Monday, December 26, 2022

TODAY'S NUGGET: WarGames (1983) - Fleshing Out a Cardboard Character

[Quick Summary: A teen stumbles upon an interactive military computer, and they play "a game," but it is an early alert program that could lead to WWIII.]

I pondered cardboard characters after I read this in Roger Ebert's review:

Another one of the pleasures of the movie is the way it takes cardboard characters and fleshes them out.... in particular: the civilian chief of the US computer operation [McKittrick], played by Dabney Coleman as a man who has his own little weakness for simple logic...

Though much of the credit goes to casting actor Dabney Coleman, what did the writers do to help the "fleshing out" on the page?

Let's look at McKittrick's first appearance (scene below) where we are introduced to his "weakness for simple logic."

NOTE:
- The writers set up a room full of experts who are stymied.  The experts will voice all the possible explanations aloud of what happened.
- McKittrick is a man of action.  He hears the arguments, calls out orders, then goes to interrogate the boy himself.  This, by itself, could be a cardboard character.
- However, part of "fleshing out" is how a character reacts to others in the room, to a fork in the road.  Here, we see it in his 3rd line of dialogue when he makes a logical conclusion without proof.
- Notice that "fleshing out" is more about reacting to the situation and making decisions, not the amount of dialogue. Here, McKittrick only has a few lines. 

INT. BRIEFING ROOM

A harried Paul Richter stands at a blackboard filled with incomprehensible diagrams. Seated are Beringer and Doughterty, Cabot, and Watson, and GEORGE WIGAN, a stern man in civilian clothes. McKittrick enters as Richter winds up a point, takes a seat, exchanges glances with the General. 

RICHTER (O.S.): ...Mr. Cabot, it was a one-in-a-million shot -- there was an open line at our Space Division in Sunnyvale - the phone company screwed up.... [This is a logical argument.]

He trails off, relieved to see McKittrick.

CABOT: John, good to see you. John McKittrick, George Wigan. George is with the FBI. They've brought the boy here for questioning.

McKittrick exchanges nervous greetings with Wigan.

McKITTRICK: How'd it happen, Paul?

RICHTER: Well, he penetrated the war game subsystem using a password left in by the original programmer...no on even knew it was in there. [He summarizes the problem.]

WIGAN: The kid claims he was looking for a toy company.  [He lays forth a preposterous idea.]

The General snorts.

McKITTRICK: Paul, I want you to find that password and remove it. Put a tiger team on it -- and beef up security around the WOPR.  [This is an active decision. He is not passive.]

BERINGER: Beefed up? How 'bout screwed up? We're a little past that.

CABOT (viciously understated): There's some real concern about a break-down in security here, John.  [He voices what everyone is worried about, i.e., the stakes.]

McKITTRICK: Well, gentlemen, I think we're being a bit naive here...I mean, you don't really think some high school punk could just pick up the phone and do this on his own, do you? (to Cabot) The kid's working for somebody. He's gotta be.  [He makes a logical conclusion, and has made up his mind.  Unfortunately, it is not based on evidence since he hasn't met the boy yet.]

WIGAN (going through notes): Well, he does fit the profile perfectly. Intelligent but an underachiever...alienated form his parents..few friends....a classic case for recruitment by the Soviets. [He backs up McKittrick's POV with more simple logic.]

McKITTRICK: I think I'd better talk to the boy.  [To McKittrick's credit, he is going to see for himself.]

CABOT: Fine, John. We need some answers.

WATSON: What does this say about the state of our country? (to Wigan) Have you gotten any insight into why a bright boy like this would jeopardize the lives of millions? [He voices what they're all thinking, i.e., more stakes.]

WIGAN: No, sir. The little prick says he does this sort of thing for fun. 

                                                                           CUT TO:

WHAT I'VE LEARNED: I like how we see how McKittrick responds, his attitude, his decision making ability here.  He has a past and is not just crafted for this scene.

WarGames (1983)(9/7/82, revised final draft)
by Lawrence Lasker and Walter F. Parkes

Monday, December 19, 2022

TODAY'S NUGGET: Diamonds are Forever (1971) - Unusual Use of Props in Hand-to-Hand Combat Brings Delight

[Quick Summary: British super-spy 007 impersonates a diamond intermediary to investigate why a mysterious Mr. Whyte is hording the world's diamonds.]

I've heard a lot of Bond fans say they miss the hand-to-hand combat of older films. 

They have a point.  This example below is a stellar use of the props that Bond had at hand. Nothing electronic. No sudden solution to a problem (deus ex machina).

In the scene below:
- In a berth, two thugs (Wint and Kidd) have tied Tiffany to the bed and rigged a pot of boiling oil to the ceiling.
- Bond has climbed down a rope to look in through a porthole.
- Notice the unusual use of a soup toureen lid:  It seems like a weak move at first, but then, surprise! It shows Bond was thinking two steps ahead.

BACK TO SHIP SIDE

BOND has picked up momentum, now pushes off, sails through porthole feet first.

INT. CABIN

BOND sails in, makes a swipe at oil pot and rope, misses, lands in a pile at other side of bed.

CLOSE ON KIDD

He has seen - slams door shut just as MAID opens it, locks it, quickly grabs trembling rope.

KIDD: Careful, Mr. Bond!

CLOSE ON OIL POT

It teeters precariously back and forth.

WIDER ANGLE

BOND is stymied. All three are frozen for a minute - WINT advances slowly, carving knife in hand. BOND suddenly leaps for the top of the soup toureen, grabs it.

WINT; Pull, Mr. Kidd!

KIDD yanks on rope, oil pot turns over, BOND passes upside-down tureen lid over TIFFANY'S face, catches the oil, throws it into the advancing WINT - smoke rises from his face. He screams - BOND pushes him hard to one side, impaling him on sharp point of carved ice Cornucopia, killing him. KIDD has passed skewers through Sterno flame - they are now ablaze. He jumps BOND fro rear. BOND twists away, grabs brandy bottle, breaks neck of it on table, slings brandy at KIDD. Flames shoot up KIDD's arms - his whole body is on fire. BOND yanks blanket from bed, wraps it around KIDD, smothering flames. He picks up bundle, stuffs it through and out of porthole, turns, looks down at TIFFANY, still bound and gagged, tied to bed, legs spread apart.

BOND: A fine lot of help you turned out to be.

WHAT I'VE LEARNED: If you can find a way to disguise your protagonist's intent on how to use a prop in combat, go for it!

Diamonds are Forever (1971)(undated draft)
by Tom Mankiewicz
Adapted from the novel by Ian Fleming

Monday, December 12, 2022

TODAY'S NUGGET: Goldfinger (1964) - Give the Bad Guy a Memorable Entrance

[Quick Summary: After Goldfinger kills a traitor who has helped Bond, Bond hunts him down and discovers his nefarious plans for Fort Knox's gold.]

With no DVDs or VHS tapes in the 1960s, there were no repeat viewings of films unless you bought another ticket or caught them on tv.

Films were meant to be consumed in (and remembered from) one sitting. 

How you make the bad guy memorable? A clever entrance generally does the trick.

In the first 10 pgs. of this script, this one stood out to me. It makes the audience pay attention to the visuals:

INT. BONITA'S DRESSING ROOM - NIGHT

...He walks to a hook on the wall removing his holster.

BONITA: Why do you always wear that thing?

BOND (hanging his holster on the hook): I have a slight inferiority complex. (he turns to her) Where was I? --Oh, yes.

TRACK IN SLIGHTLY as he embraces her.

ANGLE OVER THEM

As Bond kisses her, an assailant -- CAPUNGO -- approaches from behind a wardrobe in b.g., brandishing a cosh.

FAVORING BONITA

She opens her eyes and looks at him over Bond's shoulder.

CAPUNGO 

approaches raising a cosh.

FAVORING BOND

He leans back from Bonita looking into her eyes.

BOND'S POV - BONITA'S LEFT EYE

The pupil reflects Capungo approaching with the raised cosh.

MEDIUM SHOT

Bond suddenly swings Bonita around. Capungo smashes her on the head.

WHAT I'VE LEARNED: I did not remember this bad guy's name...but I did remember his entrance via pupil reflection.

Goldfinger (1964)(undated)
by Richard Maibaum & Paul Dehn
Based on the novel by Ian Fleming

Monday, December 5, 2022

TODAY'S NUGGET: Gone Girl (2014) - Keeping Characters on the Razor's Edge of Tension

[Quick Summary: When his wife, famed "Amazing Amy," goes missing, Nick is hounded by press, public, and police as a suspect in her disappearance.]

I was really impressed how this script was able to show the character's motive, conflict, and also keep the tension on a razor's edge (could go either way).

I've divided the scene below to demonstrate different elements: 

SECTION 1: At the "Find Amy HQ" in a hotel, Nick ducks out for some privacy.  Notice this is a setup for conflict and doubt in our minds.

INT. HALLWAY - DAY

The hallway is VACANT. Nick's DISPOSABLE begins  buzzing. He ducks father down the hall. NICK is picking up just as: SHAWNA peers around the corner. Nick abruptly ends the call.

SHAWNA: Nick? I just wanted to introduce myself. My name's Shawna Kelly.

Nick nods: thanks. He's seething at the interruption. [He wants to answer this call but interrupted by a nosy stranger.]

SHAWNA (CONT'D): I'm so sorry for your...troubles.

NICK: That's very kind.

He gives her an after-you gesture but she doesn't budge. [Is he trying to be polite? Or something else?]

SHAWNA: Are you remembering to eat?

NICK: Lotta cold cuts.

Again: After you. [Nick tries again, fails.  This increases the conflict.]

SHAWNA: I'm going to fix you up my world-famous Chicken Frito Pie.

NICK: That's very sweet of you and very unnecessary.

He tries again to get past her. He pats her on the arm as a goodbye, she puts her hand on top of his.

--------------------

SECTION 2: When this stranger isn't getting the response she wants, she ups the stakes.

SHAWNA: You have to keep up your strength.

She digs through her handbag, grabs a cell. Jams her face against his. [She's pushing into his comfort zone physically, like the world's attention is on him metaphorically.]

SHAWNA (CONT'D): Say: Chicken frito pie!

NICK - just wanting to leave - reflexively grins. CLICK. She shows him the photo: The two of them, cheek to cheek, Shawna's glossed lips pouty. Without context (and even with), the photo is wildly inappropriate, a little sleazy.  [His immediate regret: Is it real? Fake?]

NICK: Oh. You know what? That's-please delete that would you?

SHAWNA: It's a nice photo. [She stonewalls him.]

NICK: It's just not appropriate. Do me the favor, would you? SHAWNA debates.

NICK (CONT'D): I'm asking you nicely: Please delete the photo. [His politeness is pushed to the limitsHis motive to self-protect has layers to it.]

NICK tries to lean past her and hit delete. She holds the cell away from him-hey!-he tries to grab it.

SHAWNA: What is wrong with you?

NICK grabs her arm. It's the first time he seems dangerous. [This is the climax of the scene. What will he do?]

-------------------------------

SECTION 3: Now that he's lost the battle, what will he do?

NICK: You can't share that with anyone. [We understand his position.]

SHAWNA: I'll share it with anyone I like.  [We understand her position.]

SHAWNA scrambles past him, shoots down the hall to the elevator.

SHAWNA (CONT'D): Asshole.

NICK rests his head against the wall. Breathes.

NICK: Pull it together, Dunne.  [Interestingly, I empathized with his plight...and was still suspicious.]

WHAT I'VE LEARNED: Because I BELIEVED it could go either way, the tension worked.  The key was that both characters' motives and conflicts were clear.

Gone Girl (2014)(shooting script, 8/29/13)
by Gillian Flynn
Adapted from her novel.

perPage: 10, numPages: 8, var firstText ='First'; var lastText ='Last'; var prevText ='« Previous'; var nextText ='Next »'; } expr:href='data:label.url' expr:href='data:label.url + "?&max-results=7"'