It’s hard to tell how much influence “The Writer’s Journey” and my thinking have had on current cinema. I work on a lot of projects behind the scenes but rarely get a screen credit and usually can’t talk about what I’ve done because my contracts forbid it. It’s difficult to guess how much the book may be shaping modern storytelling.
However, there’s a suggestion from two sources that it is part of the toolbox for at least one contemporary filmmaker, Darren Aronofsky. Here’s a link — http://creativescreenwritingmagazine.blogspot.com/2010/12/black-swan-q.html — to a Creative Screenwriting podcast of an interview with the writers of Mr. Aronofsky’s BLACK SWAN, Mark Heyman and Andres Heinz. About halfway through the discussion they mention how Mr. Aronofsky uses the 12-stage outline from “The Writer’s Journey” as a set of reference points for designing his stories.
And here’s the man himself, in an article from TheBrowser.com — http://thebrowser.com/interviews/darren-aronofsky-on-making-movies — in which Mr. Aronofsky is asked to describe five books that have been influential in his career. “The Writer’s Journey” is one of them, standing in good company. The other books he cites are Sidney Lumet’s “Making Movies”, Peter Biskind’s “Easy Riders, Raging Bulls”, Kirk Douglas’ autobiography “The Ragman’s Son” and Francois Truffaut’s excellent “Hitchcock”. Mr. Aronofsky has kind things to say about “The Writer’s Journey” and its influence on his thinking about movie story-telling.
It’s particularly cheering to me that an avant-garde, independent-minded filmmaker like Mr. Aronofsky can find something useful in “The Writer’s Journey” which is sometimes viewed only as a template for conventional, orthodox narrative. It shows that the Journey concepts have a lot of adaptability and that in the hands of an intelligent artist they can be used to support highly unconventional and original stories.
I’ve had some interesting conversations with Mr. Aronofsky on the patterns of myth and psychology that I was exploring in “The Writer’s Journey”. During the production of THE WRESTLER he showed me some drafts and we talked about how to handle the complex emotional situation he created at the end of the film. I look forward to more creative collaborations of that sort.