TODAY'S NUGGET: Ace in the Hole (1951) - Ridicule as Satire

[Quick Summary: A newspaper reporter manipulates the media around a man trapped in a cave.]

In anticipation of this soon-to-be-released film critiquing the media, I decided to see how Billy Wilder did it.

Here, Tatum is a reporter who stumbles on a story of a lifetime.  He controls the situation in order to milk it for as long as he can.

I liked how Tatum's hypocrisy is revealed through ridicule (satire).

In this scene, we know that Tatum is trying to delay the rescue:

ex. "RADIO REPORTER: What's your name, sir?

MINER: My name is Kuzak. Did a lot of mining in my day. Silver mining, that is --up in Virginia City. The way I see it --

RADIO REPORTER (holding mike to him): Go on, Mr. Kuzak. We're very much interested. [Tatum is losing control.]

MINER: We had cave-ins. Quite a few of them. One of them I know of farther in than yours.

TATUM: Were you ever in a cave-in yourself, Mr. Kuzak? [Tatum casts doubt to regain control.]

MINER: No, not personally....

TATUM (stepping in - to Kuzak): Mr. Kuzak, this is a Cliff Dwelling, not a silver mine. [Tatum mocks the miner.]

MINER: I think it's all the same. A man's underground and you got to get him out.

TATUM: Well, did you get your man out, Mr. Kuzak. [Tatum bluffs.]

MINER (Shakes his head ruefully): I'm afraid we didn't. We were too late.

The little tension which Kuzak had built up subsides.

TATUM: Well, then suppose you let Mr. Smollett do it his way. From the top." [Tatum shames the miner.]

WHAT I'VE LEARNED: Ridicule makes a sharper point when it's polite ridicule.

Ace in the Hole (1951)
by Billy Wilder, Lesser Samuels, & Walter Newman

TODAY'S NUGGET: Hot Fuzz (2007) - Sound and Visual Transitions

[Quick Summary: A London police officer smells something funny in a small country village.]

This my favorite film of the Cornetto trio.

As I read it, however, I was struck by the artful use of matched sound and visual transitions.

[Matched transition = You hear/see something in Scene A that is matched in Scene B.]

Here, they do more than move us from point A to B.

They also reorient the audience to a new scene/location/point of view.

1 - SOUND

Note how the common 'hissing' sound moves us to a new location.

ex. "INT. GEORGE MERCHANT'S KITCHEN - NIGHT

MERCHANT is dragged by his feet and dumped into a kitchen chair...GLOVED HANDS empty beans into a pan...Bacon is fried...Gas taps are turned on full...Gas hisses...

INT. DANNY'S HOUSE - NIGHT

Static hisses as the video flickers to life." 

2 - VISUAL

"Beer" is the common visual clue here.

I like that as we follow the beer, we also figure out that we've switched points of view.

ex. EXT. DANNY'S HOUSE - NIGHT

...DANNY: Unless you wanna come in for a coffee?
ANGEL: I don't drink coffee.
DANNY: Tea?
ANGEL: No, no caffeine after midday.
DANNY: How about another beer?

INT. KITCHEN - NIGHT

A fridge opens...We see a number of bottled beers...

GEORGE MERCHANT grabs a beer and swigs it as he staggers to the toilet. Outside the CLOAKED FIGURE watches."

WHAT I'VE LEARNED: I now have added matched transitions to my writer's tool box.

Hot Fuzz (2007)
by Edgar Wright & Simon Pegg

TODAY'S NUGGET: The Prestige (2006) - The Theme is Obsession

[Quick Summary: Two magicians spare nothing in trying to best the other.]

I am impressed.

This is the strongest themed script I've seen in awhile.

In my opinion, the theme of obsession is super-effective here because:

1)  It is present on multiple levels.

- Magicians obsessed with diverting audiences (professional)
- Magicians obsessed with revealing a rival's tricks (personal)
- Men obsessed with being the best (psychological)
- Men obsessed with reputation over family, loyalty, love (relationships)

2) It can be seen whenever a flaw is taken to the extreme.

Here, both the hero and villain are competitive (flaw).

When they take competition to the extreme, we see the obsession.

ex. "INT. HOTEL ROOM, COLORADO --NIGHT

Angier writing in his leather-bound journal.

ANGIER (V.O.):...happiness that should have been mine. But I was wrong. [Personal]

Angier glances at Borden's notebook sitting on the desk.

ANGIER (V.O.): Reading his account I realized that he never had the life I envied. [Psychological]

Angier flips open the notebook. Staring at the coded writing.

ANGIER: The family life he craves one minute he rails against the next, demanding freedom. His mind is a divided one... [Relationships]

INT. PRISON CELL --DAY

Borden sits on his cot. Reading Angier's journal.

ANGIER (V.O.): His soul restless. His wife and child tormented by his fickle and contradictory nature... [Relationships]


Borden is crying . He puts the journal down and jumps to his feet BANGING on the cell door.

BORDEN: Guard! Guard!

The viewing slot slides open.

GUARD: What do you want, Professor?

BORDEN: Paper and pencil. Please." [Psychological]

WHAT I'VE LEARNED: Pick a flaw. Take it to the extreme. The result is likely my theme.

The Prestige (2006)
by Jonathan Nolan and Christopher Nolan
Based on the novel by Christopher Priest

TODAY'S NUGGET: Point Blank (1967) - THE Script That Inspired Walter Hill

[Quick Summary: A double crossed criminal gets revenge on those who left him for dead.]

For years, I'd read about how this script changed Walter Hill's life.

He had been writing for 2-3 years:

I was dissatisfied with the standard form scripts were written in - they just all seemed to be a kind of subliterary blueprint for shooting a picture and generally had no personal voice....

Alex's script knocked me out (not easy to do); it was both playable and literary....[w]ritten in a whole different way than the standard format (laconic, elliptical, suggestive rather than explicit, bold in the implied editorial style)...

This a-ha! moment led to Hill to his now famous haiku style.

I recommend reading this script for what the writer leaves in, as well as what he leaves out.

See how the writer "suggests" guilt, regret and a conscience with actions, but without using any of those words:

ex. "WALKER (shouting): Shut up - Lynne.

CHRIS (turning to him as she walks towards the bathroom): ...Chris?...Remember?...Chris!

Walker doesn't move but watches her disappear behind the glass partition.

He takes from his pocket the package of money that the messenger had delivered for Lynne.  He stares at it for a moment then leaves it for Chris on the bureau. He goes."

WHAT I'VE LEARNED: "Suggesting" only works if the audience can follow the logic in the actions.

In the above example, Walker takes a moment to stare at the money.  Without this reflection, it is easy to assume he has no regrets.

Point Blank (1967)
by Alex Jacobs, Rafe and David Newhouse

TODAY'S NUGGET: The Last Picture Show (1971) - A Complex Female Character

[Quick Summary: A group of teens come of age in a dying Texas town.]

Once upon a time, I tried reading one of Bogdanovich's books.

I admired the extremely detailed, encyclopedic discussion of film...but the denseness exhausted me.  I never finished the book.
  
I did finish this script.  Fair warning: It is also very detailed and dense.

On the plus side, the script doesn't shy away from a complex female character.

Watch:

1) How others react to Jacy
2) How Jacy doesn't let their opinions deter her from what she wants

ex. "INT. POOLHALL - DAY

Billy brings Sonny a peanut pattie as Jacy comes in, looking sorrowful.

JACY: Sonny?

SONNY: Come on in.

She comes over, gives him a big kiss...she looks at Billy, who moves away warily; Jacy clearly doesn't like him.

JACY: Oh, I was so worried I just had to see you --

SONNY: I been missin' you -- I'm a lot better'n I was.

JACY: You can't believe how famous we are -- we're all anybody talks about in this town now --

SONNY (unhappily): I guess so.

JACY: I want us to get married.

SONNY: What?!"

WHAT I'VE LEARNED: This reminds me that I don't need to like a character. I only need to understand what she wants.

P.S.  Have you heard of Bogdanovich's Index Card File?

The Last Picture Show (1971)(10/2/70 final draft)
by Larry McMurtry & Peter Bogdanovich
Based on the novel by Larry McMurtry

MY 1st GRATITUDE DAY: I Will Read Your 10 Pages for Free* (*See Stipulations)

Recently, I received several kindnesses out of the blue.

I was floored.  I didn't expect them, didn't deserve them, and each one came at the exact right time.

As I look back though, I wish I'd passed the kindnesses on.

So in honor of those persons, I've decided to offer my two cents and troubleshooting skills to 30 writers in the next 30 days.

I will read any 10 pages of your scripts for free.

Here's the fine print:

1.  I will take the first 30 writers to email me with their attached 10 pages.

2.  I have sole discretion who makes the cut.

3.  I will send an email to you if you made the cut. 

4.  I will read the scripts in the order that they arrive.

5.  I will read whichever 10 pages you choose, but ONLY those 10 pages.*

6.  I will send you one (maybe two) paragraph(s) of feedback.

7.  You e-mail must include:

- 10 pages (PDF format).  Do not send the entire script.
- One specific question on which you would like my input.
- Acceptable question: "I'm having trouble with the dialogue. Suggestions?"
 - Unacceptable question: "Why doesn't this make sense?"

8.  If you've read any of my posts, you know this blog is about LEARNING.  

At the end of 30 days, I plan to blog about what I'm learning/seeing in these scripts, i.e., trends, mistakes, problems, etc. 

I will not talk about your script in particular, but may discuss it generally:

ex.  "The most common mistake I've seen in the sci-fi scripts I've gotten..."
ex.  "One writer did X; other writers did Y."

If you're uncomfortable/weirded out/suspicious, DO NOT submit.

9.  If you submit, you agree to all the stipulations above.

Got it?

I look forward to meeting you on the page.


* Do not keep sending me updated or revised pages, like a client I once had.

TODAY'S NUGGET: Following (1998) - Well-Rounded Characters in a Small Budgeted Film

[Quick Summary: A man follows thief and is drawn to criminal life, with unexpected consequences.]

I liked hearing what Christopher Nolan learned from his first film.

(What DO you do when your lead actor decides to shave his head?)
(What does a $6000 budget allow/not allow?)
(What's the US film festival circuit like?)

I was surprised at how this doesn't read like a small budgeted script.

One reason is that the well rounded character interactions kept me "wanting to know more".

(Well-rounded = Characters are three dimensional, with clear agendas, goals, traits, conflicts.)

I could not predict where they would go.

ex. "THE BLONDE glances out of the corner of her eye towards BALDY. BALDY is watching them.

THE BLONDE (looking back to Young Man): Say something to me.

YOUNG MAN: Such as?

THE BLONDE slaps the YOUNG MAN hard across the face. He looks shocked.

THE BLONDE (turning to her drink): I'll be outside in ten minutes."

WHAT I'VE LEARNED: These well-rounded characters are driven and create such conflict that I hardly missed the lack of special effects, guns, or car crashes.

(In fact, too many stories are driven by the latter, and not the former.)

Following (1998)
by Christopher Nolan

TODAY'S NUGGET: The Long Goodbye (1973) - Pacing That Relies on Suspense (vs. Surprise)

[Quick Summary: P.I. Phillip Marlowe helps a friend escape to Mexico, then is suspicious when the friend "commits suicide."]

4 Things I Learned about Leigh Brackett:

1.  A friend owned a bookstore and snuck one of Brackett's sci-fi novels into a stack of books that Howard Hawks bought.  Hawks liked it so much that he hired Brackett for the Big Sleep.  He was surprised she was a female!

2.  She started out as a sci-fi novelist.  (Suddenly her co-writing credit on the Empire Strikes Back makes sense to me.)

3.  She never wrote a western, but still tackled Rio Bravo.

4.  She describes the Long Goodbye as "start[ing] off with a bang and never quit moving." 

She's not kidding.

This script is a must read for amazing pacing and fluidity.

Here's the first 30 minutes:

p. 1-2 - Marlowe helps his friend Terry get to Mexico.
p. 3-12 - Marlowe is arrested, questioned, released, and off the hook.
p. 13-14 - He doesn't believe Terry committed suicide.
p. 15-19 - He goes to Mexico to see for himself.
p. 20-24 - He gets call from a new client, Mrs. Wade. Her husband is missing.
p. 25-35 - He finds Mr. Wade held at a "spa" and gets him out. Mr. Wade is an unpleasant man.

Also read this script for its precise detail. Just enough, not too much.

ex. "The front door opens, spilling light across the driveway. Eileen stands in the doorway."

WHAT I'VE LEARNED: This script's sublime pacing/tempo is due to great suspense, i.e., truly interesting things happen in every scene.

I like that the script avoids the cheaper method of surprise, i.e., "drop a bomb and leave".

The Long Goodbye (1973)(1972 draft)
by Leigh Brackett
Adapted from the novel by Raymond Chandler

TODAY'S NUGGET: Sabrina (1954) - Light as a Visual Stand-in

[Quick Summary: After loving David for years, a chauffeur's daughter now falls for his brother Linus.]

I bang my head against the wall much of the time asking one question:

"How do I write so I make the reader FEEEEEEL?!"

In this script, I saw a very unusual way that I'd not seen before.

Watch how the writers make you feel using LIGHT in this pivotal scene:

"INT. LINUS' OFFICE - DUSK

The room is in semi-darkness, lighted only by the magic of a late summer sky already fading into twilight.  [Late summer = dying light = dying relationship.]

The door opens and Linus enters with Sabrina.... He is a large figure dominating the foreground. Sabrina faces him from deep in the background, a very small figure.  [She is in shadow = uncertain.]

LINUS: All right, Sabrina. What is that perfectly good reason why you shouldn't be seeing me?

Sabrina stands silent, just looking at him.

LINUS: What is it? What's bothering you?

SABRINA: It's...(She hesitates. Then:) It's me that's bothering me.

Linus looks at her across the dimness of the vast room. Then he presses one of the many buttons on his desk and the office is flooded with light. [His action signals he is ready to shine a light on the situation.]

SABRINA: Please don't.

LINUS: I'm sorry.

He presses the button, and they stand in semi-darkness again. [She can't take the brightness = She's not ready to face the truth yet.]

SABRINA: I know I'm not making much sense, Linus..."

I was truly impressed because:

1) The writers  use physical light as visual stand-ins for unspoken emotions.
2) The scene is completely visual.
3) There are no metaphors ("light is a barrier") or similes ("light is like a sword").

WHAT I'VE LEARNED:  I was surprised how much the use of light affected me as I read.

I didn't realize how subconsciously I absorbed "semi-darkness" or "flooded with light".

Sabrina (1954)
by Billy Wilder, Samuel Taylor, & Ernest Lehman
Adapted from the play "Sabrina Fair" by Samuel Taylor

TODAY'S NUGGET: Before the Devil Knows You're Dead (2007) - Delaying the Reveal Gets the Reader to Participate

[Quick Summary: Two brothers rob their parents' jewelry store, but it goes very wrong.]

I find that Sidney Lumet scripts pull you in without you knowing it.

They get the reader to participate.

ex. "INT. HOSPITAL - DAY

Gina and Andy hurry down a long corridor to...

INT. HOSPITAL WAITING ROOM - DAY

They turn into it and both stop. A lone man sits hunched over in a chair with his face buried in his hands. Andy runs to him as Gina hangs back.

ANDY: Dad!

The man looks up and we see it's Charles."

Note:

- This scene does not reveal who the man is right away.
- It makes us wait to discover his identity WITH the other characters.
- We're curious about the "lone man", so we keep reading.

(Also, I like how the scene is uncluttered, i.e., not overloaded with adjectives or description.)

WHAT I'VE LEARNED: Don't tell the reader everything immediately.

When possible, let the reader discover things with the characters.

P.S. If you're looking for how to segues into a flashback, this script has several excellent examples.

Before the Devil Knows You're Dead (2007)
by Kelley Masterson