TODAY'S NUGGET: Confessions of a Nervous Man (1953; Live TV) - Cinematic Transitions Useful on Live Narrative TV

[Quick Summary: While waiting for opening night reviews, a playwright relives his angst getting his play ("The Seven Year Itch") to the stage.]

Though I don't usually read tv scripts, I made an exception for this one because:
1) it's written by renowned playwright and screenwriter George Axelrod,* and
2) it was for live tv (an episode of the "Studio One" show).

Given that it was for live tv, I was impressed that this script used so many cinematic techniques, particularly in the transitions.

For example, in the scene below:
- Camera movement (dissolves) and stage cues (music, sound) indicate the story was moving to a dream sequence.
- Though the script says "dream sequence," it's actually more of a fantasy sequence of the Author character's fears.
- Notice how "tight head shot" to slow dissolve is the equivalent of going into someone's mind space.

MAN: Relax, baby -- you got a smash -- a smash -- all you got to worry about is what to do with the money...

THE MAN MOVES ON...

AUTHOR (muttering again):  Atkinson....Kerr...Chapman...the critics are sitting there...destroying me..right now...

THE CAMERA HAS MOVED IN TO A TIGHT HEAD SHOT.

SOUND: RAPID TYPING FROM THREE TYPEWRITERS FADES IN

THE MUSIC BECOMES DREAM...OR RATHER NIGHTMARE IN QUALITY.

SLOW DISSOLVE TO:

THREE DESKS WITH THREE TYPEWRITERS BEHIND WHICH SIT THREE FIENDS. EACH DESK HAS A NAME PLATE: ATKINSON...KERR...AND CHAPMAN....

THE FIENDS ARE TYPING FURIOUSLY AND GIVING OUT WITH DREADFUL GHOULISH LAUGHTER AS THEY SPEAK.

ATKINSON: Tedious....

KERR: Dreary and uninspired....

CHAPMAN:  Sets Broadway back fifty years....

ALL THREE LAUGH GHOULISHLY TOGETHER

ATKINSON: Contrived, unoriginal and tasteless..

KERR: Left this reviewer with a distinct feeling of nausea....

CHAPMAN:  Stamp out this ugly thing!

ALL LAUGH AND TYPE FURIOUSLY. THE LAUGHTER MINGLES WITH THE MUSIC AS WE DISSOLVE TO:

TIGHT CLOSE SHOT OF THE AUTHOR'S ANGUISHED FACE. HE STRUGGLES TO PULL HIMSELF TOGETHER. HE DRINKS A LITTLE OF HIS DRINK.

WHAT I'VE LEARNED: This script showed me how much can still be done on live tv with just transitions, and without editorial cuts or special effects.

"Studio One: "Confessions of a Nervous Man" (1953)
by George Axelrod

*The Seven Year Itch, Breakfast at Tiffany's, The Manchurian Candidate.

TODAY'S NUGGET: Breakfast at Tiffany's (1961) - To Show (And Not Tell) That He's a Kept Man

[Quick Summary: Flirty Holly Golightly meets a new neighbor Paul, a poor writer, but financial security gets in the way of their romance.]

Holly Golightly (19 y.o.) is after one thing: to snare a rich husband.  Because she's been on her own since 14 y.o., she's both quite innocent and quite mercenary.

Paul, on the other hand, is 28 y.o., not as innocent, not quite as mercenary.  He has snared the interest of 2E, a rich, bored housewife, who sets him up in an apartment.

I was intrigued how the writer showed us (and did not tell us) he's a kept man:

INT. PAUL'S APARTMENT

...She picks up his typewriter, puts it on the desk and takes off its lid. She takes a sheet of paper and puts it in the machine. [2E is in charge even of his equipment]

2E: Voila!

PAUL: If a man is going to starve in a garret and write the great American novel, this is sure the way to do it...

2E (Her tone changes): Now listen, darling, we're just not going to have any of that at all...The whole thing is very simple. You're a writer...I think you can be a great one...Why shouldn't I help you? I have a husband who invests in oil wells...I have friends who invest in...I don't know...the stock market or real estate. So why shouldn't I be allowed to invest what I believe in? [She defends her decision, which cleverly hides exposition]

PAUL: Which is?

2E: Talent, darling. Talent. You have talent and I'm going to see that you don't waste it or spoil it or fritter it away. I couldn't bear the idea of you, prostituting yourself...sitting in a little cage in Hollywood...writing movies that would make us both cringe when we saw them later...Let me be your Hollywood, Paul...your own personal, tender, loving Hollywood... [2E flatters him]

PAUL: And what do you get out of it?

2E: Satisfaction, darling. Just satisfaction. And maybe the feeling of pride, when the book is finally done, of seeing the dedication page that says: "For 2E, Without Whom...' [She brings the flattery back around to herself]

During this, she has very gently begun to unbutton his shirt. [Now she touches him]

PAUL: And that's all?

2E: Well, almost...

She draws him to her and kisses him. When they break she very gently pushes him away from her and toward the bed. [She is still in charge, increases the intimacy]

CLOSE SHORT - 2E (PAUL'S ANGLE) - (DAY)

2E: It's not so bad, is it? Really?

PAUL: I suppose it could be a lot tougher...

2E (Softly): You bet it could be, darling. You just bet it could be... Paul...

PAUL (O.S.): Yes?

2E: I wish we had a picture of you...just the way you are right now...If we put it on the book jacket, we'd sell a million copies...

SLOW DISSOLVE TO:

WHAT I'VE LEARNED: Paul is "kept" because 2E is making the major decisions... but they align with his desire for financial security, so he allows them. 

Breakfast at Tiffany's (1961)(undated)
by George Axelrod
Based on the novel by Truman Capote

TODAY'S NUGGET: The Seven Year Itch (1955) - Using a Dream Bubble to Refute an Argument + Show Wish Fulfillment

[Quick Summary: After his family goes away for the summer, a book publisher with an overactive imagination is left in NYC with a new gorgeous neighbor upstairs.]

Billy Wilder scripts are exceptional - unexpectedly layered and multi-tasking. 

For example here, Richard's wife and son have just left for the summer.  He meets his pretty new neighbor upstairs who is subletting.

On his first night alone, he has an imaginary conversation with his wife about what a loyal husband he is.   In fact, he's had to chase women off.

When his imaginary wife scoffs at this, he uses his overactive imagination to conjure up a series of "dream bubble" scenarios to prove his point.

Notice how this scene below refutes the imaginary wife's argument that he's not super-desirable AND shows what Richard wishes would happen:

DREAM BUBBLE (1) - RICHARD'S OFFICE - DAY

Richard stands at the desk in his shirt sleeves, reading a letter. Miss Morris enters.

RICHARD (barely looking up): Miss Morris, did you type this letter?

MISS MORRIS (tensely): Yes, Mr. Sherman.

RICHARD: There are six typographical errors in the first paragraph alone. What is the matter iwth you, Miss Morris? (pause) Come now, Miss Morris. What is the matter with you?

MISS MORRIS: I'll tell you what's the matter with me. I'm in love with you. That's what's the matter with me. I have been - since the first day I came here. Deeply...madly...desperately...all consumingly! And you - you've never even noticed me! To you I'm just nothing...a piece of office furniture...a dictaphone...ten fingers to type your miserable letters...

Suddenly, she tears off her glasses, rips the comb out of her hair so that it comes tumbling wildly down over her shoulders.

MISS MORRIS (out of control): Look at me, Mr. Sherman. I'm a woman! A woman, do you hear me? With flesh and blood and nerves and feelings! I love you, I need you, I want you, want you, want you, want you!

She grabs him around the shoulders and kisses him violently. There is the sound of cloth being torn. he stands there, quite cool about the whole thing. Finally when her passion is spent - 

RICHARD (unruffled): That will be all, Miss Morris.

He hands her back the letter. She runs out of the room, sobbing hysterically. He looks after her, slowly turning his back to the camera. The back of his shirt is torn. He flexes the muscles of his back. For a moment he is Marlon Brando in STREEETCAR.

The camera has started moving in again. The Dream Bubble bursts and we are back on -

RICHARD - ON THE TERRACE - EVENING

He is lying on the chaise, grinning in delight over his little fantasy.

WHAT I'VE LEARNED:  I was quite amazed how much of this script was dream bubbles and Richard's fantasy life.  It could've easily been a cliche, but was not.

The Seven Year Itch (1955)(final draft, 8/10/54)
by George Axelrod and Billy Wilder
Based on the play by George Axelrod

TODAY'S NUGGET: The Manchurian Candidate (1962) - Suspense is Fuel for Thrillers

[Quick Summary: After the Korean War, an intelligence officer is plagued by nightmares that involve a fellow soldier, a Medal of Honor winner.]

So what makes a thriller a THRILLER?

All definitions agree that it must have suspense:

Suspense (n.): 1) a state or condition of mental uncertainty or excitement, as in awaiting a decision or outcome, usually accompanied by a degree of apprehension or anxiety; 2) a state of mental indecision.

But what does it look like in practice?

I think the original Manchurian Candidate (1962) is still the gold standard.*

Maj. Marco has nightmares about the war and fellow officer Raymond Shaw.  It is quite a roller coaster ride to find out why.

I was surprised, however, that the best suspense was between Shaw and his mother.

The uncertainty and apprehension is palpable:

ex. "The limo starts up and pulls away from the crowd.

RAYMOND: Who's kidding who, Mother? Johnny's up for re-election in November. You've got it all figured out, haven't you? Johnny Iselin's boy, Medal of Honor winner. That should get you another fifty thousand votes. [He stands up to her.]

MRS. ISELIN: Raymond, I'm your mother. How can you talk to me this way? You know I want nothing for myself, you know that my entire life is devoted to helping you... [Guilt.]

RAYMOND: Mother. [He protests. Is he weakening?]

MRS. ISELIN: ...and to helping Johnny...

RAYMOND: Mother. Mother. [Uh-oh. Indecision. He's weakening.]

Raymond lowers his head and puts his hands over his ears.

MRS. ISELIN: ...My boys. My two little boys... [Duty, loyalty, guilt.]

RAYMOND: Stop it. Stop it. [He feels selfish.]

MRS. ISELIN: ...That is all I have... [She's both manipulative & vulnerable.]

Raymond seems to melt under his mother's barrage of bullshit. [Is he doomed?!!]"

WHAT I'VE LEARNED: Thrills come from the anxiety/apprehension/indecision that convinces us the story could go either way.

The Manchurian Candidate (1962)
by George Axelrod
Based on the novel by Richard Condon

* It is 50+ years old and is STILL on every top 10 list.  And has Angela Lansbury. And Frank Sinatra.