TODAY'S NUGGET: Fearless (1993) - A Broken Script; Flashbacks Used to Show Present Emotional State

[Quick Summary: After surviving a plane crash, Max no longer wants to live with fear, disrupting his entire life.]

Writer-director Peter Weir was unhappy with the A-list scripts he was getting.

"Give me things that are unusual or difficult," he asked, i.e., "broken scripts."

Q: What was "broken" about it? 

A: It was good writing, daring writing. But I thought it was two movies. The first 25 pages were a film about how you'd cope with the knowledge that you were going to die, taking the point of view of a man who knew about aircraft and knew that the hydraulics were gone and so there was no steering and no braking even if the plane got on the ground. Then there was the second film, which was about how you live once you survive. I couldn't see a way to do it as one film.

And how did he fix it?

A: I was just driving around listening to music, and I realized I could do anything I liked, as long as the story remained about life and death, or rather, love and fear, which was more to the point - you can't say anything about death because you don't know about death. You could certainly talk about fear. I used parts of the crash as flashbacks to show what the characters were still working out, the way one does after any kind of trauma. (my emphasis)

But what was Max working out?

A: ...[the crash] erases his fear of death. That may be an enviable state, but it’s also a state that separates you from other people because it can take you into the realm of having no feelings at all—and this too is something he has to deal with. Having no fear of death, he has to consciously choose to be in life, and we see him struggling with this choice.

I like this flashback is NOT used as an information dump, but is used to show us Max's present state of mind and what he is struggling with now:

INT. DAY - STAIRCASE

Max runs up a flight of institutional firestairs frantically.

EXT. DAY - ROOFTOP

Max appears out of a door from the stairs. He's breathless. We are forty-seven stories up. There's a sweeping, scary view of the East River.

C.U. MAX -- The strain goes away and his face relaxes...

FLASHBACK - INT. DAY - TRANSCON PLANE

MAX AND JEFF --

The plane is falling, out of control. The noise is deafening. They are rigid, heads pressed back into the seats. The plane is tilted to Max's left. 

MAX (angry): We're going down!

JEFF (pure terror): Oh God...

Max fights the gravity to look at his partner .When he manages to catch Jeff's horrified eye:

MAX: I told you so!

WHAT I'VE LEARNED: The flashbacks were the easiest element to spot, but this script also had a strong grip on theme, voice, and foreshadowing unease that Max is not as ok as he claims to be.

Fearless (1993)
by Rafael Yglesias
Based on the novel by Rafael Yglesias

TODAY'S NUGGET: Get Carter (1971) - Screenplay Form Is Often Ugly; How to Use Present-Flashforward Transition

[Quick Summary: When his brother is mysterious killed in a northern town, London enforcer Carter investigates why, despite being advised against it.]

TWO THOUGHTS: 

1) SCRIPTS ARE BUILT OUT OF NECESSITY. Scripts are cobbled together each time from scratch - misc. screws, scrap lumber.  Ergo, they're often ill-defined, ugly.

"Also I must admit that screenplays are not a literary form I relish; their function is, of necessity, an ill-defined one." - Director-writer Mike Hodges

2) UGLY SCRIPT = OFTEN GOOD SCRIPT? This 84 pg. script is quite ugly looking on the page. Nearly 1/4 of each line is taken up by Scene, Ft., Frame numbers. 

However, it's got a crackling structure. 

For example, the flash forward sequence below:
- This is an excellent transition cutting between present and flash forward.
- Glenda has just fetched Carter to see her provider Mr. Brumby.
- Brumby wants to hire Carter for a hit, but Carter rebuffs him and walks out.
- Notice the purpose of the transition: 
a) The flash forward is what will happen to Carter and Glenda.
b) It is also a visualization of  what Carter is hoping for in the future, and thus increases the anticipation of the scenes in the present.
c) It also adds unexpected interest to an inevitable end.

[Carter is exiting Brumby's house.]

MLS - LIFT doors opening - CARTER comes out - CAMERA PANS R. with him - he goes away to r.b.g. - GLENDA drives in L - stops

LS - CARTER getting into car - she drives out L.

CU - GLENDA driving

INT. CAR  MCS - onto backs of CARTER AND GLENDA as she drives through street

CU - GLENDA'S HAND changing gear

CU - CARTER

CU - GLENDA'S LEGS from Carter's p.o.v.

INT. GLENDA'S BEDROOM. CU - GLENDA'S BOTTOM as she slips panties off - CAMERA PANS DOWN her legs with them

INT. CAR. CS - GLENDA'S HAND changing gear

 CU - CARTER

CU - GLENDA - CAMERA PLANS DOWN

INT. BEDROOM. CU - CARTER'S HAND on Glenda's breast - CAMERA PANS UP to them kissing in bed.

INT. CAR. CS - GLENDA'S HAND AND LEG

INT. BEDROOM. CS - GLENDA AND CARTER making love - CAMERA PANS DOWN

INT. CAR. CS - GLENDA'S HAND AND LEG

INT. BEDROOM. CS - CARTER'S BACK as he makes love

INT. CAR. CU - GLENDA'S HAND changing gear

INT. BEDROOM. CS - CARTER'S BACK and GLENDA'S NAILS scratching it

INT. CAR. CU - GLENDA'S HAND changing gear

INT. BEDROOM. CS - GLENDA'S BREAST AND BACK

INT. CAR. CU - GEAR LEVER AND GLENDA'S HAND changing gear

INT. BEDROOM. CU - CARTER'S HAND on GLENDA - CAMERA PANS R  to their faces as they make love

CU - SPEEDOMETER swinging round past 100 and back

CU - GLENDA'S ARMS round CARTER - CAMERA ZOOMS OUT to MLS them in bed

CU - CARTER - as GLENDA rolls aside

CU - GLENDA as she rolls onto back

CU - GLENDA'S HAND turning ignition off

CU - CARTER - eyes closed - CAMERA PANS R to CU - GLENDA

CU - EXHAUST PIPE of car - CAMERA PANS UP over top of car to BLOCKS OF FLATS in b.g.

WHAT I'VE LEARNED: The flash forward was used here in at least two ways: to help us feel what Carter is feeling now, and to show us what will happen in the future.

Get Carter (1971)
Directed and written by Mike Hodges
Based on the novel, "Jack's Return Home," by Ted Lewis

TODAY'S NUGGET: Hard Eight (1996) - An Excellent Note; Best Way to Grasp "Writer's Voice"

[Quick Summary: In Reno, Sydney, an old timer, takes under his wing John, an aimless young drifter who falls in love with misfit Clementine.]

TWO THOUGHTS:

1)  EXCELLENT NOTE FROM WRITER TO WRITER.  

Q: Was there an experience or conversation at the [Sundance] Lab that ultimately shifted a direction of the film?

A: I had written a scene where two people talk about doing a scam. I had written one guy telling another guy about a scam that he could pull to get a. free hotel in Vegas. I sat down with Richard LaGravenese [also in the Lab], and he said, "Why am I reading about this? Why am I not seeing it?" And I thought, "Well, that's kind of incredible. Why don't I show it?" That's just a very basic thing, one really strong  thing I took. (underline mine)

2) WRITER'S VOICE.  

- What is it?  Over the years, I've learned that it's an intangible feel (pace, rhythm, word choice, etc.) imbued in your writing that sets it apart from others.

- How do I get it?  No surprises here: Reading widely (scripts, novels, etc.) 

You have to get really comfortable in the word saddle to see how others tell a story and lay it out, so that you can figure out how you like to lay out a story too.

In the example below, I think the writer of this script shows that he has an intimate voice that makes us curious about the dynamics between two strangers:

EXT. COFFEE SHOP/PARKING LOT - DAWN

CAMERA holds on a coffee shop off a stretch of highway.

The back of a FIGURE enters FRAME at waist level. CAMERA DOLLIES BEHIND THE FIGURE, HOLDING AT WAIST LEVEL, ACROSS THE PARKING LOT, APPROACHING THE COFFEE SHOP ENTRANCE.

Sitting on the ground, outside the door is an unshaven man, late twenties, JOHN.

The FIGURE passes by him, enters the coffee shop. 

CAMERA holds on John. BEAT. The Figure steps back out of the coffee shop.

FIGURE (OC): Hey...

John holds his head in his lap.

FIGURE (OC): Hey.

JOHN: What?

FIGURE (OC): You want a cup of coffee? (pause) You want a cigarette?

John looks up.

JOHN:...what...?

FIGURE (OC) I'm a guy who's offering to give you a cigarette and buy you a cup of coffee.

                                                                       CUT TO:

WHAT I'VE LEARNED: Voice is the writer's footprint, the way they tell a story.  

That being said, it does require time to acquire boots to create a said memorable footprint.

Hard Eight (1996)(1/24/95 shooting script w/revisions)
by Paul Thomas Anderson

TODAY'S NUGGET: The Taking of Pelham 1, 2, 3 (1974) - Making A 150 pg. Thriller Feel Like 90 pgs.

[Quick Summary: Four men take 16 NYC train passengers hostage and demand $1M from the city, or they will start killing hostages.]

What makes a 150 pg. thriller speed by, as if you're floating on air?

1)  Well rounded characters.

In fact, pretty much every character, no matter how incidental, gets a little moment to shine, an eye roll here, a snappy line there.

 2) Humor.

As The Dissolve said about the film, “Most of the movie’s humor comes from the same thing that ratchets up the movie’s tension: the thrilling hostility constantly wielded by every New Yorker against every other New Yorker. ....No situation is complete without kibbitzing or argument, and everyone has to put their two cents in. Even the bystanders who are onscreen for mere moments. Even the hostages in danger, who can’t help telling their captors that the million-dollar ransom is “not so terrific.” They’re mostly pissed off their commute is on hold—

In the scene below, notice how fast and how much information you're getting from the characters' attitudes and reactions. Also, note its NY sense of humor.

INT. SUBWAY - FIRST CAR - PASSENGERS - BLUE'S POV

...At the far end, Brown guards the rear door. At mid-car, Grey stands with his legs astride.

ANOTHER ANGLE

Including Blue and, behind him, at the front storm door, Green.

BLUE: The city has agreed to pay for your release.

No one quite knows how to greet this news -- except the Pimp who slowly, mockingly, claps his hands together.

PIMP (drawling): Far out, man --

Blue starts forward, walking slowly, looking at passengers on both sides of the aisle as he goes.

MOTHER: As soon as the money gets here -- will you let us go?

BLUE: No -- but soon afterwards.

OLD MAN: Do you mind telling us now how much you're getting?

BLUE: What difference does it make?

OLD MAN: A person likes to know his worth.

BLUE: A million dollars.

OLD MAN: Each?

BLUE: Altogether.

OLD MAN (disappointed): That's not so terrific.

WHAT I'VE LEARNED: This script is an unusually smart use of characters, humor, and tension that creates an environment in which I'd like to spend time.

The Taking of Pelham One Two Three (1974)(Rev. 1st draft, 4/16/73)
by Peter Stone
Based on the novel by John Godey

TODAY'S NUGGET: Bringing Out the Dead (1999) - Earning the Emotional Landing

[Quick Summary: Over several nights in NYC, a tired, burned out emergency medic wrestles with how to constantly face life and death while on the job.]

This is a well written adaptation, full of raw emotions. 

It's a pretty bleak situation. Frank and his medic co-workers numb themselves from the tragic situations that they encounter every day.  

However, in the middle of a downward spiral, Frank connects with Mary, the estranged daughter of a recent heart attack case.   

The script excels at putting Frank through the wringer.  It externalizes how close he is to the edge, as well as wrestle with how he feels about Mary, who grounds him. 

So when Frank finally gets his big moment with Mary, I felt he earned it. 

EXT. MERCY EMERGENCY -- NIGHT

...MARY: OK, last night I was weak. It won't happen again And all that shit I said --it was just because I was stoned. Forget it.

FRANK: No problem. Thanks for letting me crash. It was the best sleep I've had in months. I used some of your soap.

MARY: I wish these people would leave already. I can't listen to another story. Did you see him? (Frank doesn't answer) That doctor says the brain is coming around. They're waitin gfor the heart to stabilize. I don't know who to believe. He says they still have to keep him tied up.

FRANK: Can I bring you something back to eat --a falafal, some pizza?

MARY: No, we just ate. I only remember how tough my father was. Now I know he had to be like that, to make us tough. This city'll kill you if you aren't strong enough.

FRANK: No, the city doesn't discriminate. It gets everybody.

Walls flashes 16XRay's headlights, hits the horns.

FRANK (CONT'D): I gotta go. Another call.

Frank, his heart pounding, steps closer to her.

FRANK (CONT'D): We're all dying, Mary Burke.

He leans as if to kiss her.

MARY: This is not a good time.

FRANK: There is no time.

He places his hand on her shoulder, kisses her lightly, walks toward Walls and the waiting ambulance.

WHAT I'VE LEARNED: This emotional moment felt just right and stuck the landing: the tone, brevity, Frank's renewed confidence.

Bringing Out the Dead (1999)(1st draft, 11/7/97)
by Paul Schrader
From the novel by Joseph Connelly