2021 OSCARS: The Father (2020) - Describing the Character's Mental Attitude

[Quick Summary: Anthony has difficulty remembering, to the dismay of his daughter Anne.]

An outstanding (and newly minted Oscar winning) script!

More than any other script in my recent memory, this one makes you FEEL Anthony's memory loss:

a) He can only hold on to bits and pieces, so he is discombobulated when new information arrives or has to retrieve old information that is no longer there.

b) The cyclical, repetitiveness of daily living becomes frustrating and frightening.

c) The writers included Anthony's mental attitude, even though we can't see it, and thus is supposedly forbidden under "screenwriting rules."  It works well here.

For example, in the scene below:
- Anthony keeps thinking his watch is missing/stolen/lost.
- He does not really remember Paul, his son-in-law.
- I've underlined the lines below with Anthony's mental attitude.

INT. LIVING ROOM 2 - DAY

...ANTHONY has noticed Paul's watch. He seems fascinated. He's wondering if it might be his.

ANNE: Laura.

ANTHONY: Mm?

ANNE: The young woman who came to see us just now.

ANTHONY: Oh, yes.

ANNE: And we went to see the doctor...

PAUL: And? What did he say?

ANTHONY: Has anybody seen my watch? Can't seem to find it.

ANNE: Again?

ANTHONY: I've been looking for it for some time.

ANNE: You must have put it in your cupboard. Don't you think? In your hiding-place...

ANTHONY starts, afraid that PAUL has heard the word 'cupboard' and will discover his hiding-place.

ANTHONY: What are you talking about, Anne? I really don't know what you're talking about. What cupboard? Mm? There's no cupboard. No cupboard.

He takes ANNE aside.

WHAT I'VE LEARNED: If it helps the reader, don't be afraid to describe the character's mental attitude.

The Father (2020)
by Florian Zeller and Christopher Hampton

2021 OSCARS: Borat 2 (2020) - A Simple Light Bulb Moment in a Satire

[Quick Summary: To bribe the US, Borat is sent to deliver his daughter as a tribute to Vice President Mike Pence.]

Satire (n.): The use of irony, ridicule, sarcasm, etc. exposes, denounces, derides vice or folly.

The trick with satire is that it has to be funny. Otherwise, it's a lecture.  

Or in this case, the point gets lost in the extremely crass behavior. Which is probably the point.

But I didn't laugh and I didn't enjoy reading it.  (But to be fair,  I'm probably not the audience for this either.)

There was one heartfelt light bulb moment I did like. Tutar, Borat's daughter, is literally wearing blinders when she learns her father (and country) had been lying to her:

INT./EXT. BABYSITTER'S CAR/ STREET - MOMENTS LATER

The babysitter is driving. Tutar, wearing her BLINDERS, is freaking out.

TUTAR: What are you doing?

BABYSITTER: We're driving. Women can drive.

Tutar begins to cry.

BABYSITTER (CONT'D): Don't cry, don't cry, don't cry. It's okay.

TUTAR: You can't drive, you can't drive, you can't drive!

BABYSITTER: I can drive! I can!

TUTAR: It's impossible for woman to drive!

BABYSITTER: Nope! Nope! No!

TUTAR: You are a man! Dressed like a woman!

BABYSITTER: No, no!

TUTAR (screaming): Help me!!! It's a woman driving the car!!!

WHAT I'VE LEARNED: Does this irony land better because of the extreme preceding behavior? I don't think so.  So is the extreme-ness necessary? Or funnier?

Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime for Make Benefit Once Glorious Nation of Kazakhstan (2020)
by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Peter Baynham, Erica Rivinoja, Dan Mazer, Jena Friedman, Lee Kern
Story by Sacha Baron Cohen, Anthony Hines, Dan Swimer, Nina Pedrad

2021 OSCARS: The Trial of the Chicago 7 (2020) - A Bright Spot of Humor

[Quick Summary: Seven protestors at the 1968 Democratic Convention were put on trial for "conspiracy to cross state lines in order to incite violence."]

I had a hard time getting engaged in this courtroom drama filled with big politics.

I wished there were more personal moments, like this spot of humor where Jerry, one of the defendants, confronts Shultz, one of the federal prosecutors:

EXT. PARK BENCH - DAY

...JERRY: Fine, then you buy our phones, you wire up a dope dealer, be a man. You don't send a woman to ensorcell me --it means "enchanting"-- only to have her crush my soul.

SHULTZ: How long did you two know each other?

JERRY: Ninety-three hours. It could have been a lifetime.

SHULTZ: For a fruit fly. Enjoy the weekend.

JERRY: Is that even ethical? Aren't there ethics rules?

SCHULTZ: Did she engage with you sexually?

JERRY (pause): We were taking it slow.

ABBIE: He's gonna be alright.

...SCHULTZ walks away toward his daughters. JERRY calls after him--

JERRY (calling): Does she ever mention me?

SCHULTZ, with his back still turned, just shrugs...

WHAT I'VE LEARNED: I found this moment so human. Despite the seriousness of his situation, a guy just wants to know if a girl likes him.

The Trial of the Chicago 7 (2020)
by Aaron Sorkin

2021 OSCARS: Sound of Metal (2020) - Using Structure to Showcase Internal Conflict

[Quick Summary: A workaholic rocker is at a loss when he loses his hearing.]

This is a noteworthy script, especially how it captures a futile attempt to control the moment in a season of change.

Rubin tries to hold on to the past, while reaching for the future, but cannot do both.

In the scene below:
- Rubin needs to sell his Airstream for ear surgery.
- Rubin is trying to move forward (surgery) while holding on to the past (his equipment).
- Notice the scene is structured to show Rubin's internal conflict (he wants both) and forces him to make a decision (he can only pick one)

INT. AIRSTREAM - MOMENTS LATER

The man writes a number down and slides it to Ruben. Ruben looks at the paper and grins...

RUBIN (Waving hand all around): Man, you know exactly what I have here right? I mean really. I don't need to sell this. I REALLY don't. I'd be happy to keep it dude.

Ruben looks dead into the mans eyes. The man shrugs stiffly.

MAN: I understand. So Listen -

The man writes a number and slides a piece of paper across the table to Ruben. 

MAN (CONT'D): This is it. That's all I'm doing so-

Ruben gazes at the piece of paper. Looks up at the guy.

RUBEN: ...So I have a proposition for you. honestly it's the only way I'd even consider- (Gesturing to the paper) This. But here's the deal though...You and I both know that this is worth a hell of a lot more than what you're offering...it's fully wired as a recording studio. You know how much, just that is worth?

The man begins to protest-

RUBEN (CONT'D): Hey, Common. Just don't. I know the fiar price for this and I know you do too and this, (Pointing to his number) -is a fucking joke.

The man shrugs coldly.

RUBEN (CONT'D):  But I have an idea. What if I were to give it to you at this price?

The man looks up...

RUBEN (CONT'D): With the condition that I have the option to buy it back from you for ten percent more than you're paying me within like...a couple months from now.

The man looks at Ruben like he's nuts. From Ruben's POV...

MAN (SILENCE W/T SUBTITLES): Why?

RUBEN: But it's got to remain it it's current condition, everything in place (gesturing)

The man considers as Ruben waits. The son gives a thumbs up. Ruben wants to rip his throat out.

MAN: I can give you a month-

Ruben signals to the guy to write it down. He does. Ruben looks at it.

RUBEN: Five weeks. Pay pal's ideal.

WHAT I'VE LEARNED: It's very helpful that the structure forces a decision, which surfaces the character's conflicts and priorities.

I am surprised by how deeply the script moved me, and how the scenes have lingered with me. 

Sound of Metal (2020)
by Darius Marder and Abraham Marder

2021 OSCARS: Promising Young Woman (2020) - Well-Rounded Characters Come With Attitudes/Agendas That Will Cause Conflict

[Quick Summary: After her life goes off the rails, angry Cassie seeks revenge on men with a targeted agenda.]

This is a very sharply written script, very focused in tone and intent.  It is a throwback to the really good female led thrillers of yore.

For me, the script works because the writer stayed true to the character all the way through, and did not shirk back when things turned ugly in Act 3. 

Also, characters are fully rounded, even the minor ones.  

In the scene below, notice:
- How each character has a distinct attitude that is easily distinguished.
- How these attitudes/agendas lead to conflicts that push the story forward.

INT. MAKE ME COFFEE SHOP - LATER 

...GABBY:  Um. A hot chocolate please.

CASSANDRA starts making it. The men are now openly staring at GABBY, whispering.

JEFF: I'd never let my daughter go out looking like that. Nothing to the imagination.

but the way he's looking at her is not that of a concerned parent.

CASSANDRA glares at him. She leans forward and whispers to GABBY.

CASSANDRA: Do you want me to freak those fuckers out?

GABBY glances over at them.

GABBY (low): No, no! Please don't! Please don't say anything. Please.

She is bight red with embarrassment. Almost in tears.

CASSANDRA: It's alright. Don't worry. Don't worry about those creeps. Fuck 'em.

She passes GABBY her drink.

CASSANDRA (CONT'D): On the house.

GABBY (small): Thanks.

GABBY makes her way to the door trying to keep as far from the table as she can while the men watch, sniggering.

CASSANDRA comes over to wipe their table and - oops! - she knocks a hot coffee into JEFF's lap.

He leaps up.

JEFF: JESUS!

CASSANDRA: Would you look at that! Right in the crotch!

GABBY turns and stifles a smile at CASSANDRA as she leaves. CASSANDRA winks at her.

CASSANDRA (CONT'D): Let me get you a fresh one, sir. Hope I didn't burn you.

He watches her go, furiously.

WHAT I'VE LEARNED: I was particularly impressed how cleanly defined these characters were, unapologetic and driven. I may not agree with their POV, but I understood them.

Promising Young Woman (2020)
Written and directed by Emerald Fennell

2021 OSCARS: Minari (2020) - Using the Match Cut for Meaning

[Quick Summary: Jacob brings his wife (Monica) and kids (David, Anne) to the South to chase his dream of building a vegetable farm.]

It's taken me awhile to understand:

1) Screenplays are limited by their form.
2) You either like it and lean into it, or you find a different form.

ex. A novel is not limited by time and space. It can be stream of consciousness.  

However, a script is limited by time and space.  This form is written, for the purpose of shooting pictures visually.  This is not a natural way to write.

You have to learn to convey what you mean visually but only by using words.   

This script demonstrates one helpful tool: the match cut.

In the scene below, notice the flow of how it works:
- David (7-8 yrs. old) pulls out a heavy drawer --> then match cut to Jacob (the dad) is carrying a chicken crate.
- These are essentially two wooden boxes in two different locations.
- These are two sequential parallel images that result in unspoken meaning to the audience: Both son and father are similar, both dealing with failures.

DAVID'S BEDROOM - DAY

David removes the DRESSER DRAWER slowly. It's too far...

It FALLS! Match this to:

INT. HATCHERY - DAY

A crate of chickens FALLS to the floor.

Jacob has dropped it. Monica hurries to help him pick it up.

MONICA (to Jacob): [Your arms are that sore again?]

MRS. OH: Put the box there; if any are injured, we have to throw them away.

Jacob notices that Mr. H eyes him from the back. Monica notices this too.

WHAT I'VE LEARNED: I think the match cut here was well thought out, i.e., WHAT are we going from, WHAT are we going to, and WHY.

Minari (2020)
by Lee Isaac Chung

2021 OSCARS: Judah and the Black Messiah (2020) - Creating a Traitor Character Through Motive, Tone, Mood

[Quick Summary: Bill O'Neal is blackmailed into going undercover in the Chicago Black Panthers to spy on its leader Fred Hampton.]

A film critic recently mentioned the fine line that O'Neal (LaKeith Stanfield) walks as he plays both sides with the FBI and the Black Panthers.

His motive seems to be self-preservation, but we're unsure as the story unfolds.

He's unpredictable, and that is what makes him interesting to watch.   What does he want? Prestige? Money? To belong? We cannot tell.

In the scene below:
- O'Neal has come to FBI agent Mitchell's house to report.
- Notice the tone: Mitchell treats his confidential informant like an equal.  He can afford to because he has leverage. O'Neal basks in the side benefits while he can.
- Notice the mood: O'Neal feels safe here, even though he's betraying one side for the other. 
- Note the motive: He likes nice things, but likes security more. Do you agree?

INT. MITCHELL HOUSE - DEN - DAY

...Mitchell tries to get a read on O'Neal. It's impossible.

MITCHELL: Anyway...I'm going to get those dogs going.

Mitchell rises. O'Neal starts to join him.

MITCHELL: No, no. Sit down. You're a guest.

He grabs his coat.

MITCHELL: If you want a taste of the good stuff, there's a bottle of Scotch in the bottom cabinet. Help yourself.

Mitchell's about to exit when...

O'NEAL: Hey, how much money you make, man?

Mitchell is struck by his forwardness. He bristles ever so slightly before settling.

MITCHELL: It's a...It's a living.

O'NEAL: Say I get you like some good information. Something nobody else knows -- Is there a bonus or something?

MITCHELL: I'm counting on it, Bill. But to answer your question...you scratch my back, I'll scratch yours. Make yourself at home.

Mitchell EXITS toward the BACK PORCH. O'Neal puffs the cigar. Taking in his surroundings, he savors the house's comparative opulence and the feeling inside of having made it.

WHAT I'VE LEARNED: I liked that O'Neal wheels and deals, making it up as he goes along, even though he's in the hot seat. It feels very realistic.

Judah and the Black Messiah (2020)(10/16/19 shooting draft)
by Will Berson & Shaka King
Story by Will Berson & Shaka King and Kenny Lucas & Keith Lucas

TODAY'S NUGGET: The Postman (1997) - How to Visually Show Transformation (When a Character Adopts a Guise)

[Quick Summary: When Holnists terrorize a post-apocalyptic world, a loner, who calls himself the Postman, stirs up a Resistance by bringing mail to isolated towns.]

This is a well-written, engaging, earnest adaptation, but LONG.

However, the script lays out how to give meaning visually to a moment. 

The script refers to the protagonist as "The Postman" from the start.  

However, he is never referred to that by name, so the audience is unaware until this moment below.

Notice that the meaning is two-fold:
- He adopts The Postman's guise.
- He is also a dead man walking, as he is still being hunted by Holnists.

EXT. BOTTOM OF RAVINE - NIGHT

He comes to a stop in a forest, covered with undergrowth and dotted with saplings, nothing's been down here in years. He's lying on an unnaturally hard something. He pulls up -- takes stock. The thing is square. He cautiously pulls back a few branches.

An old, rusted Jeep with faded U.S. government markings. Its hood buried under the dirt of an old mud slide. The Postman stoops to look through the passenger side window, comes face-to-face with death. A skeleton sits inside, the skull grinning against the glass facing The Postman. 

But The Postman doesn't jump back. He just stares. The two heads meet halfway as The Postman's face is reflected on the glass, superimposed over the skull. [emphasis mine]

A hypothermic shiver wracks his body. The Postman tries the door, but it won't budge. THe other side of the Jeep is buried. But seeing that the windshield is partly smashed, he clears away the debris, peels back the spider-webbed safety glass and climbs inside.

WHAT I'VE LEARNED: I thought the superimposed reflection was a great way to explain what The Postman was thinking.

The Postman (1997)(1/28/97 shooting script w/revisions)
by Eric Roth and Brian Helgeland
Based on the novel by David Brin

TODAY'S NUGGET: Conspiracy Theory (1997) - Deepening Emotional Jeopardy w/Multiple Motives

[Quick Summary: Jerry, a raving conspiracy theorist, convinces Liza, a Justice Dept. attorney, that  someone is after him for what he knows.]

I liked this script because: 1) It's more about characters than plot; and 2) To do that, the writer expanded the emotional jeopardy element.  How did he do that?

I think it is because he gave Jerry a multiple motive.  He wants to protect Liza because she's the only one who will help him, but also because he's in love with her.

Every scene has a deeper subtext (see below). The agents think Jerry is concerned about Liza to save himself (plot), but his motive is more personal (character).

INT. CROWN VICTORIA - PARKED - NIGHT

Agent Lowry leans forward to look up to the window of Liza's apartment. Behind him, he hears the back door open, Agent Murphy slide in the backseat. As Lowry eases back: 

LOWRY: How's your bladder?

The barrel of Murphy's black 9mm is pressed squarely against Lowry's temple.

VOICE Not bad. (cocks hammer) How's yours?

It's Jerry in the backseat! Lowry's a pretty cool customer. He regards Jerry evenly in the rearview.

LOWRY: Lots of folks are looking for you.

Lowry's hand toward a .45 on the front seat.

JERRY: Then you must be the smart one. Hands on the steering wheel.

A little nudge of the 9mm and Lowry does as he's told.

JERRY: Thank you.

LOWRY: You're welcome. Where's my partner?

JERRY: I like that. A gun to your head and you ask about your partner. He's okay. May have a headache for a few days. Are you here with honorable intentions?

LOWRY: I'm not sure what you mean.

JERRY: You should think of me as Liza Sutton's guardian angel.

LOWRY: That's ironic. Because we're here to protect her from you.

JERRY: You're here because you figured I might show up.

LOWRY: It seemed like a possibility. What about your intentions? Are they honorable?

JERRY: I'm not a violent man, Mr. Lowry. Not by nature anyhow. But if you hurt Liza in any way, I'll kill you. Does that seem honorable?

LOWRY: Well, I don't know if --

Jerry creases the back of his head with the gun barrel As he slumps over unconscious...

JERRY: Seems honorable to me.

WHAT I'VE LEARNED: I had not thought to double up on jeopardy like this before.  It gives characters a deeper pool to explore.

Conspiracy Theory (1997)(12/11/95 draft)
by Brian Helgeland

TODAY'S NUGGET: Kansas City (1996) - One Way to Justify a Road Trip

[Quick Summary: In an uneasy 1934, Blondie kidnaps innocent Mrs. Stilton to force Mr. Stilton to get Johnny, Blondie's husband, released from the mob.]

At first glance, this story just seems to be a meandering road trip around Kansas City between Blondie and Mrs. Stilton.

But below the surface, it's great storytelling:

1) There is a justification for the women to not stay in one spot for too long, i.e., they have to wait for Mr. Stilon to fix the situation but people are looking for them.

2) There is a reason behind each stop, i.e., we learn more about the characters.

For example, in the scene below:
- We learn how smart Blondie is.  She knows her sister is the one person who could talk her out of things and ruin her plan.
- Note the economy of writing, especially Babe looking in the car --> Blondie on the lookout.

INT. THE REEL INN - DAY

BLONDIE stands up and goes to the window. ANGLE OF WHAT BLONDIE SEES: BABE is parking her car on the street. BLONDIE goes immediately to where BESS is sitting.

BLONDIE: Come on, lady, we got to get out of here. Now.

BESS: What for?

BLONDIE: 'Cause I don't like it here. Move it. Let's go.

BESS doesn't question BLONDIE'S orders. She is stoned enough to do what she is told. She stands up puts on her coat and waits for further instructions.

BLONDIE: Follow me.

EST. FILM ROW - DAY

BABE sees BLONDIE'S car parked on the street. She looks in the windows then opens the doors and looks around inside to make sure it is BLONDIE'S car. As the CAMERA PULLS BACK we see that BLONDIE has been watching her sister from behind a building at the corner.

When BABE goes toward THE REEL INN, BLONDIE brings BESS out from behind the building and escorts her to the car.

BLONDIE starts the car and makes a U-turn. She watches in the rearview mirror.

BLONDIE: That was close.

This is all a blur to BESS.

WHAT I'VE LEARNED: I appreciate this example of how to tell a story in an interesting way. I wasn't expecting to get as involved emotionally as I did.

Kansas City (1996)(undated draft)
by Robert Altman & Frank Barhydt