2022 OSCARS: King Richard (2021) - Using Backstory with a Purpose

[Quick Summary: Richard Williams has a unlikely plan for his two daughters, Venus and Serena, to become tennis champions.]

This is a well-written sports biopic, though it wasn't new or cutting edge. 

However, I did like how the writer used of backstory to confront a character, rather than the usual "information dump."

The best example is late in the script (below):
- After Richard refuses to let Venus play in a tournament, his wife Orcene confronts him.
- Notice the backstory is used as evidence of quitting or not quitting. How many do you find? I found at least 8.

INT. WILLIAMS' HOME (FLORIDA) - MOMENTS LATER

...ORACENE: ...There would be no dream if it wasn't for me. I carried those girls, inside me and on my back. And I carried you too. I worked two shifts putting food on our table. (#1) That open stance stroke -- you got that from me! (#2) I fixed Serena's serve when you kept messing it up! (#3)

RICHARD: When you what?

ORACENE: Yeah, that's right. I fixed that toss you messed up. I've been here dreaming and believing the whole time, just like you. You just don't want to see me.

RICHARD:  Whatchu want? A thank-you?

ORACENE: That's all right Richard. I don't need your thank you. Unlike you, I don't need the world to tell me I'm great.

At that, Richard starts to walk off. 

ORACENE: That's right. Go ahead. Walk away. You are good at that. That's what you do, right? When things get hard, you just quit. Like you did with your cement business (#4) and your cleaning company. (#5) And all your other kids. (#6)

RICHARD: Oh, you got something you need to get off your chest? Well don't let God stop you. Say what you wanna say.

ORACENE: I just said it! You don't think I remember your son showing up in his red Nissan truck and knock on our door, and all you had to say was, 'Look, it's my son. He found me' (#7)-- or when your other kids came after. (#8) See, another woman would have left, but I stayed 'cause I don't quit. You're the one who leaves...

WHAT I'VE LEARNED: I really liked how the writer used the backstory with a defined purpose, i.e., to show the long family history with quitting/not quitting. 

King Richard (2021)(final)
by Zach Baylin

2022 OSCARS: Don't Look Up (2021) - Why is Big, Ridiculous, Actual (Not Metaphorical) Seduction Possible in Satire?

[Quick Summary: After a Ph.D. student sees a comet coming to destroy Earth, she and a professor try to warn the White House...but everyone has their own agendas.]

Satire (n.): The use of irony, sarcasm, ridicule, or the like, in exposing, denouncing, or deriding vice, folly, etc.

A satire about society at large is tricky, lest it become "preachy" or "dull." 

I thought this script was rather effective.  It focuses on a societal folly, i.e., foolishness of throwing away long term benefits for the short term gain.

This is best seen in the story arc of Dr. Randall, the professor.

He begins as a sincerely worried scientist, but then he falls for the media hype and attention, especially from tv show personality Brie Evantee.  

The fun thing about satire is that the writer is not limited to the metaphorical.  

The writer can (and did) expose Randall's metaphorical media seduction by showing an actual Brie Evantee seduction:

INT. FANCY HOTEL - DAY

Randall and Brie Evantee walk down a hallway. Brie pulls Randall in for a kiss and they start having sex against the wall in a posh Manhattan hotel.

BRIE EVANTEE: Tell me we're all going to die...

RANDALL: What?

BRIE EVANTEE: tell me we're all going to die... Do it...

RANDALL: We're all going to die...

BRIE EVANTEE: Ohhhh!!!!

WHAT I'VE LEARNED: Big, ridiculous scenes are possible in satire because ridicule is the point.

Don't Look Up (2021)
by Adam McKay
Story by Adam McKay and David Sirota

2022 OSCARS: Belfast (2021) - Structure in All-Dialogue Scene, or How to Say "I Love You" Without Saying It

[Quick Summary: Buddy (9) lives near with his Ma, Pa, brother, near Granny and Pop, during the turmoils of Belfast, 1969.]

PROGRAMMING NOTE: Here we are, once again, at the beginning of the dreaded Oscar nominated script reading season!

I know they're smart, well written, educational...and as much fun as going to the dentist.  I know they're good for me, but often not fun reads. Onward and upward!

----------------------

Q: Why is screenwriting more about the cake (structure), and less about the frosting (dialogue)?
A: Structure, i.e., the sequencing of visuals and story, gives scenes meaning.  It allows the dialogue to shine, and often be the most memorable part.

Q: But what about all-dialogue scene?  Aren't the spoken words king there?
A: If you look closely, there's an invisible structure, on which the spoken words hang.  Otherwise, the scene has no deeper meaning.

For example, let's look at the structure of the all-dialogue scene below:

- What is the scene's purpose?
1) Show Pop is worried about his son Pa, whose job will take the family far away.
2) Show Pa is worried about his dad Pop, whose health is declining. 

- Notice how the dialogue hangs from the underlying structure. Together they convey "I love you, I care about you."

EXT. ALLEYWAY/GRANNY'S HOUSE DAY

...

PA: Aye. A big one, a long one, they're askin' some of the boys to move over, permanent, offerin' accommodation, cos of the time involved. A coupl'a years. They're buildin' a hospital. [Pa announces a potential move for his job. A conflict for the family who want to stay.]

GRANNY: Yer Father has to go to the hospital. You talk to him about it. He won't talk to me about doctors. [Granny points out the health issue.]

PA: Is that right?

POP: Just a couple o' days. A wee test. For the lungs. All that bloody time over in Leicester. [Pop deflects and distracts from health.]

BUDDY: Where's that?

POP: In England.

BUDDY: Is that near where my Daddy works?

POP: No, your Daddy works near London, the big smoke. This was in the countryside.

BUDDY: What were you doin?

POP: I was a coal miner.

BUDDY: You've done a lotta different jobs, Pop. [Points out Pop moved for the job.]

PA: You can say that again. [Irony b/c he is also moving for the job, like his dad did.]

GRANNY: An' none lasted more than a week! Except for the mining. [Granny brings back discussion to Pop's health.]

BUDDY and GRANNY go through the back door into Granny's house.

PA speaks more quietly now.

PA: My Mother's worried about you. [Points out fears for Pop's health.]

POP: Yer Mo'r's worried about you. [Points out fears for Pa's moving.]

WHAT I'VE LEARNED: It's not just spoken dialogue, but what the structure underlying it is trying to accomplish.

Belfast (2021)(shooting draft, August 2020)
by Kenneth Branagh

TODAY'S NUGGET: Love and Death (1975) - Conflict + Suspense + Upended Expectations = Funnier Screwball Comedy Scenes

[Quick Summary: In 1800s Russia, a neurotic soldier avoids death, pursues love, and plans to kill Napoleon with the help of a distant cousin.] 

Though the page count is long, this script reads fast due to slapstick gags and jokes.

However, I thought the funniest scenes were those in which there was:
a) conflict, known or unknown; AND
b) suspense, in which the audience knows things that the characters do not; AND
c) how the resolution upends expectations, which makes it funnier.

For example, in the scene below:

a) Take CONFLICT...
- Boris and his reluctant wife Sonja are impersonating Spanish envoys who are to arrange a treaty with Napoleon.
- Simone is a French assassin who thinks Boris is also an assassin.
- Neither knows who the other truly is.
- The conflict is on many levels (moral, political, ethical).
- Also, I was surprised how emotionally conflicted I felt for Boris. For the first time in his life, he experiences someone finding him attractive...and it's likely faked!

b) Add SUSPENSE..Crank it up with UPENDED EXPECTATIONS:
- We are waiting to see things unfold, but then our expectations are upended:
---> Which side will unveil the imposter first? Neither does, which is funny.
---> Will Simone discharges the gun? It fails...which is funny
---> Will Boris decide to bed Simone? His rejection likely saved his life...which is funny.

INT. GUEST ROOM (BORIS). NIGHT

Him in his room. Knock on door. He opens it. Pretty woman.

BORIS: Yes?

SIMONE: Don Francisco?

BORIS: I hope so for your sake.

SIMONE (enters, door shut): I am a welcoming present from General Leveque.

BORIS: Oh, nice present. Shall we get this wrapping off?

SIMON

E: You're even more handsome than I thought.

BORIS: Yes, I get that all the time.

SIMONE: More sensuous than I had imagined in my wildest dreams.

BORIS: Really? What are some of your wildest dreams? (hands her pencil and paper) Why don't you write them down and we'll act out the parts.

SIMONE: Your sister -- she will not hear us in here?

BORIS: My sister? Oh my sister...good point...no...right now she's bathing, maybe even taking a bath.

She goes to him, kisses him, puts pistol to back of his head, pulls trigger, it clicks, misfiring.

BORIS: Did you hear a click? Oh well...listen...I feel a little guilty about this...you know, I have a wife in Spain.

SIMONE: Spain is far away.

BORIS: I know, but --I feel too guilty to cheat on her.

SIMONE: Yes?

BORIS: I'm afraid so. Well -- now that that's out of the way, shall we go to bed?

He turns. She fires again, it clicks.

BORIS: You hear that? I keep hearing a clicking sound. Listen, I appreciate your interest but I am kinda close to her. (getting rid of her)

SIMONE: Monsieur?

BORIS: Really - I  - I gotta get dressed - no kidding. Dining with the Emperor tonight...We're like this-- (crossed fingers) Or that -- take your choice.

And she's out. He looks into mirror. 

BORIS: Sweet girl -- hated to disappoint her -- she'll never know --she came that close to heaven.

WHAT I'VE LEARNED: It would be a mistake to assume that the humor is only due to the dialogue. 

I really think the reason this kind of comedy stands out is the underlying structure (conflict + suspense + upended expectations), which requires a deft touch.

Love and Death (1975)(8/11/74 revised)
by Woody Allen