2020 OSCARS: The Two Popes (2019) - Inserting Humore in Writing

[Quick Summary: The story of the relationship of Pope Benedict and Bergoglio, an Argentinian cardinal, who becomes Pope Francis.]

Writer Anthony McCarten, whose BAFTA Screenwriters' Lecture speech is well worth a listen, has spoken often on inserting humor in his writing.

I laughed at the scene below, and it was a release valve.

Bergoglio has just arrived at the Pope's summer residence.  He is uncomfortable, surrounded by so much excess.

I thought the humor was even more accentuated because it was followed by the sober reminder of the expectations that surround us, i.e.,  saints and cherubim.

ex. INT. CASTEL GANDOLFO - CORRIDOR (2012) - EVENING

Bergoglio is following the nun along the intimidating corridors. He's not happy here. The nun shows him a room.

BERGOGLIO: Thank you, sister.

NUN: Oh. I almost forgot. A message from your assistant in Buenos Aires...

She hands him a piece of paper. He unfolds it, troubled.

She shows him to his room. As he goes into his room...

NUN (CONT'D): Is it bad news, father?

INSERT: Shot of the piece of paper in his hand. It's a starting line up for tonight's big San Lorenzo game.

BERGOGLIO: I'm afraid so. Lavezzi is not in the starting line up for Argentina and Equador tomorrow.

PICK UP ON Bergoglio trying to pray a little later. He is distracted by the decoration in the room - paintings of saints surrounded by beaming baby-faced cherubim.

WHAT I'VE LEARNED: "Those who lose the ability to laugh, lose the ability to think."-Clarence Darrow

The Two Popes (2019)
by Anthony McCarten

TODAY'S NUGGET: Joker (2019) - Announcing, Without ANNOUNCING, a Switch to a Fantasy Sequence

[Quick Summary: The origin story of how Arthur Fleck, a mentally and socially unbalanced clown, becomes the Joker.]

Before reading this well written script, I wish that I'd known that it was meant to explore a world with a lack of empathy.

Because I did not, I found the nihilism and darkness to be oppressive. 

I also became weary of blaming society for the Joker's situation and painting him as a victim.  There's not a lot of hopefulness here.

However, I cannot ignore that this was well written.

I particularly liked how the writers clearly defined the switch to Arthur in fantasy sequence without announcing, "This is now a fantasy scene."

ex. INT. TALK SHOW SET, STAGE - STUDIO 4B - CONTINUOUS

SPOTLIGHT ON SHIMMERING MULTICOLORED CURTAINS PARTING, AND OUT DANCES MURRAY FRANKLIN (late 60's) doing an old soft shoe to the jazzy tune Ellis Drane is playing him out to. Audience cheering and applauding loudly for him. Murray takes a little bow, and does one or two more steps to the music...

ANGLE ON ARTHUR, clapping the middle of the crowd. He's dressed "richer" (it's Arthur's fantasy version of himself).  Everybody around him is enthusiastically applauding Murray....

MURRAY FRANKLIN: Wow. Thank you.

He glances up at Arthur, who is clapping wildly, squints his eyes a bit to make him out --

MURRAY FRANKLIN: Thank you. (beat; smiling) Who's that there? Hey Bobby, can you raise the lights for me?

The house lights come up. Murray takes a few steps downstage and points straight at Arthur --

MURRAY FRANKLIN: You there, will you stand up? What's your name?

Arthur looks around at the people around him, and realizes Murray's talking to him. Murray picked him out of the crowd --

Arthur gets up to his feet. He talks more here, and with more confidence, looks more at ease than we've seen him.

WHAT I'VE LEARNED: It's ok to announce "it's a fantasy sequence" to the reader, but the audience will not see it on screen, so be sure to also include the character with different behavior and costume.

Joker (2019)(12/1/18 shooting script)
by Todd Phillips & Scott Silver

2020 OSCARS: JoJo Rabbit (2019) - Using an Imaginary Friend

[Quick Summary: JoJo is a 10 y.o. Nazi-in-training with an imaginary friend called Hitler who is conflicted when he finds a young Jewish girl hiding in his house.]

I thought it was clever to use the imaginary friend to do a couple things:

a) question Jojo so we could hear his thinking process

b) comfort, advise, and make sense of the world for Jojo, which would be natural since he is Jojo's hero.

I also like that all the ridiculous stuff is there to make a point.

ex. EXT. WOODS - DAY

...VOICE (O.S.): Poor Jojo, what's wrong, little man?

 Jojo turns around, it's Adolf.

JOJO: Hi Adolf.

Adolf takes a seat.

ADOLF: Why so down in the dumps? A strong boy like yourself shouldn't be sad, you should be happy like a cloud!  Clouds don't care about anything!  [A's question allows us to hear J's inner reasoning.]

JOJO: They called me a coward. And my papa, they say he makes desserts instead of fighting. But I know he's still fighting, for you, for me, and for Germany.

ADOLF: Oh, of course he is! And he is also making nice desserts, nothing wrong with that. My God, his custard tarts are the only thing keeping up morale at the front. (beat) Want to tell me about the rabbit incident? What was that all about?  [A plays it serious, so it's funny & points out his ridiculous priorities. A's question leads to J admitting failure.]

JOJO: They wanted me to kill it. I'm sorry.

ADOLF: Meh, don't worry about it. I couldn't care less. Just like a cloud.

JOJO: But now they call me a scared rabbit.

ADOLF: Well you want to know something? (off Jojo's nod) Just because they're small and delightfully cute doesn't mean rabbits are cowards. The rabbit faces a dangerous world everyday, hunting carrots for his family...for his country. Forget those boys. They have their place and so do you. My empire will be made up of all animals, eagles, lions, elephants, and even the mighty rabbit. [A comforts & encourages J.]

Adolf offers Jojo a cigarette.

JOJO: No thanks, I don't sm--

ADOLF: Can I give you some really good advice? Be the rabbit. The humble bunny can outwit all his enemies and that is why he is a hero. Be. The. Rabbit. [A gives J good advice, which we agree with but also makes us uneasy.]

WHAT I'VE LEARNED: I never thought to use of the imaginary friend to give advice, much less good advice.

However, it's quite effective in making me consider, "Why do I like this guy? Do I trust him?"

JoJo Rabbit (2019)(2/8/19)
by Taika Waititi
Based on the book "Caging Skies" by Christine Leunens

2020 OSCARS: The Irishman (2019) - Transitioning Present to Past to Present

[Quick Summary: Frank Sheeran recounts his life in three eras, as the guy closest to Jimmy Hoffa and the one to kill him.]

This script had excellent structure, excellent pacing, epic conflict.

However, I was bored.  For the record, it's not the writer's fault. 

The main character does not change much, or was conflicted enough to change.  He's stoic so the script had to be about 70% in Frank's voice over.

I did think the writer did a heroic job of keeping the story focused though it jumps between three time frames.  I think it was because of really clear transitions.

NOTE: The hand --> the hand --> the gun in the hand --> Frank speaks

ex. PRESENT TIME - NURSING HOME

FRANK: One of a thousand working stiffs...

This is who we've been looking for - Frank Sheeran - perhaps to kill him. But he pays no attention to us, even as we come in close enough to see his gold watch encircled with diamonds, and the distinctive ring made from a gold coin on a finger.

INT. EMPTY HOUSE - A BLANK WALL - DAY

We see a young man's hand with the same gold and diamond encrusted watch and diamond pinky ring raise a gun at an unseen target.

FRANK (IN SYNC): ...until I wasn't anymore...

TWO QUICK GUNSHOTS to the back of an UNKNOWN MAN'S head.

The blank wall explodes in red, as though a bucket of blood had been thrown against it. The blood begins to slowly ooze down the wall covering it with red streaks.

FRANK (IN SYNC): ... And started painting houses myself.

INT. ASSISTED LIVING FACILITY - DAY - 2000

BACK in the ASSISTED LIVING FACILITY, Frank gives us a moment to grasp what he's said. Then:

FRANK: In this particular matter, the whole thing was built around the wedding.

WHAT I'VE LEARNED: Keep the visuals strong and simple.

The Irishman (2019)(final shooting script)
by Steve Zailian
Adapted from the book by Charles Brandt

2020 OSCARS: Parasite (2019) - Increasing Suspense

[Quick Summary:  After a poor family of 4 insert themselves into a rich family's life under false pretenses, they are blackmailed, fight back, and chaos ensues.]

I was very impressed by this well written script! I did not see that twist coming.

Also, the writers did a wonderful job increasing suspense through character.

First, they established 4 greedy members of the Kim family who all want jobs with the rich Park family.  They are willing to stoop to whatever it takes.

Second, the Kim characters sow seeds of doubt.

Prior to the scene below:
- Nice Mr. Dong-Ik Park has his chauffeur Yun drive young Miss Ki-Jung Kim home.
- Ki-Jung decides to try to make Yun look bad so there's a job opening for her dad.  She leaves her underwear in the car.
- Notice how this small act of malice spirals (increasing) and we are uncertain what will happen next (suspense)!

ex. INT. DONG-IK'S CAR - DRIVING - NIGHT

Dong-Ik is going through some papers in the back when one drops under the seat. As he reaches down to grab it --

He sees a vague WHITE SHAPE beneath the passenger seat. He picks it up. A pair of women's underwear. Ki-Jung's.

Dong-Ik looks disgusted. He stares hard at the back of Yun's head before putting the underwear in his pocket.

WHAT I'VE LEARNED: The suspense increases because we know that the character's actions have real consequences.  We know the other shoe will drop but we don't know when.

Parasite (2019)
by Bong Joon Ho and Han Jin Won
Story by Bong Joon Ho

2020 OSCARS: 1917 (2019) - A Good Descriptive Line

[Quick Summary: With his friend, a young corporal must make it across enemy territory to deliver a desist order and preventing the death of his brother.]

I wished I liked this script better, but I did not.
It was well-written, yet I didn't care as I aught.
However, the brief description below is quite good,
Especially the one with "understood."

ex. INT. DUGOUT - CONTINUOUS

...Erinmore speaks slowly, desperate to impress upon Blake and Schofield the gravity of this situation. Nothing can be misunderstood.

ERINMORE (CONT'D): If you don't, it will be a massacre. We would lose two battalions.  SIxteen hundred men, your brother among them.

Schofield hides his shock. But Blake looks at Erinmore, determination etched in his face: understood.

WHAT I'VE LEARNED: The gimmick of this film was that it was "one continuous shot" in order to keep the audience with the characters...but does it matter if I don't care that much about them?

1917 (2019)
by Sam Mendes & Krysty Wilson-Cairns

2020 OSCARS: Marriage Story (2019) - Using a Minor Character to the Fullest

[Quick Summary: After Nicole, an actress moves to LA and files for divorce, Charlie juggles seeing their son in LA and running a NYC theater company.]

TWO THOUGHTS:

1) This is a tight, well written script by a writer who knew what he wanted to say.

2) I liked the scene below.  It shows us how to use a minor character to the fullest.

First, notice the mere introduction of an unknown character increases the stakes and tension.  Who is this new guy? Why does he rattle Nora?  For better or worse?

Second, this particular minor character is external evidence of an internal change, i.e., new attorney signals a change in Charlie's strategy. 

Notes:
-Nicole is divorcing Charlie. Her attorney is Nora.
-Charlie's easy going attorney is Bert.  His new attorney is Jay Marotta.
-Nora is briefing Nicole before going into the courtroom.

ex. INT. LOS ANGELES COURTHOUSE, HALLWAY. MORNING

...NORA: I made sure the date of separation came AFTER the pilot pick-up to protect that money -- (suddenly) Fuck me.

NICOLE: What?

She follows Nora's gaze to Jay Marotta who marches down the hallway, conferring with Charlie.

JAY MAROTTA: It's not television. It's not a wise judge played by a great character actor. These are just people open to manipulation like anyone else.  You think it's justice, but it's not.

NICOLE: Who is that?

NORA: Charlie shouldn't have done this.

NICOLE: What do you mean? Where's Bert?

NORA: It means everything we've agreed upon is now off the table.

Jay and Charlie take a bench a ways away. Jay says Hi to some other lawyers.

NICOLE: But we've got LA, right --

NORA: Not with Jay Marotta representing him. This is a street fight now. And I'm going to have to ask for things we wouldn't normally ask for. We'll need as much leverage as possible to negotiate with.

Nora rises with a pinched smile --

NORA: This system rewards bad behavior.

--and greets Jay.

Nicole looks over at Charlie who doesn't meet her eye.

WHAT I'VE LEARNED: I thought that this was a very elegant, non-flashy way to ratchet up the intensity. 

Marriage Story (2019)
Written and directed by Noah Baumbach

TODAY'S NUGGET: Grease (1978) - Costume Explains the Character

[Quick Summary: Sandy, the newest senior student, has a rude awakening when she encounters her summer crush, Danny, at her new high school.]

My favorite line in this script was this description:

--Cha Cha Di Gregorio in six-inch spike heels.  She is wearing a yellow dress that is so ruffled it can move without her.

The statement about her costume shows me everything about who the character is.

WHAT I'VE LEARNED: If at all possible, look for a costume like this to tell us about the character.  It cuts down on having to explain him/her.

Grease (1987)(4th draft, 6/9/77)
by  Bronte Woodward
Screen story by Bronte and Allan Carr
Adapted from the Broadway musical by Jim Jacobs and Warren Casey

2020 OSCARS: Knives Out (2019) - Keeping Suspense While Dropping Clues

[Quick Summary: When the patriarch dies in a "suicide" and leaves his fortune to his nurse, a canny detective steps in to find the true killer in the family.]

This script is primarily a "how-done-it" which leads to the "who."

It is a fast and excellent read.

I was particularly interested to see that the clues were laid out in flashback with an ADDED layer of the clue dropper's emotional uncertainty.

The audience's experience is similar that of an unreliable narrator: who is right? who can we trust?  It is a great way to keep the suspense alive.

ex. INT. MARTA'S CAR - NIGHT - FLASHBACK

She drives out the guard gate and down the private road.

HARLAN (V.O.): Drive out the gate, then to avoid the security cameras, pull off the road BEORE the carved elephant.

Up ahead - a weathered wood carved elephant statue.

MARTA: Wait...was it before or after?

HARLAN (V.O.): AFTER the carved elephant.

MARTA: No, he said - before? Was it?

HARLAN (V.O.): BEAFTERFORE the carved elephant.

MARTA: Shit...

She yanks the wheel and pulls off BEFORE the statue.

WHAT I'VE LEARNED:  It's not just the clues.  It's the emotional need for answers. Keep them guessing.

Knives Out (2019)
Written and directed by Rian Johnson

* I tend to classify mysteries into two camps:
- "how-done-its" (often before technology was advanced)
- "who-done-it" and/or "why-done-it"

2020 OSCARS: Little Women (2019) - Doing Something Different Isn't Enough in an Adaptation

[Quick Summary: The story of aspiring writer Jo March and her sisters Meg, Amy, and Beth in the 1850s.]

TWO THOUGHTS:

1) STUNNED. My sister is one of the hardest demographics to get into theaters:
- She BALKS at going to the movies.
- She would rather watch tv re-runs of "Say Yes to the Dress" at home because she can multi-task, i.e., short attention span.

However, she is also the best demographic if she likes the film:
- She tells EVERYONE about the film.  You can't pay her to shut up.
- She buys the soundtracks, DVDs for the extras. 

So when she insisted that we must see this film on opening day (Christmas), I was stunned. * **

2) DOING SOMETHING DIFFERENT ISN'T ENOUGH IN ADAPTATION.

Making a film just to "do something different" would have been boring and a waste of money.  Audiences want more.  (Or as my sister put it, "well done.")

I think the smartest thing the producers did here was to match the right writer to the material.

Writer/director Greta Gerwig said that this film is about "women, art, and money," and understood that these themes have not gone away for women.

How did Gerwig make this script FEEL like the book even though the structure is different (told in flashback)?

I think it is because she:
a) was well aware of the themes and
b) used the form (flashback) to make a point about it.

In the scenes below, notice the contrast from past (carefree, close family fun) to present (hard work, poor, lonely).

ex. "INT./EXT. MARCH HOUSE. NIGHT. 1861.
...The girls laugh and prance and gossip around the warm fire. He stands apart, loving them all, the whole family...

EXT. MARCH HOUSE. NIGHT. CONTINUOUS.

...but most especially Jo. As Laurie retreats back to his big, lonely house, he looks across the field to Jo, writing alone in the attic, absorbed with her work.

THE PRESENT. EXT./INT. NEW YORK BOARDING HOUSE. NIGHT. 1868.

Jo works with her writing costume on: an antique military jacket. Her writing is like an attack, moving into enemy territory and occupying space. Her hand starts to cramp, she shakes it, stretches it, and then switches hands.

Suddenly she stops - she's heard something. She opens the door, but the hallway is empty. She looks down and sees a book, a very beautiful copy of The Complete Works of William Shakespeare. She opens the cover - inside there is a note:

FRIEDRICH (read to camera): For the writer in the attic: Because you enjoyed the play o much tonight, I wanted you to have this. It will help you study character and paint it with your pen. I would love to read what you're writing, if you'll trust me. I promise honesty and whatever intelligence I can muster. Yours, Friedrich

Jo opens the book and almost greedily she begins to read, reciting the words to herself.

WHAT I'VE LEARNED: I was impressed that Gerwig always knew what point she was making. It shows up in the unity of the script.

Little Women (2019)
by Greta Gerwig
Based on the novel by Louisa May Alcott

*You all want to know, "How do you get THAT demographic into the theater?!"

When I asked her, she replied, "It has to be well done."

Sigh. Not helpful. What makes a film "well done"?! 

**She also mentioned becoming interested after seeing a segment interviewing the director on  her favorite "CBS Sunday Morning."

So I guess knowing the audience you're marketing your film to?