in LINUS And LUCY’ and with a few other original PEANUTS compositions.

Act 4. ——————————————————————————

EMOTIONAL DILEMMA (1934) Vincent Dellaglio with son Vince (visitation) driving in a car to a nearby park. He parks the car and they remain seated in a car- where they watch grown men play bocce ball… and hardly a word is spoken between them.

BONDING/SACRIFICE: (1967) Miles Davis in the Audience at a S.F. area club. Miles and Vince have a conversation about the state of the industry… Miles extends an offer/wants Vince to join his band…Vince kindly declines.

COURAGE/SACRIFICE: Vince is experimenting with new instruments, new sounds and out an album that doesn’t sell (The Eclectic Vince Guaraldi, 1969). He knows Jazz is dying; Rock and Roll is thriving.

WOUNDS/EMOTIONAL DILEMMA: (1971) Shirley files for divorce again, and this time Vince and Shirley part ways- and their relationship actually improves over the next several years.

WOUNDS: (1970) Vince gets word his Father is in very poor health. Vincent Dellaglio Dies.

HIDDEN WEAKNESS: (1976) Vince out to dinner with Lee Mendelson, and others. Vince- having heartburn, indigestion, mild chest pains… again. It is passed off as a reaction to spice food.

WOUNDS: (Feb. 3, 1976) Butterfield’s Jazz Club. Vince plays old favorites and covers of other current-day artists. Last song of the first set- The Beatles ‘Eleanor Rigby’.

WOUNDS: after the end of the set, Vince is over at the adjacent RED COTTAGE INN with his bandmates. He crosses the room and collapses. Word of Vince’s fatal heart attack spreads. We see various faces; reactions from those who knew him best. Phone calls at first, then a television news story/broadcast: “JAZZ Musician VINCE GUARALDI has died…”

SURPRISE/EXCITEMENT: (2024) Several great Jazz musicians of the ‘present day’ assemble to pay homage to Vince, for it was GUARALDI’S music in the animated PEANUTS TV specials that was the impetus, causing each of them to be hooked on Jazz and one by one- become Professional musicians, like Vince Guaraldi.

• This reply was modified 2 years, 8 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 8 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

WIM Module 4, Lesson 6 – 8.11.22

Kevin’s Reveals! (…more to come- still working through them).

My vision: Develop a ‘career-making’ screenplay writing method.
What I learned: In doing this exercise, I also relied on 3×5 cards spread out on a table with the story beats… this allows me to better see how the story is taking shape.

Questions for this Lesson:

• What will you reveal? • When will the reveal show up in the story? • What setup needs to be in place to have the reveal work? • Where in the story does this setup belong?

FINDING DOCTOR FUNK

ACT 1

SETUP: (1932) Vince lying on living room rug; appropriate era music plays from the giant box radio in the corner of the room…

REVEAL: …He is all smiles- looking at newspaper comics; a paper bag of salty ‘peanuts’ half dumped out on the comics section, by his side.

SETUP: (1963) Between sets, Vince (dips his hand in a tray of salty peanuts) at the bar of the ‘Hungry I Jazz Club’. He (Gnaws on a few) quaffs a beer -and heads back to the piano, well aware of a corner table where loud talk and riotous laughter is growing from a ‘well-oiled’ party of six.

REVEAL: (still ’63) Vince -intolerant of rude patrons- stops mid-tune, grabs the ash tray off the top his piano and hurls it at the corner table. The ash tray shatters as does the glass on the wall behind them.

SETUP: (1932) Vince’s Father Vincent Dellaglio -drunk and disorderly- walks out on (abandons) Vince, his Mother Carmella.

REVEAL: (Following Father’s drunken-ness scene, Act 1) Vince’s Parents’ Divorce causes Vince/his Mother to be excommunicated from the Catholic Parish, Vince ejected from parish grade school.

SETUP: (1945) Vince plays piano at a friend’s High school birthday party…

REVEAL: …meets pretty, quiet & subdued Shirley Moskowitz, future girlfriend; eventual wife.

SETUP: (1946) Lincoln High School Talent Contest: Vince… almost sabotaged by another student… but WINS the Night!

REVEAL: The ‘winnings’ are an actual job in at a real Club in Yosemite during the Summer… before:

Vince gets written notice- he’s been drafted for military service in Korea, Sept., 1946.

Peeling potatoes…

SETUP: (1948) While entertaining the troops in the mess hall, one night an unexpected visitor… REVEAL: None other than GENERAL DOUGLAS MACARTHUR comes in to hear the music… tells Vince he needs to get home and become a professional musician…

ACT 2 SETUP: (1948): Vince Returns from the Korean War. Sees his Mom (single), Grandma struggling financially.

REVEAL: Vince gets job (San Francisco Chronicle Newspaper) as a Print Devil (Apprentice), nearly looses a finger while learning to service the giant basement printing press.

Vince meets San Francisco Chronicle’s renown Jazz expert Ralph Gleason – who helps bandage up Vince’s finger.

SETUP: (1952) Vince proposes to Shirley.

REVEAL: (1953) They marry…

…Vince Working… playing parties, Bat Mitzvahs, etc. but it is not nearly enough for him.

SETUP: Vince must find a way in to the Club scene: hangs out, studies… gets to sit-in one night when piano player no-shows.

REVEAL: Vince has been shadowing this club/trio for many nights in a row. He knows the trio’s set; can play everything they throw at him.

SETUP: Vince playing at Club- meets latin Jazz musician Cal Tjader after the Set. Cal- impressed with Vince’s piano playing.

REVEAL: Cal has an opening in his band -asks Vince to join.

Multitude of ‘on-the-road’ Club dates with Cal Tjader’s band

SETUP: (1954) Shirley informs Vince she is expecting…

REVEAL: (1955) Son David is born.

SETUP: Vince walks right into an office and meets local record label ‘Fantasy’ reps (bros.) Max & Soul Weiss.

REVEAL: VG signs with record Label FANTASY as a solo artist… but at first nothing happens- not even a recording.

SETUP: Soon Vince finds the need to form his own Trio and starts looking for ‘players’ to join him/help him create an original sound. REVEAL: tryouts for band mates are clunky.

SETUP: (1959) Shirley tells Vince they’re having another child…

REVEAL: (1960) Daughter Dia arrives.

SETUP: Vince is feeling pressure from Shirley Grandma Biddy; He must earn more income to keep his family fed roof over his head… pressure to give up this career?

REVEAL: Vince puts together his own gigs with Colin Bailey on drums, Monte Budwig on double bass, himself on piano. Things start to evolve, take shape, take off!

SETUP: Vince (1961) encounters Comedian DICK GREGORY and becomes willingly involved in the CIVIL RIGHTS Movement.

REVEAL: Together they march in the streets of S.F., protesting, holding signs. It gathered attention from local tv news. Risky?

SETUP: (1962) Vince records Album “Jazz Impressions of Black Orpheus”…

REVEAL: spawns first major hit ‘Cast Your Fate To The Wind’ for record ‘Fantasy’ record label.

SETUP: Vince changes lineup of his Trio. Now Fred Marshall is on double-bass, Jerry Granelli on drums) ; more original music.

REVEAL: Some bit odd fireworks as Guaraldi wants them to play arrangements in a very specific way.

SETUP: ‘Cast Your Fate To The Wind’ nominated for Grammy and WINS (May 1963).

REVEAL: Vince drives to L. A. from SF to attend For Grammy ceremony. HE IS NOT ALLOWED IN TO EVENT because he is not wearing a Tux (left it in the closet at home in SF.)

SETUP: (1963) Vince Meets Latin Guitarist BOLA SETE…

REVEAL: They record 3 albums together over next three years.

SETUP: Ralph Gleason hears about Guaraldi’s Trio and guest performer Bola Sete… sees them in a club one night….

REVEAL: …Gleason produces syndicated TV Special ‘JAZZ CASUAL’ featuring Vince, Bola Sete- and the rest of the Trio.

ACT 3 SETUP: Vince -after a set ends- at the bar. getting a drink…

REVEAL: …where a flirtatious Gretchen Katamay -seated at the end of a bar- begins a conversation with Vince. He is smitten.

SETUP: One day while driving the family car (a station wagon) Vince notices a black Porsche pull up to beside him at a traffic light…

[Vince’s success with ‘Cast Your Fate to The Wind’ creates the kind of financial windfall he’s never seen before…]

REVEAL: Vince and Vince Guaraldi Trio drummer Jerry Granelli racing through streets of San Francisco in PORSCHE 356C convertibles! (Vince’s car is black, Jerry’s- silver).

SETUP: On his way back from a meeting with cartoonist Charles Schulz, LEE MENDELSON hears “Cast Your Fate To The Wind” (taxi radio crossing Golden Gate Bridge) … He is captivated- must find/meet this pianist- offer him work on upcoming PEANUTS Animated television project. Cab driver knows just where to take Mendelson.

REVEAL: (simultaneous) Vince -playing ‘B’ side of Cast Your Fate To The Wind, “Samba De Orpheus” at S.F. area JAZZ Club, ‘The Hungry I’. Lee Mendelson walks in as the song really takes off…

SETUP: Vince meets CBS Brass, Animator BILL MELENDEZ.

SETUP: (1964) Vince is in his basement noodling on the piano doodling on.a notepad. Notes of Linus and Lucy are heard…

REVEAL: Vince Calls Lee Mendelson on telephone…. Wants to share song he’s come up with. Lee declines “not over the phone. I need to see/hear it in person.” Vinces presses,” No I have to play it for you- before I forget it!” This is the first time we hear LINUS AND LUCY first 2-3 lines of it anyway). [Lee’s reaction: he is thrilled/ knows this music is really something!].

SETUP: SCREENING of Animated TV SPECIAL ‘A CHARLIE BROWN CHRISTMAS’ – <font face=”inherit”>TIME MAGAZINE REPORTER </font>there to see the screening too.<font face=”inherit”> </font>

REVEAL: CBS not pleased with GUARALDI’S MUSIC for PEANUTS TV Special… “What is this (jazz)… it’s too slow! HOWEVER TIME MAG REPORTER writes a glowing review.

SETUP: Vince has been off the rails record company problems, indiscretions… Shirley files for Divorce.

REVEAL: Vince gets his shit together

ACT 4 SETUP: (1934) Vincent Dellaglio with son Vince (visitation) driving in a car to a nearby park. He parks the car and they remain seated in a car- where they watch grown men play bocce ball.

REVEAL: Hardly a word is spoken between them.

SETUP: Miles Davis in the Audience at a S.F. area club. REVEAL:He and Vince have a conversation about the state of the industry… Miles extends offer/wants Vince to join his band…Vince kindly declines.

SETUP: Vince is experimenting with new instruments new sounds

REVEAL: Puts out an album that doesn’t do well. He knows Jazz is dying; Rock and Roll is thriving.

SETUP: (1971) Shirley files for divorce again and this time…

REVEAL: … Vince and Shirley part ways… though their relationship actually improves over the next several years.

SETUP: Vince gets word his Father is in very poor health

REVEAL: (1970) Vincent Dellaglio Dies.

SETUP: (1976) Vince out to dinner with Lee Mendelson, others. Vince having heart burn, indigestion, mild chest pains… again. It is passed off as reaction to spice food.

REVEAL: (Feb. 3, 1976) Butterfield’s Jazz Club. Vince playing old favorites and covers of other current day artists. Last song of first set- The Beatles ‘Eleanor Rigby’.

SETUP: after end of the set, Vince is over at the adjacent RED COTTAGE INN with his bandmates. He crosses the room and collapses.

REVEAL: Word of Vince’s fatal heart attack spreads. We see various faces reactions from those who knew him best. Phone calls at first, then a television news story/broadcast.

SETUP: (2024) Current day :: Jazz musicians WYNTON MARSALIS, GEORGE WINSTON, DAVID BENOIT arrive at a venue…

REVEAL: the three of them recording a new album of Vince’s music. In this closing clip -each playing a portion of Vince Guaraldi’s Jazz Standard, ‘Linus and Lucy’.

TITLE CARD: Because of the combination that occurred with Guaraldi’s music within the 1960’s PEANUTS cartoon- countless small children were surreptitiously introduced to jazz and completely captivated by Guaraldi’s music and became professional musicians because of it all.

THE END.

• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 8 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

WIM – Module 4, Lesson 5 – Kevin Patrick Goulet’s

CHARACTER ACTION TRACKS. 7.27.22

FINDING DOCTOR FUNK (The Vince Guaraldi Story).

Pianist VINCE GUARALDI, originator of the LINUS AND LUCY thematic music for Charles Schulz PEANUTS Animated television specials- lived a far, too brief 47 years. This is his story.

MY VISION: Develop successful screenplay writing method which helps me create complete screenplays- viewed as PRO, story-telling level quality leading to sales, production and more screenwriting opportunities. Rinse and repeat, many times over.

WHAT I LEARNED: …have (create) plenty of choices for the character to make/take, be involved in- throughout the arc of their character’s journey in the story. This will also create more opportunity for the actor to improvise off of various moments in the script. Not every beat is here but I will come back to this and continue to fill in where needed.

Beats: Vince Guaraldi

Distraught- a confused child (abandonment issues).

Him nervously rising-up to challenges…

As the Competitor- with anyone in music.

Plans to get even/prove his father (others) wrong…

Vince struggling to surpass other’s/his own expectations.

Beats: Vincent Dellaglio

Sloppy- as in ‘sloppy drunk’, a lot of the time.

He Rebels- against his position as head of a family.

A prideful man full with anger- (torment) for not being welcomed after his desertion.

He is aloof with son Vince. Mostly though- unable to connect with the boy.

Vincent is a denier- of all that with which he disagrees; regretful in his final days.

Beats: Carmella Guaraldi

The Healer: of her/her son Vince’s wounds.

The Fighter- She will be the struggling Provider.

The Caregiver- the thoughtful guardian.

The Warrior- a vigilant protector of her son.

The Professor- A stalwart Educator -to the very end, ever encouraging Vince’s fulfillment of his dreams.

————————————————————————————————

Genre: Drama/Bio-Pic. (Present-Past approach)

ACT 1:

• Summer 1932: VINCE (age 4) lying on a throw rug in his Mom’s house/family room listening to music of the day (1932): Dizzy Gillespie, Duke Ellington, Irving Berlin, Artie Shaw on an old standup (large piece of furniture) radio.

• Vince sees parents’ combustible marriage imploding.

• Vince’s Father VINCENT: walks out, abandoning the family.

Mother CARMELLA ex-communicated from Church/Parish because of divorce from first husband Vincent Dellaglio.
Young Vince is expelled from the Parish’s Catholic Grade School because of his Mother’s ‘sins’.
Vince’s Mother Carmella remarries a man named TONY GUARALDI who -though he adopts and gives Vince his last name ‘Guaraldi’- all but ignores the boy. The marriage falters and ultimately fails soon. Vince will be ‘raised’ primarily by Carmella and her Mom, GRANDMA ‘BIDDY’ (Jennifer).
Vince’s Professional musician UNCLES’ JOE & ‘MUZZY’
MARCELLINO start coming around a whole lot more often. They are a very good influence on Vince/his interest in music.
(‘Jump to’) — Winter, 1964. San Francisco, CA: Vince Guaraldi now at his best, head-lining at SF Jazz Club.

• (Simultaneously)- TV Producer LEE MENDELSON hears Guaraldi song “Cast Your Fate to the Wind” on cab car radio.

• Cab driver informs Lee Mendelson “that’s Dr. Funk” … just happens to be playing in the city that night … Mendelson has cabbie rush him to Club- Mendelson walks in, sees Vince -aka- ‘Doctor Funk’ – ‘owning the room’, the crowd, completely into his music!

INCITING INCIDENT:

• [Still 1964] – Lee introduces himself to Vince during a ‘Set’ break, tells VG how much ‘he loves “Cast Your Fate…” wants Vince to compose music for the upcoming, CHARLES SCHULZ PEANUTS Special, (heretofore a newspaper comic strip only) animated program for broadcast television.

TURNING POINT 1:

• [‘back to’… (logic jump?)] – June 1946 – Vince wins H.S. Talent contest 1st prize; what will be his first real paying ‘gig’ (VG a graduating High School Senior) Summer resort/commissioned ‘gig’ in Yosemite… 1946!

And just as quickly, Vince receives draft papers for the Korean War- deploys in September, 1946.

ACT 2:

• Drafted: Korean War- September, 1946.

Vince Is a Cook in the Army.

He locates an old piano on the base, forms a pick-up band. Vince Is a Cook in the Army.
Stuck in the Mess Hall as a ‘Cook’, Vince manages to entertain fellow troops w/pickup band. Even plays for GENERAL DOUGLAS MACARTHUR (who helps get Vince out of Korea to pursue Musical ambitions).
20 yr. old Vince returns from Korean War, 1948. He enrolls in music study at S.F. State (short lived).

• Struggles through part-time jobs… (1949)

Meets RALPH GLEASON- gets a Job at the San Francisco Chronicle as a ‘Printer’s Devil’ – handles sheets of newsprint on the giant machine basement of building… Vince nearly looses a finger.
Estranged Father Vincent offers Vince job as an assistant mason (brick-layer).
Vince watches the great Jazz musicians at area night clubs,studying their every move.
One night a band member (piano player) ‘no shows’ at a club where Vince is watching from the ‘front row’.
Vince is recognized by the band leader… gets the ‘nod’ from band leader to ‘sit-in’.
Club owner is impressed with Vince’s playing, recommends Vince for a gig at another place… An even bigger club.

• Vince hears ‘bigger club gig’ :: thinks he’s off to the races!

Turns out Vince’s ‘bigger club gig’ will be playing piano in the ‘lobby’ of a night club patrons hang out there for a short time before going in to see the real (main) act at the club. His job: covering standards of the day.
Here, Vince will be paid the off-handed ‘compliment’ from the
CLUB OWNER – about a particular tune he just finishes playing…: “Hey Kid- you’re playing that one almost as good as the guy who made it famous… ha ha!” …which is a tremendous light bulb moment for Vince.
This incident begins Vince’s true ascent into world of
professional music.
Moving forward Vince really ’gets-to-work’ at becoming a
professional musician.
Vince putting in his time playing when & where ever; some are
decent, some are dumps: college campus halls/students, the dingy clubs/last guy to play at 2am after stripper’s show end. (…montage…?)

• Vince dating life with SHIRLEY MOSKOWITZ…

• Vince and Shirley marry – Feb. 1, 1953.

Vince playing gigs on the road, up and down the coast, different parts of the country.

TURNING POINT 2 / MIDPOINT:

Vince gets first big break Break: Established latin Jazz musician CAL TJADER makes an offer to Vince; brings Vince onboard as his Pianist.
1959 MONTEREY JAZZ FESTIVAL – Cal Tjader’s Quintet. With Cal, BUDDY DEFRANCO (Clarinet), MONGO SANTAMARIA (Congos), WILLIE BOBO (Timbales) and Vince Guaraldi on piano.
Ralph Gleason renowned Jazz columnist of ‘The San Francisco Chronicle’ takes an interest in local Bay Area sensation, Vince Guaraldi.

• Vince cuts a few record Albums…

Vince Guaraldi Wins the GRAMMY (1963) for best original composition, CAST YOUR FATE TO THE WIND”; but is locked out of Hollywood Award ceremony: he had no tuxedo!

ACT 3:

1962 (?) Gretchen Katamay enters the bar -and Vince’s Life.
Vince plays Monterey Jazz Festival with Cal Tjader – brings the house down.
About this time- Children- (Son) DAVID and (daughter) DIA are born; early/mid 1960’s
Vince’s Grammy Winning song -Cast Your Fate To The Wind- is heard by Television Producer LEE MENDELSON, who then ‘finds’ Guaraldi playing a live gig in S.F. area club… offers VG the PEANUTS Music gig.
Vince meets LEE MENDELSON (scene) -offer to compose score for TV special.

TURNING POINT 3:

• Guaraldi composes ‘Linus and Lucy’

Vince plays LINUS AND LUCY over the telephone for LeeMendelson. Mendelson “No” but Vince insists worried he’ll forget it. Mendelson loves the song quips, ‘’it’s going to be very special’’.
CBS brass harshly criticize Guaraldi’s completed musical contributions to “A CHARLIE BROWN CHRISTMAS” animated television special at screening a week before network debut.
Brass are soon embarrassed beyond reproach by how wrong they were and how ‘off-the-charts’ successful • Animated special is… How ‘well received’ Grammy Winner Guaraldi’s music is in the public eye.
Shirley files for divorce, April 1966. … • Shirley files for divorce a second time, June 1968. … • Shirley & Vince’s divorce finalized, December 1970.

ACT 4:

• Porsche 356’s (Vince & drummer JERRY GRANELLI) rippin’ through the streets of San Francisco!

While Vince recognizes and enjoys the Rock-n-Roll, he
discusses ‘the British Invasion’ -cites it as the ‘nail-in-the- coffin‘ of (then) modern Jazz, while talking with His band- mates.
Vince goes another direction with his music, instrument choices… (Electric Piano, electric guitar, electric bass)…
Vince creates altogether different sound (a twist) on/to his compositions (he is a true Artist in that regard)…
Vince- though his desire is to stay current ‘in the times’ musically, and one day write (radio) industry jazz standards -not (just) hits- never leaves him.

ACT 4 CLIMAX:

’Set’ break at Club where Vince is performing. Vince’s Father Vincent- bragging to some younger ladies about his now famous, very successful Son.
Vince approaches, confronts his Father, who then tries to ‘make nice’ / give impression He and Vince are close. Vince will have none of it; tells his father to get the fuck out of ‘his’ Club.

• Vince’s Father Vincent (Story Antagonist) dies 1971.

Resolution:

Menlo Park, CA – Jazz Club ‘BUTTERFIELD’S’ Feb. 6,1976. • Oddly, the very last song Vince ever plays is in public; THE BEATLES ‘Eleanor Rigby’.
After the song ends, Vince walks over to the adjacent RED COTTAGE INN (hotel).
There he and the band have a room (standard fare) where they can stretch out, relax in between sets. On this night -during the ‘Set’ break, Vince walks across the boys’ hotel… collapses and dies from a fatal heart attack.

EPILOGUE: 2024 –

Current day Jazz musicians WYNTON MARSALIS, GEORGE WINSTON, DAVID BENOIT celebrate the music of Vince: playing Vince Guaraldi’s Jazz Standard, ‘Linus and Lucy’.

• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 4, Lesson 4 – Kevin Patrick Goulet’s – New Outline Beats. 7.27.22

MY VISION: Develop successful screenplay writing method which helps me create complete screenplays- viewed as PRO, story-telling level quality leading to sales, production and more screenwriting opportunities. Rinse and repeat, many times over.

WHAT I LEARNED: l need to continue finding the necessary story-driving ‘BEATS’, especially relevant, emotional moments from the past. Because this is a “Present-Past” approach Bio-Pic, I have definite ‘Time-Jumps’. Are ‘Time Jumps’ and ‘Logic Jumps’ the same thing? Time Jumps contribute to the telling of the main story that revolves around the happenings of 1965.

Still finding/filling holes in the story outline; trying to make sense of what puzzle pieces are needed and which ones are superfluous. Have to keep reminding myself- can’t fit an entire 47 year life into a 2 hr. story/screenplay… but it’s starting to take shape.

FINDING DOCTOR FUNK (The Vince Guaraldi Story).

Pianist VINCE GUARALDI, originator of the LINUS AND LUCY thematic music for Charles Schulz PEANUTS Animated television specials- lived a far, too brief 47 years. This is his story.

Genre: Drama/Bio-Pic. (Present-Past approach)

0

ACT 1:

• Beginning: Born July 17, 1928. (Relevance beyond a time marker? Probably not necessary).

• Summer 1932: VINCE (age 4) lying on a throw rug in his Mom’s house/family room listening to music of the day (1932): Dizzy Gillespie, Duke Ellington, Irving Berlin, Artie Shaw on an old standup (large piece of furniture) radio.

• Vince Sees parents’ combustible marriage imploding.

• Vince’s Father VINCENT: walks out, abandoning the family.

• Mother CARMELLA ex-communicated from Church/Parish; Vince expelled from the Parish’s Catholic Grade School too.

• In short while, Vince’s Mother Carmella remarries a man named TONY GUARALDI who -though he adopts and gives Vince his last name ‘Guaraldi’- all but ignores the boy. The marriage falters and ultimately fails soon. Vince will be ‘raised’ primarily by Carmella and her Mom, GRANDMA ‘BIDDY’ (Jennifer).

• Vince’s Professional musician UNCLES’ JOE & ‘MUZZY’ MARCELLINO start coming around a whole lot more often. They are a heavy and good influence on Vince and his interest in music.

• (Jump to) — Winter, 1964. San Francisco, CA: Vince Guaraldi now at his best, head-lining at SF Jazz Club.

• (Simultaneously)- TV Producer LEE MENDELSON hears Guaraldi song “Cast Your Fate to the Wind” on cab car radio.

• Cab driver informs Lee Mendelson “that’s Dr. Funk” … just happens to be playing in the city that night … Mendelson has cabbie rush him to Club- Mendelson walks in, sees Vince -aka- ‘Doctor Funk’ – ‘owning the room’, the crowd, completely into his music!

– +

INCITING INCIDENT:

• [Still 1964] – Lee introduces himself to Vince during a ‘Set’ break, tells VG how much ‘he loves “Cast Your Fate…” wants Vince to compose music for the upcoming, CHARLES SCHULZ PEANUTS Special, (heretofore a newspaper comic strip only) animated program for broadcast television.

– ++

TURNING POINT 1:

• [flashback moment… (logic jump?)] – June 1946 – Vince wins H.S. Talent contest 1st prize; what will be his first real paying ‘gig’ (VG a graduating High School Senior) Summer resort/commissioned ‘gig’ in Yosemite… 1946!

• Vinces H.S. Sweetheart SHIRLEY MOSKOWITZ is as impressed as she is proud.

• And just as quickly, Vince receives draft papers for the Korean War- deploys in September, 1946.

– –

ACT 2:

• Drafted: Korean War- September, 1946. Vince Is a Cook in the Army. • He locates an old piano on the base, forms a pick-up band. Stuck in the Mess Hall as a ‘Cook’, Vince manages to entertain fellow troops w/pickup band. Even plays for GENERAL DOUGLAS MACARTHUR (who helps get Vince out of Korea to pursue Musical ambitions).

• 20 yr. old Vince returns from Korean War, 1948. He enrolls in music study at S.F. State (short lived).

• Struggles through part-time jobs… (1949)

• By happenstance, Vince meets Jazz Newspaper columnist RALPH GLEASON- gets a Job at the San Francisco Chronicle Paper as a ‘Printer’s Devil’ – handles newsprint on the giant machine in the basement of building… here is where Vince nearly looses a finger.

• Estranged Father Vincent tersely offers Vince job as an assistant mason (brick-layer), ‘No thanks’.

• Vince ‘pores over’ the great Jazz musicians at area Jazz clubs -night after night- studying their every move.

• One night a band member (piano player) ‘no shows’ at a club where Vince is watching from the ‘front row’.

• Vince is recognized by the band leader (He’s seen Vince sooo many times)… Vince gets the ‘call’, the ‘nod’ from band leader to ‘sit-in’ that moment with the band. TERRIFYING! Does he know what notes to play ?

• Vince gets lucky as he ‘wings it’ and improvises a bit on one particular tune and…

• …the Club owner is impressed with Vince’s playing! Ends up recommending Vince for a gig at another place… An even bigger club.

• Vince hears ‘bigger club gig’ :: thinks he’s off to the races!

• Turns out Vince’s ‘bigger club gig’ will be playing piano in the ‘lobby’ of a night club patrons hang out there for a short time before going in to see the real (main) act at the club. His job: covering standards of the day.

• Here, Vince will be paid the off-handed ‘compliment’ from the CLUB’s OWNER – about a particular tune he just finishes playing…: “Hey Kid- you’re playing that one almost as good as the guy who made it famous… ha ha ha!” It’s a bit of a put-down -but more so, a tremendous light bulb moment for Vince.

• This incident begins Vince’s true ascent into world of professional music.

• Moving forward Vince really ’gets-to-work’ at becoming a professional musician.

• Vince putting in his time playing when & where ever; some are decent, some are dumps: college campus halls/students, the dingy clubs/last guy to play at 2am after stripper’s show end. (…montage…?)

• Vince dating life: with Shirley Moskowitz…

• Vince and Shirley marry – Feb. 1, 1953.

• Vince playing gigs on the road, up and down the coast, different parts of the country.

– – +

TURNING POINT 2 / MIDPOINT:

• Vince gets first big break Break: Established latin Jazz musician CAL TJADER makes an offer to Vince; brings Vince onboard as his Pianist.

•

• 1959 MONTEREY JAZZ FESTIVAL (explore this section/more details/very relevant to things coming soon) – Cal Tjader’s Quintet. With Cal, BUDDY DEFRANCO (Clarinet), MONGO SANTAMARIA (Congos), WILLIE BOBO (Timbales) and Vince Guaraldi on piano.

• Ralph Gleason renowned Jazz columnist of ‘The San Francisco Chronicle’ takes an interest in local Bay Area sensation, Vince Guaraldi.

•

• Vince cuts a few record Albums…

•

• Vince Guaraldi Wins the GRAMMY (1963) for original composition, CAST YOUR FATE TO THE WIND”; locked out of Hollywood Award ceremony -because he had No tuxedo!

– – –

ACT 3:

• 1962 (?) Gretchen Katamay enters the bar -and Vince’s Life. • Vince plays Monterey Jazz Festival with Cal Tjader – brings the house down.

•

• About this time- Children- (Son) DAVID and (daughter) DIA are born; early/mid 1960’s

•

• Vince’s Grammy Winning song -Cast Your Fate To The Wind- is heard by Television Producer LEE MENDELSON, who then ‘finds’ Guaraldi playing a live gig in S.F. area club… offers VG the PEANUTS Music gig.

•

• Vince meets LEE MENDELSON (scene) -offer to compose score for TV special.

– – – +

TURNING POINT 3:

• Guaraldi composes ‘Linus and Lucy’

• Vince plays LINUS AND LUCY over the telephone for Lee Mendelson. Mendelson “No” but Vince insists worried he’ll forget it. Mendelson loves the song quips, ‘’it’s going to be very special’’.

•

• CBS brass harshly criticize Guaraldi’s completed musical contributions to “A CHARLIE BROWN CHRISTMAS” animated television special at screening a week before network debut.

• Brass are soon embarrassed beyond reproach by how wrong they were and how ‘off-the-charts’ successful • Animated special is… How ‘well received’ Grammy Winner Guaraldi’s music is in the public eye.

•

• Shirley files for divorce, April 1966. … • Shirley files for divorce a second time, June 1968.

• Shirley & Vince’s divorce finalized, December 1970.

– – – –

ACT 4:

• Porsche 356’s (Vince & drummer JERRY GRANELLI) rippin’ through the streets of San Francisco!

•

• While Vince recognizes and enjoys the Rock-n-Roll, he discusses ‘the British Invasion’ -cites it as the ‘nail-in-the- coffin‘ of (then) modern Jazz, while talking with His band- mates.

•

• Vince goes another direction with his music, instrument choices… (Electric Piano, electric guitar, electric bass)…

•

• Vince creates altogether different sound (a twist) on/to his compositions (he is a true Artist in that regard)…

•

• Vince- though his desire is to stay current ‘in the times’ musically, and one day write (radio) industry jazz standards -not (just) hits- never leaves him.

•

– – – – +

ACT 4 CLIMAX:

• ’Set’ break at Club where Vince is performing. Vince’s Father Vincent- bragging to some younger ladies about his now famous, very successful Son.

•

• Vince approaches, confronts his Father, who then tries to ‘make nice’ / give impression He and Vince are close. Vince will have none of it; tells his father to get the fuck out of ‘his’ Club.

•

• Vince’s Father Vincent (Story Antagonist) dies 1971.

– – – – + +

RESOLUTION:

• Menlo Park, CA – Jazz Club ‘BUTTERFIELD’S’ Feb. 6,1976. • Oddly, the very last song Vince ever plays is in public; THE BEATLES ‘Eleanor Rigby’.

• After the song ends, Vince walks over to the adjacent RED COTTAGE INN (hotel). There he and the band have a room (standard fare) where they can stretch out, relax in between sets.
On this night -during the ‘Set’ break, Vince walks across the boys’ hotel room and -collapses and dies from a fatal heart attack.

– – – – + + +

EPILOGUE: 2024

• Current day Jazz musicians WYNTON MARSALIS, GEORGE WINSTON, DAVID BENOIT celebrate the music of Vince: playing Vince Guaraldi’s Jazz Standard, ‘Linus and Lucy’.

========================================================

• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 4, Lesson 3

Kevin Patrick Goulet’s – Beat Sheet – Draft 1

In for a Penny, In for a Pound (my Bio-Pic about Vince Guaraldi).

…My vision: Come away with an indelible screenplay writing method, complete all screenplays, PRO/story-telling level quality, sales/production, a ‘flow’ of screenwriting opportunities… Rinse and repeat.

(‘Other’ Work hours > put me way behind; catching up this week).

…What I learned: Not happy with what I’ve put together here… Does not feel kid I completed the assignment as needed. Getting bogged down in this draft for some reason… addition of the PJ/AJ abbreviations… some weird discrepancies in the last two module/assignments the verbiage (explanation of just what to do) somewhat confusing… not sure who this kind of stuff is hanging me up (been pinched for hours lately) … doing my best to muddle through…

However, a conflict exists here- regarding having only a single Protagonist in this/my Bio-Pic Story. That main Protagonist character (Vince Guaraldi’s Father ‘Vincent’) is not as present throughout the story as I would like him to be… He steps in and out of His Son’s world randomly… yet He is a source of constant anguish for son Vince. I see his decisions effecting son VINCE at every turn… does that ‘fly’?

Also, Vince’s Mother re-marries (not long after her first divorce from Vincent Dellaglio). This man’s name: Tony Guaraldi. He adopts Vince -age 5- and gives him the last name GUARALDI, but then pays almost no attention to him. It isn’t long before this marriage fails too, leaving Vince to grow up without a Father at home. Instead, Vince is raised by his Mother, Grandmother and -with some input from his Mom’s brothers- Uncles Joe and Maurice ‘Muzzy” Marcello. Will need to work at with these transactional moments of Vince having multiple Fathers, last names to best serve the story without omitting pertinent facts.

There are other characters that could also be considered ‘Antagonists’ too. Besides the “Protagonist and Antagonist” in a screenplay, there are other types of key ‘characters’ that also shape the narrative: Attractors, Mentors & Tricksters to name some- and they must also be considered.

FINDING DOCTOR FUNK Pianist VINCE GUARALDI, originator of LINUS AND LUCY music for Charles Schulz PEANUTS Animated television specials- lived a far, too brief 47 years. This is his story.

Genre: Drama/Bio-Pic.

ACT 1: Beginning: Born July 17, 1928. (PJ): Vince (age 4) lying on a throw rug in his Mom’s house listening to music of the day (1932) Dizzy Gillespie, Duke Ellington, Irving Berlin, Artie Shaw

Receives merit badges in Boy Scouts…

Sees parents’ combustible marriage imploding.

(AJ): Father Vincent walk out.

Mother Carmella ex-communicated from Church/Parrish; Vince expelled from grade school too.

Vince’s Professional musician Uncles’ Joe & ‘Muzzy’ Marcellino heavily influence Vince’s interest in music.

(PJ): (Jump to) — Winter, 1964. Vince now at his best, head-lining at SF Jazz Club. Simultaneously- TV Producer Lee Mendelson hears Guaraldi song “Cast Your Fate to the Wind” on car radio.

Cab driver informs Lee Mendelson “that’s Dr. Funk” … just happens to be playing in the city that night … Mendelson rushes to Club- walks in, sees Vince aka Doctor Funk’ – ‘owning the room’, the crowd completely into it!

Inciting Incident: Still 1964 – Lee introduces himself to Vince during a ‘Set’ break, tells VG how much ‘he loves “Cast Your Fate…” wants Vince to compose music for upcoming PEANUTS (Heretofore a newspaper comic strip only) animated program for broadcast television.

Turning Point 1: (PJ): [flashback moment – June 1946 – Vince wins H.S. Talent contest = 1st prize: his first real paying ‘gig’ (High School Senior) Summer resort/commissioned ‘gig’ in Yosemite… 1946.

(PJ): And just as quickly, Vince receives draft papers for the Korean War- deploys in September, 1946].

Act 2: (PJ): Drafted: Korean War- September, 1946. Vince Is a Cook in the Army. He locates an old piano on the base, forms a pick-up band. Stuck in the Mess Hall as a ‘Cook’, Vince manages to entertain fellow troops w/pickup band. Even plays for General Douglas MacArthur… who helps get Vince out of Korea to pursue Musical ambitions.

(PJ): 20 yr. old Vince returns from Korean War, 1948. He enrolls in music study at S.F. State (short lived).

(PJ): Struggles through part-time jobs… (1949) Works (for a day) at San Francisco Chronicle as a ‘Printer’s Devil’ – handles sheets of newsprint on the giant machine basement of building, Vince nearly looses a finger.

(AJ): Vincent offers Vince job as an assistant mason (brick-layer).

(PJ): Vince watches great Jazz musicians at area night clubs, studying their every move.

(PJ): One night a band member (piano player) ‘no shows’ at a club where Vince is watching from the ‘front row’.

(PJ): Vince is recognized by the band leader… gets the ‘nod’ from band leader to ‘sit-in’. Club owner: impressed. Recommends Vince for a gig at another place… An even bigger club.

Vince hears ‘bigger club’ :: thinks he’s off to the races!

(PJ): Turns out he will play piano in the ‘lobby’ covering standards of the day. (It is where he will be paid the off-handed ‘compliment’ about playing a tune almost as good as the guy who made it famous’ which is a light bulb moment for Vince.

But it begins his true ascent into world of professional music.

‘Gets-to-work’ at becoming a professional musician.

(PJ): Vince putting in his time playing when & where ever; some are decent, some are dumps: college campus halls/students, the dingy clubs/last guy to play at 2am after stripper’s show end. (…montage…?)

Vince and Shirley Moskowitz marry – Feb. 1, 1953.

Turning Point 2 / Midpoint:

(PJ): Vince gets first big break Break: Established latin Jazz musician ‘Cal Tjader brings Vince onboard as his Pianist.

(PJ): 1959 Monterey Jazz Festival – Cal Tjader’s Quintet. With Cal, Buddy DeFranco (Clarinet), Mongo Santamaria (Congos), Willie Bobo (Timbales) and Vince Guaraldi on piano.

Ralph Gleason renowned Jazz columnist of ‘The San Francisco Chronicle’ takes an interest in local Bay Area player Guaraldi.

(PJ): Vince Guaraldi Wins the GRAMMY (1963) for original composition, CAST YOUR FATE TO THE WIND”; locked out of Hollywood Award ceremony -because he had No tuxedo!

Act 3: 1962 (?) Gretchen Katamay enters the bar -and Vince’s Life. (PJ): Vince plays Monterey Jazz Festival with Cal Tjader – brings the house down.

(PJ): About this time- Children- (Son) David and (daughter) Dia are born; early/mid 1960’s

(PJ): Vince’s Grammy Winning song -Cast Your Fate To The Wind- is heard by Television Producer LEE MENDELSON, who then ‘finds’ Guaraldi playing a live gig in S.F. area club… offers VG the PEANUTS Music gig.

(PJ): Vince meets LEE MENDELSON (scene) -offer to compose score for TV special.

Turning Point 3: Guaraldi composes ‘Linus and Lucy’

(PJ): Vince plays LINUS AND LUCY over the telephone for Lee Mendelson. Mendelson “No” but Vince insists worried he’ll forget it. Mendelson loves the song quips, ‘’it’s going to be very special’’.

(AJ?) CBS brass harshly criticize Guaraldi’s completed musical contributions to “A CHARLIE BROWN CHRISTMAS” animated television special at screening a week before network debut.

(*AJ?): Brass are soon embarrassed beyond reproach by how wrong they were and how ‘off-the-charts’ successful Animated special is… How ‘well received’ Grammy Winner Guaraldi’s music is in the public eye.

Shirley files for divorce, April 1966. … Shirley files for divorce a second time, June 1968. … Shirley & Vince’s divorce finalized, December 1970.

Act 4: (PJ): Porsche 356’s (Vince & drummer Jerry Granelli) rippin’ through the streets of San Francisco!

(PJ): While Vince recognizes and enjoys the Rock-n-Roll, he discusses ‘the British Invasion’ -cites it as the ‘nail-in-the- coffin‘ of (then) modern Jazz, while talking with His band- mates.

(PJ):Vince goes another direction with his music, instrument choices… (Electric Piano, electric guitar, electric bass)…

(PJ): Vince creates altogether different sound (a twist) on/to his compositions (he is a true Artist in that regard)…

(PJ): though his desire to stay current, and one day write (radio) industry jazz standards -not (just) hits- never leaves him.

Act 4 / Climax: (AJ): ’Set’ break at Club where Vince is performing. Vince’s Father Vincent- bragging to some younger ladies about his now famous, very successful Son.

(AJ): Vince approaches, confronts his Father, who then tries to ‘make nice’ / give impression He and Vince are close. Vince will have none of it; tells his father to get the fuck out of ‘his’ Club.

(AJ): Vince’s Father Vincent (Story Antagonist) dies 1971.

Resolution: Menlo Park, CA – Jazz Club ‘BUTTERFIELD’S’ Feb. 6,1976. Oddly, the very last song Vince ever plays is in public; THE BEATLES ‘Eleanor Rigby’.

(PJ): After the song ends Vince walks over to THE RED COTTAGE INN where he and the band have a room to stretch out & relax in between sets (standard fare).

(PJ): Between sets Vince walking across the hotel room collapses, suffering a fatal heart attack.

• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 4, Lesson 2

Kevin Patrick Goulet’s – Deeper Layers.

My Vision: Develop a 100% successful writing method = seen as PRO/story-telling quality, sales (compensation) & production of project, more screenwriting opportunities… Rinse & repeat.

What I learned: Layering is key. Developing more depth to each character makes the story that much more interesting to the readers and potential actors. This story is based on a real person who’s personal history is 100% altogether known. So like most biographies, liberties will be taken in the telling of this person’s story. Stay as true to the narrative as I can- but embellishments are gonna happen.

ASSIGNMENT

Surface Layer: Vince Guaraldi wants to become a professional musician… because it’s impressive to girls who naturally like musicians. Plus, he could become rich -and famous too. <div>

Deeper Layer: Vince is terrified he might follow in the steps of his father: The understanding of this evolves through the years, but early on- Vince interprets this as him becoming a blue-collar-manual-laborer, who is in turn a lousy husband, a drunk (?) and worst of all a terrible father with kids of his own someday.

Major Reveal: Vince is very much like his own father: Cheated on/left his wife Shirley, somewhat estranged from his own children: son David, daughter Dia, the last 4-5 years he was alive.

Surface Story: His own drinking, flirtatiousness with the women in clubs, escapism (the Porsche 356 convertible?)

Hints: The ‘winks and nods’ we see Vince give admiring females. ‘Closing clubs’, being the guy to buy a ‘last call’ round for whomever is left in the club. His dismissive attitude with his health, ignoring warning signs (Heart) towards the end.

Changes Reality: After his own father died, Vince becomes more aware of the neglect his Father displayed with him and his mother -and also the neglect Vince has been neglectfully giving way to in his own life.

– – – – – – –

3. Add the rest of the structure to the characters to the script.

Beginning: Winter, 1964. Vince now at his best, headlining at SF Jazz Club. Simultaneously- TV Producer Lee Mendelson hears Guaraldi song “Cast Your Fate to the Wind” on car radio.

Cab driver informs LM where VG just happens to be playing in the city that night … Mendelson rushes to Club- walks in, sees VG ‘owning the room’, the crowd completely into it!

Inciting Incident: Still 1964 – Lee introduces himself during a ‘Set’ break, tells VG how much ‘he loves “Cast Your Fate…” wants Vince to compose music for an upcoming PEANUTS (Heretofore a newspaper comic strip only) animated program for broadcast television.

Turning Point 1: [flashback moment – June 1946 – Vince wins H.S. Talent contest = 1st prize: his first real paying ‘gig’ as a Pianist…

And just as quickly, he receives draft papers for the Korean War- for where he must deploy in September 1946].

Act 2: Vince is back from Korean War; ‘gets to work’ at becoming a professional musician.
Vince putting in. His time (10 years of working various jobs, some are decent some are dumps …montage…?)

Working anywhere and everywhere college campus halls/students, the dingy clubs/last guy to play at 2am after stripper’s show end…
Vince and Shirley Moskowitz marry – Feb. 1, 1953.

Turning Point 2 / Midpoint: Vince gets first big break Break: established latin Jazz musician Cal Trader brings Vince onboard as his Pianist.

Act 3: Vince plays Monterey Jazz Festival- brings the house down.

Children- (Son) David and (daughter) Dia are born; early mid 1960’s
Meets LEE MENDELSON (scene) -offer to compose score for TV special.

Turning Point 3: Guaraldi composes ‘Linus and Lucy’.

Shirley files for divorce April 1966, June 1968, finalized in December 1970.

Act 4 Climax: ‘Set’ break at Club where Vince is performing. Vince’s Father Vincent- bragging to some younger ladies about his now famous, very successful Son.

Vince approaches, confronts his Father, who then tries to ‘make nice’ / give impression He and Vince are close. Vince will have none of it; tells his father to get the fuck out of ‘his’ Club.
Vince’s Father Vincent (Story Antagonist) dies 1971.

Resolution: Feb. 6, 1976 – Guaraldi at BUTTERFIELD’S playing BEATLES classic, ‘Eleanor Rigby’.

Vince Guaraldi dies.
(Cannot end here on this note…)

*Epilogue: Current day Jazz musicians Wynton Marsalis, George Winston, David Benoit playing Vince Guaraldi’s Jazz Standard, ‘Linus and Lucy’.

*(A current day/wrap up on: the affect Vince Guaraldi’s Music has had motivating others to become professional Jazz Musicians).

• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 9 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 4, Lesson 1

KEVIN PATRICK GOULET’S – CHARACTER (JOURNEY) STRUCTURE – Create an Incredible Outline

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…What I learned from doing this assignment is:

Because Mine is a Bio-pic story, the story structure is different. I need to create a Character journey based on the most prevalent timeline. Other moments with supporting characters will move in and out as needed to drive the story forward. And while each Characters’ structures are linear, the story probably hinges around a particular segment of time (1964-1965) in the overall timeline (1928-1976) of the Protagonist: when he is having his most momentous achievement. Therefore, parts of the structure of the Antagonist’s Character Structure and other supporting & Peripheral characters will occur (pop up sometimes as flashbacks (?) in and around theProtagonist’s 1964-65 timeline, as they support the growth and progress of the Protagonist while he makes his way through the story.

– – – – –

ASSIGNMENT :: Start with the Protagonist and your source material. Create a beginning, middle, and end of the character’s story.

Protagonist Vince Guaraldi :: CHARACTER JOURNEY STRUCTURE

Beginning:

Born July 17, 1928. Vince, age 4- listens to music on the radio. Duke Ellington, Glenn Miller, Count Basie… Receives merit badges in Boy Scouts…sees parents’ combustible marriage imploding. Father walk out. His two Professional musician Uncles’ Joe & ‘Muzzy’ Marcellino heavily influence Vince’s interest in music.

Inciting Incident:

High School Senior Vince wins (Piano) Talent contest. 1st prize: Summer resort/commissioned ‘gig’ in Yosemite… 1946.

Turning Point 1:

Drafted: Korean War- September… 1946. Stuck in the Mess Hall as a ‘Cook’, Vince manages to entertain fellow troops w/pickup band.

Act 2:

20 yr. old Vince returns from Korean War, 1948. He enrolls in music study at S.F. State, struggles through part-time jobs, watches great Jazz musicians at night/area clubs …studying… begins ascent into world of professional music.

Turning Point 2 / Midpoint:

Vince Guaraldi Wins the GRAMMY (1963) for original composition, CAST YOUR FATE TO THE WIND”; locked out of Hollywood Award ceremony because he had No tuxedo!

Act 3:

Vince’s Grammy Winning song (C.Y.F.T.T.W.) is heard by Television Producer LEE MENDELSON, who then ‘discovers’ Guaraldi playing a live gig in S.F. area club… offers VG the PEANUTS Music gig.

Turning Point 3:

CBS brass harshly criticize Guaraldi’s completed musical contributions to “A CHARLIE BROWN CHRISTMAS” animated television special at screening a week before network debut. They are soon embarassed beyond reproach by how wrong they were and how ‘off-the-charts’ successful the Animated special is -and How ‘well received’ Grammy Winner Guaraldi’s music is in the public eye.

Act 4 Climax:

While Vince enjoys Rock -n- Roll, he knows ‘the British Invasion’ is the ‘nail-in-the-coffin‘ of (then) modern Jazz. Vince goes another direction with his music, instrument choices… (Electric Piano, electric guitar, electric bass)… creates altogether different sound (twist) compositions (he is a true Artist in that regard)… though his desire to stay current, and one day write (radio) industry jazz standards -not (just) hits- never leaves him.

Resolution:

Oddly, the very last song Vince ever plays is in public and it is THE BEATLES ‘Elanore Rigby’. Vince suffers a fatal heart attack between sets at Bay Area Jazz Club ‘BUTTERFIELD’S’ – February 6,1976.

– – – – – – – – – – – –

Antagonist CHARACTER JOURNEY STRUCTURE

Vincent Dellaglio (Vince’s Father, 1900-1971).

Beginning:

Vincent Dellaglio immigrates to America from Italy in 1921. He is a Stone Mason (Bricklayer). Meets Carmella Marcellino, they begin a relationship. San Fran. Bay Area, 1925.

Inciting Incident:

Carmella becomes pregnant. She and Vincent quickly marry. Son Vince is born July 17, 1928.

Turning Point 1:

Vincent Dellaglio moves out of family home, abandoning Wife Carmella, Son Vince. 1932.

Act 2:

Vincent has intermittent visits with son Vince; though they are mostly awkward interactions (as are typical for absentee fathers)… periodic moments from Grade School through High School years. 1933-1946.

Turning Point 2 / Midpoint: Vincent takes young Vince to the Ocean on a day-long car ride. Does not inform mother Carmella. Family members become ALARMED (!) searching local neighborhood, local bar; unaware of young Vince’s whereabouts for several hours. Event causes Father Vincent to nearly severs any future opportunities to interact alone with his son.

Act 3:

Vincent crashes son’s Birthday party at the home he once shared with his son and Carmella. Arrives drunk, brings a Mason’s trowel, ‘gift- wrapped’ in a paper-bag. The least expected guest and

Turning Point 3:

Vincent is thrown out of birthday party by Carmella’s Brothers Joe & ‘Muzzy’ MARCELLINO.

Act 4 Climax:

During a ’set’ break at a Club where Vince is performing, Vince’s Father Vincent is bragging to some younger ladies about his now famous, very successful Son. Vince approaches and confronts his Father, who then tries to ‘make nice’ / give impression He and Vince are close. Vince will have none of it; tells his father to get the fuck out of ‘his’ Club.

Resolution:

Vincent Dellaglio dies alone in an apartment, outskirts of town, 1971.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 3 (Lead Characters That Attract Actors) Lesson 8: Purpose Driven Supporting Characters

KEVIN PATRICK GOULET’S – Purpose Driven Supporting Characters

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: Supporting Characters vs. characters with a line or two of dialogue… (when I think of ‘background’ characters, I think of ‘extras’ who have no dialogue). The script will be leaner if I can keep the number of supporting (‘speaking’) characters to a minimum. But they are fun to create.

FINDING DOCTOR FUNK – – <b style=”font-family: inherit; font-size: inherit;”>Supporting Characters

Supporting Role 1: Lee Mendelson

Role: Producer of the PEANUTS Television specials

Main purpose: He finds Vince Guaraldi. Creates opportunity for Vince to then compose the PEANUTS ‘Sound’ (LINUS and LUCY, etc.), enabling each to forever be linked to The classic Charles Schulz Cartoons.

Value: He completely changed Vince Guaraldi’s life.

Supporting Role 2: Gretchen Katamay

Role: Girlfriend of Vince Guaraldi.

Main purpose: The woman who Vince spent the most time with, outside of his Mother.

Value: She became the glue in Vince’s Life- after his Divorce from wife Shirley.

Shirley Guaraldi

Role: Spouse (Vince’s Wife) of 15 years.

Main purpose: Helps reveal things about Vince he won’t reveal on his own.

Value: underscores many of Vince’s flaws…

Charles M. Schulz

Role: Creator of PEANUTS Comic Strip.

Main purpose: Accepting of Guaraldi’s unique sound.

Value: Very staunch supporter of Guaraldi- after initial critical bashing from CBS tv Brass about Cartoons soundtrack.

Jerry Granelli

Role: Drummer – Vince Guaraldi Trio.

Main purpose: Also Vince’s ‘Partner in Crime’; He bought a Porsche right after Vince bought a Porsche; they would ‘race around’ the city/hills of S.F. Bay area, always looking out for pretty ladies.

Value: His drumming in the Trio, close friendship with Vince.

Bola Sete

Role: Brazilian Guitarist, member of the VG Trio. Collaborated on 2 studio albums with Vince.

Main purpose: Each other’s male version of a ‘muse’.

Value: Gifted guitar player, friendship with Vince. Oddly, Bola spoke no English when they first me but learned English because of Vince.

Cal Tjader

Role: Vibraphonist, Vince’s (first professional gig), band/leader/mentor of sorts.

Main purpose: Musical inspiration for Vince’s eventual formation of his own trio.

Value: Adds ‘Cred’ for Guaraldi (he was not first choice for PEANUTS musical scoring/composition opportunity) as both Tjader and Dave Brubeck had regrets later for passing on the gig.

Brothers Max Weiss & Soul Weiss (Fantasy Record Label)

Role: President & Vice President of record Label.

Main purpose: Ruthless ‘tyrants’ who took far more record sales compensation from Vince/other musicians than was fair.

Value:Opportunity for Vince to sell records.

Ralph Gleason

Role: San Francisco Chronicle JAZZ Columnist.

Main purpose: Puts Vince together with Bola Sete on Bay Area PBS Television Special, “Jazz Casual”.

Value: Knew Bola’s presence would help build International appeal of Vince’s music.

Bill Melendez

Role: Animator of PEANUTS Characters for television specials, Voice of Snoopy.

Main purpose: Bring Charles Schulz Comic Strip characters to television.

Value: To give life, personality to PEANUTS CHARACTERS.

David & Dia Guaraldi

Role: Offspring (Vince’s Guaraldi’s Children).

Main purpose: Love, mutual adoration.

Value: Opportunity for Vince to be a better father to them than His Father was to him.

Miles Davis

Role: Legendary Jazz Trumpeter.

Main purpose: was inspired by Vince.

Value: Adds credibility for Guaraldi; mentions creating/working together on some original work.

Dave Brubeck

Role: Legendary Jazz Pianist.

Main purpose: Turned down offer to score PENUTS Specials.

Value: Adds ‘Cred’ for Guaraldi (he was not first choice for PEANUTS musical scoring/composition opportunity) as both Tjader and Dave Brubeck had regrets later for passing on the gig.

Douglas MacArthur

Role: Army General.

Main purpose: Encounters Vince playing Mess Hall piano in Korea.

Value: Expedites Vince getting back home to America.

David Benoit.

Role: Professional Jazz Pianist, composer.

Main purpose: As youngster and Post-script Testimonial (?)

Value: Inspired as a kid (after seeing Peanuts TV specials, hearing Linus and Lucy’ Jazz for the first time) to play piano like Vince Guaraldi.

George Winston

Role: Professional Jazz Pianist composer.

Main purpose: As youngster and Post-script Testimonial (?)

Value: Inspired as a kid (after seeing Peanuts TV specials, hearing Linus and Lucy’ Jazz for the first time) to play piano like Vince Guaraldi.

Wynton Marsalis

Role: Professional Jazz Trumpeter, composer.

Main purpose: As youngster and Post-script Testimonial (?)

Value: Inspired as a kid (after seeing Peanuts TV specials, hearing Linus and Lucy’ Jazz for the first time his Dad also knew VG) to play Jazz (trumpet) like Vince Guaraldi.

JAZZ Club OWNERS, 3 (TBD)

Role: Operate San Francisco area Jazz Clubs.

Main purpose: Offer work opportunities to musicians.

Value: Increased visibility, notoriety of musicians careers.

Background Characters: (B.G.) = I understand ‘background’ to mean ‘Extra’ (no lines of dialogue). Not focusing on background extras at this time.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 3 (Lead Characters That Attract Actors) Lesson 7:

Character Profiles Part 2

KEVIN PATRICK GOULET’S – Character Profiles Part 2

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: My main characters have altogether different lives and experiences; each is a uniquely important part of the storytelling experience for the audience. Refining who they are will make them more interesting -especially to an actor who is always hoping that next script he reads contains that defining role in his career

FINDING DOCTOR FUNK

Lead: VINCE GUARALDI

A. The High Concept: Life story of Vince Guaraldi, a world class jazz musician who died at a too young 47, convinced he had not yet achieved ‘Jazz Standard’ recognition. Ironically he is known today for having reached that goal- as the recordings he composed for the PEANUTS animated televisions programs are indeed, today considered ‘Jazz Standards’.

B. This character’s journey: A constant battle from age 4: to prove his biological father wrong- for deserting him and his Mother Carmella, and for insisting Vince would never amount to anything by chasing a ridiculous dream of playing piano for a living.

C. The Actor Attractors for this character: It is clear early on- Vince has natural musical talent. But he is a troubled, wounded man and those factors allow a very human, relatable person to be exposed behind the facade of his masterful talents (…what seems to come so easy to him) on full display by the time he achieves greatness in his mid-30’s.

Role in the Story: Protagonist

Age range and Description: 4-47, but primarily focused on Character while in his mid-30’s, Short, Italian, mischievous, deliberately ‘mustachioed’ appearance; truly at ease/in his element behind any keyboard.

Core Traits: Friendly, focused, driven, distant at times (when necessary to do what needs getting done) > relentless.

Motivation; Want/Need: become the best jazz pianist, prove his bio-father wrong about his desire to ‘make it’ (a career) for himself.

Wound: Never truly recovered from his bio-Father’s abandonment of him, his Mother Carmella.

Likability: From when he was a little guy Vince was always full of joy and ready to play… games- or trying to learn (copy) from his uncles who were already working musicians. Save his father, His family seemed to really be there to engage with him.

Relatability: And who of us wouldn’t want to see that empathy surrounding the little kid (who’s father was MIA).

Empathy: The viewer wants to see characters in the screenplay feel for young Vince, do something to come to his side, help light the way for him. Growing up without a Father is so difficult.

Character Subtext: ‘Withholding’- Once his real Father abandons him (and his Mother) Vince tries to hide/avoid contact (visits) with his Father. As he grows his interactions with his Father are always limited- so he is ‘withholding’ sharing himself with the man who gave him up.

Character Intrigue: ‘Unspoken Wound’- The pain of the absence of a Father is something he does not really share, confide to anyone.

Flaw: ‘Can’t look at the fears’- In fact Vince will do all he can to steer the conversation away from this subject from anyone and everyone.

Values: ‘Fame’- Drives him -he also wants to one day make clear to his Father (rub it in his face); He Vince) ‘made it’, and also became a man without his father’s help or guidance.

Character Dilemma: ‘Wanting external admiration versus loving yourself’ -Vince’s desire for being known as a fantastic Jazz musician overshadows anything else and consequently why several things in his personal life suffer, namely relationships and his health too.

– – – – – – –

Lead: VINCENT DELLAGLIO (Vince’s biological father).

A. The High Concept. Gruff, blue-collar bricklayer by trade, ego-centric to the point of being destructive to those around him, determined to be ‘seen as right, correct- in his philosophies- and will soldier on with or without support from anyone else.</div>

B. This character’s journey. This guy is charming, witty (when drunk)- but is only out for himself in the long run. He wants to impact his Son’s mindset…: “you wanna’ be successful (?) you gotta’ build stuff -with your hands, like ME! ” To him, this is the only way ‘to be a man,’ and he will not let his son think anything else to be true. Convinced ‘music’ is somehow soft, not really an admirable choice for a life’s work, ambition.

C. The Actor Attractors for this character. Vincent is a tour-de-force opportunity (character) for a middle-aged actor to inhabit. Full of pathos, he is laughing on the outside but drowning in sorrow internally. His inability to tenderly connect with his son is heart-breaking, but that is who he is. He will ultimately sink- unable to help himself or accept help from others. He is a magnificently tragic character.

Role in the Story: Antagonist

Age range and Description: 32-71 Blue-collar, Hard-edged, alcoholic (?), emotionally abusive, not empathetic to those around him, thinks of his wants and needs above others in his life.

Core Traits: Loner, Despondent, explosive, impulsive, lacking self-love.

Motivation; Want/Need: Acknowledgement that his beliefs matter, are accepted, impactful on his Son’s decisions. A ‘win-the-battle’ (even if he loses the war) approach, which ultimately defeats him.

Wound: Implication in a bar-room brawl/murder (was an accomplice) deeply devastated him the rest of his life.

Likability: Well, He does work hard, has a strong work ethic… but he drinks hard, uses hard language so, IDK maybe that kind of cancels out any real likability?!

Relatability: Funny with his peers (in that ‘loud-guy-in-the-bar’ macho sort of way), has trouble dealing with strong women in his life (wife, mother-in-law) trouble with authority in general.

Empathy: Difficulty dealing with aftermath of emotions from bar-room brawl/murder he was associated with… hence the continued drinking, bitterness…?!

Character Subtext: Hiding Something -His shame (involvement in the barroom brawl/death of a guy- hindsight outrage over allowing it to happen)

Character Intrigue: Deception -He will always hide the ‘barroom brawl/death’ information from his Son. Vince will eventually find out.

Flaw: Says the wrong thing -Not necessarily in a funny, ‘LARRY DAVID’ sort of way, but more so in a selfish way that always puts others down in an attempt to make himself look stronger, superior to others.

Values: Winning -So it’s a competition to him to provide better experiences doing things that cost more) for his son Vince than the Mother Carmella can provide (She struggles to make ends meet). Vincent believes the dollar value of the experience matters most.

Character Dilemma: Excitement vs. Safety -Biological Father Vincent abandoned the ‘safety’ he could have provided for his wife and son in exchange for the excitement of hanging out more with his work pals. Being a single guy again (via his divorce) certainly afforded him less responsibility and he thought initially that was what he wanted.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 3, Lesson 6 Assignment:

KEVIN PATRICK GOULET’S – Character Profiles Part 1

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: My main characters have altogether different lives and experiences; each is a uniquely important part of the storytelling experience for the audience. Refining who they are will make them more interesting -especially to an actor who is always hoping that next script he reads contains that defining role in his career.

FINDING DOCTOR FUNK

Lead: VINCE GUARALDI

A. The High Concept: Life story of Vince Guaraldi, a world class jazz musician who died at a too young 47, convinced he had not yet achieved ‘Jazz Standard’ recognition. Ironically he is known today for having reached that goal- as the recordings he composed for the PEANUTS animated televisions programs are indeed, today considered ‘Jazz Standards’. <div>

B. This character’s journey: A constant battle from age 4: to prove his biological father wrong- for deserting him and his Mother Carmella, and for insisting Vince would never amount to anything by chasing a ridiculous dream of playing piano for a living.

C. The Actor Attractors for this character: It is clear early on- Vince has natural musical talent. But he is a troubled, wounded man and those factors allow a very human, relatable person to be exposed behind the facade of his masterful talents (…what seems to come so easy to him) on full display by the time he achieves greatness in his mid-30’s.

Role in the Story: Protagonist

Age range and Description: 4-47, but primarily focused on Character while in his mid-30’s, Short, Italian, mischievous, deliberately ‘mustachioed’ appearance; truly at ease/in his element behind any keyboard.

Core Traits: Friendly, focused, driven, distant at times (when necessary to do what needs getting done) > relentless.

Motivation; Want/Need: become the best jazz pianist, prove his bio-father wrong about his desire to ‘make it’ (a career) for himself.

Wound: Never truly recovered from his bio-Father’s abandonment of him, his Mother Carmella.

Likability: From when he was a little guy Vince was always full of joy and ready to play… games- or trying to learn (copy) from his uncles who were already working musicians. Save his father, His family seemed to really be there to engage with him.

Relatability: And who of us wouldn’t want to see that empathy surrounding the little kid (who’s father was MIA).

Empathy: The viewer wants to see characters in the screenplay feel for young Vince, do something to come to his side, help light the way for him. Growing up without a Father is so difficult.

– – – – – – –

Lead: VINCENT DELLAGLIO (Vince’s biological father).

A. The High Concept. Gruff, blue-collar bricklayer by trade, ego-centric to the point of being destructive to those around him, determined to be ‘seen as right, correct, in his philosophies- and will soldier on with or without support from anyone else. </div>

B. This character’s journey. This guy is charming, witty (when drunk)- but is only out for himself in the long run. He wants to impact his Son’s mindset…: “you wanna’ be successful (?) you gotta’ build stuff -with your hands, like ME! ” To him, this is the only way ‘to be a man,’ and he will not let his son think anything else to be true. Convinced ‘music’ is somehow soft, not really an admirable choice for a life’s work, ambition.

C. The Actor Attractors for this character. Vincent is a tour-de-force opportunity for a middle-aged actor to inhabit. Full of pathos, he is laughing on the outside but drowning in sorrow internally. His inability to tenderly connect with his son is heart-breaking, but that is who he is; He will sink- unable to help himself or accept help from others. He is a magnificently tragic character.

Role in the Story: Antagonist

Age range and Description: 32-71 Blue-collar, Hard-edged, alcoholic (?), emotionally abusive, not empathetic to those around him, thinks of his wants and needs above others in his life.

Core Traits: Loner, Despondent, explosive, impulsive, lacking self-love.

Motivation; Want/Need: Acknowledgement that his beliefs matter, are accepted, impactful on his Son’s decisions. A ‘win-the-battle’ (even if he loses the war) approach, which ultimately defeats him.

Wound: Implication in a bar-room brawl/murder (was an accomplice) deeply devastated him the rest of his life.

Likability: Well, He does work hard, has a strong work ethic… but he drinks hard, uses hard language so, IDK maybe that kind of cancels out any real likability?!

Relatability: Funny with his peers (in that ‘loud-guy-in-the-bar’ macho sort of way), has trouble dealing with strong women in his life (wife, mother-in-law) trouble with authority in general.

Empathy: Difficulty dealing with aftermath of emotions from bar-room brawl/murder he was associated with… hence the continued drinking, bitterness…?!

[Kevin Patrick Goulet]

Module 3, Lesson 5 Assignment:

KEVIN PATRICK GOULET’S – Likability/Relatability/Empathy (Audience Connection to Characters)

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: Your (my) characters need to appeal to the reader right away if you’re wanting to have a ‘page-turner’ of a screenplay. It’s clear to me how important it is to find ways to create the Likability/Relatability/Empathy; to have the audience (reader) wanting to see more… ‘rooting’ for my characters.

ASSIGNMENT

Protagonist: Vince Guaraldi

Likability: From when he was a little guy Vince was always full of joy and ready to play… games- or trying to learn (copy) from his uncles who were already working musicians. Save his father, His family seemed to really be there to engage with him.

Relatability: And who of us wouldn’t want to see that empathy surrounding the little kid (who’s father was MIA).

Empathy: The viewer wants to see characters in the screenplay feel for young Vince, do something to come to his side, help light the way for him. Growing up without a Father is so difficult.

– – –

Antagonist: Vincent Dellaglio (Vince’s biological father).

Likability: Well, He does work hard, has a strong work ethic… but he drinks hard, uses hard language so, kind of cancer that out?!

Relatability: Has trouble dealing with strong women (wife, mother-in-law) in his life, authority in general.

Empathy: Difficulty dealing with after math of emotions from the bar-room brawl/murder he was associated with… hence the drinking…?!

[Kevin Patrick Goulet]

Module 3, Lesson 4 Assignment:

KEVIN PATRICK GOULET’S Character Intrigue –

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: Creating (more) Intrigue for a character can/will inform the voice/speech/dialogue/habits/movement a character has in the story. How they will sound can be better differentiated from other characters because what is happening/has happened, below the surface; different for each character.

–

Character Name: Vince Guaraldi

Role: Protagonist

Hidden agendas: (angry) desire to avenge the pain his Father caused him, and then some.

Competition: Vince’s small stature partly the cause of his competitive spirit, from 4 yrs until he passes at 47.

Secrets: Vince gets married but there are issues; after a few years, he meets and has a Girlfriend on the side.

Unspoken Wound: …but visible; His Father’s desertion from the family unit deeply affected Vince.

3. Give us an idea of how that character’s subtext might show up in your movie.

Vince’s bits of intrigue are demonstrated -but never spoken about: His terse relationship with his biological Father is visible throughout the story, an unquenchable desire to ‘win’, and like his biological and step-father his affinity to also stray as an adult in his own marriage. His flaws are very visible.

– –

Character Name: Vincent Dellaglio (Vince’s Father)

Role: Antagonist

Competition: …with Vince’s Mother Carmella (Marcellino) and Vinces Uncles Maurice “Muzzy” & Joe Marcellino and their desire to influence Vince musically, while Vince’s Father’s tepid desire to see the boy grow-up to be anything but a musician.

Secrets: Vincent was in a bar brawl where a man died. He was never convicted of murder, but did some ‘time’. The event haunts him, affects him terribly the rest of his life.

Unspoken Wound: Memory of man killed in bar brawl (See ‘Secrets’).

3. Give us an idea of how that character’s subtext might show up in your movie.

Vincent is a mean drunk, has a temper to begin with. The weight of his angst over the death of the guy in the bar weighs heavy on him, follows him around like a dark storm cloud he cannot shake. His actions, mannerisms, dialogue (word choices) will demonstrate this ongoing mania that haunts him.

– – –

Character Name: Carmella (Vince’s Mother).

Role: Mentor or Deutoragonist

Hidden agendas: Do all she can to make it hard for her ex-husband to interact with their son Vince.

Secrets: Romance is missing in her life and it continues mostly unrequited the rest of her days. Does she have Boyfriends? How does that sit with/affect Vince as he grows into manhood?

Unspoken Wound: Though she remarries, Carmella’s 2nd go at matrimony is also a bust.

3. Give us an idea of how that character’s subtext might show up in your movie.

Carmella devotes her life to Vince- looking out for his future which means ‘protecting’ (sheltering?) him from the negative influences of his biological father Vincent.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Module 3 ASSIGNMENT – Lesson 3 of 9

Kevin Patrick Goulet’s Subtext Characters

…My vision: Develop successful screenplay writing method > yields completed screenplays > viewed as PRO/story-telling level quality > sales (compensation) > production > more screenwriting opportunities > Rinse and repeat, many times over.

…what I learned: This is ever evolving -if we’re paying attention. And we must keep watch while (still) in the creative phase. Subtext for one lead character can inform subtext of other characters too. This will greatly inform the dialogue in the story.

Example Movie: (released in Summer 1975- and still as seminal a movie as ever (acting performances, musical score, and screenplay excellence)… holding up incredibly well IMO)…:

Movie Title: JAWS
Character Name: Martin BRODY <div>

Subtext Identity: Chief of Police, Amity Island
Subtext Trait: Vigilant, resolute, aquaphobia.

Possible Areas of Subtext: Irrational fear of water threatens Brody’s ability to do his job/keep vacationers, locals, his-own-family?! -safe from a killer shark. Alcohol numbs pain of this/his impossible task. He takes heat for not doing more, not closing beaches sooner, preventing death of Kitner Boy. Brody cannot let Quint & Hooper ‘go-it-alone’ in finding/killer ‘Big Fish’. He must be part of effort on Quint’s boat (terrifying! but he must, to save face) end this town’s nightmare -or he loses all respect, stature.<div>

My Lead #1:

Character Name: Vince GUARALDI

Subtext Identity: Son of a brick-layer, jazz musician in the making, about to explode onto the world stage.

Subtext Traits: artistic, introspective, funny, driven, flirtatious, suppressed anger/fear of biological Father, desperate to please him -but wants to do it his way > show his father he can create something with his hands too.

Subtext Logline: Vince loves to entertain, dreams of playing piano for a living/becoming a jazz great -and wants to one day rub-his-success-in-his-Father’s-face: for deserting him, his mother- when Vince was 4 years old.

Possible Areas of Subtext: Desire for greatness, success (spoils that can bring rewards), excesses too/not taking proper care of his health, a wife, two children -but like his bio-father, Vince can’t help himself when it comes to ‘another woman’.

My Lead #2:

Character Name: Vincent DELLAGLIO <div>

Subtext Identity: Brick-layer, biological Father of Vince.

Subtext Traits: lack of empathy, deceitfulness, stubbornness, alcoholic, womanizer, feigns greatness, womanizer, evades family responsibilities.

Subtext Logline: Believes ‘blue-collar’/working with your hands (building things) -only way you can ‘be a man’ in this world. Unsupportive of Son Vince’s musical interest pursuits, until one day it finally begins to work out for his Boy…

Possible Areas of Subtext: Regret about deserting wife, son (family), visible effort to get his shit together, trys to re-engage with son Vince, make amends later in life (too little too late..?!).

</div> </div>

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

WIM: Module 3 – Lead Characters That Attract Actors

My Vision: Develop successful screenplay writing method which yields completed screenplays viewed as PRO/story-telling level quality, sales (compensation), production, more screenwriting opportunities… Rinse and repeat- many times over.

What I learned with this assignment: Effort put forth to create well-rounded Lead characters could attract better quality actors to each role.

– – – – – – – – –

ACTOR ATTRACTORS

Lead Character 1 – Name: Vince Guaraldi

Role: (Protagonist)

1.) What about this role would cause an actor to want to be known for it? GUARALDI was an innovative, groundbreaking Jazz Musician who’s Artistic contributions were new in his day. His music continues to thrill old and new audiences alike, year after year.

2.) What makes this character one of the most interesting characters in your story? Vince is virtually in every scene of the film, so the uphill, arc-of-change will be remarkably visible.

3.) What are the most interesting actions the Lead could take in the script? Vince’s partnering with Brazilian (Black) Guitar legend Bola Sete for an Album and a TV special, Vince’s walking-in-the-streets-support of the civil rights movement.

4.) How can you introduce this role in a way that could sell it to an actor? In the Film’s ‘present’ arena of the mid 1960’s, we meet Jazz musician VINCE GUARALDI, very nearly at the top of his game playing to a packed club -but not yet discovered nor having yet created his PEANUTS music legacy. The audience enraptured with his playing; clearly this guy is going to be a STAR… lets see how he got here -and where he’s going.

5.) What could be this character’s emotional range? Vince is sensitive, intense, somewhat prone to bursts of anger, funny, determined, was intolerant of people talking while he played in the clubs. One night Vince even threw an ashtray at a table of people carrying on a bit too much for his liking. The glass ashtray exploded against the wall behind the patrons. They were quiet after that happened.

6.) What subtext can the actor play? Competitive agendas play out constantly. Vince is a guy who wants certain things to be a certain way -and he’s unafraid to assert himself when necessary to make it happen.

7.) What’s the most interesting relationships this character can have? With his biological father, Girlfriend Gretchen Katamay (was with Vince longer than wife Shirley).

8.) How will this character’s unique voice be presented? Vince is curious, well read -aware of the world around him, does not suffer fools.

9.) What could make this character special and unique? This is a bio-pic. His unusual (signature) mustache, that he drove a Porsche sports car at a time when most Americans had never even heard of the brand. Having an ‘on-the-side’ girlfriend whom he met (this relationship out-ladted his marriage) at a Jazz Club between sets; plenty of information to highlight why Guaraldi was very special and a unique role for an A-list actor.

– – – – – – – – –

ACTOR ATTRACTORS

Lead Character 2 – Name: Vincent Dellaglio (VG’s biological father).

Role: (Antagonist)

1.) What about this role would cause an actor to want to be known for it? Vince’s biological Father was selfish, vindictive and arrogant -by all accounts not a great man. He never had his son’s best interests in mind. Yet he believed he was in the ‘right’ in trying to influence his son to be just like him.

2.) What makes this character one of the most interesting characters in your story? Huge personality, larger than life- forgetful of his duties as a husband and father, doing everything best for himself ahead of his son or soon to be ex-wife.

3.)What are the most interesting actions the Lead could take in the script? Later for Vinces birthday party, coming home drunk from work, crushing the hopes of Mother Carmella or Cousins Joe & Maurice ‘Muzzy’ Marcellino (professional musicians) as they watched Vince ‘take-to’ the piano

4.) How can you introduce this role in a way that could sell it to an actor? Arriving late, drunk & disorderly to young Vince’s birthday party -and giving Vince a dirty bricklayer’s trowel as a present.

5.) What could be this character’s emotional range? Cold, distant, without empathy… really an asshole of a man- who is oblivious to his shortcomings for the first half of the story.

6.) What subtext can the actor play? Pretentiousness about his expertise as a bricklayer, believes his blue-collar job defines him as a man; any work where your not building something of a physical nature- just not that important.

7.) What’s the most interesting relationships this character can have? With biological Son Vince and his (Ex) wife Carmella, both of whom he treats in a terrible way throughout the story.

8.) How will this character’s unique voice be presented? In a Narcissistic, abusive, tyrannizing manner. No ability to recognize his own faults.

9.) What could make this character special and unique? Self-centered as Vincent Dellaglio is, he still possesses a sense of humor which he demonstrates in the most inopportune moments.

– – – – – – – – –

ACTOR ATTRACTORS

Lead Character 3 – Name: Carmella

Role: (Protagonist)

1.)What about this role would cause an actor to want to be known for it? Carmella is a tough broad, takes no guff, really protects Vince and opens worlds for him to learn, be inspired and one day become a legendary Jazz pianist. Carmella (along with her Mother ‘Biddy’) raise Vince virtually on her (their) own. A herculean task for a female, single parent in the early part of the 20th century.

2.) What makes this character one of the most interesting characters in your story? Carmella is smart, funny, attractive, laughs out loud, can tell joke -and plays piano. She is a big inspiration for young Vince.

3.) What are the most interesting actions the Lead could take in the script? She is defiant with ex-husband Vincent, difficult with the Catholic Church (scandalous divorce), rigid about the kind of man she must meet.

4.) How can you introduce this role in a way that could sell it to an actor? She is a dynamo; really gets things done. Very caring of others -unless she gets burned.

5.) What could be this character’s emotional range? Combative with ex-husband over Vince’s time, romantic at heart- but being divorced and a having a young son makes her a commodity many will avoid.

6.) What subtext can the actor play? While she is looking for a partner- its clear Vince takes priority over everyone, everything.

7.) What’s the most interesting relationships this character can have? With her Son Vince.

8.) How will this character’s unique voice be presented? Unflinching: She is all about Vince and his future.

9.) What could make this character special and unique? If she were to haul-off and punch her ex-husband in the mouth. Tell her Catholic Grade School / Church Priest (and the Nuns) what she really thinks of them as she leaves the Parish property (excommunicated for getting a divorce) for the very last time, while dragging teary-eyed young Vince by the hand.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Kevin Patrick Goulet – Actor Attractors for BUTCH CASSIDY AND THE SUNDANCE KID

My Vision: Develop a successful methodology for writing screenplays resulting in the completion of this / other screenplays which all ‘read’ at a PRO/story-telling level, culminating in the selling of my screenplays… produced projects (films or series), worthy compensation -and more screenwriting opportunities. Rinse and repeat- many times over.

What I learned with this assignment: Quirks, foibles, short comings visible in the script can be the seeds Actors will recognize, can build on and into their own unique vision of the lead character.

Movie Title: Butch Cassidy and the Sundance Kid

Lead Character Name: Butch Cassidy

1. Why would an actor WANT to be known for this role?

Butch is a thief and a villain- but he is charming, handsome, quick-witted, possesses empathy, some regret, has a loyal gang who believe in him and -despite robbing trains and banks- He does have scruples.

2. What makes this character the most interesting character in the movie?

Though Butch is on the run from the law throughout the film, He is in charge at every turn, out-thinking the lawmen in pursuit. His Partner -the Sundance Kid- is also a very compelling co-protagonist, but Butch calls the shots. In the end, they go out -believing it to be- on their terms.

3. What are the most interesting actions the Lead takes in the movie?

Changing the room dynamics in the opening scene/poker game. Fight with Logan for ‘who calls the shots’. Concern for Woodcock of the Union Pacific RailRoad. Butch’s relationship with the Sundance Kid’s woman, Etta Place. Butch likes to try ‘new’ things… example: The Bicycle! When he and Sundance are trapped on the mountain trying to outrun the mob of lawmen chasing them, Butch decides at the last second -rather than give up or be killed, the will jump into the river (possibly to their deaths) about 100 feet below to avoid the lawmen. Deciding to ‘go straight’; become Payroll Guards to avoid incarceration. Tying up Sheriff Bledsoe to make him appear a victim of Butch & Sundance. Finally convincing Sundance (and & Etta) to go to Bolivia to rob fresh banks, never expecting the Federaliés to be lying in wait- for ‘Bandidos Yanquis’…

4. How is this character introduced that could sell it to an actor?

Butch appears first on camera. He is ’casing’ a local small-town bank; admiring its improved level of security, which the bank hopes will be enough to combat the growing number of robberies. In the bar where Sundance is in a Poker match, Butch tries to be the diplomat, has the funny lines of dialogue. He demonstrates his charming, clever and ruthless side too… in a matter of a just a few moments. And then allows his Partner to do his thing.

5. What is this character’s emotional range?

Butch can be intensely specific -with a dose of anger in one moment- and then he often shifts into a charming, smooth-talking rogue. And he does it all and turns on a dime when it needs to happen that fast.

6. What subtext can the actor play?

Butch is always thinking ahead. He reads the room -his adversaries- very well. He instinctively knows what the next move needs to be -for him, Sundance, The Hole in the Wall Gang- always in the desire to stay ahead of the law and those trying to catch them- and most likely kill them.

7. What’s the most interesting relationships this character has?

Butch’s competitive but playful relationship with the Sundance Kid (this is really the original buddy film), His flirtatious but ‘draws-the-line’ interaction with Etta Place, His willingness to help Sheriff Bledsoe save face, knowing if Lawman Joe Lefors in the White Skimmer (hat) tracking Butch & Sundance knew the Sheriff helped Butch and Sundance, Lefors would probably kill Bledsoe too. Butch and Sundance ‘going straight’ by working for Percey Garris (head of the Payroll Company) as payroll guards, instead of continuing to rob the Payroll. Butch has a way of getting what he wants from these people but still exudes kindness and empathy. It seem he cares about all of them enough to not completely exploit any one of them.

8. How is this character’s unique voice presented?

By assessing the other’s strengths, Butch figures out what their weakness’ are. Then he uses their weakness against them, outsmarts them to get what he wants -and also keep the upper hand. He remains the smartest guy in the room, in charge of everything.

9. What makes this character special and unique?

Butch firmly believes he sees the world differently from everyone else. He even proclaimed early in the film, “Boy I got vision and the rest of the world wears bifocals’. Because of this special gift he thinks is his -and perhaps his alone- Butch exudes confidence, carries himself with an air of superiority and defies being challenged, caught or anything worse.

• This reply was modified 2 years, 10 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Lesson 6: Kevin’s Build In The Genre Conventions

My Vision: Develop a successful methodology for writing screenplays resulting in the completion of this / other screenplays which all ‘read’ at a PRO/story-telling level, culminating in the selling of my screenplays… produced projects (films or series), worthy compensation -and more screenwriting opportunities. Rinse and repeat- many times over.

What I learned with this assignment: The devil is in the details…, but in a good way. The more I examine the story’s different acts, the more I can discover if the scene/situations are driving plot forward, are analogous to the overall story line.

Concept Logline: Life story of Jazz Pianist Vince Guaraldi using the ‘PRESENT/PAST’ approach/layout for construction of the screenplay.

Main Conflict: Vince Guaraldi wants to be a jazz piano recording artist, but he is not connected- does not understand how the business works, how to get “IN”, find a record producer, get a recording contract, He is essentially at a dead-end.

Old Way -Study, watch the great musicians up close in the clubs, play/learn Jazz by the book, know the sound and style of other Jazz Greats already established in the jazz world; following the lead of those who have already made it. Do exactly what they are doing. Become a member of a Jazz Band already established (replace some other piano player). Beg to be part of a recording deal anywhere, at any recording company that will have you!

New Ways- Be himself, write & create his own musical compositions; different from what anyone has already created, different from what the public knows- has already heard. Form his own band/Trio of musicians to record his own tracks… do it the Vince Guaraldi way!

Cannot yet list them all (don’t have them all figured out yet) but there will be several brief scenes that are PAST flashbacks, relevant to moving the PRESENT story/conflict forward.

(Plan: use ‘PRESENT/PAST’ approach/layout for construction of screenplay).

Act 1: OPENING: …PRESENT time — 1965 / majority of film… ‘PEANUTS’ Cartoon Producer Lee Mendelson -crossing Golden Gate Bridge returning from meeting with Peanuts creator CHARLES M. SCHULZ – hears song a jazz on car radio …Vince Guaraldi’s minor radio hit song, ‘CAST YOUR FATE TO THE WIND’… Mendelson Loves it! MUST KNOW who that piano player is…! MENDELSON absolutely must find this musician, GET that guy …VG… hire him to score upcoming PEANUTS CARTOON project!

RED INK HERE —– Vince’s 5th birthday party: family has gathered in his backyard for an evening birthday celebration. Vince’s Father arrives late, drunk and for a gift to his young son, he tosses Vince a crumpled paper bag. Inside Vince discovers a used bricklayer’s diamond-shaped trowel. —–END RED INK

INCITING INCIDENT: …PAST time —1945… High School, jealous Talent contestant sabotages Vince’s chance to perform in the talent show.

RED INK HERE —– Vince’s Father (Vince Dellaglio) pays a kid $5 dollars to interfere in his son’s ability to participate in the talent show. —– END RED INK.

VINCE is so excited, has a revelation this is what he wants to do on a much bigger scale in front of even larger crowds!

TURNING POINT: …PAST time — 1945… Celebrating after winning the School Talent Show! Then, Vince receives KOREAN WAR draft Notice. His life has just been completely upended.

ACT 2: NEW PLAN: Vince- now in Korea ‘peeling potatoes’ (He’s a ‘mess’ cook) finds some fellas who are also budding musicians, manages to put together some trios, quartets of players to entertain fellow troops- imagines carrying this further when he gets back home to America.

Of all people, one day THE General, Douglas MacArthur makes a brief stop-over at this ARMY Base.

RED INK HERE —– As the fellas are getting ready to perform in front of this largest gathering of soldiers ever at this base it is discovered that the ‘shabby-to-begin-with-piano’ has been tampered with; stuffed with potatoe-skin peelings meant to ruin Guaraldi’s piano playing. —– END RED INK

He sees Vince playing the Piano. And says to him, “Son you’re a real musician, you don’t belong here.” MacArthur pils some strings for the tiny Guaraldi; helps get him back home to America.

PLAN IN ACTION: Back in San Francisco, Vince’s Mom -now divorced for 2nd time- is really struggling. Vince was sending her his GI his paychecks, but still not enough. He gets job after job to help Mom Carmella pay bills. – At one of his jobs, Vince gets a job at the San Francisco Chronicle Newspaper working in the basement as a ‘Printer’s Devil’ (deals with the giant printing press/production run of newspapers as they are printed on the press

Vince nearly loses some fingers. Vince spends nights in SF Bay area Jazz Clubs, sitting front & center- watching the best Jazz musicians on the West coast up close, seeing how ‘it’s’ done. Vince starts auditioning for club jobs, gets some breaks playing parties then auditoriums, colleges… starts to make some inroads- working for little money, but beginning to make name for himself. Vince + old H.S. girlfriend, now back together (SHIRLEY MOSKOWITZ); she becomes Mrs. Vince Guaraldi in 1953.

MIDPOINT TURNING POINT: PAST — Vince is hired by Jazz Musician CAL TJADER (only three years older than Vince but already a legend in Jazz). Vince ‘rotates-in’ at Piano with the band’s other players -sort of his first big break.

RED INK HERE —- Other, rotating piano player (not happy ‘new’ player Vince is a part of Tjader’s band) has taken the sheet music -which is supposed to remain with the piano- for Vince- to use in the ‘Set’. —– END RED INK

Act 3: RETHINK EVERYTHING: PAST — A Club Owner asks Vince back- Vince is quickly disappointed, learns He will be the warm-up piano act in the Lobby, doing ‘covers’ of songs made famous by other Jazz Greats. Adding insult to injury, the Club owner says to him one night, “Guaraldi, you play that song almost as good as the guy who wrote it.” This comment stings but ‘births’ a plan in Vince- to start creating his own music no one’s ever heard before.

NEW PLAN: PAST —Vince- writing, recording- looking for a record label to produce his first pressed vinyl recording for Him

TURNING POINT: Huge failure / Major shift: PAST — Monterey Jazz Fest., Vince now has his own TRIO; they Blow the roof off the FEST!!! / His first record is soon produced & released…: IT IS A BOMB! WHY?

RED INK HERE —– Record Label (Fantasy Records run by MAX & SOL WEISS) brokers a terrible deal with Vince (as they have made with other Jazz recording artists), essentially taking 90% of any profits from sales, etc. of all recordings proceeds. —– END RED INK

Because there is no original Guaraldi material: the album is wall-to-wall covers of music already successfully recorded by other well know musicians from several different music genres (Bebop, Swing, Classical).

1955 – Son David Anthony is born. 1966 – Daughter Dia Lisa is born.

-VG’s first Hit record, “CAST YOUR FATE TO THE WIND” provided VINCE with a ‘bump’ in income; ‘a bump’ for members of his Trio too.

CAST YOUR FATE… was the hit record song Producer LEE MENDELSON later heard on the car radio while crossing the San Francisco Golden Gate Bridge)

The Lil’ Black Porsche 356 Convertible: Vince and TRIO band-mate/buddy/Drummer JERRY GRANELLI each bought a Porsche 356 (Jerry’s was Silver) and they often raced around the hills of SF like maniacs .

1963-64: Vince meets a ‘Club’ girl she becomes his Girlfriend ‘on the side’ (all musicians doing it back then (?) GRETCHEN KATAMAY- with Guaraldi after Guaraldi and wife Shirley divorced in 1968.

Vince’s 1964 Album, “THE LATIN SIDE OF VINCE GUARALDI “(1964) features Vince standing on a wooden box (the words, ‘Brazilian Coffee’ stamped on the side). Katamay was much taller than VG… some humor in the picture’s conception but not found to be very amusing to Guaraldi’s wife Shirley

Act 4: CLIMAX/ULTIMATE EXPRESSION OF THE CONFLICT: PRESENT — At a PRIVATE SCREENING for the CBS Brass (Executives) hate it. HATE everything about A CHARLIE BROWN CHRISTMAS and most especially the MUSICAL SCORE. Vince doubting himself can he cut the mustard (?) or not? Maybe he does not have what it takes.

RED INK HERE —– TIME MAGAZINE reviewer is brought in to see the screening of the Cartoon. Plan being by the CBS brass the review will be so awful they will never have to air the cartoon on television again. —– END RED INK

Resolution: (Vindication) PRESENT — Vince Guaraldi’s score/music from ‘A CHARLIE BROWN CHRISTMAS’ Wins in the rating game 2nd > highest NIELSEN RATINGS of ALL TIME.

RED INK HERE —– TIME MAGAZINE article- an absolutely ‘glowing review! It is the polar opposite of what they had hoped for… —– END RED INK

CBS does an about-face- Orders another PEANUTS Cartoon Special (It’s The Great Pumpkin Charlie Brown” which leads to more Peanuts Special and in all Guaraldi will score 17 Specials between 1965 and 1978… On the morning of his death (died later that evening of a heart attack), Guaraldi had finished the ‘score’ for “It’s Arbor Day Charlie Brown”; the final Peanuts Special he worked on before his death.

…

(Epilogue) Present-day (2022…?)- Concert featuring jazz musicians DAVID BENOIT, WYNTON MARSALIS, GEORGE WINSTON playing LINUS AND LUCY … they all saw the PEANUTS – ‘A Charlie Brown Christmas’ and heard Guaraldi’s music when they were young; and it made them all want to be musicians.

[Kevin Patrick Goulet]

Lesson 5 – KEVIN’s 4 Act Transformational Structure

MY VISION: Develop a successful methodology for writing screenplays resulting in the completion of this / other screenplays which all ‘read’ at a PRO/story-telling level, culminating in the selling of my screenplays… produced projects (films or series), worthy compensation -and more screenwriting opportunities. Rinse and repeat- many times over.

What I learned with this assignment: While it is another evolution of the story -yet to be fully conceived- it is a giant leap closer to solving the puzzle.

Concept Logline: Life story of Jazz Pianist Vince Guaraldi using the ‘PRESENT/PAST’ approach/layout for construction of the screenplay.

Main Conflict: Vince Guaraldi wants to be a jazz piano recording artist, but he is not connected- does not understand how the business works, how to get “IN”, find a record producer, get a recording contract, He is essentially at a dead-end.

Old Way -Study, watch the great musicians up close in the clubs, play/learn Jazz by the book, know the sound and style of other Jazz Greats already established in the jazz world; following the lead of those who have already made it. Do exactly what they are doing. Become a member of a Jazz Band already established (replace some other piano player). Beg to be part of a recording deal anywhere, at any recording company that will have you!

New Ways- Be himself, write & create his own musical compositions; different from what anyone has already created, different from what the public knows- has already heard. Form his own band/Trio of musicians to record his own tracks… do it the Vince Guaraldi way!

Cannot yet list them all (don’t have them all figured out yet) but there will be several brief scenes that are PAST flashbacks, relevant to moving the PRESENT story/conflict forward.

(Plan: use ‘PRESENT/PAST’ approach/layout for construction of screenplay).

Act 1: OPENING: …PRESENT time — 1965 / majority of film… ‘PEANUTS’ Cartoon Producer Lee Mendelson -crossing Golden Gate Bridge returning from meeting with Peanuts creator CHARLES M. SCHULZ – hears song a jazz on car radio …Vince Guaraldi’s minor radio hit song, ‘CAST YOUR FATE TO THE WIND’… Mendelson Loves it! MUST KNOW who that piano player is…! MENDELSON absolutely must find this musician, GET that guy …VG… hire him to score upcoming PEANUTS CARTOON project!

INCITING INCIDENT: …PAST time —1945… High School, jealous Talent contestant sabotages Vince’s chance to perform in the talent show. VINCE is so excited, has a revelation this is what he wants to do on a much bigger scale in front of even larger crowds!

TURNING POINT: …PAST time — 1945… Celebrating after winning the School Talent Show! Then, Vince receives KOREAN WAR draft Notice. His life has just been completely upended.

ACT 2: NEW PLAN: Vince- now in Korea ‘peeling potatoes’ (He’s a ‘mess’ cook) finds some fellas who are also budding musicians, manages to put together some trios, quartets of players to entertain fellow troops- imagines carrying this further when he gets back home to America.

Of all people, one day THE General, Douglas MacArthur makes a brief stop-over at this ARMY Base. He sees Vince playing the Piano. And says to him, “Son you’re a real musician, you don’t belong here.” MacArthur pils some strings for the tiny Guaraldi; helps get him back home to America.

PLAN IN ACTION: Back in San Francisco, Vince’s Mom -now divorced for 2nd time- is really struggling. Vince was sending her his GI his paychecks, but still not enough. He gets job after job to help Mom Carmella pay bills. – At one of his jobs, Vince nearly loses some fingers. Vince spends nights in SF Bay area Jazz Clubs, sitting front & center- watching the best Jazz musicians on the West coast up close, seeing how ‘it’s’ done. Vince starts auditioning for club jobs, gets some breaks playing parties then auditoriums, colleges… starts to make some inroads- working for little money, but beginning to make name for himself. Vince + old H.S. girlfriend, now back together (SHIRLEY MOSKOWITZ); she becomes Mrs. Vince Guaraldi in 1953. MIDPOINT TURNING POINT: PAST — Vince is hired by Jazz Musician CAL TJADER (only three years older than Vince but already a legend in Jazz). Vince ‘rotates-in’ at Piano with the band’s other players -sort of his first big break.

Act 3: RETHINK EVERYTHING: PAST — A Club Owner asks Vince back- Vince is quickly disappointed, learns He will be the warm-up piano act in the Lobby, doing ‘covers’ of songs made famous by other Jazz Greats. Adding insult to injury, the Club owner says to him one night, “Guaraldi, you play that song almost as good as the guy who wrote it.” This comment stings but ‘births’ a plan in Vince- to start creating his own music no one’s ever heard before.

NEW PLAN: PAST —Vince- writing, recording- looking for a record label to produce his first pressed vinyl recording for Him

TURNING POINT: Huge failure / Major shift: PAST — Monterey Jazz Fest., Vince now has his own TRIO; they Blow the roof off the FEST!!! / His first record is soon produced & released…: IT IS A BOMB! WHY? Because there is no original Guaraldi material: the album is wall-to-wall covers of music already successfully recorded by other well know musicians from several different music genres (Bebop, Swing, Classical).

1955 – Son David Anthony is born. 1966 – Daughter Dia Lisa is born.

-VG’s first Hit record, “CAST YOUR FATE TO THE WIND” provided VINCE with a ‘bump’ in income; ‘a bump’ for members of his Trio too.

CAST YOUR FATE… was the hit record song Producer LEE MENDELSON later heard on the car radio while crossing the San Francisco Golden Gate Bridge)

The Lil’ Black Porsche 356 Convertible: Vince and TRIO band-mate/buddy/Drummer JERRY GRANELLI each bought a Porsche 356 (Jerry’s was Silver) and they often raced around the hills of SF like maniacs .

1963-64: Vince meets a ‘Club’ girl she becomes his Girlfriend ‘on the side’ (all musicians doing it back then (?) GRETCHEN KATAMAY- with Guaraldi after Guaraldi and wife Shirley divorced in 1968.

Vince’s 1964 Album, “THE LATIN SIDE OF VINCE GUARALDI “(1964) features Vince standing on a wooden box (the words, ‘Brazilian Coffee’ stamped on the side). Katamay was much taller than VG… some humor in the picture’s conception but not found to be very amusing to Guaraldi’s wife Shirley

Act 4: CLIMAX/ULTIMATE EXPRESSION OF THE CONFLICT: PRESENT — At a PRIVATE SCREENING for the CBS Brass (Executives) hate it. HATE everything about A CHARLIE BROWN CHRISTMAS and most especially the MUSICAL SCORE. Vince doubting himself can he cut the mustard (?) or not? Maybe he does not have what it takes.

Resolution: (Vindication) PRESENT — Vince Guaraldi’s score/music from ‘A CHARLIE BROWN CHRISTMAS’ Wins in the rating game 2nd > highest NIELSEN RATINGS of ALL TIME. CBS does an about-face- Orders another PEANUTS Cartoon Special (It’s The Great Pumpkin Charlie Brown” which leads to more Peanuts Special and in all Guaraldi will score 17 Specials between 1965 and 1978… On the morning of his death (died later that evening of a heart attack), Guaraldi had finished the ‘score’ for “It’s Arbor Day Charlie Brown”; the final Peanuts Special he worked on before his death.

…

(Epilogue) Present-day (2022…?)- Concert featuring jazz musicians DAVID BENOIT, WYNTON MARSALIS, GEORGE WINSTON playing LINUS AND LUCY … they all saw the PEANUTS – ‘A Charlie Brown Christmas’ and heard Guaraldi’s music when they were young; and it made them all want to be musicians.

• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Kevin’s Subtext Plot [LESSON 4: What’s Beneath The Surface?]

MY VISION: Develop a successful methodology for writing screenplays resulting in: completion of this/other screenplays which all ‘read’ at a PRO/story-telling level, culminating in the selling of my screenplays… produced projects (films or series), worthy compensation -and more screenwriting opportunities. Rinse and repeat- many times over.

What I learned with this assignment: I think great Subtext is crucial and can really cause a film to resonate with audiences. Without it- films are often forgettable.

Concept Logline and Subtext Plots

Concept Logline: Life story of Jazz Pianist Vince Guaraldi (‘Present/Past’ approach) .

Dead of a heart-attack at 47, VG actually feared -while alive- he might never be remembered as a guy who wrote a Jazz ‘standard’ composition; not one. Guaraldi thought his ‘PEANUTS’ compositions would be judged ‘superfluous’ in years to come. He wanted to create much more. After the first PEANUTS cartoon debuted in 1965 Guaraldi was non-plussed -and spent the next 11 years (until his death in 1976) working to create something the Jazz world would considered worthy of JAZZ ‘Standard’ status. (Little did he know that decades later his music would one day be regarded as ‘on par’ with other Jazz Standards throughout the world).

Subtext Plot: LAYERING (?). Many events occurring in the Protagonist’s life could have shades of other types of subtext (‘scheming’, ‘fish out of water’, ‘superior position’, ‘competitive agendas’) but I really see most of these occurrences -as put upon the Protagonist by other integral characters in the story- as LAYERS.

Layering: -Father abandoning him (age 4) and his Mother.

-Mother and Father’s subsequent divorce.

-Mother Carmella… excommunicated from their Catholic Parrish.

-Vince kicked out of school (…Scandalous divorced Mother).

-Carmella remarries (Tony Guaraldi)

-Vince’s Mom & Uncles (professional musicians) unwavering support in musical pursuits.

-Step Father adopts Vince (new last name, Guaraldi) but displays little else (Tony mostly ignored the boy) in the way of affection, interaction.

-Vince- not fitting-in with other kids (he: small, not athletic, liked music… seen as nerdly.

-High School Talent Show goes awry but Vince bounces back; this becomes a foreshadowing moment of the kind of ‘mettle’ he may really be made of.

-Army ‘cook’ (Compulsory military service: Korea 1946-48… fights, violence.

-‘Printers Devil’ (Apprentice), San Fran Chronicle Newspaper (hand injury).

-Gigs at Colleges, small clubs auditoriums.

-Vince gets back-handed compliment about his ‘covers’ of other Jazz ‘standards’ of the day (Club owner, “…a dead end road kid”); huge revelatory moment > causes Vince a new direction in the pursuit off his own unique jazz sound.

-Birth-Father meddling, taunting Vince later on when He’s making it big.

-Marriage… children (son, daughter), … girlfriend-on-the-side, his own eventual Divorce.

-The Porsche 356…

-Vince goes all in on Electric Sound of the 70’s.

OTHER possible subtext:

-Scheming?: Record & Network executives working against him as an artist.

-Fish Out of Water: Towel-boy, Boys High School Football Team (ridiculed)

-Superior Position: Night Club Owners/Managers: (controlling, unfair wages).

-Competitive Agendas Vince battles with record companies: music rights, money…

…but OTHER possible subtext here- probably just Layering too.

• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Kevin’s Transformational Journey

MY VISION: Develop a successful methodology for writing screenplays resulting in: completion of this/other screenplays which all ‘read’ at a PRO/story-telling level, culminating in the selling of my screenplays… produced projects (films or series), worthy compensation -and more screenwriting opportunities. Rinse and repeat- many times over.

What I learned: ‘Mapping-out’ my Protagonist’s journey, conflicts along the way, presumptive attitudes, events to take place- really bringing puzzle into focus. In the end we all want brilliant works of art on the page vs. a head scratching, Rorschach test of a finished product.

FINDING DOCTOR FUNK

Character Arc – Protagonist Vince Guaraldi

Arc Beginning: bashful, unsure of his abilities, though some eagerness to learn piano; plays as others play, learns their songs, emulates what they do well (…and in so doing- is completely unoriginal).

Arc Ending: Now in full possession of an original sound and style; sanguine about reinventing himself again (…no problem!) , even in the midst of dying 1960’s Jazz scene while Rock-n-Roll is exploding all around him.

Internal Journey: Self-doubting, overwhelmed by accomplishments of current Jazz greats -to- discovering and delivering fantastically original Jazz compositions of his own.

External Journey: Struggling to find non-paying musical gigs -to- winning a Grammy, ‘scoring’ a Network Television Special.

Old Ways:

Lax, cocky, anxious: thinks he knows more than he does. Winging it with other’s music and it shows, detrimentally. Timid, reluctant- missing opportunities to ‘shine’. Lacking confidence, does what he is told. Afraid of his overbearing Father. Does not risk displaying his own creativity.

New Ways:

Studied in his craft as a pianist. Knows every other musician’s part as well as his own. Believes in his talent as a composer. Uses solo opportunities to shine on stage. Courageously stands up to his Father. Confidently displays more creativity than ever.

As mentioned in previous assignment: The ‘Past-Present’ approach to telling this BIO-PIC story is part of my plan to take readers (and eventually viewers of the film) on this journey.

[Kevin Patrick Goulet]

Kevin’s – Intentional Lead Characters.

DAY 2 ASSIGNMENT

Apologies… still playing catch-up (but never giving up).

My vision: Develop a successful methodology for writing screenplays that yields the following: completion of this and other screenplays which ‘read’ at a PRO / story-telling level, provide me fair compensation and most of all, lead to more screenwriting opportunities.

What I learned: Every character must have their own unique voice to drive their participation in this story forward. Giving them their own logline confirms that purpose. Each character must be confident in their pursuit; believe in themselves as they move through the story, regardless of their intention (…helpful, distractor, villain, etc.).

Title: FINDING DOCTOR FUNK

Genre: BIO-PIC/Drama

Concept Logline: Life story of Jazz Pianist Vince Guaraldi.

Dead of a heart-attack at 47, VG feared he would be remembered only for the PEANUTS music (perhaps judged as superfluous ‘fluff’ in the future), not a guy who ever wrote a Jazz ‘standard’ composition. Little did he know how his music would one day be perceived.

PROTAGONIST: Vince Guaraldi – Jazz musician.

Vince’s Logline: 1960’s era jazz piano player in search of immortality through his artistry.

Unique: Vince’s playing style; physicality in which his short fingers hit the keys- results in his finding a distinctively different piano sound -from other players of the day.

—————

ANTOGONIST: Tony Dellaglio – Vince’s biological father

Tony’s Logline: Bricklayer, abandoner of wife and child (Vince, 4 Years of age), believes music a ridiculously worthless pursuit, waste of time, impossible way for someone to have a life, raise/take care of a family.

Unique: Drinks to excess, bitter resentment for others often visible, lacks empathy gene.

—————

TRIANGLE CHARACTER: Vince’s Mother, Carmella.

Carmella’s Logline: Ray of sunshine, protector of Vince. Piano player herself, lover of music/along with her brothers (musicians too)- heavily influential all -doing whatever it takes for Vince to find his way to his professional piano player dreams.

Unique: ‘Tough-as-nails’ broad, keeps Vince’s Father at bay whenever possible.

I plan on using what some refer to as a ‘Present-Past’ approach to tell this Bio-Pic Story; versus a ‘Cradle-to-Grave’ approach.

• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

MY VISION: Develop a successful methodology for writing screenplays that yields the following: completion of this and other screenplays which ‘read’ at a PRO, story-telling level, provide me fair compensation -and most of all, lead to more screenwriting opportunities.

WHAT I LEARNED: Going with my gut. After reviewing my concepts, I came up with:

a.) this concept kept nagging at me (…friends my age -who also grew up with the ‘subject matter’- were universally curious about my Protagonist too),

b.) It is ‘the’ concept I’ve most wanted to bring to life,

c.) It is the story I want the world to experience through characters I will give voice to -and the screenplay idea that’s been roiling around in my brain for the longest time.

TITLE: FINDING DOCTOR FUNK

CONCEPT: Bio-Pic/drama – Story of legendary Jazz Pianist Vince Guaraldi.

CHARACTER STRUCTURE: Protagonist vs. Antagonist(s)… (‘Outside Forces’ working to prevent our Protagonist from realizing his dream).

Thank you.

Kevin Patrick Goulet

– – – – – – – – – – – – – – – – –

NOTES: Not to bury the lede here too much but- GUARALDI’S musical scores for 1960’s PEANUTS Cartoons, *‘A CHARLIE BROWN CHRISTMAS’, ‘IT’S THE GREAT PUMPKIN CHARLIE BROWN’ are universally known… legendary.

GUARALDI’S Jazz Christmas ‘album’ compositions ‘Linus And Lucy‘, ‘Christmas Time Is Here‘, ‘Skating‘ (most notables from the cartoon soundtrack)- introduced Jazz to millions of kids without them really being aware of it. I’ve always liked that cultural side effect.

Between 1965 and right up until his untimely death in 1976, VINCE GUARALDI scored music for 17 PEANUTS animated Television cartoon specials in total. Of the many TV specials he scored, best knows *A CHARLIE BROWN CHRISTMAS’ and ‘IT’S THE GREAT PUMPKIN CHARLIE BROWN’ remain a staple of annual television viewership for children of all ages since first debuting on the CBS Broadcast Television Network in 1965.

But what series of life events led GUARALDI to that opportunity? How did the ‘PEANUTS’ producers find their guy, ‘Doctor Funk’? What ‘sound’ would he bring to the finished project that very nearly caused it be canceled by CBS before it even “Aired”…?!

And how on earth did VINCE GUARALDI die -at a much too young 47- still doubting his work, still searching to create a musical composition worthy of ‘jazz standard’ status, unable to fathom he might have already created multiple, well respected works of art that would-one-day-be-crowned with that very ‘Jazz Standard’ legacy adulation he thought would forever elude him?

For me though, what makes the diminutive 5’6″ GUARALDI’S story most worthy of cinematic definition is- like other driven, complicated artists of the 20th century, GUARALDI (nick-named ‘Doctor Funk‘ by his music industry peers) was a complete original… and he had his demons too. “VINCE GUARALDI: The Peanuts Music Guy” (incidentally- one of my failed brain-storming session ‘titles’)… well that would have just been too shallow a title. ‘Peanuts music’ was just the tip of the iceberg. FINDING DOCTOR FUNK is His story -and I’m going to tell it. Looking forward to any feedback. Thanks.

Kevin

P.S.,

*On May 10, 2022 – the Recording Industry Association of America (RIAA) certified VINCE GUARALDI’S Jazz album, ‘A CHARLIE BROWN CHRISTMAS’ with QUINTUPLE PLATINUM status. In layman’s terms: Sales topping 5 million copies… and the sales just keep coming. (Already done tons of research about him. So many blanks to ‘fill-in’ about this guy… VG- one fascinating little dude!)

• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.
• This reply was modified 2 years, 11 months ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Hi All, Kevin Patrick Goulet here.

Scripts: Two features, two episodic specs, a short stage play (produced), many unfinished ‘works-in-progress’ (just ideas or…?), some crappy poetry. Actually, lots of crap everywhere -but some nuggets in there worth mining -and why I am here.

The ‘Get’: raise my writing to a new level… Find a new ‘means’, bullitt-proofing my process, fully realizing goal of solid + finished scripts ready for eyeballs -and become worthy of landing a strong agent and/or manager relationship. Then it’s off to the races.

Unique (?) about me: Voice over/actor (25+ yrs). Raced motorcycles (motocross) for a decade as a young kid.

Special: my son & daughter (twins) are graduating high school this month, leaving for college in August.

Strange (?): Currently gearing up for a ‘no budget’ short film (writer) to be shot on Apple iPhone 13 Pro ‘cameras’ this summer by a very small crew of like-minded story-tellers.

Unusual (?) Acting in the short film too… which means having to lose weight for the role I’ve written for myself… (down #20lbs. so far, #15lbs. more to go…). My character lives in a van on the edge of the desert, just outside L.A. … (yikes)… no desire to appear emaciated, but need to have that ‘hungry’ look.

Ultimately from this class I want fruition. Time is short- so finishing scripts, eventually having getting them ‘green-lit’ at the Pro level… getting paid to write, goals for all of us. And to work with interesting directors, actors, producers, crew, production people- who have the same desire as me/we all do: tell unique, visceral, heart-felt stories. Great luck to us all.

• This reply was modified 3 years ago by  Kevin Patrick Goulet.
• This reply was modified 3 years ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Kevin Patrick Goulet

I agree to the terms of this release form.

GROUP RELEASE FORM

As a member of Writing Incredible Movies, I agree to the following:

1. That I will keep the processes, strategies, teleconferences, communications, lessons, and models of the class confidential, and that I will NOT share any of this program either privately, with a group, posting online, writing articles, through video or computer programming, through social media, or in any other way that would make those processes, teleconferences, videos, communications, lessons, and models of the class available to anyone who is not a member of this class.

2. That each writer’s work here is copyrighted and that writer is the sole owner of that work. That includes this program which is copyrighted by Hal Croasmun. I acknowledge that submission of an idea to this group constitutes a claim of and the recognition of ownership of that idea.

I will keep the other writer’s ideas and writing confidential and will not share this information with anyone without the express written permission of the writer/owner. I will not market or even discuss this information with anyone outside this group.

3. I also understand that many stories and ideas are similar and/or have common themes and from time to time, two or more people can independently and simultaneously generate the same concept or movie idea.

4. If I have an idea that is the same as or very similar to another group member’s idea, I’ll immediately contact Hal and present proof that I had this idea prior to the beginning of the class. If Hal deems them to be the same idea or close enough to cause harm to either party, he’ll request both parties to present another concept for the class.

5. If you don’t present proof to Hal that you have the same idea as another person, you agree that all ideas presented to this group are the sole ownership of the person who presented them and you will not write or market another group member’s ideas.

6. Finally, I agree not to bring suit against anyone in this group for any reason, unless they use a substantial portion of my copyrighted work in a manner that is public and/or that prevents me from marketing my script by shopping it to production companies, agents, managers, actors, networks, studios or any other entertainment industry organizations or people.

This completes the Group Release Form for the class.

• This reply was modified 3 years ago by  Kevin Patrick Goulet.

[Kevin Patrick Goulet]

Hi Claire, It really is a great piece of music. I’m bias, but I find it timeless. It’s one of the most ‘purchased/listened to’ Christmas albums ever. Pretty difficult to go through ‘fall’ or ‘winter’ without hearing a Guaraldi track in a mall/store, a coffee shop, somewhere. Always brings a smile to my face!

[Kevin Patrick Goulet]

Suspenseful surprises in store here! Professional mourner…?! Love that character description. Looking forward to reading more, Veronica!