Genre: Music Biopic (Nooooooooooooo!!!)
Premise: A young Kanye West goes up against impossible odds to make his first album.
About: This script finished Top 20 on last year’s Black List. The writing team worked together contributing on two TV shows, Instinct and L.A.’s Finest. They realized if they wanted to break out of writing for run-of-the-mill television shows, they needed to do what every smart writer with big dreams does – WRITE A MUSIC BIOPIC BECAUSE ALL MUSIC BIOPICS ARE GUARANTEED TO MAKE THE BLACK LIST!
Writers: Michael J . Ballin & Thomas Aguilar
Details: 117 pages
As I was staring at the title page of The College Dropout, trying to decide if I was going to review it, I took a deep hard look at my dislike of biopic screenplays and asked myself a simple question: Why?
Why I do I hate them so much?
Shouldn’t I like scripts that are unabashedly and deeply about ‘character?’ Isn’t that what I preach on this site? Write big memorable characters and everything else will take care of itself? What genre explores character more than a biopic??
And yet I dread these things. Even when they chronicle someone as complex and strange as Kanye West, I dread them.
I think it boils down to a couple of things. One, biopics are the laziest form of subject matter in all of screenwriting. The story is already written for you. It’s also built-in name recognition, which means you don’t have to do any work at all coming up with a good concept. You’re going to get reads regardless.
Which means it takes zero creativity to write a biopic. And that’s what I enjoy most in screenwriting. I love when somebody comes up with a clever premise. Or takes a story in an interesting direction.
Biopics are the antithesis of that. There is no clever premise. The story is already laid out for you and, assuming the subject is famous enough, we already know what direction things are going.
Wow, I’m really hyping this review up, aren’t I?
Well, as they always say, if you go in with zero expectations, the experience can only exceed them.
It’s 1997 and a 19 year old Kanye West is in his freshman year at Chicago State University. His mother, Donda, is a faculty member there. So Kanye gets a sweet deal for his college degree. There’s only one problem. Kanye hates college. He wants to produce music and rap.
So that’s what he does. All day long every day. He’s got a mentor named NO ID, who eventually helps him make some contacts in New York. Except that Kanye is young and a bit odd. When he gets into rooms with big people, he starts babbling about how he’s going to be the best ever and they quickly dismiss him.
But Kanye’s beats, which are so unique, keep getting him more meetings. They all want to use his beats. They just don’t want to talk to the guy. And they definitely don’t want him rapping on any of these songs, which is what Kanye really wants.
Kanye hustles to the point where he gets an album contract with Columbia. But then Columbia backs out at the last second. So Kanye switches over to Roc-a-Fella. But then Roc-a-Fella goes broke and THEY can’t release his album. Kanye, who’s put every cent he’s saved into this album, has one more outside shot to break through – get in front of the biggest rap star in the game, Jay-Z.
You know when your friends drag you somewhere that you don’t want to go to and you’re standing at this place and you want to make it clear you don’t want to be there so you cross your arms and refuse to engage in conversation and refuse to smile because you’re so determined to follow-through on your original feelings, even though, if you’re being honest with yourself, the place isn’t all that bad.
That’s how I felt reading this.
I didn’t want to be at the Kanye party.
But after things got going, I noticed the script was doing a lot of things right.
Remember yesterday when I said that they didn’t even bother creating any doubt that Thor would succeed? How good stories always build in a strong level of doubt?
This script does a lot of that.
There’s this moment deep in the screenplay when Kanye’s sunk every bit of his savings into his first album and then Columbia tells him they’re reneging on his deal. Then he goes to Rock-a-Fella and signs with them but they run out of money so THEY can’t release his album either. What is he going to do???
I know what you’re thinking. It’s no different than when Obi-Wan and Vader had their lightsaber duel in that abomination of a TV show, “Obi-Wan Kenobi.” There’s zero stakes cause we know they both live. Same thing here. We know Kanye becomes one of the biggest music artists in history. So is it really that dramatic that he’s struggling?
Yes.
We know that Kanye overcomes this, obviously. But we also know that hundreds of thousands of music artists over the years have been in a similar situation and things *didn’t* work out.
Which gets you wondering just how important it is to never stop stopping. In any artistic pursuit. Because when that moment came up and it looked like Kanye’s debut album was going to get swallowed up in the same music industry sinkhole that claims so many new artists who never recover from that trauma, I realized that the reason Kanye survived while so many others didn’t was because he was relentless.
He figured out a way to get into a Jay-Z recording session and play his CD for him, which is the moment that led to Kanye becoming a superstar. There are a lot of people who would’ve been so devastated by signing a contract and then being told the studio had changed their mind and then went to another studio and they couldn’t release the album either that they would’ve moped around for years feeling sorry for themselves. Kanye got right back up and kept hustling.
That’s what I liked about this script. Is the way it makes you think about being an artist. How the world doesn’t like struggling artists. They like the successful ones. But nobody wants to be around when the sausage is being made. They want the artist to do all the ugly stuff in quiet obscurity.
There’s a key moment in the middle of the script where Kanye’s mom points out that he hasn’t made any money from music for over two years. He has this opportunity to get a college degree because of her association with this college. Kanye’s professor says the same thing. You have an opportunity here and you’re wasting it while trying to win the lottery.
These are the thoughts that constantly invade an artist’s mind and they can be crippling, because they sow the seeds of doubt. And the older you get, the more you wonder if everyone was right and you were wrong. That this whole pursuit was stupid.
That’s not easy to handle. And the artists who succeed have to find ways to conquer those voices.
Speaking of the college angle, that was another thing that made this biopic different. I can’t tell you how many rap biopic screenplays I’ve read that take place in the projects. Whereas Kanye actually has a pretty financially stable life. The other guys in the industry make fun of him because he alway dresses preppy. He doesn’t look at all like any of the other rappers.
That could’ve easily hurt the screenplay because the good thing about a movie like 8 Mile is that your character, who lives in the projects, is poor and desperate, and that makes him the ultimate underdog. Conversely, who’s rooting for the polo-wearing middle-class kid?
But I think what they did that was clever was they leaned into Kanye’s “outsider” status, which made it look like he wasn’t the kind of person who succeeds in this industry, at least in the eyes of the people who held the keys.
The script does struggle with some typical music biopic things. They do the whole thing where, when the artist is making music, we cut to how he sees the world, and the world is, of course, full of magical crazy colorful imagery. Literally every artist biopic does this so I don’t know why you’d join the club. But, to their credit, they went all in. When one of these moments happens, they don’t half-ass it.
I also thought they missed an opportunity to really explore a unique character flaw in Kanye. The one they focus on is Kanye’s obsession with being a rapper and not just a producer. Which was fine. The only problem with it is I’ve seen it before. The producer or instrument player who really wants to sing. It’s just sort of played.
What they should’ve done was leaned into Kanye’s awkwardness. He’s a super socially awkward guy. He says weird things at inappropriate moments (as we all know). And it loses him a couple of major wins early on in his career. For example, he blurts out to a major music exec that he’s going to be way more successful than Michael Jackson when he hasn’t even had a song on the radio yet. That’s the end of that meeting.
But these moments are explored casually. The fact that Kanye has some sort of social connection issue that could potentially prevent him from ever succeeding would’ve been a juicy character flaw to explore in my opinion. And one that I don’t remember ever being explored in a movie like this.
Which is what I’m asking when I open any screenplay. Try to find those little detours into a back alley that nobody’s explored yet in this genre. When you find those hidden trails, they’re like gold. If you can string enough of them together, you’ve got a screenplay cave bursting with treasure.
As it stands, The College Dropout never stood out. But it created enough dramatic doubt that I wanted to see how Kanye succeeded. And I wasn’t let down. He takes a big chance at the end that ends up giving him a career.
When it comes to music biopic screenplays, Blonde Ambition is still the gold medal standard for me, which was that biopic about Madonna. It was the top rated Black List script in 2016.
The reason it was so good was because it wasn’t a commercial for the artist. It was cruel, it was relentless, it dug deep, and exposed Madonna for the ruthless businesswoman who would do anything to succeed that she was. That realism is what made the script so surprising and unpredictable, the very things that make any story fun to read.
(By the way, that is NOT the Madonna pic they’re making. They’re of course putting together a celebration of the artist’s life, which will be guaranteed awful)
The College Dropout isn’t in the Blonde Ambition category. But it’s still pretty snazzy.
[ ] What the hell did I just read?
[ ] wasn’t for me
[x] worth the read
[ ] impressive
[ ] genius
What I learned: I love when writers establish early on in a script that they’re going to try. Here, we see that ON THE TITLE PAGE. The title is listed as: “the college dropout” – No capitalization for a script about someone who rejects education was a clever choice.
