[Quick Summary: In Harlem, Tish, 18, and her family come together to get Fonny, 21, Tish's fiancee, out of jail for an unjust incarceration.]
TWO THINGS THAT THIS SCRIPT DOES WELL:
1) "[T]hese six women alone now in this house." I thought that this was a nice, simple way to explain the tone shift to come, i.e., how women speak to each other when men are not around.
2) Releasing the tension. There is a very tense scene in an Italian grocery store:
- Tish is felt up by an Italian punk and slaps him.
- Fonny runs into the store.
- A policeman accuses Fonny but Tish speaks up to defend him.
- The Italian owner confirms Tish's version.
- Fonny barely says anything at all.
In the next scene, we see the release of all the tension.
Also, I liked that there were two very different viewpoints: Fonny felt emasculated, but Tish had no idea that her actions were contributing to it.
ex. "EXT. BLEECKER STREET - NIGHT - MOVING
Tish and Fonny moving quietly down the sidewalk.
Fonny holds the bag of tomatoes in the crook of one hand; the other arm he entwines through Tish's. They walk slowly.
FONNY: Tish...
TISH: Yes?
FONNY: Don't ever try to protect me.
TISH: But you were trying to protect me.
FONNY (heavy;quiet): It's not......the same......thing.
Fonny takes the bag of tomatoes...and smashes them against the nearest wall. They make a beautiful, chiaroscuro mess of streaking red. But, mercifully, they hardly make a sound.
The two of them standing apart now, Fonny with his hands in his pockets, looking down at his feet, disgusted.
Tish with a hand covering his mouth, the other wrapped about herself. Fonny closing the space, takes her hand in his:
FONNY: Don't think I don't know you love me. You believe we going to make it?
Tish embracing him, a hand to his cheek, a very full kiss.
She draws back, starts to say something, but...he puts a finger to her lips. Smiles his little smile.
FONNY: Don't say a word. I'm going to take you out to dinner. At our Spanish place, you remember?"
WHAT I'VE LEARNED: I liked how Scene A plays --> Scene B releases the tension --> Scene B reveals a different interpretation of Scene A.
If Beale Street Could Talk (2018)
Written for the screen and directed by Barry Jenkins
Based on the book by James Baldwin
Monday, March 25, 2019
Monday, March 18, 2019
2019 OSCARS: Can You Ever Forgive Me? (2018) - Retain the Unpleasant; Protagonist as Antagonist
[Quick Summary: After an unpleasant, down-on-her-luck writer is suspected by the FBI, she enlists the help of a ne'er-do-well to continue to sell faked celebrity letters.]
TWO THINGS THAT THIS SCRIPT DOES WELL:
1) RETAIN THE UNPLEASANT. Lee Israel was a difficult person.
I liked that this script did not try to soften those edges or excuse them. It merely showed the cause and effect of her idiosyncratic, but human, behavior.
ex. At a party at her agent's house, Lee feels the agent is brushing her off/rejecting her. Instead of dealing with the feeling, she steals someone else's nice coat.
2) PROTAGONIST AS ANTAGONIST. What do you do when the protagonist's greatest antagonist is herself? How do you externalize her fight with herself?
For Lee, I think she wanted to connect, but her unexamined issues got in the way.
This script does a nice job of putting Lee into situations where her flaws are on display and work against her being able to connect.
In the scene below, note:
- Lee owes three months rent. Andrei is nice to her.
- Lee is in the wrong, yet she continues to treads on his kindness and asks for another favor.
- Lee does not take responsibility for the lost job and blames others.
- The scene shows how Lee's imposing behaviors caused others to stay away.
ex. "INT. LEE'S APARTMENT BUILDING - ENTRYWAY - DAY
Lee enters her building, and upon seeing Andrei, 50s, Romanian, tries to turn around and go right back out, but he calls out.
ANDREI: MS. ISRAEL!
LEE: Hi, Andrei.
ANDREI: I knock on your door but you never answer. We're going on three months.
LEE: No, I know. I'm really sorry about that. I'm working on it.
ANDREI: I don't want to have to call the management.
LEE: Can you cut me a little slack? It's been a rough patch. I just lost my job. I think it was ageism.
ANDREI: Can't you write another book?
LEE: Last one was a bit of a calamity.
ANDREI: I like you, you've been here longer than I have, and you've always been kind to my mother. Just get it to me soon.
LEE: I will. Absolutely. Thank you.
Andrei start to walk away.
LEE (CONT'D): But hey, in the meantime, do you think you could get an exterminator in my apartment? I've got an untenable fly situation."
WHAT I'VE LEARNED: This script is unusual because the protagonist is the main antagonist too. It must've been difficult to figure out how to externalize the internal fight.
Can You Ever Forgive Me? (2018)(final shooting script, 3/13/17)
by Nicole Holofcener and Jeff Whitty
TWO THINGS THAT THIS SCRIPT DOES WELL:
1) RETAIN THE UNPLEASANT. Lee Israel was a difficult person.
I liked that this script did not try to soften those edges or excuse them. It merely showed the cause and effect of her idiosyncratic, but human, behavior.
ex. At a party at her agent's house, Lee feels the agent is brushing her off/rejecting her. Instead of dealing with the feeling, she steals someone else's nice coat.
2) PROTAGONIST AS ANTAGONIST. What do you do when the protagonist's greatest antagonist is herself? How do you externalize her fight with herself?
For Lee, I think she wanted to connect, but her unexamined issues got in the way.
This script does a nice job of putting Lee into situations where her flaws are on display and work against her being able to connect.
In the scene below, note:
- Lee owes three months rent. Andrei is nice to her.
- Lee is in the wrong, yet she continues to treads on his kindness and asks for another favor.
- Lee does not take responsibility for the lost job and blames others.
- The scene shows how Lee's imposing behaviors caused others to stay away.
ex. "INT. LEE'S APARTMENT BUILDING - ENTRYWAY - DAY
Lee enters her building, and upon seeing Andrei, 50s, Romanian, tries to turn around and go right back out, but he calls out.
ANDREI: MS. ISRAEL!
LEE: Hi, Andrei.
ANDREI: I knock on your door but you never answer. We're going on three months.
LEE: No, I know. I'm really sorry about that. I'm working on it.
ANDREI: I don't want to have to call the management.
LEE: Can you cut me a little slack? It's been a rough patch. I just lost my job. I think it was ageism.
ANDREI: Can't you write another book?
LEE: Last one was a bit of a calamity.
ANDREI: I like you, you've been here longer than I have, and you've always been kind to my mother. Just get it to me soon.
LEE: I will. Absolutely. Thank you.
Andrei start to walk away.
LEE (CONT'D): But hey, in the meantime, do you think you could get an exterminator in my apartment? I've got an untenable fly situation."
WHAT I'VE LEARNED: This script is unusual because the protagonist is the main antagonist too. It must've been difficult to figure out how to externalize the internal fight.
Can You Ever Forgive Me? (2018)(final shooting script, 3/13/17)
by Nicole Holofcener and Jeff Whitty
Monday, March 11, 2019
2019 OSCARS: BlacKkKlansman (2018) - Tension; Intercutting for Compare & Contrast, Cause & Effect
[Quick Summary: This is the true story of Ron Stallworth, an African American cop in Denver, who infiltrated the KKK.]
TWO THINGS THIS SCRIPT DOES WELL:
1) RISING TENSION. This script was not super-fun to read, but it read smoothly. I particularly liked the continued rise in tension until the end.
2) INTERCUT A + INTERCUT B = COMPARE & CONTRAST
This script intercuts two simultaneous events (A, B) which makes the audience compare and contrast two opposing views.
In the scene below:
- Scene A: Jerome Turner, 90 y.o. black man, speaks to the Black Student Union about a public lynching of his friend.
- Scene B: Devin Davis, Grand Master of the Klan, initiates undercover cop Flip.
- Notice the intercutting of Turner and Davis makes the audience think about the cause and effect:
CLOSE - JEROME TURNER
JEROME TURNER: I was working at the Shoe Shine Parlor. After the verdict, a Mob grabbed Jesse, wrapped a Chain around his Neck and dragged him out the Court House.
CLOSE - 3 SHOT - PATRICE, ODETTA, HAKEEM
CLOSE - JEROME TURNER
JEROME TURNER: I knew I had to hide.
INT. PRIVATE ROOM - STEAKHOUSE - DAY
DEVIN DAVIS: Ron Stallworth. Are you a White, Non-Jewish American Citizen?
Flip is breathing hard.
FLIP: Yes.
DEVIN DAVIS:Yes, what?
FLIP: I am a White, Non-Jewish American Citizen.
INT. FREEDOM HOUSE - DAY
CLOSE - PATRICE
Tears rolls down her face.
JEROME TURNER (V.O.): The Attic of the Parlor had a Small Window and I watched below as The Mob marched Jesse along Stabbing and Beating him. Finally, they held Jesse down and cut his Testicles off in Front of City Hall.
CLOSE - JEROME TURNER
JEROME TURNER (V.O.): The Police and city Officials were out there just watching like it was a 4th of July Parade.
INT. PRIVATE ROOM - STEAKHOUSE - DAY
Davis looks into Flip's Eyes. Flip returns The Stare.
DEVIN DAVIS: Are you in favor of a White Man's Government in this Country?"
WHAT I'VE LEARNED: I liked the deliberate intercutting of A and B to assist the audience in comparing and contrasting, in cause and effect.
It's not just a fancy technique for show.
BlacKkKlansman (2018)
by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee
TWO THINGS THIS SCRIPT DOES WELL:
1) RISING TENSION. This script was not super-fun to read, but it read smoothly. I particularly liked the continued rise in tension until the end.
2) INTERCUT A + INTERCUT B = COMPARE & CONTRAST
This script intercuts two simultaneous events (A, B) which makes the audience compare and contrast two opposing views.
In the scene below:
- Scene A: Jerome Turner, 90 y.o. black man, speaks to the Black Student Union about a public lynching of his friend.
- Scene B: Devin Davis, Grand Master of the Klan, initiates undercover cop Flip.
- Notice the intercutting of Turner and Davis makes the audience think about the cause and effect:
- past vs. present = We see that the present is still perpetuating past behaviors.
- pain vs. 'glory' = We see how that pain will continue because of these new members.
- new ideas vs. old ideas = Patrice and friends want a new world. Klan wants the old.
CLOSE - JEROME TURNER
JEROME TURNER: I was working at the Shoe Shine Parlor. After the verdict, a Mob grabbed Jesse, wrapped a Chain around his Neck and dragged him out the Court House.
CLOSE - 3 SHOT - PATRICE, ODETTA, HAKEEM
CLOSE - JEROME TURNER
JEROME TURNER: I knew I had to hide.
INT. PRIVATE ROOM - STEAKHOUSE - DAY
DEVIN DAVIS: Ron Stallworth. Are you a White, Non-Jewish American Citizen?
Flip is breathing hard.
FLIP: Yes.
DEVIN DAVIS:Yes, what?
FLIP: I am a White, Non-Jewish American Citizen.
INT. FREEDOM HOUSE - DAY
CLOSE - PATRICE
Tears rolls down her face.
JEROME TURNER (V.O.): The Attic of the Parlor had a Small Window and I watched below as The Mob marched Jesse along Stabbing and Beating him. Finally, they held Jesse down and cut his Testicles off in Front of City Hall.
CLOSE - JEROME TURNER
JEROME TURNER (V.O.): The Police and city Officials were out there just watching like it was a 4th of July Parade.
INT. PRIVATE ROOM - STEAKHOUSE - DAY
Davis looks into Flip's Eyes. Flip returns The Stare.
DEVIN DAVIS: Are you in favor of a White Man's Government in this Country?"
WHAT I'VE LEARNED: I liked the deliberate intercutting of A and B to assist the audience in comparing and contrasting, in cause and effect.
It's not just a fancy technique for show.
BlacKkKlansman (2018)
by Charlie Wachtel & David Rabinowitz and Kevin Willmott & Spike Lee
Monday, March 4, 2019
2019 OSCARS: The Ballad of Buster Scruggs (2018) - Fables; Clear Geography
[Quick Summary: An anthology of stories from the old West, with a twist of dark drama and humor.]
TWO THINGS THAT THIS SCRIPT DOES WELL:
1) FABLES. I did not enjoy reading this anthology.
I found it hard to grasp what it was trying to do.
However, I did like that these stories are like Aesop's Fables, with the moral of the story left up to the reader. One story with very little dialogue still haunts me.
2) CLEAR GEOGRAPHY. I liked how easy it was to follow the action.
I also like that the script assumes that you know a little about Westerns.
For example, the scene below assumes you know that bank "teller's bars" go up to the ceiling.
Also, the description of how the cowboy/robber moves is very easy to follow:
He moves down the counter --> on top of the counter --> up the bars --> drops off.
ex. "INT. BANK - DAY
The cowboy enters.
The one-room structure is empty except for a trapper with white hair and mustache behind the teller's bars, hands planted on the counter. He wears a black eyeshade and black sleevegarters.
....
The unmistakable clack of a shotgun-prime.
The cowboy's eyes widen. He takes a nimbly evasive step down the counter as --
ROAR! --wood from the base of the counter splinters outward where he'd just been standing.
ROAR!--another explosion further along.
The cowboy grabs the bars at one end of the counter and hoists himself. He stands perched on the counter lip, hugging the bars. The shotgun continues to roar.
He scales the bars and drops to the counter's far side."
WHAT I'VE LEARNED: Don't over-explain geography (and don't under-explain either).
The Ballad of Buster Scruggs (2018)
by Joel Cohen and Ethan Cohen
TWO THINGS THAT THIS SCRIPT DOES WELL:
1) FABLES. I did not enjoy reading this anthology.
I found it hard to grasp what it was trying to do.
However, I did like that these stories are like Aesop's Fables, with the moral of the story left up to the reader. One story with very little dialogue still haunts me.
2) CLEAR GEOGRAPHY. I liked how easy it was to follow the action.
I also like that the script assumes that you know a little about Westerns.
For example, the scene below assumes you know that bank "teller's bars" go up to the ceiling.
Also, the description of how the cowboy/robber moves is very easy to follow:
He moves down the counter --> on top of the counter --> up the bars --> drops off.
ex. "INT. BANK - DAY
The cowboy enters.
The one-room structure is empty except for a trapper with white hair and mustache behind the teller's bars, hands planted on the counter. He wears a black eyeshade and black sleevegarters.
....
The unmistakable clack of a shotgun-prime.
The cowboy's eyes widen. He takes a nimbly evasive step down the counter as --
ROAR! --wood from the base of the counter splinters outward where he'd just been standing.
ROAR!--another explosion further along.
The cowboy grabs the bars at one end of the counter and hoists himself. He stands perched on the counter lip, hugging the bars. The shotgun continues to roar.
He scales the bars and drops to the counter's far side."
WHAT I'VE LEARNED: Don't over-explain geography (and don't under-explain either).
The Ballad of Buster Scruggs (2018)
by Joel Cohen and Ethan Cohen
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