[Quick Summary: The wedding singer, who is engaged to the wrong woman, and a waitress, who is engaged to the wrong guy, fall in love.]
I have issues with this script, but it's ok.
I was pretty impressed, however, by how fast we get a hint of the protagonist's unfilled desire (interior conflict to come)* - by page 3!
In the scene below:
- Robbie, the wedding singer, can't wait to get married (unfulfilled desire).
- He thinks his life is all smooth sailing.
- He has just wrested the microphone from the Best Man and saved his client's wedding reception.
ex. "Robbie raises his glass and everyone in the thankful crowd follows suit in a smattering sort of way. The tension is broken.
Many look at Robbie hopefully, many still disturbed. The bride is ashen, unable to look at her husband, who sits by her side sweating.
ROBBIE (continued): C'mon everybody, we've all done crazy things. I had dreams of being a rock star and I was living what I thought was a rock'n'roll lifestyle. 'Til I met a girl who made me realize what's really important in life. And I'm marrying her next week. [Uh-oh.]
The crowd applauds. Robbie acknowledges it.
ROBBIE (continued): The point is, when you're in love, the emptiness is gone and there's no reason to do stupid things. Cause you got something to live for - each other. And the way I've seen these two look into each others' eyes all day long, I can tell they're gonna live for each other the rest of their lives. Cheers! [He's a romantic. We sense that he's soon to be disappointed.]
The entire room fills with the warmth generated by Robbie's love inspiring speech."
WHAT I'VE LEARNED: I liked how we got to Robbie's current status quo quickly, with a light comedic touch, and set us up for where we'll be going.
The Wedding Singer (1998)
by Tim Herlihy (rewrite by Carrie Fisher, 11/8/96)
*This is known as Step 1: The Chemical Equation (Setup): "A scene or sequence identifying the exterior and/or interior conflict (i.e., unfulfilled desire), the "what's wrong with this picture" implied in the protagonist's (and/or the antagonist's) current status quo."
Monday, August 27, 2018
Monday, August 20, 2018
TODAY'S NUGGET: 9 to 5 (1980) - Farce is a Skillfully Exploited Situation
[Quick Summary: Three very different female co-workers bond over some wild, crazy adventures outwitting their sexist, lying, egotistical boss.]
Two lessons from this script:
1) How a Script Can Hinge on the Right Casting. Even with a good script, Dolly Parton added that "extra" vibrancy. So if you can get Dolly Parton, get Dolly Parton.
2) Why Do We Laugh at Farce? Let's start with the definition:
This script had several great examples, including the scene below.
Prior to this scece, Violet has accidentally put rat poison in the boss' coffee.
--> The boss hit his head, became unconscious, and spilt the coffee.
--> He is rushed to the E.R., woke up, and walked out.
--> Meanwhile, another unconscious man is wheeled in.
--> The police are waiting to hear about man #2.
Watch how we laugh the misunderstanding in the situation:
ex. "INT. EMERGENCY WARD - NIGHT
...A Medic that brought in the man on the gurney exits the emergency room. The Detective stops him for a moment.
DETECTIVE: The guy they just brought in on the gurney; how is he?
MEDIC #1: Not so good.
DETECTIVE: When can I speak to the Doctor?
MEDIC #1: He knows you're here. [This line signals to Violet that "everyone knows what she did." The reality is that no one does yet.]
The Medic walks on down the hall.
VIOLET: Oh, my God. They found out about it already.
JUDY: Don't panic. Don't panic.
The Doctor comes out and the Detective speaks to him.
DETECTIVE: How is he, Doc?
DOCTOR: He's dead.
Violet receives the news with a shock. Doralee and Judy are equally horrified.
VIOLET: Oh, my God. [She thinks the boss is dead, but ironically he's not.]
DETECTIVE: Can you tell what caused it?
DOCTOR: Not without an autopsy, but I'm fairly certain it was some kind of poison.
VIOLET: Ohhh... [She thinks she's to blame, but she's not.]
Violet feels suddenly faint and Judy and Doralee rush to help her. The Doctor leads the Detective and the Policeman into his office down the hall while Judy and Doralee help a distraught Violet to a seat in the waiting room."
WHAT I'VE LEARNED: Farce is about the situation more than the character development.
9 to 5 (1980)(final draft, 12/12/79)
by Colin Higgins
Story by Patricia Resnick
Two lessons from this script:
1) How a Script Can Hinge on the Right Casting. Even with a good script, Dolly Parton added that "extra" vibrancy. So if you can get Dolly Parton, get Dolly Parton.
2) Why Do We Laugh at Farce? Let's start with the definition:
Farce (n.) = A light, humorous play in which the plot depends upon a skillfully exploited situation rather than upon the development of character. (my emphasis)This is a new idea to me that farce is more about the situation than the character.
This script had several great examples, including the scene below.
Prior to this scece, Violet has accidentally put rat poison in the boss' coffee.
--> The boss hit his head, became unconscious, and spilt the coffee.
--> He is rushed to the E.R., woke up, and walked out.
--> Meanwhile, another unconscious man is wheeled in.
--> The police are waiting to hear about man #2.
Watch how we laugh the misunderstanding in the situation:
ex. "INT. EMERGENCY WARD - NIGHT
...A Medic that brought in the man on the gurney exits the emergency room. The Detective stops him for a moment.
DETECTIVE: The guy they just brought in on the gurney; how is he?
MEDIC #1: Not so good.
DETECTIVE: When can I speak to the Doctor?
MEDIC #1: He knows you're here. [This line signals to Violet that "everyone knows what she did." The reality is that no one does yet.]
The Medic walks on down the hall.
VIOLET: Oh, my God. They found out about it already.
JUDY: Don't panic. Don't panic.
The Doctor comes out and the Detective speaks to him.
DETECTIVE: How is he, Doc?
DOCTOR: He's dead.
Violet receives the news with a shock. Doralee and Judy are equally horrified.
VIOLET: Oh, my God. [She thinks the boss is dead, but ironically he's not.]
DETECTIVE: Can you tell what caused it?
DOCTOR: Not without an autopsy, but I'm fairly certain it was some kind of poison.
VIOLET: Ohhh... [She thinks she's to blame, but she's not.]
Violet feels suddenly faint and Judy and Doralee rush to help her. The Doctor leads the Detective and the Policeman into his office down the hall while Judy and Doralee help a distraught Violet to a seat in the waiting room."
WHAT I'VE LEARNED: Farce is about the situation more than the character development.
9 to 5 (1980)(final draft, 12/12/79)
by Colin Higgins
Story by Patricia Resnick
Monday, August 13, 2018
TODAY'S NUGGET: Pelican Brief (1993) - A Good Example of Suspense
[Quick Summary: After two Supreme Court justices are murdered, a Tulane Law School student proposes a possible conspiracy, and ends up running for her life.]
I'm not sure that I liked this script (or maybe it was the story?)
However, I did like the following suspense scene where Darby is on the run.
She has arranged to meet with Verheek, someone she has never met before.
She has no idea, but we know that this guy is an imposter.
ex. "EXT. BOARDWALK - DAY
The boardwalk is crowded; a line has formed beside the Bayou Queen, a paddle wheeler. They stop at the end of the line.
HE: Are we getting on this boat?
DARBY: Yes. I've got a car a mile upriver at a park where we'll stop in thirty minutes.
The line is moving now.
CLOSE SHOT - HIM
CAMERA follows his hand as he touches the trouse pocket that contains the gun. He reaches into the pocket and pulls out a handkerchief.
CAMERA pans up with him as he brings it to his nose. There is a tiny flash of metal against the base of his skull just below the red baseball cap.
CLOSE SHOT DARBY'S HAND HOLDING HIS AS HIS HAND FALLS AWAY FROM HERS.
CLOSE SHOT DARBY as she whirls around.
DARBY'S P.O.V. of HIM falling to the ground.
CLOSE SHOT OF WHITE HANDKERCHIEF still clutched in his hand as it hits the ground. It turns bloos red.
VERY CLOSE SHOT - DARBY'S EYES AND MOUTH FILLING THE SCREEN WITH HER SCREAM...She whirls around in horror.
CAMERA whirls around to her P.O.V.
A man is running away. He disappears in a crowd.
WOMAN (V.O.): He's got a gun.
CAMERA whirls back again, following the sound of the woman's voice. SHe is standing next to Darby.
CAMERA slams down to her P.O.V.
The man she thinks is Verheek is on all fours with a small pistol in his right hand. Blood streams from his chin and puddles under his face. He lunges to the edge of the boardwalk. The gun drops into the water. He collapses on his stomach with his head hanging over and dripping into the river."
WHAT I'VE LEARNED: I think it's her reaction shots that makes the shock resonate so strongly with us.
Pelican Brief (1993)(1st draft, 2/10/93)
by Alan J. Pakula
Adapted from the novel by John Grisham
I'm not sure that I liked this script (or maybe it was the story?)
However, I did like the following suspense scene where Darby is on the run.
She has arranged to meet with Verheek, someone she has never met before.
She has no idea, but we know that this guy is an imposter.
ex. "EXT. BOARDWALK - DAY
The boardwalk is crowded; a line has formed beside the Bayou Queen, a paddle wheeler. They stop at the end of the line.
HE: Are we getting on this boat?
DARBY: Yes. I've got a car a mile upriver at a park where we'll stop in thirty minutes.
The line is moving now.
CLOSE SHOT - HIM
CAMERA follows his hand as he touches the trouse pocket that contains the gun. He reaches into the pocket and pulls out a handkerchief.
CAMERA pans up with him as he brings it to his nose. There is a tiny flash of metal against the base of his skull just below the red baseball cap.
CLOSE SHOT DARBY'S HAND HOLDING HIS AS HIS HAND FALLS AWAY FROM HERS.
CLOSE SHOT DARBY as she whirls around.
DARBY'S P.O.V. of HIM falling to the ground.
CLOSE SHOT OF WHITE HANDKERCHIEF still clutched in his hand as it hits the ground. It turns bloos red.
VERY CLOSE SHOT - DARBY'S EYES AND MOUTH FILLING THE SCREEN WITH HER SCREAM...She whirls around in horror.
CAMERA whirls around to her P.O.V.
A man is running away. He disappears in a crowd.
WOMAN (V.O.): He's got a gun.
CAMERA whirls back again, following the sound of the woman's voice. SHe is standing next to Darby.
CAMERA slams down to her P.O.V.
The man she thinks is Verheek is on all fours with a small pistol in his right hand. Blood streams from his chin and puddles under his face. He lunges to the edge of the boardwalk. The gun drops into the water. He collapses on his stomach with his head hanging over and dripping into the river."
WHAT I'VE LEARNED: I think it's her reaction shots that makes the shock resonate so strongly with us.
Pelican Brief (1993)(1st draft, 2/10/93)
by Alan J. Pakula
Adapted from the novel by John Grisham
Monday, August 6, 2018
TODAY'S NUGGET: St. Elmo's Fire (1985) - The Comedic "3 Beats"
[Quick Summary: Three months out of college, seven college friends enter their Freshman Year of Life with all its expectations, secrets, and messiness.]
MY TWO CENTS:
1) Would I buy this script today? YES, in a heart beat.
Why?
- It's a witty, fun, sharp, timeless drama + comedy.
- It's rare to have so much great comedy in a drama.
- It is a true ensemble cast for 7 young actors, with great arcs and conflict.
- It's cheap (no CGI, car chases, etc.)
2) The Comedic "3 Beats." I was impressed by the number of "3 beats" in this script.*
Usually, the 3 beats are close together:
ex. "INT. GEORGETOWN MEDICAL CENTER - AUGUST NIGHT
...Wendy is looking over Jules' Date who hovers in the distance.
WENDY: Is that your date? [BEAT 1]
The naked man wanders past them. [BEAT 2]
JULES: No that's my date! [BEAT 3]
As usual, Jules has managed to make Wendy laugh, just as the Cops approach her."
------------------------------------------------------------------------------
Sometimes, the 3 beats were looser and further apart:
ex. "INT. LADIES ROOM
Jules is applying eyeshadow to Wendy's bruised eye.
WENDY: He got drunk cause he lost his job. [Set the argument.]
JULES: Again? You didn't give him any money did you...?
WENDY: A little.
JULES: I thought you were going to take definite steps to change everything in your life that is not working. [BEAT 1]
WENDY: That doesn't leave much left. [BEAT 2]
JULES: Wendy this is all too destructive.
WENDY: Life in the fat lane. [BEAT 3]
JULES: You're not fat.
WENDY: I am fat. And no diet works. The only way to loose [sic] weight is by amputation. [BEAT 1]
JULES: You have to amputate Billy the Kid. [BEAT 2]
WENDY: I can't. [BEAT 3] [BEAT 1]
JULES: I don't get it. [BEAT 2]
WENDY: Me either." [BEAT 3]
WHAT I'VE LEARNED: I think these "3 beat" comedy bits allowed this drama to skewer a little deeper, a little closer to the bone, than straight drama alone could.
St. Elmo's Fire (1985)(3/13/84 draft)
by Joel Schumacher and Carl Kurlander
* "3 beats"= The rhythm and/or repetition of "three" things. I'm not sure who discovered it, but it always seems to make people laugh.
MY TWO CENTS:
1) Would I buy this script today? YES, in a heart beat.
Why?
- It's a witty, fun, sharp, timeless drama + comedy.
- It's rare to have so much great comedy in a drama.
- It is a true ensemble cast for 7 young actors, with great arcs and conflict.
- It's cheap (no CGI, car chases, etc.)
2) The Comedic "3 Beats." I was impressed by the number of "3 beats" in this script.*
Usually, the 3 beats are close together:
ex. "INT. GEORGETOWN MEDICAL CENTER - AUGUST NIGHT
...Wendy is looking over Jules' Date who hovers in the distance.
WENDY: Is that your date? [BEAT 1]
The naked man wanders past them. [BEAT 2]
JULES: No that's my date! [BEAT 3]
As usual, Jules has managed to make Wendy laugh, just as the Cops approach her."
------------------------------------------------------------------------------
Sometimes, the 3 beats were looser and further apart:
ex. "INT. LADIES ROOM
Jules is applying eyeshadow to Wendy's bruised eye.
WENDY: He got drunk cause he lost his job. [Set the argument.]
JULES: Again? You didn't give him any money did you...?
WENDY: A little.
JULES: I thought you were going to take definite steps to change everything in your life that is not working. [BEAT 1]
WENDY: That doesn't leave much left. [BEAT 2]
JULES: Wendy this is all too destructive.
WENDY: Life in the fat lane. [BEAT 3]
JULES: You're not fat.
WENDY: I am fat. And no diet works. The only way to loose [sic] weight is by amputation. [BEAT 1]
JULES: You have to amputate Billy the Kid. [BEAT 2]
WENDY: I can't. [BEAT 3] [BEAT 1]
JULES: I don't get it. [BEAT 2]
WENDY: Me either." [BEAT 3]
WHAT I'VE LEARNED: I think these "3 beat" comedy bits allowed this drama to skewer a little deeper, a little closer to the bone, than straight drama alone could.
St. Elmo's Fire (1985)(3/13/84 draft)
by Joel Schumacher and Carl Kurlander
* "3 beats"= The rhythm and/or repetition of "three" things. I'm not sure who discovered it, but it always seems to make people laugh.
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