TODAY'S NUGGET: My Man Godfrey (1936) - Simple + Complex

[Quick Summary: Godfrey, who lives at the town dump, is whisked away to become the Bullock family's butler.]

Two related thoughts:

1) Writer Taylor Sheridan repeats a 'rule' that I knew but didn't quite grasp:*

Simple story --> Allows room for complex characters, i.e., a character piece.

Complex story --> There's essentially room only for simple characters.

2) I find the above concepts helpful when reading such crazy, off the wall screwball comedies such as My Man Godfrey.  How did they do that?!

The story is indeed SIMPLE.  The writers broke it down into five parts:

1 - Godfrey is hired.
2 - Godfrey is introduced to the highly entertaining, odd family.
3 - Godfrey's secret is exposed.
4 - Godfrey is pseudo-blackmailed and his anonymity is challenged.
5 - Godfrey quits.

Now we have more room for the characters to play in COMPLEX conflicts.

In the scene below, notice:
a) How much fun it is to watch the characters bounce off each other.
b) Complex & complicated = requires a lot of space on the page. 

BULLOCK - father
ANGELICA - mother
CORNELIA- older daughter
IRENE -  younger daughter
CARLO - mother's 'protegee'

ex. "BULLOCK's face shows that he is furious.

BULLOCK: Well, who would know what they're talking about, living with a bunch like this. There is one thing I do know - what this family needs is discipline. I've been a pretty patient man - but when people start riding horses up the front steps and parking them int he library, that's going a little bit too far.

Bullock has crossed to the doorway and addresses himself at this point to Irene.

IRENE: Horses?
ANGELICA (rising): Are you insinuating that I rode a horse up the front steps last night?
BULLOCK: Maybe that wasn't a horse I saw in the library this morning.
ANGELICA (holding the dog, sits down): Well, I'm positive I didn't ride a horse into the library because I didn't have my riding costume on and I hope you're not insinuating that I should ride a horse into the library without my riding costume on.
CORNELIA (now seen in a close-up; seated): It was Irene who rose the horse - up the front steps.
IRENE: What horse?
CORNELIA (again, visible, in a close-up): Don't try to be innocent. I begged you not to do it.

Irene walks angrily over to Cornelia.

IRENE (accusingly): I didn't ride a horse - but if I did ride a horse - Who broke those windows on Fifth Avenue?
CORNELIA: What windows?
IRENE: You know what windows. And how about the college sap? Yah! Yah! Yah!
BULLOCK (going over to them): And I don't care who broke the horse or rode the windows up the steps or who yah-yah-yahed - (seen in a close-up now; excited) - This family has got to settle down!
CARLO: Ooooh!
ANGELICA (out of sight): Will you stop bellowing! (Seen standing; indignantly) Look what you're doing to Carlo.
BULLOCK (furious): Hang Carlo!"

WHAT I'VE LEARNED: I'm learning that Simple + Complex is one limitation of writing for film.**

My Man Godfrey (1936)
by Morrie Ryskind & Eric Hatch
Based on the novel by Eric Hatch

*And you know my opinion on "the rules" (here).

**Writing for film is different than other writing.

When writing for things to be SEEN... 
- A complex story with complex characters may/may not be possible to be shot.
- Zooming in and out of a character's internal thoughts may/may not be possible to be seen.

Both the above would be easier to do in a book form vs. film.

TODAY'S NUGGET: Dreams (1990) - The "Rules"; Helpful Example of Suspense

[Quick Summary: A series of 11 short film episodes based on dreams by the director.]

TWO THOUGHTS: (Ok, 1 rant and 1 thought)

1) First, I heard that there were "rules" of screenwriting.

Then I heard that there were no "rules."

Then I noticed screenwriting nitpickers abhor using the word "rules," even though it's a useful term.* 

My opinion?  I think "rules" equals "guidelines." **

Do you need to know the "rules"?  Yes, you need to know them so that you know what you're doing when you break them.

For example, the "rules" say that writing episodic scenes are a no-no...

...Except this script is ELEVEN episodes that are meant to be seen together.

It works here. If it works, it wins.

2) In this script, I liked some of the episodes better than others.

However, the one undeniable thread through all of them is a feeling of SUSPENSE.

It comes from uncertainty and wondering, "What is going to happen next?"

Note how it builds because we cannot predict either characters below:

ex. From the episode "Crying Devils":

"Seeing me, he braces himself as if under attack by a wild animal. "Are you human?" he growls.

Startled, I stop short and nod.

He looks me up and down, as if evaluating, seemingly reluctant to accept my reply as fact.

"Who are you?" I venture.

He glares at me. Then his face gnarls with pain and he crouches.

"What's wrong?" I ask. "Something the matter with you? Are you sick?"

I move closer, but he jumps back like a beast and glares at me again. After a few moments he relaxes and runs a filthy hand through his matted hair, revealing a horn on his head.

Shocked, I jump back. "Are you a devil?"

The man's face contorts again. "Maybe. But I used to be a human being."

WHAT I'VE LEARNED: When writing suspense, allow room for uncertainty in both the protagonist and antagonist.

Dreams (1990)
by Akira Kurosawa

*TIP: Don't be a nitpicker.

** Thus, the "rules/guidelines" means "possibly helpful, tried and true patterns"  It does NOT mean 'set in stone' or 'applies in every situation.' 

TODAY'S NUGGET: Ran (1985) - Setting Up/ Paying Off the Comeuppance

[Quick Summary: Based on King Lear. The Great Lord Hidetora turns over his empire to his eldest son, and it triggers in-fighting and great destruction.]

I feel bad for Hidetora, but I also don't. 

He obtained his land by violence, and now it's coming back to bite him. Ironic, yes?

My favorite "gotcha" moment is the scene below.

Notice:
1) How the writers innocently set up Hidetora for a big payoff.  I didn't see it coming.
2) How they get us to empathize with the occupant.  This is key to making the comeuppance more emotionally satisfying.

ex. "INT. - STRAW HUT - DUSK

...TANGO: Excuse us for coming in with our shoes on, but our lord was suddenly taken ill... [Setup: Hidetora and company barge into someone's house. So unclassy.]

He steps up on the wooden floor and, together with Kyoami, carries Hidetora over to the hearth and, laying him there, addresses the occupant of the house, seemingly a woman.

TANGO (looks at the occupant): He is wet. Do you have something to cover him with? [More setup: Then they demand help. No 'please'? No manners?]

The occupant stays seated and does not move.

TANGO: Answer me, woman!

OCCUPANT: Are you talking to me?

TANGO: Yes.

The occupant of the house silent rises and goes to a corner of the room. Tango and Kyoami watch the person suspiciously. The occupant, seen from behind in the dim light, appears to be looking for something. [We get why the occupant is reluctant to help these intruders.]

The occupant rises and comes over, silently handing something over. Tango receives it - it is folded clothing. He opens it, puts it on Hidetora, and stares in surprise. It is a beautiful robe with a colorful design, out of keeping with the humble hut. Tango and Kyoami are amazed and curious as they look at it.  [1st surprise/payoff: They are wrong about the robe.]

TANGO: Speak up...woman!

OCCUPANT: I am not a woman. [2nd surprise/payoff: They are wrong about the occupant.]

TANGO: What? It is so dark, I... Bring me a lamp.

Tango reaches for a stick of lighted firewood in order to take a good look at him, and notices a cane leaning by the side of the hearth.

TANGO: I am sorry. Is your eyesight poor?

He holds up the stick of firewood. The occupant of the house is illuminated in the light from the burning stick. It is the face of a blind but handsome youth. Kyoami pulls back with a start and looks at Tango. [3rd surprise/payoff: They're wrong about his disability.]

TANGO (shocked, gazes at the youth): Are you Lade Sue's younger brother...Master Tsurumaru?

TSURUMARU: Yes.

Hidetora sits up, turns his eyes, and stares at the youth. Then, his voice trembling, he mutters with a frightened voice.

HIDETORA: Tsu...Tsurumaru?

TSURUMARU: It has been a long time...Lord Hidetora.

HIDETORA: Do you remember me?

TSURUMARU: How could I forget you? I was just a child, but how could I forget the one who gouged out my eyes in exchange for sparing my life...the day you burned down my father's castle?" [4th surprise/payoff: They've dug themselves a deep well. We see why Hidetora should be ashamed and feel justified at his current comeuppance.]

WHAT I'VE LEARNED: When there's a good setup and payoff, we see why the comeuppance is justified...and it feels so cathartic!

Ran (1985)
by Akira Kurosawa & Hideo Oguni & Masato Ide
Based on "King Lear" by William Shakespeare
Translated by Tadashi Shishido

TODAY'S NUGGET: Kagemusha (1980) - What is the Premise/ Central Story Question/ Promise?

[Quick Summary: A thief who resembles a samurai warlord is drafted into becoming his body double during a time of war.]

BAD NEWS: I find Kurosawa scripts to be very dense.

Also, I have difficulty seeing on the page what he saw in his head.

GOOD NEWS: I never have trouble locating the premise/central story question/promise that he makes with the audience. 

Why? Because there is defined unity, i.e., everything points to the central question.

In the example below, the warlord Shingen gives an urgent speech from his sick bed. No one knows that it will also be his death bed.

Notice how the writers use the speech to instruct the men and to lay out the stakes:

ex. "*A ROOM IN THE TEMPLE

Arm rest on bedding. Shingen, with white bandage on chest, sits and leans on the arm rest. From his posture and expression, it can be seen that his condition is far from good.  [The big man is ill while at war with other warlords. What will happen?]

Darkened expressions on faces of Katsuyori, Baba, Yamagata, Kosaka, Oyamada and others surrounding Shingen. [Reaction of gloomy followers.]

SHINGEN: It is regrettable. I guess I will not see the Takeda flag fly in the capital.

KATSUYORI (impatiently): Father, what are you saying...

SHINGEN: Don't get excited. It has been my lifelong dream to place the Takeda flag in the capital. But, if I should die now, do not dwell on this dream of mine. If it is known that I've departed, Oda, Tokugawa and other enemies will rush into our domain. Do not reveal my demise for three years and guard the domain well. Do not make a false move. If my orders are not observed an you move our soldiers in vain, it will mean the end of the Takeda clan. Listen well, all. This is my last will. [This is the promise of the film: Why do our heroes go to extremes to create and protect a false double of Shingen? To protect the clan. To carry out his dying wishes. The rest of the film will answer: Do they succeed?]

Nobody speaks. Shingen, with extreme exhaustion and changed face, laughs deliriously and with bright eyes.

SHINGEN: This Shingen is not dead yet. I've spoken as I did because of the one in the a million chance that I should go. No, I won't die.

But these words give an impression of impending death to all present. Heavy air sets in."

WHAT I'VE LEARNED: Keep the premise/ central story question/promise clear in the story.

If you wander from it, you will have confusion and lack unity.

Kagemusha (1980)
by Akira Kurosawa & Masato Ide

TODAY'S NUGGET: Throne of Blood (1957) - How to Show Significance (Literature vs. Film)

[Quick Summary: An adaption of "Macbeth" by William Shakespeare.]
 
In a 1990 conversation, film critic Gabriel Garcia Marquez asked Kurosawa:*

Q: Has your method also been that intuitive when you have adapted Shakespeare or Gorky or Dostoevsky?

A: Directors who make films halfway may not realize that it is very difficult to convey literary images to the audience through cinematic images. For instance, in adapting a detective novel in which a body was found next to the railroad tracks, a young director insisted that a certain spot corresponded perfectly with the one in the book. “You are wrong,” I said. “The problem is that you have already read the novel and you know that a body was found next to the tracks. But for the people who have not read it there is nothing special about the place.” That young director was captivated by the magical power of literature without realizing that cinematic images must be expressed in a different way. [Underline mine]

What an astute observation! YOU may know, but don't assume your reader knows.

So how do you convey to the reader "this is a special place/person/thing of significance"?

Take the time to SHOW it in how people act or react. 

In the scene below, two riders approach the witch's house in the woods.

Watch how we get the first clue from the horses, then the unease in the men:

ex. "Two men galloping, shrouded in lightning, in thunder and in strange laughter. Two men galloping. [The writers set the atmosphere: threatening and spooky.]

Their horses suddenly stand erect, and cannot be pressed forward. The frightened eyes, gasping sounds, and trembling ears of the horses, YOSHIAKI suddenly stops spurring his horse. Looking ahead he shouts involuntarily. [The horses sense danger first.]

YOSHIAKI: My god! What's that? [Dialogue conveys shock.]

TAKETOKI looks hard to the front. Ahead of them is a place rather sparsely wooded, leaving a small open space of grass. There stands a small straw-thatched cottage, deserted. The thunder and lightning, which were so violent a moment ago, have mysteriously abated. A beam of light falling through the trees calmly shines upon the cottage. [More unease because it's odd to have a cottage here.]

YOSHIAKI: Have you ever seen that cottage?

TAKETOKI: No, I have never seen such a cottage. This also must be the work of an evil spirit.

YOSHIAKI: But...

TAKETOKI: Behold, our horses! Their fright is real.

TAKETOKI fixes an arrow to the string and draws it to the full, aiming at the cottage. At that moment, a delicate, sad song reaches them from inside the cottage." [Odd sounds further the unease.]

WHAT I'VE LEARNED: In literature, there's more leeway for expression (external, internal).

ex. A character's reaction to a shocking incident may only be in his internal thoughts.

In film, we must express the same emotions but in a different way. It's mostly external,  i.e., to be seen externally.

ex. A character's reaction to a shocking incident may be an uncharacteristic move (fainting), an inconsistent behavior, etc.

Throne of Blood (1957)
by Shinobu Hashimoto & Ryuzo Kikushima & Akira Kurosawa & Hideo Oguni
Translated by Hisae Niki

*Yes, THAT Gabriel Garcia Marquez.

TODAY'S NUGGET: Seven Samurai (1954) - Giving Weight & Meaning to Action/Violent Scenes

[Quick Summary: Under the threat of bandits, a village hires a band of seven samurai for protection.]

Three Things Worth Noticing:

1) I've seen this film and it's everything everyone says that it is, including:

- One of the first modern action films
- One of the first films to show the unglamorized consequences of violence
- Excellence in editing

2) For me, the genius of Seven Samurai is in the editing and shots.

I would've bought it based on a short film or discussion with the director.

I probably would not have bought it based on the script because I just couldn't see the whole film visually.

3) So should you still read the script? (Yes, it's a long one.)

Yes, if only to learn how to give your action/violent scenes weight and meaning.

One key is to include a visual of what results from of the fighting and/or violence, i.e., people DIE. People get HURT. There are CONSEQUENCES.  If this is absent, the action is forgettable.

ex. "Low-angle medium shot of the WOMAN holding the baby with KIKUCHIYO in three-quarter back view in the foreground. The mill wheel still turns in the background, now almost enveloped in flames. Without saying a word, the WOMAN hands the baby to him; then, thowing back her head, she staggers forward. KAMBEI rushes up to catch her. As she falls into his arms he feels blood on his hand and looks at it. KIKUCHIYO, holding the child, looks at the WOMAN's back.

KAMBEI: She was speared. RIght in the back. Yet she got as far as here. What will-power!

KAMBEI hoists the WOMAN's dead body onto his shoulder and KIKUCHIYO puts out a hand to stead him, still holding the baby in his other arm.

KAMBEI: Kikuchiyo, let's go back.

He starts to wade back down the stream towards camera.

Medium shot of KAMBEI coming towards camera carrying the WOMAN over his shoulder. Behind him, KIKUCHIYO is staring at the child in his arms, the mill blazing in the background. KAMBEI notices that KIKUCHIYO is not following him and turns back, uring him on.

KAMBEI: Come on, what's the matter?

Medium close-up o KIKUCHIYO holding the child, silhouetted against the flames. Tilt down with him as he sinks down onto his knees, waist-deep in the stream.

KIKUCHIYO: This baby. It's me! The same thing happened to me!

He sobs, hugging the child tightly."

WHAT I'VE LEARNED: Remember to include the consequences of action/violence through reaction shots, etc.

Otherwise, the audience is less inclined to get invested.  

Seven Samurai (1954)
by Akira Kurosawa & Shinobu Hashimoto & Hideo Oguni

TODAY'S NUGGET: Ikiru (1952) - How to Show a Man's Internal Turmoil

[Quick Summary: When a boring office drone is diagnosed with cancer, he struggles to make sense of his remaining time on earth.]

Ah, the conundrum: How do you show a man thinking/feeling, without dialogue?

In this script (from the master, Kurosawa), it is in the man's reaction (or non-reaction) and interactions with his surroundings.

Note below how our hero, Watanabe, reacts:

[Prior to this scene below, a stranger spews out a list of symptoms to Watanabe.]

ex. "WATANABE is feeling more and more uncomfortable. Quiet sinister music. He changes seats, but the MAN follows him. [His movement away = discomfort.]

Shot of WATANABE becoming more and more uncomfortable. [Watanabe is increasing in discomfort as he absorbs the Man's comments.]

MAN (cont'd): And you won't be able to eat meat, or anything you really like, then you'll vomit up something you ate a week ago; and when that happens, you have about three months left to live.

Cut to a long shot of WATANABE alone in the waiting room. The slow and melancholy music of the opening is heard. He is small in the distance, almost lost in the large waiting room. [Wantanbe alone, far away = Even the positioning of the camera shows how he must be feeling inside.]

A NURSE suddenly calls his name; she calls it several times because he does not hear. He finally hears and rises. The music fades.  [He does not hear the nurse = He is lost in deep thought.]

Cut to the X-ray room; two DOCTORS and a NURSE are waiting.

Cut to WATANABE entering, then a shot of their faces as they wait for him to sit down.

Quick close-up of the DOCTOR's face, then WATANABE's.

DOCTOR: Yes, please sit down. Well, it looks as though you have a light case of ulcers.

Cut to WATANABE's hands. He drops the coat he is carrying. The music begins again. [His reaction shows shock.]

Cut to their faces.

WATANABE: Be honest with me. Tell me the truth. Tell me it's cancer.

The DOCTORS' faces; the NURSE's face; the back of the young DOCTOR's head - he is looking at the X-ray picture. She picks up WATANABE's coat.

DOCTOR: Not at all. It's just a light case of ulcers, as I said.

WATANABE: Is an operation impossible?

DOCTOR: It's unnecessary. Medicine will fix you up.

WATANABE: But what shall I eat?

DOCTOR: Anything you like, so long as it's digestible.

Cut to WATANABE. Hearing this he lowers his head so that it almost touches the desk." [No need to tell us he is discouraged because his movement shows us.]

WHAT I'VE LEARNED: To show a man thinking, show us his reactions and interactions with his surroundings.

Also, sometimes a character in the distance (or in a close-up) may help mimic feeling far or near.

Ikiru (1952)
by Shinobu Hahimoto & Akira Kurosawa & Hideo Oguni

TODAY'S NUGGET: Marnie (1964) - Conned by a Pretty Girl

[Quick Summary: Thief, liar, and embezzler Marnie is caught in a criminal act by wealthy Mark, who falls for her and tries to unravel her frozen emotional past.]

Two Thoughts:

1) PROTAGONIST-ANTAGONIST SWITCHEROO

I want to complain today.* I am irritated.

This is Marnie's story. It is about HER fear of men, desire, and intimacy.

So why does it feel like the protagonist (Marnie) switch to the antagonist in the second half? And antagonist (Mark) becomes the protagonist?

After a little cooling off, I did see that this is a tough adaption.

It is not easy making this character's internal life apparent in the external world.

Marnie is so self-protective, so self-absorbed in her own pain that she doesn't pay much attention to anyone, much less men.   

She has no real motivation to break out of that cocoon...so Mark has to do it.

Though I don't like it, I can see why the writer did it this way.

2) CONNED BY A PRETTY GIRL: Establishing her M.O.

Marnie is pretty, which is why she gets jobs that she is not qualified to have.

In the amusing scene below, we see how she used her looks to con one male owner:

ex. "MED. SHOT - STRUTT AND DETECTIVES

STRUTT (fairly screaming): No damn it! That's Miss Croft! I told you people over the phone! Marion Holland! She's the one! Marion Holland!

One DETECTIVE takes a notebook out as his partner crosses the foreground toward the safe.

DETECTIVE: Can you describe her, Mr. Strutt?

STRUTT: Certainly I can describe her! (his little eyes narrow in bittersweet memory) Five foot five. One hundred and ten pounds. Size eight dress. Blue eyes. Black hair...wavy. Even features. Good teeth...

As he writes the DETECTIVE begins to grin.

STRUTT: What's so damn funny? There's been a grand larceny committed on these premises!

DETECTIVE (straightens his face): Yes sir. You were saying... (reads from notes) 'Black hair, wavy...even features, good teeth...' She was in your employ four months? .... What were her references, Sir?

There is a pause during which the CAMERA MOVES gently forward to include a

CLOSE-UP OF STRUTT ONLY

STRUTT (this one really hurts): Well...as a matter of fact...her...uh...yes, I believe...(lamely)...she had references, I'm sure.

CLOSE-UP - MISS CROFT

MISS CROFT (blandly): Oh, Mr. Strutt, don't you remember? She didn't have any references at all!

CLOSE SHOT - STRUTT AND THE DETECTIVES

STRUTT stiffens with indignation at this betrayal. The DETECTIVES remain tactfully deadpan.

STRUTT (clears his throat): Well...uh...she worked the copying and adding machines...no confidential duties, you know.

He looks off suddenly."

WHAT I'VE LEARNED: Sometimes solutions are downright inelegant and clunky.

On the other hand, it was elegant to expose Strutt's embarrassing mishaps and showcase Marnie's clever con....

Marnie (1964)(shooting draft, 10/29/63)by Jay Presson Allen
From the novel by Winston Graham

*My first complaint: This script is LONG (201 pgs.)

TODAY'S NUGGET: They Live (1988) - "Compare & Contrast" Technique for a Reveal

[Quick Summary: Down on his luck worker finds a pair of sunglasses that allows him to see that aliens are keeping humans asleep and enslaved.]

How would you reveal aliens among us?

In this script, writer John Carpenter first grounds us in the mundane...

...and then mixes it with the extraordinary (because he is, after all, Carpenter).

Below, he uses a "compare and contrast" technique to get the reveal across:

a) Nada, our hero, sees a human get into a car (no sunglasses, ordinary).
b) Nada sees an alien (with sunglasses, extraordinary).
c) Nada can't make sense of what he's just seen (can't process the illogical).

ex. "Nada looks over...

HIS POV: (normal, color) as the Well-Dressed Customer walks up to his Mercedes. He drops a full paper on the sidewalk, keeps the business section, gets into the car. Sunglasses come up OVER FRAME (black and white) and now it's a Well-Dressed Hideous Ghoul who shoots Nada a final glance...

VENDOR: Hey buddy -- I don't want a hassle, okay? Either pay me or put it back...

Nada numbly puts back the magazine. He's moving on auto pilot now, staggering past the Vendor who looks at him curiously. Moving on down the street...

HIS POV: THRU SUNGLASSES (black and white), a BUSINESSMAN GHOUL, same awful face, stands at a pay phone...

BUSINESSMAN GHOUL: Don't worry, the insurance company will take care of it."

WHAT I'VE LEARNED: "Comparing and contrasting" external situations is an effective way to reveal what a character is having difficulty processing internally.

They Live (1988)
by John Carpenter (written as Frank Armitage)(shooting script)
Based upon the short story, "Eight O'Clock in the Morning," by Ray Nelson*

* I am interested that Nelson is apparently the creator of the propeller beanie.

TODAY'S NUGGET: Halloween II (1981) - Delivering the Promise from the Opening Shot

[Quick Summary: Picking up from the first film, Laurie is transported to the hospital, where she and others are stalked by Mike Myers, who is still alive.]

BAD NEWS: I liked this script but didn't love it.

The stakes are high and it's scary, but...it feels like Halloween 1, the second half.

I guess I'm still not sure what makes a sequel good to meet people's expectations.

GOOD NEWS: I think the opening is a real crowd pleaser.

It acknowledges the loyal audience, "We know why you came: For scares!"

ex. "FADE IN:

MAIN TITLE SEQUENCE

In the middle of a black screen is a pumpkin.

A jack-o-lantern. Two candles on either side cast a flickering orange glow on the carved, grinning face.

CAMERA SLOWLY DOLLIES IN on the pumpkin.

SUPERIMPOSE MAIN TITLES.

Finally the pumpkin FILLS THE SCREEN. The final credit is SUPERIMPOSED.

Then suddenly the pumpkin CRACKS OPEN from top to bottom!

Underneath the meat, pulp and seeds that pour out is a wet, gleaming skull!

                                                                                                                  DISSOLVE TO:
BLACK SCREEN."

WHAT I'VE LEARNED: I like a script that knows what it is, and delivers.

Here, this is a horror script and it delivers the scares from the opening shot, i.e., the audience knows it's in good hands.

Halloween II (1981)(shooting script, dated 3/12/81)
by John Carpenter and Debra Hill