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.

Monday, November 28, 2022

TODAY'S NUGGET: Risky Business (1983) - How a Line of Dialogue Set Up the Next Three Scenes (Unity of Theme)

[Quick Summary: After his parents leave for the weekend, chaos ensues in a high schooler's house.]

Roger Ebert wrote:

The very best thing about the movie is its dialogue. Paul Brickman, who wrote and directed, has an ear so good that he knows what to leave out. This is one of those movies where a few words or a single line says everything that needs to be said, implies everything that needs to be implied, and gets a laugh. When the hooker tells the kid, "Oh, Joel, go to school. Learn something," the precise inflection of those words defines their relationship for the next three scenes.

So what is their relationship for the next three scenes?  I think it's about how Joel sees it (adolescent sex) vs. how Lana sees it (business):*

SCENE 1 - Because Lana still has his mother's glass egg, Joel has no choice but to leave her at his house while he is at school. He is desperately unprepared for a pop quiz.

SCENE 2- Meanwhile, Lana checks out all the silverware, art, etc.  She takes his dad's Porsche for a drive.

SCENE 3 - Joel returns home to find Lana has invited her hooker friends to use the house for customers.  Here is the scene when he returns home and finds out:

EXT. JOEL'S HOUSE - AFTER SCHOOL - DAY

Joel stops his station wagon midway up the driveway. Miles is hanging out in the front yard. Joel goes to him.

MILES: Hi Joel.

JOEL: What's going on?

MILES: I'm waiting for Glenn?

JOEL: Where is he?

MILES: Inside.

JOEL: In the house?

MILES: He wanted to meet her.

JOEL (not pleased): What is this?

Joel goes toward the house. Glenn exits. He sports a wide grin.

JOEL: What're you doing?

GLENN: I was inside.

JOEL: I can see that.

GLENN (vamping awkwardly): So... you're home now...

Something is definitely up.

JOEL: Yeah, I live here, remember?

Joel turns to look at Miles. Conveniently, Miles is facing the street, his back turned to them.

JOEL: Is Lana still here?

GLENN: She's inside.

JOEL: Tell me you didn't do anything with her --

GLENN: Who? Lana?

JOEL: Yeah.

GLENN: No. Nothing. I just met her. She's nice.

JOEL: You're sure. You didn't do anything with her.

GLENN: Yeah. I swear.

Joel looks back at Miles. He's holding back a chuckle.

JOEL: You fucked her, didn't you?

GLENN: No.  I told you.

JOEL: Yes. You did.

GLENN (indignantly): I did not fuck her, Joel.

JOEL (after a beat): Okay.

GLENN: Ask me about Vicki.

JOEL: Who's Vicki?

A VOICE from the front door. It comes from a tall blonde on a rather large frame. VICKI'S about eight hard years older than Lana.

VICKI: Are you Joel?

Glenn punches Joel's arm gratefully.

GLENN: Owe you one.

WHAT I'VE LEARNED:  I was impressed how the dialogue ("go to school, learn something") nailed the theme, which was then played out in the next three scenes.

Risky Business (1983)(3rd draft, 11/30/81)
by Paul Brickman

*Ebert is not often "astounded," so I thought I'd include his thoughts:

"The next best thing about the movie is the casting. Rebecca De Mornay somehow manages to take that thankless role, the hooker with a heart of gold, and turn it into a very specific character. She isn't all good and she isn't all cliches: She's a very complicated young woman with quirks and insecurities and a wayward ability to love I became quietly astounded when I realized that this movie was going to create an original, interesting relationship involving a teenager and a hooker. The teenage kid, in what will be called the Dustin Hoffman role, is played by Tom Cruise, who also knows how to imply a whole world by what he won't say, can't fell, and doesn't understand."

Monday, November 21, 2022

TODAY'S NUGGET: From Russia with Love (1963) - One Way to Intercut Locations While Spouting Exposition

[Quick Summary: Bond goes into Istanbul to retrieve a Russian defector and decoder machine.]

I find it difficult to maintain a story's rhythm and flow while intercutting between locations.  I also loathe exposition dumps.

So I was quite impressed when I read the scene below, which does BOTH SIMULTANEOUSLY.  It is a marvel of craft and hard work. 

NOTE:
- Watch closely as the scene moves from Istanbul ferry boat --> M's office --> Moneypenny's office --> Istanbul office. 
- Notice how the taped conversation is the common thread between scenes.
- Also note how well this scene suits cinema in particular.  The flow of dialogue + different locations = The audience sees the information is being transmitted to M without being told so.

ON THE FERRY BOAT

...Bond glances around then lowers the front flap of the camera case, revealing a tape recorder.

BOND: Talk into this. Answer my questions quietly but clearly. How long is the machine?

TANIA: Like...like a typewriter....

                                                                                         DISSOLVE TO:

A LARGE TAPE RECORDER

The reels are spinning. PULL BACK to reveal:

INT. 'M'S' OFFICE - DAY

The tape recorder is on "M's' desk and he sits listening. Moneypenny sits beside him taking notes. Across the desk sit a NAVAL OFFICER, an ARMY OFFICER and FOUR OTHER SUPERNUMERARIES. 'M' lights and puffs his pipe.

Bond and Tania's voices come through the speakers:

TANIA'S VOICE: There are twenty-four symbols, sixteen code keys. It is inserted in a slot. And the message comes out on a paper roll from another slot on the other side And the mechanism is...oh, James...James...will you make love to me all the time in England?

BOND'S VOICE: Day and night. Go on about the mechanism....

'M' shuts off the machine.

'M': Thank you, Miss Moneypenny. That's all, that's all.

She gets up and exits past the men. We hear a door close, then 'M' re-starts the tape recorder.

BOND'S VOICE: Later, later.

IN MISS MONEYPENNY'S OFFICE - SAME TIME

Miss Moneypenny flips on her intercom and sits down at her desk. She hears the tape playing in the other room.

...BOND'S VOICE: Go on with what you were telling me...No, not that! The mechanism!

'M's' VOICE (over intercom): Miss Moneypenny, as you're no doubt listening, perhaps you'd take this cable. Text reads...merchandise appears genuine...

                                                                                      DISSOLVE TO:

INT. KERIM'S OFFICE - DAY

Bond sits across from Kerim's desk reading the telegram aloud

BOND (overlapping 'M'): '..merchandise appears genuine. Stop. Go ahead with deal. Signed "M".'

WHAT I'VE LEARNED: I liked the use of the taped conversation as a common thread to "show, not tell" exposition while intercutting to locations.

From Russia with Love (1963)(undated)
by Richard Maibaum
Adapted by Johanna Harwood
Based on the novel by Ian Fleming

Monday, November 14, 2022

TODAY'S NUGGET: Dr. No (1962) - "The pictures are so much funnier than my books."

[Quick Summary: After henchmen kill and steal at MI-6's Jamaican HQ, MI-6 sends 007 to investigate a plan to interfere with American missiles.]

I was interested what Richard Maibaum said in an interview:

I met Ian Fleming several times while he was still alive, but I did not speak to him about screenwriting. He didn't seem very interested. He didn't have script approval, but as a matter of courtesy we gave him the scripts to read. He would make minimal notes in the margin, in very tiny handwriting, that usually dealt with questions of protocol - what Bond called M in the office as opposed to what he called him at their club, things like that.

He did say to me once, "The pictures are so much funnier than my books." He was a little bemused and a little obtuse about it, I thought, because he really didn't understand that we were trying to make them funnier. That was the thing we changed most about the books as far as the pictures were concerned. We made Bond more humorous, throwing away those one-liners that are now obligatory in Bond films. [my emphasis]

A good example is the first introduction below to Bond in this first film:
- The introduction to Bond starts with ..."a MAN holding the back has his back to the CAMERA" and we do not see his face until the moment below.
-  The writers took time to set up the spy world, so Bond doesn't appear until p. 10.
- Note this scene is amusing, but the writers also hid some character work in it (Bond is observant, chivalrous, polite, flirty).
- Also, note the dialogue's humor comes mostly from the subtext underneath.

INT. GAMING ROOM. TOP STAKES TABLE. MED. SHOT. NIGHT

... SYLVIA (glancing across at him enigmatically): Suivi....

BOND looks at her, frankly surprised this time.  His eyes drop to her small pile of chips.

SYLVIA: The house will cover the difference.

BOND glances at the CROUPIER, who nods almost imperceptibly. Again BOND (whom we have still not seen front-view) deals.

SYLVIA: Carte.

BOND gives her another card. It is five. BOND's cards are turned. he has two kings. He takes another. It is a seven. The CROUPIER rakes the chips over to him again. 

BOND deliberately breaks the tension by taking out his cigarette case and offering it to SYLVIA.  [This deliberate, subtle move puts Bond back in charge. Good character stuff.]

BOND: I admire your courage, Miss....?

SYLVIA (taking a cigarette): Trench....Sylvia Trench...

He lights her cigarette.

SYLVIA: And I admire your luck, Mr....?

BOND (as he brings the lighter up to his own cigarette, and for the first time we see his face): Bond....James Bond.

Their eyes meet, appraisingly. Then a man comes up behind BOND bends down to whisper something. BOND listens attentively, nods, rises.

BOND (to croupier): Afraid I'll have to pass the shoe. Andree. (to SYLVIA) Forgive me...an urgent matter.

He gets up - she gets up and joins him.

SYLVIA: Too bad. Just as it was getting interesting. [She flirts first, testing the waters.]

BOND (amused by her obvious pass): Do you play anything else but Chemin de Fer? [He picks up the gauntlet.]

SYLVIA: Golf occasionally.

BOND: How about a game tomorrow. (slight pause) and dinner afterwards? [He's not just talking about a game and dinner. Good subtext.]

SYLVIA: Its tempting. May I let you know in the morning? [Playing hard to get.]

BOND (taking a card from his pocket and handing it to her): Fine....Here's my card....give me a call... [He makes a move, but gives her a choice.]

He smiles, moves away. SYLVIA watches him go thoughtfully. 

SYLVIA (to herself): Maybe I will.... [She's impressed.]

WHAT I'VE LEARNED:  A lot of the humor is in the witty dialogue but also in the subtext. 

Dr. No (1962)(5th draft, 8/1/62)
by Richard Maibaum, Wolf Mankowitz, and J.M. Harwood
From the novel by Ian Fleming

Monday, November 7, 2022

TODAY'S NUGGET: Blow-Up (1966) - Use the Search/Process to Flip Expectations

[Quick Summary: A photographer follows a couple in the park, and unwittingly may have photographed a murder.]

In its day, audiences buzzed about this film because of the nudity, and orgy scene.*

However, it remains a significant film because it broke new ground in how to tell a story, and influenced many other filmmakers later.**

I went into this script cold and was not surprised that not all the loose ends get tied up by the ending.  However, I did learn two things:

1) Antonioni is not interested in plot, but rather "the perceptive nature of reality and the often baffling relationship of truth and perception." 

In fact, Antonioni himself stated: 

The search for reality in a photographed image provides the central plot for Blow-up.

2) Use the search/process, not the answer, to flip expectations.   

Many scripts about getting to the answer.  This one is about the search/process.

It is heavy with photos + people, and exploring how the two interact.  Is reality in the photos? Outside the photos? What is truth? Or was it my perception?

The writers use that dynamic to flip our expectations.

For example, in the scene below:
- Thomas (photographer) has just caught Girl trying to steal his camera from his studio.
- He'd taken photos of her and her older lover earlier in the park.
- She has just asked what he wants for the photos, and taken her top off.
- Note the moment she flips [brackets below] from chasing the photos (her past) to disregarding them for the present. Is reality in those images or in this studio?
- Note how he reacts to her interest in him>> the photos.  Is it truth or only his perception?

Resume on the Girl. She puts her blouse down and stands waiting. They look at each other, suddenly serious and tense. Camera moves with Thomas as he goes up to her, ducking under the plume rack, and places his hands on her shoulders.
He looks at her silently.
Reverse angle shot of them looking at one another. He moves away and she turns to look at him.

THOMAS: Get dressed. I'll cut out the negatives you want.

He goes off down the gangway leading to the darkrooms. He opens the purple door of the first one.
Inside the darkroom the door slides open, revealing Thomas in close-up. Camera follows him as he goes to the table and takes the reel from the camera. He toys with it, as if still undecided whether to give it to her or not. Then he puts it out of sight and picks up another roll of film, and turns back to the door.
He comes back into the studio and looks round, toying with the film still in hand.  At first glance it seems the Girl has disappeared. The music is now cool, quiet jazz.
The Girl's legs are visible but the rest of her body is obscured by the lilac back-drop.  He pulls it from the wall and looks behind it. She is standing still, half-naked, with her arms folded across her breasts. Thomas comes toward her behind the purple paper, holding it back, then letting it fall, obscuring them both from view.
Thomas comes up to the Girl and tosses her the roll of film.
She takes it and moves away, camera following her. But after one or two steps she stops and turns back. She looks at Thomas almost tenderly. Then gives him a kiss. A fleeting kiss. And again moves away. [Flip moment: She's gotten what she came for. Why doesn't she flee?]
This time it is his turn to follow her. She stands in close-up against the purple screen, and he takes her in his arms, holds her tight and kisses her. This, too, is brief.
Then, with an arm round her shoulders, he leads her gently towards the bedroom. As they pass, camera tracks in rapidly to the Girl's blouse as she tosses the reel of film onto it.
They reach the doorway to the bedroom. She wraps her arms round his neck...when the doorbell rings. They both pause.

WHAT I'VE LEARNED: Since this script is not driven by a formula or "find X," I found these flip moments much more interesting.

Blow-Up (1966)
by Michelangelo Antonioni and Tonino Guerra; English dialogue in collaboration with Edward Bond
Inspired by a short story by Julio Cortazar

*Interestingly, Roger Ebert notes that today's audiences might consider them tame, and would likely be more offended by the photographer's contempt of his models. 

***Including Coppola's The Conversation (1974) and de Palma's Blow Out (1981).

Monday, October 31, 2022

TODAY'S NUGGET: The Dead (1987) - Using Close Ups to Convey the "Unfilmable"

[Quick Summary: During at dinner party at his aunts' home in 1904, Gabriel begins to see himself, his wife, not in roles, but as human beings.]

Q: What is an "unfilmable" novella?
A: It most often means a story with a lot of internal action, i.e., inside the character's head.  Alas, this is not good for film, which depends on external action.

Q: This script is an adaptation of James Joyce's "unfilmable" novella.  How did the writers tackle an "unfilmable" scene?
A: One tool they used was a close up which should be used sparingly, because it emphasizes something the director wants pointed out.

In this script, the close up is used to show what the character is thinking.

In two examples below (a) at the piano; b) with photograph):
- Notice the complex thoughts each one is trying to convey:  In a), Gabriel pities Aunt Julia.  In b) Gabriel remembers his mother.
- Notice the reason for the close ups: We're going into Gabriel's internal thoughts, which is a very intimate space.  A wide shot would keep us distant from him.

CLOSE ON GABRIEL

As he is struck with bitter intensity by the irony of her choice. Here is his Aunt, a withered old maid, giving expression to emotions and experiences which, in real life, have alluded her.

CLOSE ON AUNT JULIA

The CAMERA taking in the signs of old age - the grey hair, the wrinkled hands, the flaccid folds at cheek, neck and elbow, the crow's feet at the corners of the eyes, etc.

AUNT JULIA (cont'd)(singing): Who would not love her?

CLOSE ON GABRIEL

Hardly able to bear it.

CLOSE ON GABRIEL

As his gaze drifts from Aunt Julia to the inanimate objects around the room.

....

The final photograph is one of Gabriel himself in a man-o-war suit as he leans on his mother's knee reading a book in her lap.

CLOSE ON GABRIEL

Indicating that he and the boy are one and the same person and that this woman was his mother.

WHAT I'VE LEARNED:  A close up can convey unfilmable complex thoughts.  

However, it should be used judiciously because we lose objectivity if we're constantly in that close.

The Dead (1987)(undated)
by Tony Huston & John Huston
Based on the novella, "The Dead," from "Dubliners," by James Joyce

Monday, October 24, 2022

TODAY'S NUGGET: Mary Rose (unproduced Hitchcock) - Building Blocks of Creating & Layering Dread in Psychological Horror

[Quick Summary: Mary Rose has no memory of disappearing from an Island, then reappearing after 20 days.  As an adult, she re-visits and disappears for 18 yrs.]

After a run of 3 other psychological horrors,* I'm not sure why Hitchcock couldn't get this script green lit.**  It is very much in his wheelhouse of suspense.

This script is a great example of one keys to psychological horror: creeping dread.  

What are the building blocks of dread?  Often unease and uncertainty.

Let's look at a great example in the scene below:
- Kenneth (40), Mary Rose's son, returns to his childhood home, which is for sale.
- He's been away for 20+ yrs. and walks through the unlocked front door.
- Notice what the writer uses to build dread: the physical description of the wallpaper; the gloom in 'sacking,' 'peeling,' old woman, etc.
- Notice what the writer uses to layer dread: uneasiness of chair facing away from us; sound, shadow,  old woman is holding her breath, etc.
- I've underlined below the phrases that kept me uneasy or uncertain.

Slowly, he begins to mount the stairs. At the top, he discovers a door, open upon a dark and deeply silent room. Quietly, he enters. All of this room's past, which can be taken away, has gone.  Such light as there is...no more than enough to make shadows...comes from the only window, which is at the back and incompletely shrouded in sacking. Also toward the back of the room is another door.  It is closed. As his eyes adjust to the dark, they circle the room, taking in the peeling wallpaper, the desolated, deserted sadness of it all, until finally his eyes come to rest upon the only furnishings in the room...if two up-ended packing cases and a chair may be called furnishings.

On top of one of the cases is an unlighted candle in a holder, and beside it is a chair, the back of which is turned toward the man. These objects seem only to add to the impression of empty desertion. And then, in the dark, the man becomes slowly conscious of the faintest, almost indiscernible movement. It is in the chair. He freezes. There is a moment of utterly suspended animation. Then he speaks, his voice hardly a whisper.

KENNETH: Who's there?

THE CAMERA closes in tight on the chair, as from its depth the movement takes shape and turns to face the man. In the chair is a woman, old, gaunt, narrowed-eyed...as her old gimlet eyes observe the obviously corporeal nature of the intruder, does she let out her breath. Hostilely, she regards him.

MRS. OTERY: What do you think you're up to here now! This here's private property!

KENNETH (relaxes, almost smiles): And you must be the caretaker.  Your name is....?

MRS. OTERY (compelled against herself to answer his gentle, but utterly assured command): Mrs. Otery. (trying to regain her authority) Mrs. Harry Otery, that's who. And I'm in charge of this house. It's my job to show it to prospective purchasers with appointments.

KENNETH: Really? From the looks of things, I shouldn't think you'd find yourself very busy.

WHAT I'VE LEARNED: Creeping dread is built on an increasing rise and fall of unease and uncertainty.

Mary Rose (unproduced Hitchcock)(2nd draft, 2/15/64)
by Jay Presson Allen
Adapted from the play by J.M. Barrie

*Psycho (1960), The Birds (1963), Marnie (1964).

**Ostensibly, Hitchcock said: "They believe it isn't what the audiences expect of me. Not the kind of picture they expect of me."

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