2023 OSCARS: Banshees of Inisherin (2022) - One Key to Writing Memorable Parts for Women

[Quick Summary: On a small Irish island of Inisherin in 1923, Padric is stunned when his fiddler friend Colm refuses to ever speak to him.]

I am impressed how well Martin McDonagh can write parts for women.  My first exposure was the two female leads in this early play, which blew my hair back.

How does he do it?  One key is that he is very observant of subtext.  He pays attention to the underlying dynamics women juggle, ex. societal expectations.

In the scene below:
- Padraic has been wrestling with why his friend Colm has suddenly changed.
- However, watch Siobhan, his sister, who is simultaneously having to juggle a sad Colm and neighbor Mrs. McCormick.
- Siobhan is required to host and attend to Mrs. McCormick in a way Padraic is not (societal norms).
- Also, the last lines of "hide behind walls" made me realize no one asked about Siobhan's dreams.  In taking care of everyone else, what's she suppressing?

INT. PADRAIC'S HOUSE - DUSK

PADRAIC, SIOBHAN & MRS. MCCORMICK, a spooky-looking, white faced, neighbor, 80, smoking a clay pipe through blackened teeth. SIOBHAN sews rose decorations on a black shawl, as PADRAIC refills the lamps around the room from a pail of Paraffin.

MRS. MCCORMICK: Is it six years since yere Mammy and Daddy died, Siobhan, or is it seven years since they died?

SIOBHAN: It's seven years, Mrs. McCormick, aye.

MRS. MCCORMICK: Is it seven years? Doesn't time be flying?

PADRAIC: Aye. When you're having fun.

SIOBHAN: Be off to the pub, now, Padraic, if you're going to be annoying us.

PADRAIC: I don't have to be down there every night, do I?

SIOBHAN almost double-takes, MRS. MCCORMICK just smirks.

MRS. MCCORMICK: ColmSonnyLarry's scared him off, I suppose.

PADRAIC: What did you hear of ColumSonnyLarry?

MRS. MCCORMICK: Didn't you and he used be the best of friends?

PADRAIC: We're still the best of friends.

MRS. MCCORMICK: No ye're not.

PADRAIC: Who says we're not?

MRS. MCCORMICK (pointing to SIOBHAN): She says!

PADRAIC: Ar for God's sake, Siobhan!

SIOBHAN: I said nothing of the like, Mrs. McCormick, I was just chatting! Now you go off to Jonjo's, Padraic, and don't be getting under our feet, sure Mrs. McCormick never gets a chance to come over for a chat...

SIOBHAN makes PADRAIC put on his coat.

PADRAIC: She never gets a chance cos you avoid her.

SIOBHAN: I do not avoid her!

PADRAIC: You hide behind walls if she's coming up the road!

SIOBHAN gives an embarrassed laugh as PADRAIC exits. She sits back down.

SIOBHAN: 'Hide behind walls'.

SIOBHAN tries to smile, but MRS. MCCORMICK just stares at her, smoking. they sit in awkward silence.

WHAT I'VE LEARNED: The Siohban part impressed me because there is a lot of emotional juggling for the actress to do, though it may not look like it on the page.

Banshees of Inisherin (2022)(June 29, 2021)
by Martin McDonagh

2018 OSCARS: Three Billboards Outside of Ebbing, Missouri (2017) - In the Space Between Two Characters

[Quick Summary: In a small fictional town, grieving, embittered mother of a rape victim buys three billboards to provoke the police into action.]

Two McDonagh scripts, then and now:

1) THEN

A few years ago, a development exec asked me to cover an unproduced script by a guy called Martin McDonagh.  I went in cold, knowing nothing, as I preferred.

I was not prepared. Not for the levels of graphic violence, swearing, nudity, etc.* Not for my wincing and/or reading in trepidation between my fingers.

Not for the brilliant grasp of story.  And especially not for my paradoxical reaction.

Officially, I was offended on behalf of humanity. 

Unofficially, I couldn't stop reading (even though I was officially offended).

What was so special?  Whether I agreed or not...Whether I might be shocked, appalled, or embarrassed, I understood what the characters wanted and why.  

2) NOW

McDonagh's scripts are getting even better. There is still clarity of motive.

However, I thought today's script was a particularly good example of the third "thing" that develops in the space between two characters.** 

In the scene below, Sheriff Willoughby is dying of cancer.  He wants the protagonist Mildred to get rid of the billboards. She wants him off her back.

Notice what forms between them in this push-and-pull scene.

ex. "WILLOUGHBY: What's Charlie think about these here billboards of yours, an ex-cop like Charlie?

MILDRED: Ex-cop, ex-wife-beater. Same difference, I guess, right? [We learn more of Charlie. What is our opinion of him? Somewhere between W and M's opinions?]

WILLOUGHBY: His word against yours, though, right? (pause) Charlie don't know about them, does he?

MILDRED: It's none of his business. [Ah! W uncovered M's secret.]

WILLOUGHBY: He's kinda paying for 'em though, ain't he?

MILDRED: I'm paying for 'em. [Do we think Charlie should know? Again, probably somewhere between W and M's opinions.]

WILLOUGHBY: This month you are. How about when...

WILLOUGHBY suddenly let's [sic] out a short sharp cough which spurts a spray of blood that hits MILDRED in the face, wholly by accident. Horrified, shaking, WILLOUGHBY tries to wipe her face with a handkerchief, MILDRED almost in tears at his embarrassment.

WILLOUGHBY (cont'd): I didn't mean to... [W's shame is about more than the blood.]

MILDRED: I know... [M knows what he means.]

WILLOUGHBY: It was an accident...

MILDRED: I know, baby. [M, at her most tender. This is startling, contrasted to her behavior everywhere else. ]

WILLOUGHBY: It's blood.

MILDRED: I know. [She's embarrassed for him, even if she can't say it.]

They're both in tears, and there's a desperation in his eyes, as he sits there shaking.

MILDRED (cont'd): I'll go get somebody... [Helpless M is not seen often. It's uncomfortable for all.]

She rushes out the door."

WHAT I'VE LEARNED: I liked how this space between two characters was so alive and active.  Also, it requires the audience to get involved (infer, deduce, etc.)

Three Billboards Outside of Ebbing, Missouri (2017)
by Martin McDonagh

*None of which was ever gratuitous, surprisingly enough.
**I wonder if this is due to McDonagh's playwright training?

TODAY'S NUGGET: In Bruges (2008) - Economy

[Quick Summary: After a hit goes awry, two Irish hitmen hide out in Bruges.]

What the hell does "economy in writing" MEAN?

I know what it looks like.

But no one can tell me how to do it...

...except to read many, many scripts.

I've figured out one thing:

ECONOMY = Every single scene is stuffed to the gills

                + Easy to read.  

For example, a scene from today's script:

"INT. BRUGES POLICE STATION - NIGHT

CHLOE waiting, DESK CONSTABLE doodling. She stands, excited as RAY is released.

RAY: I'll get the money back to you as soon as I get through to my friend...
CHLOE: It's not a problem, Raymond.
RAY: And I'll get all your acid and ecstasy back to you too...

The DESK CONSTABLE looks up.

CHLOE (in Flemish, subtitled): English humour!

She quickly leads him out."

This is a very short scene, but it's chock full of progress:

- Ray finally makes a promise about the future ("I'll get the money back to you...")
- His character remains consistent (he still shows poor judgment by taking the acid).
- If you read between the lines, he has bonded with Chloe.
- She's willing to cover for him. They're a team now.
- Something good has happened to Ray. There's hope.

WHAT I'VE LEARNED: Economy is packing scenes full AND they are easy to read.

The reader gets the literal meaning, as well as the inferred meaning (also know as "allowing the audience to put 2+2 together.")

In Bruges (2008)
by Martin McDonagh