Screenplay Titles

by Gina Nafzger Screenwriter, Professor of Political Science

Many of you have probably noticed that coming up with the perfect title -- the word or series of words that sounds just right -- can drag out into an endless quagmire of ever-worsening options.

Traditionally, I've had a good title in mind before inking a project in. I wish I could claim this was conscious on my part, but no forensic evidence exists to support such a claim, so I suppose it's simply a matter of how my mind works, a.k.a. blind luck.

On the rare occasions I didn't have a title going in, coming up with anything I was satisfied with was excruciating. Nothing seemed to fit or feel right. Writers being somewhat perfectionist by nature (read: neurotic and obsessive as hell), lingering questions over a title can become a nasty thorn in any scribe's side.

The importance of choosing wisely should be obvious. Titles don't simply headline your script, they also help successfully market the movie as well. Solid, impactful titles set the stage for coming coolness, jumpstart a myriad possibilities in the imaginations of many others who'll get involved along the way. When you whisky-dick yourself with a soft title, you're missing out on a huge opportunity to kick things off with a bang.

If you've created an unquestioned masterpiece, sure, I expect you could entitle it Glory Hole, Poo or 'Taint and still find a good home for it. Truly great scripts are always rare and at a premium. But short of banking on a long shot, why not grab 'em by the balls with something catchy? Some resonant title which sets the hook, gets 'em wet and starts 'em fumbling for the ol' iPad to take that first peek?

"Come on in, reader," a world-class title whispers. "The water's fine."

Thusly, each writer's quest for title gold begins. Ideally, you'll find a name for your project which intrigues, enchants, frightens and/or delights even the most calloused reader. Beyond that, it'd be awesome if your dream title was also completely organic to the material you've created. Cut from the same thrilling cloth cloaking the very beating heart of it.

Little Miss Sunshine is a great example. Goodfellas is money. Vertigo spot-on. And how about Se7en? Fuckin' intense, right? They all nail the essence of the film, while still providing some mystery, humor or intrigue about it.

Sometimes your protagonist is idiosyncratic, quirky and uncommonly compelling enough to name the entire film after them. Juno. Precious. Michael Clayton. Shrek. However, this obviously isn't best-case for the vast majority of movies. Sgt. First Class William James over The Hurt Locker? Eddie Adams or even Dirk Diggler over Boogie Nights? No thanks, not so much.

Steven Segal's Dreadnought was renamed Under Siege to avoid unnecessary head-scratching by potential ticket buyers. Apparently, the original conjured up horrifying images of the chubby Aikido star launching kicks in an 18th century barrister's wig. So they dumped it and the movie went on to become a hit.

J.F. Lawton's big Late '80's spec sale was aptly named 3000 -- the film was hella dark, with $3000 being the fee for spending a full night with the prostitute protagonist. When the studio shrewdly flipped the story on its head, re-envisioning it as a broad, bantamweight "Hooker with a Heart of Gold" tale -- and cast Julia Roberts -- it became a behemoth global blockbuster. Release title? Pretty Woman.

The use of American Graffiti in the '70's escalated into a battle royal between filmmakers and execs. The studio felt that it would be confusing for audiences ("What is this? Some Italian movie?") and suggested something more, well, on the nose -- Another Slow Night In Modesto. Thank Baby Jesus the filmmakers won out on that one.

Basic Instinct works nicely. Is it speaking to sex, survival or murder -- all of which play big parts in the film, and all of which involve primal human behavior?

Flashbacks of a Fool is a fantastic little movie -- heart-stirring and insightful with solid performances and a perfectly chosen soundtrack which deepens its bittersweet scope and sense of nostalgia. (Not a bad description, right? Maybe they should've hired me to market the sucker.)

Regretfully, its also one of the worst titles for a drama ever. Sounds "beach book" up the butt, doesn't it? Like some faux Danielle Steel knock-off old ladies sneak their menopausal jollies from.

Obviously the light bulb went on for somebody after the fact, because for later Blu-ray and home-rental advertising they blew up the word FLASHBACK to dwarf "of a fool" and added a glossy Daniel Craig, the newly-minted James Bond, wearing Ray-Bans in a "running after the terrorist" pose. Take it on faith that Mr. Craig performs precious little 007 action during this bittersweet coming of age tale.

Much of today's marketing has become a clinic in reductive thinking, obsessive suits working overtime to distill titles down to the essence of their most dumb. This sad trend creates painfully obvious titles telling you EXACTLY what the movie is -- Horrible Bosses, Snakes on a Plane, We Bought A Zoo. It's a surgical strike of sorts, keeping customers from having to use to their imaginations or indulge any curiosity when selecting a movie. High-concept comedies get somewhat of a break I suppose, given the broad pandering of the product by nature. But recently this trend has devolved further to Sex Tape, Let's Be Cops and Airplane Vs. Volcano... and despite the apparent nadir of Sharknado, somehow I have a sinking feeling we haven't hit rock bottom yet.

Gone are the days of One Flew Over The Cuckoo's Nest -- today it would be called Nut House, Mental Home or Electroshock. Apocalypse Now would also be front-seated on the short bus, becoming Vietnam War or Willard vs. The Crazy Colonel. And The Sixth Sense? A brain-numbing The Boy Who Sees Dead People, giving away the whole shebang.

Look, it is what it is. Today's reliance on "branding" has affected every industry, not just the movie business. My personal take is not to go Dumbo until brute-forced into it. If your Manager or Agent absolutely insists you change it, I'd hear them out. They know the trends and the marketplace, what's "sexy" and what's selling. Ultimately, should good fortune smile and someone buy your project, whomever paid for it -- a.k.a. the People That Now Own It -- are going to do whatever they want anyway, with or without your blessing... whether you know about it beforehand or not.

...But I wouldn't worry your scruffy little Hipster beards over imaginary title feuds with fictitious studio heads just yet. That stuff only takes place in the Super Bowl and you haven't even been drafted yet.

Titles are very important. Go for the gold. Give potential buyers something they can really sink their fangs into. Charming. Foreboding. Fun. Dangerous. Whatever you pick, just make sure it's imaginative and packs a punch. Your "writer's intuition" will tell you when you've nailed it. It'll just click.

There's that wonderful line in Cameron Crowe's Almost Famous when Billy Crudup/Russell says to the young William, "Just make us look cool."

Precisely what I'm telling you. Just make your title sound cool.