2025 OSCARS: Emilia Perez (2024) - The Line Which Conveys Two Women in the Same Space, Lost in Thought

[Quick Summary: Musical.  A lawyer assists Manitas, a drug lord, to "kill" him, help him to become "Emilia"  via surgery, and then reunite her with her wife and kids.]

PROGRAMMING NOTE: For this year's 2025 Oscar roundup, I'm going to feature my single favorite line from each of the 10 scripts.

I thought it was tricky to adapt this story into a film, and even more so, a musical.* 

There is a ton of ground to cover: who Manitas is; his empire; the threats to him; his transition to a woman; her establishing a non-profit to help families, etc.

The strongest story line that drove many decisions was Emilia's desire to be reunited with her kids, which wasn't unexpected.

The second strongest story line was unexpected: Emilia's new romance with Epifania.  I found it to be more nuanced visually, with subtext.  

The scene below is an example of the second point:
- Prior to this scene, Emilia meets Epifania at the non-profit.
- They go out on a date and stay the night together.
- The scene below is the morning after.
- As Emilia starts to sing, Epifania continues with day's work: dressing housekeeping, etc. 
- I liked the first sentence, which specifies: a) they don't see each other, and b) they're in the same frame.
- This is so succinct!  It conveys through visuals and space that they're each lost in their own thoughts.
- BONUS: I included the second sentence for the last phrase, "weighed down by love," which I thought was beautifully descriptive.

INT. EPIFANIA'S HOUSE - DAY

 ...Epifania does not seem to see her although they are in the same frame.....All her gestures are weighed down by love.

WHAT I'VE LEARNED:  I liked the economy of words. It's hard to quickly convey two people both lost in thought.

Emilia Perez (2024)
Written and directed by Jacques Audiard, in collaboration with Thomas Bidegain, Lea Mysius, Nicholas Liveechi
Based on the novel by Boris Razon

*The Emilia Perez character began as a secondary character in a French novel.  Jacques Audiard, the film's writer/director, had the idea to first turned Emilia's story into an opera, then a film musical.

2025 OSCARS: Conclave (2024) - One Line That is Underlined May Have a Different Meaning Than Another

[Quick Summary: After the Pope dies, the Dean of the Conclave must manage the voting process for the new Pop and discovers hidden motives of the candidates.]

PROGRAMMING NOTE: For this year's 2025 Oscar roundup, I'm going to feature my single favorite line from each of the 10 scripts.

We writers are told a lot of "don'ts":  "Don't put in camera moves (directors don't like that)." "Show, don't talk about feelings (actors don't like that)."  

These days, I take them "under advisement", i.e., ignore them, because I've seen writers do those very things -  BUT THEY KNEW WHAT 'RULES' TO BREAK.

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

Q: In the above paragraphs, why do I only remember the underlined part?
A: Underlining emphasizes things.

Q: Have you seen any effective uses of underlining?
A: I will cite two lines from this script, in same scene, only because they show how underlining does different things:
- The first emphasizes what is in Lawrence's mind and emotions.
- The second is later in the scene, and emphasizes a shift in tone.

INT. PAPAL SUITE - SITTING ROOM - NIGHT

...Lawrence is holding the x-ray to the light, staring in silence, struck that he is looking at the very heart of the man he revered.

....The contest has begun.

WHAT I'VE LEARNED: Like any good tool, the emotional impact that comes with underlining is best used sparingly.

Conclave (2024)(final draft, w/revisions)
by Peter Straughan
Based on the novel by Robert Harris

TODAY'S NUGGET: Love's Labour Lost (2000) - "[Love] Kills Sheep" Sight Gag in Shakespeare

[Quick Summary: This is a musical adaption of a Shakespeare play, set in the 1930s, in which four friends swear off love.]  

BAD NEWS:

I admire Kenneth Branagh's attempt to do something new by adding dance and musical numbers to a lesser known Shakespearean play, but I didn't believe it.

Roger Ebert writes about a few problems:

"Love's Labour's Lost" is hardly ever performed on the stage and has never been previous filmed, and there is a reason for that: It's not about anything. In its original form, instead of the songs and dances we have dialogue that's like an idle exercise in easy banter for Shakespeare. (my underline)

As a result: 

It's like a warm-up for the real thing. It makes not the slightest difference which boy gets which girl, or why, and by starting the action in 1939 and providing World War II as a backdrop, Branagh has not enriched either the play or the war, but fit them together with an awkward join....Like cotton candy, it's better as a concept than as an experience.

GOOD NEWS:

1) I did like the updated use for the homonym (1 word, 2 meanings) for "Ajax", then used to reference a tragic Trojan War figure, and now for a cleanser.

2) Branagh furthers the turn of phrase with an actual sight gag: the cleanser, i.e., love, has killed the sheep! This visual is a funny, clever way to show a metaphor.

INT. LIBRARY -- DAY

BEROWNE prowls the circular gallery.  He passes books which he ignores and cleaning materials, which he does not. Next to an abandoned servant's broom there is a well known brand of bleach. This inspires him.

BEROWNE: By the Lord, this love is as mad as Ajax,

He glances out the window. A sheep grazes in the park. After a moment it falls over unconscious.

BEROWNE: It kills sheep!

But in this state, any form of madness is understandable.

BEROWNE (CONT'D): It kills me, I a sheep! I will not love. If I do, hang me; I'faith, I will not.

WHAT I'VE LEARNED: I particularly like this sight gag because it works for those who understand the literal level (cleanser kills sheep), but also those who get the humor of the deeper level (those who know historical Ajax + the cleanser).

Love's Labour Lost (2000)
by Kenneth Branagh and William Shakespeare

TODAY'S NUGGET: Chicago (2002) - Theme Holds Together Fantasy & Actual Sequences

[Quick Summary: Told through fantasy and actual sequences, Roxie Hart is jailed and put on trial for murdering her lover.]

TWO THINGS I LIKED:

1) I like that the filmmakers clearly thought about how to take advantage of film's strengths vs. just replicating the stage musical.

ex. Film switches easily between fantasy, reality, points of view, different locations.

2) I liked that the theme of "life is a stage" is very clear, even between fantasy and actual sequences.  The scene below is a good example of how the flow works.

NOTE:
- Roxie desperately wants to be a stage star like Velma, for the stage to be her life.
- Roxie's case has replaced Velma as the latest headline of the week. Now Roxie is being replaced by Mary Sunshine.
- How do we know Roxie is being replaced? A visual that represents how it feels, i.e., "ROXIE" sign going dark.
- Roxie fakes a pregnancy = She makes life a stage

INT. "STAGE" - NIGHT

On the stage, the "ROXIE" sign goes dark.

INT. COOK COUNTY JAIL - DAY

Velma steps up to Roxie.

VELMA: How's it feel, kid?

She holds up the morning papers, which are filled with stories about the Lakeshore Drive Massacre. 

VELMA: J. Edgar Hoover couldn't find your name in the papers.

She drops the papers in Roxie's hand and starts off. Roxie gives a sudden shriek and crumbles in a faint. She moans, with eyes closed, then lifts her head a little to call out:

ROXIE: Mr. Flynn? Miss Sunshine?

She faints again. The reporters make a beeline for Roxie. Mary Sunshine peers down at her through the open bars.

MARY SUNSHINE: What is it, dear?

Billy turns to a guard, gestures grandly for the cameras.

BILLY: Someone unlock that door immediately.

ROXIE (wan and sweet): Oh, don't worry about...me. I just hope the fall didn't hurt the baby!

MATRON: Baby!

Roxie nods solemnly.

VELMA: Shit.

Roxie and Velma exchange looks. Flashbulbs pop and peppy MUSIC plays ("Me and My Baby")...

WHAT I'VE LEARNED: Despite a high amount of razzle dazzle, I never was lost because the theme keeps the script grounded.  

This is always about life and stage imitating each other.

Chicago (2002)
by Bill Condon
Based on the musical play "Chicago"
Book of the musical play by Bob Fosse and Fred Ebb
Based on the play by Maurine Dallas Watkins