2018 OSCARS: Molly's Game (2017) - Assumptions & Doling Out Information

[Quick Summary: Former Olympian-turned-high-stakes-poker-acilitator Molly Bloom seeks a criminal attorney to defend her against federal racketeering charges.]

Two thoughts:

A) PROCESS OF ADAPTATION. I'm fascinated by the evolution of this project.

-The book was written before Molly was arrested.
-Sorkin realized that LOTS of interesting stuff happened before and after publication.
-If Sorkin had limited himself to the book, it would've been an entertaining, but typical story focusing on glitz and glam, rather than a deeper character study.
- The script uses the book, but relied heavily on personal interviews.

B) ASSUMPTIONS.

"She [Molly, who he met] wasn't who I expected her to be." - Sorkin

This is a complex story, as per usual with the material Sorkin chooses.

I was interested in how he used assumptions to dole out information.

In the exchange below with an attorney that she hopes to hire,  Molly is loyal to her former boss and clients but not these four clients. [Why? It's explained later.] 

ex. "CHARLIE (pause): Let me ask you something. Reardon -- in the book --he didn't say "Poor people bagels," did he. (beat) I think I know who he is, I think I know a real estate lawyer who worked with him and quit. He called them "nigger bagels," right?

MOLLY (pause): I'm not telling you his name, he's not involved in this. [She protects her former not-so-nice boss?]

CHARLIE: But you were willing to name the movie stars.

MOLLY: None of that matters. Why is the FBI arresting me two years after -- [She sold out on former clients? Why?]

CHARLIE: Were you paid extra in your book deal to name the movie stars?

MOLLY (pause): Yes. [Ah! An answer! But we learn later this isn't the full story....]

CHARLIE: I'm not your guy, Molly. I wish you good luck but this just isn't for me.  [We understand why Charlie is reluctant to represent her.]

MOLLY hears that but still doesn't leave."

WHAT I'VE LEARNED: This script is structured to allow the set ups enough time to play out.  There was no rush to get to the pay offs. They had to be earned.

ex. In the above scene, Molly let others think the worst of her and there was no rush to defend herself.

Molly's Game (2017)(dated 12/29/15)
by Aaron Sorkin
Adapted from the book by Molly Bloom

2018 OSCARS: Logan (2017) - Clarity of Showing What is at Stake; Tension

[Quick Summary: Logan, the Wolverine, escapes with Dr. Xavier and a newly discovered mutant, Laura.]

Yes, this is a Marvel movie.

No, it's not a typical canned "superhero" movie, but actually more of a Western.

Yes, it is Oscar worthy for its level of difficulty and finesse.

No, you should not skip this script even if you don't like Westerns or superhero films.

Why? It does an excellent job of clearly showing what is at stake.

(Another way to look at "stakes":

In order to enjoy a movie [vs. a book], you need to be invested pretty quickly....What do I need to know to care enough to go on this ride? ("Logan & Scott Frank"))

In the scene below, Logan has just illegally bought pills.

Notice:
1) how the writer shows rising tension by using hope-fear-hope-fear; and
2) how the writer reveals WHY Logan is afraid (it's not for himself).

ex. "INT. LOGAN'S LIMO -- OUTSIDE HOSPITAL -- MOMENTS LATER

Logan, now carrying the bag, hurries through the rain to his Limo. [Hope! He got the pills.] He climbs inside starts it up but is startled by the back door opening and closing. Logan spins to face -- [Fear]

A SMILING MAN in the back of his stretch. This is Donald Pierce, 35. A southern boy, smooth and playful.

PIERCE: As I live and breath. The Wolverine. And he's a junkie now. [Fear]

LOGAN: Who the fuck are you?

PIERCE: Y'know, you got some buckshot in your door....

LOGAN: Get out. Now.

PIERCE: Has she found you yet? ...Gabriela? (off Logan's blank look) See, I'm not looking for you, mutey. Not really. I'm looking for someone who's looking for you. She took something of mine. Something for which I am responsible. When I wasn't looking. Mexican lady. Long hair, long legs, Long gone. Has her sights on you. (off Logan's glare) No bells? [Hope. This is not about Logan or anyone he knows.]

LOGAN: I don't know any Gabriela. So get the fuck out.

Pierce just smiles, unfazed, then shifts his gaze to Logan's bag of pills. Peering in, quasi-conspiratorial:

PIERCE: I know what you're hiding, amigo. Cue ball south of the border? [Fear. Pierce knows where Logan's hideout is and who is there.  This is why Logan has been working so hard.]

Logan tenses, says nothing.

LOGAN: What do you want?

PIERCE: A little...cooperation.

Flicks a business card.

PIERCE (cont'd): If she does find you."

WHAT I'VE LEARNED: When showing what is at stake, be sure to layer in some hope-fear-hope-fear, so that the audience will understand its importance to the character (especially when the audience may/may not agree).

Logan (2017)
by Scott Frank & James Mangold, and Michael Green
Story by James Mangold

2018 OSCARS: The Disaster Artist (2017) - Tone & Finding That Fine Line

[Quick Summary: Actor/director Tommy Wiseau and new friend Greg Sestero live out their dreams by unintentionally making the greatest bad movie, The Room.]

I was intrigued by this adaption.

First, it was not a run-of-the-mill, behind-the-scenes story, despite the ad campaign.  It actually was a deeper story about friendship and dreams.

Second, the tone walked a fine line that leaned to heartfelt vs. too comedic or unkind.

In this DGA interview, actor/director James Franco talks about crafting tone and cites these key factors:

- The main character has an "affable arrogance" that made it ok to laugh at him.
- The book's tone set the stage.  It emphasized "relatable" rather than mocking.
- Franco went to writers known for 'relationship' films.
- They aimed for a funny, crazy story, but it was more about dreamers than comedy.

In the scene below, notice that it's ironic, funny, but does not ridicule.

Tommy's "I-know-everything" arrogance makes it easy for Peter and Bill to sell double the equipment. 

Is this taking advantage? No, because Tommy WANTS to be sold all of it.

We laugh because Tommy can't see the flaw (and probably doesn't want to either).

ex.  "INT. BIRNS & SAWYER PRODUCTION SOUNDSTAGE - DAY

...BILL: Hey, customer's always right, right? So, uh, you looking to shoot 35 or HD?

Tommy clearly has no idea what that means.

TOMMY: I shoot both.

Peter and Bill are flabbergasted. Greg tries to be helpful.

GREG: I think he's asking if you want to shoot on digital or film.

TOMMY: My ears work. I want to shoot with both cameras.

BILL: But...you can't do both.

TOMMY: Why not?

PETER: You would need twice the equipment, twice the crew...They're not even lit the same --It's just not done.

TOMMY: So what you're saying is...I will be first.

PETER: What I'm saying is... NO ONE. WOULD EVER. Do it.

TOMMY: Exactly. (beat) I am not no one. I am Wiseau.

Greg high fives Tommy. Bill and Peter are stunned. Who are these guys? Peter is about to respond when Bill intervenes.

BILL: Can you gentlemen give us a moment?

Bill and Peter step off to the side. We can't hear what they're saying but they talk animatedly while keeping a keen eye on Tommy and Greg. After a few more beats, Peter and Bill return. Their attitude very different.

PETER: So we talked about it. We'll sell you all the equipment you need. And we'll give you a reduced rate on everything if you decide to shoot here.

TOMMY: Good. I like this spot.

Peter looks to Bill. They're trying to contain themselves.

PETER: Terrific! Sounds like we have a deal."

WHAT I'VE LEARNED: I thought tone was key in capturing the atmosphere around this confusing, well-meaning, selfish, contradictory, arrogant character.

It showed us what he was like without telling us what to think about him.

The Disaster Artist (2017)
by Scott Neustadter & Michael H. Weber
Adapted from the book, "The Disaster Artist: My Life Inside The Room, The Greatest Bad Movie Ever Made," by Greg Sestero & Tom Bissell

2018 OSCARS: Call Me By Your Name (2017) - Showing Awkwardness

[Quick Summary: In 1980s Italy, a 17 y.o. boy falls in love for the first time with the family's summer lodger, an American male graduate student.]

Though I'm only halfway through, I am quite impressed with the level of difficulty of the Oscar scripts this year. *

Today's script is quite a high wire act:

1) It's an effective, slow burn drama, AND

2) It shows what a 17 y.o.'s journey through awkwardness feels like, AND

3) It happens during every day life.  There is no "grand crisis" that speeds things up, i.e., no guns, violence, car crash, death, etc.

This script is unusual in that it makes you FEEL Elio's awkwardness through contrasting behaviors (Elio vs. others).

In the scene below, notice:
- Elio is the only one who is unsure and who is not relaxed.
- The other characters may feel that way too, but handle it differently because: a) they're older, and b) have more life experience.
-  Even Oliver is not rattled, though he does not know what to do with the egg at first. He catches on faster than Elio does. 

ex. "EXT. GARDEN IN FRON OF THE KITCHEN - PERLMAN VILLA - DAY

The PERLMANS are eating breakfast outside, in front of the kitchen. OLIVER comes out and sits down, watching how ELIO expertly cracks his soft-boiled egg shell, then attempts to do the same, but only a tiny bit of the shell is pierced, so he pretends to busy himself with his coffee and pushes the egg in its cup away. MAFALDA asks him if he would like juice. He says "Please". She looks down at the discarded egg.

MAFALDA: Lasci fare a me, Signore. (Let me)

She slices the top off and returns to her kitchen.

ANNELLA: Did you recover from your trip, caro?

OLIVER: Big time.

ELIO, who has been trying not to stare at their guest and is concentrating on spreading honey on a piece of bread, now lifts his head and speaks, growing unnaturally loud:

ELIO: I can show you around.

OLIVER: Good. Are we far from town? I need to open a bank account.

Both Professor PERLMAN and ANNELLA look up, interested.

PERLMAN (smiling): None of our residents has ever had a local bank account.

Elio turns in his seat to get a better view of Oliver, who is sitting beside him.

ELIO: Should I take him to Montodine?

PERLMAN: I'm think they're closed for summer vacation. Try Crema.

OLIVER: Is that your orchard?

PERLMAN: Pesca, ciliege, albicooche...(peaches, cherries, apricots...)

ANNELLA: Pomegranate.

MAFALDA returns with a pitcher of apricot juice on a little tray and proceeds to fill Oliver's glass. OLIVER tastes it, then enthusiastically downs it. ELIO realizes he is staring at OLIVER, his head tipped back with his throat swallowing the juice, and notices the Star of David on a necklace around his neck. OLIVER smacks his lips and begins to eat his second egg, giving it a sharp crack. MAFALDA brings him a third egg.

ANNELLA (CONT'D): Have another egg.

OLIVER (shaking his head): I know myself. If I have three, I'll have a fourth, and more.

ELIO has never heard someone Oliver's age say, I know myself. It's somewhat intimidating. He lowers his eyes."

WHAT I'VE LEARNED: I liked that awkwardness was shown in behavior here, rather relying on dialogue to express it.

Call Me By Your Name (2017)
by James Ivory
Adapted from the novel by Andre Aciman

*In the five years that I've read all the nominated Oscar scripts, this year's group of competitors are the strongest that I've seen.