5 Screenwriting Lessons – Moulin Rouge!

Who Wrote It?

Moulin Rouge was written by Baz Lurhman and Craig Pearce.

How Long is It?

Moulin Rouge is 122 minutes long, including credits.

What’s It About?

Moulin Rouge is set in 1899 and follows Christian (played by Ewan McGregor), an English writer who heads to the Montmartre district in Paris seeking inspiration from. Once there, he befriends a group of Bohemian performers led by the eccentric Toulouse-Lautrec (played by John Leguizamo) and gets involved in their production “Spectacular Spectacular”. Preparing to pitch the play to Harold Zidler (played by Jim Broadbent), the impresario in charge of the Moulin Rouge nightclub, Christian falls in love with Satine (played by Nicole Kidman), a performer and courtesan who works at the venue. However, the Moulin Rogue’s primary patron, a scheming Duke (played by Richard Roxburgh), wants Satine for himself, and the combination of his interference and Satine’s declining health ensure that Christian’s belief in true love will be severely tested.

5 Screenwriting Lessons – Moulin Rouge

(The Following May Contain Spoilers)

Find A Consistent Tone – After its downbeat opening, which sets up the tragedy of the third act, Moulin Rouge quickly transitions towards the comedic tone that dominates the first half of the film. One of the wackiest scenes is the introduction of Zidler. It is hard to take him seriously when he is introduced performing a rap with lines such as “Outside it may be raining/But in here it’s entertaining!” during a sequence in which “Lady Marmalade” and “Smells Like Teen Spirit” are sang simultaneously by the female and the male dancers at the Moulin Rouge. However, the kitsch, camp approach of the early scenes is replaced by numbers such as “El Tango De Roxanne” which are staged in a dark and restrained manner, fitting the jealousy and distrust that begins to affect Christian’s view of Satine. The dissonance between these two approaches highlight the excesses of the period and the significance of Christian and Satine’s relationship, but also create an unbalanced tone, because it is hard to enjoy the comedy when tragedy is inevitable, and the silly nature of earlier scenes distracts from the importance of later ones.

The change from a comedic approach to a serious one is epitomised in the handling of the female lead, Satine. When she interacts with Christian in her room towards the end of the first act, she makes some rather unsubtle advances towards him, and derives a substantial amount of sexual ecstasy from hearing lines of his poetry. This is followed by a scene where she tries to hide Christian’s presence from the Duke whilst simultaneously seducing him further. These moments would be well-suited to a farce or screwball comedy, and classics of the genre such as A Fish Called Wanda have used similar set pieces to generate a considerable amount of laughs. However, after she and Christian fall in love, Satine turns into a tragic figure. Her struggles with tuberculosis (known as consumption at the time) have been established by this point, but as the disease takes its toll, the depiction of her becomes far more serious. The scene in which she tells Christian that she cannot see him again features a deception that contrasts sharply with her earlier one, as she tries to hide the fact that the real motive for her actions is to protect Christian from the Duke. In contrast to the uninhibited behaviour she demonstrated earlier on, she is very quiet and solemn, which proves that the events she has been through have had a considerable impact on her. This transformation in her character reflects the sombre nature of the second half, and the increased difficulty of sustaining the idyllic relationship with Christian.

Understand the Importance of Fairy Tales– Although it is set in Paris during 1899 and features the iconic painter Toulouse-Lautrec as a central character, Moulin Rouge makes little use of its time period. The only other reference to contemporary France is a brief mention of the French actress Sarah Bernhardt, whilst significant political events such as the Dreyfus Affair go unmentioned. This is done to highlight the timelessness of Christian and Satine’s story. Focusing too much on wider events would make the film about the time period rather than the story and messages it provides. The appeal of a compelling story and a strong message have helped fairy tales to endure centuries after their initial publication, and Moulin Rouge exploits these important aspects in order to ensure that it is just as durable.

Another way in which the story reflects classic fairy tales is through Christian’s show. He and the rest of the personnel behind “Spectacular Spectacular” improvise a story about a courtesan in ancient India, torn between a poor Sitar player and a wealthy Maharajah. The parallels to the existing love triangle between Christian, Satine and the Duke are apparent throughout, and the message that goodness and optimism will triumph reflects the worldview of the protagonists. In the second half of the film, the Duke is alerted to the similarities between the story of the play and his current situation, and decides to change the ending to one where the courtesan ends up with the Maharajah. He defends this alteration by claiming that it is more realistic, but, at the climax of the film, Christian invades the play, eventually managing to defeat the Duke and giving “Spectacular Spectacular” its happy ending. The typical fairy tale provides a fantasy that defies the harsh and cynical nature of the world to present a hopeful and idealised vision of love, in line with the views of Christian and his friends. By proving that this fantasy can triumph over the conventions of reality, the film highlights its value in the modern world.

Music is Key – Christian’s status as a writer is integral to the film’s story. Although the writing he does at the beginning is very traditional, he soon demonstrates an unusual talent for improvising songs. He earns a job as a playwright by helping Toulouse-Lautrec and his troupe write “The Sound of Music”, and wins over Satine with a rendition of “Your Song”. The reason for using songs that would not exist until decades later is to make the film seem more relevant to modern audiences whilst further distancing it from its time period. Because both “The Sound of Music” and “Your Song” fit the character singing them and the context in which he does so, they feel like appropriate songs for the situation. The incongruity between the time period and the music highlight the impact of the latter, as the songs are powerful enough to be applied to an unusual time whilst not feeling out of place. This proves that Christian and Satine’s relationship is not based on the conventions of the time, but the emotions and sensations which inspired the music they sing.

One of the most notable musical numbers in the movie is the “Elephant Love Medley”. In this sequence, Christian sings lines from a wide range of songs, including tracks by the Beatles, U2, and Dolly Parton, in an attempt to serenade Satine. At the beginning, Satine starts out with a cynical outlook, but soon the tone changes, as she begins to engage in the duet with Christian. A rendition of David Bowie’s “Heroes” represents the main turning point, as the two sing together for the first time at the chorus, instead of merely addressing lyrics to one another. Satine’s decision to embrace the defiance and naive optimism conveyed by the lyrics of “Heroes” proves that she is in love with Christian and willing to discard the pragmatic approach that had previously defined her. The gradual change in emotion makes Satine’s love for Christian seem more credible, as it indicates that her primary reason for loving him is his personality rather than his looks.

Create Memorable Characters – Moulin Rouge’s characters are mostly stereotypical – Christian is the wide-eyed innocent, Satine is a beautiful diva torn between dreams of acting and her love for Christian, and the Duke is a moustache-twirling villain. The Bohemians are defined by a handful of traits, with only Toulouse-Lautrec and a narcoleptic Argentine strongman having a substantial amount of lines. The characters are simplistic in nature, but their quirks are emphasised throughout the film, allowing them to stand out. This lack of complexity works to the movie’s advantage, as it reinforces the fairy-tale approach, with characters who are purely good and purely bad. As a result, the film is able to place more emphasis on its main selling points, namely its visuals, music and message.

Make your Visuals Colourful – Moulin Rouge opens with a scene in black-and-white, stylized like a silent movie, in which Toulouse-Lautrec sings the song “Nature Boy” whilst peering out of an open window. As the camera goes through the streets of the Montmarte suburbs, the colours, particularly the shades of red, become increasingly apparent, and by the time we are introduced to Christian, writing about the events of the movie, the visuals are now in full colour. The purpose of the sequence is to transition from the artifice of the black-and-white sequence to the reality of Christian’s story. This means that the audience become immediately involved in his tale, and, as a result, are far more engaged in it than they would be if the opening did not have such an immersive effect.

The use of colour to reflect emotional states is also apparent in “Spectacular Spectacular”, as it is staged for the first time during the climax. Bollywood musicals were a major inspiration behind Moulin Rouge, and this is indicated through the bright colours, gaudy costumes and elaborate stunts that define the genre and are in full display during the performance. Another example of the visuals matching the tone of the story occurs when Santine’s character appears in the production. In Satine’s scenes, the colour is replaced by dark blue lighting and a spotlight focusing on her. This conveys a shift towards a darker tone, as the character she plays sells herself to the Maharajah, and reflects the growing intensity of the movie, as Christian tries to find Satine in order to break up with her, whilst evading the Duke’s henchman. As a result of the ominous mood created by the colour change, the scene turns highly suspenseful, as the chances of Christian rekindling his relationship with Satine become increasingly remote.

Conclusion

Moulin Rouge is full of flaws, but enjoyable nonetheless. The characters are stereotypes, and the film alternates between over-the-top comedy and grand romantic tragedy when it should have prioritised one of those approaches. However, Moulin Rouge is focused on its visuals, soundtrack and story, and these are all very good. Whilst the visuals are unusually bright and the soundtrack is unusually modern, the basic story is inherently appealing, and, for all the excess surrounding it, is conveyed very well. Therefore, it manages to succeed in its primary purpose of being a modern-day fairy tale.

5 Screenwriting Lessons – Croupier

Who Wrote It?

Croupier was written by Paul Mayersberg.

How Long is It?

Croupier is 94 minutes long, including credits.

What’s It About?

Croupier follows Jack Manfred (Played by Clive Owen), an aspiring writer seeking to create a successful novel. On the advice of his father, he gets a job as a croupier in a seedy London casino. His experiences provide him with plenty of material, but his relationship with his girlfriend Marion (Played by Gina McKee) comes under strain. Furthermore, Jack gets involved in affairs with two women: the cynical dealer Bella (Played by Kate Hardie), and the mysterious Jani (Played by Alex Kingston), thus violating one of the central rules of the casino – Never talk to the other croupiers or the players.

5 Screenwriting Lessons – Croupier

(The Following May Contain Spoilers)

Get into the Protagonist’s Head – One of the most important aspects of the film is Jack’s Voice-over, which he provides in the third person, as if he were narrating his own story. This serves two purposes. First of all, it sets up Jack’s obsession with writing, as he is aiming to make his narrative seem as dramatic as possible. This sets up the theme of duplicity, as he is hiding his knowledge and observations from the unsuspecting gamblers at the table. Because of this, the audience is left wondering how many secrets Jack conceals, and how relevant these will be to the story. Furthermore, the use of Voice-over also makes the viewer interested in seeing what happens to him. Jack is an aloof character, and needs to be depicted in an accessible manner in order to be worth following. By allowing him a way to communicate with the audience in a manner that retains his introverted personality, but permits an insight into how he really feels, the script succeeds in doing this.

Jack’s desire to craft an appealing narrative is consistent throughout the story. At a party with Jani and his publisher, he offers to deal the cards in a round of poker, and gives everyone an increasingly impressive hand, with Jani winning. From this, it is possible to sense the fact that he has feelings for her, but also that he is interested in the world of the casino because he the thrill of watching the gamblers blow a fortune far more fascinating than anything his publisher wants him to write. This fascination with victory and defeat is the main motivation for his actions at the party. Although Jack ditches the stifling world of publishing in favour of his job on the casino floor at the end of the movie, he retains his fascination with observing the world around him. The fact that Jack is defined by this very common and interesting trait allows him to be a compelling anti-hero.

Simple Things Can be Very Interesting – In the third act, Jack gets himself implicated in a robbery by Jani. She offers to pay him if he provides a distraction on the casino floor. All he needs to do is call out a cheater at his table, which he had done earlier in the movie. The fact that the entire robbery hinges on something that Jack normally does without hesitation increases suspense because the plan is too perfect; it involves attaining large rewards with very little effort. If such a routine action has such significant consequences, then the audience can expect the possibility that something must go wrong. The inevitability that their suspicions will be proven correct encourages them to keep watching, as they want to know what will happen to prevent the plan from working.

Give Characters Unique Personalities – Croupier contains three distinctive female characters, Marion, Bella and Jani. All of them have their personalities developed in a simple and effective manner. Marion is introduced via Voice-over with classical music playing in the background, Bella is first seen undressing in a mirror behind Jack, and Jani is a particularly alluring customer at the tables, standing out due to her expensive look and her confident behaviour. As a result of these vivid and contrasting quirks, this group of characters manage to seem unique and developed in spite of the film’s short runtime.

Jack’s father is also introduced in a manner that conveys his mischievous personality. Whilst Jack is struggling for inspiration, he receives a call from his father recommending that he gets a job at a casino. Jack Sr.’s fast and energetic tone contrasts sharply with Jack’s slow and deliberate style of speaking. The viewer can sense that they are in some sort of conflict, as the two are very different in spite of their family relationship. This generates a number of interesting questions. How did Jack and his father drift so far apart, and will there will be any developments that provide further insight into them? The desire to see these questions answered entices the audience to continue watching.

The Audience Should Be Allowed to Observe Things with the Characters–Initially, Jack is unwilling to take up his father’s job offer, but over the course of the film, he gains an increasing affinity for the world of the casino. His natural ability to function in the casino environment is set up in his first scene there, in which he demonstrates his skills as a croupier. Instantly, he observes that the casino is not replacing chips as often as it should, and passes a test of his dealing skills with flying colours. This shows that he understands the basics of gambling better than the people in charge, and this advantage generates both inspiration for his story and the increasing addiction to the atmosphere of the casino.

Little details can serve to develop characters, but they can also generate suspense. Jani reveals the robbery to Jack in a lavish party in a country house. When she takes him, she has her arm in a cast, and tells Jack that it is because she owes a debt to some mysterious enemies, providing an effective pretext to get Jack involved. The next time we see Jani, her injury has healed. However, a bad bruise which Jack gained in a brawl with a disgruntled gambler remains. The viewer can figure out that Jani was faking her injuries and cannot be trusted. This sets up the intriguing mystery of what her real motivations are, and the prospect of finding these out drives the climax.

Make Your World Unique – One of the most unique features of Croupier is the fact that it is based in London, as opposed to a more traditional gambling location such as Las Vegas or Atlantic City. This allows it to demonstrate a different approach to the subgenre of gambling-based movies, whilst providing truths about that industry which are equally applicable in all casinos everywhere. The wide variety of London scenery is used throughout the film. Key interactions with Bella and Jani take place in Piccadilly, a particularly affluent area of the city. The juxtaposition of the vast spaces there and the drab, confined casino highlights the artifice inherent in the latter location. It relies on extravagance just as much as the expensive London shops, but the casino and its employees do not have the ability to make this seem natural, and, as a result, the seediness and desperation that the place relies on is emphasised instead of concealed.

There is also substantial focus on the life behind the tables. Given the cold and formal manner in which croupiers are expected to conduct themselves, their behaviour once their shift is over is revealing. Many of the dealers frequent a club ran by one of the customers – a clear violation of the rules established at the start of the film. The casino is required to project an image of efficiency and professionalism, in order to encourage patrons to gamble away as much money as possible, and this forces the employees to hide their true personalities. Jack’s ability at doing this allows him to thrive in the casino environment.

Conclusion

Although often regarded as a Thriller due to its neo-noir style, Croupier is closer to a character-based Drama. In spite of its short runtime, it manages to create a cast of characters who are memorable and engaging in spite of their unsympathetic nature, and its focus on the mundane reality of ordinary casinos is unique, generating a number of fascinating insights. There is also a significant attention to detail, with the most ordinary things being depicted in a manner that can grab the audience’s attention and arouse their curiosity. This means that Croupier is worth a watch, as it proves that even the shortest movies can be complex and elaborate without becoming boring or incoherent.

5 Screenwriting Lessons – The Imitation Game

Who Wrote It?

The Imitation Game was written by Graham Moore, and based on the book Alan Turing: The Enigma, written by Andrew Hodges.

How Long is It?

The Imitation Game is 114 minutes long, including credits.

What’s It About?

The Imitation Game tells the story of Alan Turing (played by Benedict Cumberbatch), a gifted mathematician who gained a job as a codebreaker during the Second World War. Hired to decrypt messages sent by the Germans using the Enigma coding machine, he annoys his superiors with his anti-social manner, but soon comes up with an elaborate machine to crack the Enigma code. The film also deals with Turing’s homosexuality, illegal in Britain during his lifetime, his ill-fated relationship with fellow code breaker Joan Clarke (played by Kiera Knightley), his arrest for “Gross indecency” in 1952, and his eventual suicide.

5 Screenwriting Lessons- The Imitation Game

(The Following May Contain Spoilers)

Use Flashbacks and Flash-forwards – The Imitation Game begins in 1952, with police responding to the break-in that would expose Turing’s sexuality and lead to his arrest. The initial meeting is full of foreshadowing that sets up Turing’s downfall. When the detectives investigating the case first see him, he is cleaning up poisonous chemicals. As well as foreshadowing his suicide, which is not depicted in the film itself, it sets up Turing’s awkward and unsociable nature, which create as many obstacles for him as his homosexuality does. The subsequent interrogation of Turing provides a framing device for his narration. The detective conducting it, Detective Nock, serves as a stand-in for the audience, as he listens to the narration and gains an increased understanding of Turing as a person. This technique is used to emphasise the secrecy involved in Turing’s life, as the story he tells was known only to those directly involved at the time. In recent years, the tale has become more familiar, but the depiction of a time when it wasn’t highlights the levels of mystery that defined both Turing and the project in which he was involved.

As well as the scenes set after the war, there are also a number of flashbacks to Turing’s past as a student at a boarding-school. These serve to develop his character in a number of ways. He is implied to have Asperger’s syndrome or a similar condition, which manifests itself in his obsession with separating peas and carrots in his school dinner. This leads to him being mercilessly bullied by a number of fellow students, and sets up the fact that he is a misfit who nobody is able to understand. The flashbacks also depicts his friendship with, and growing attraction towards, Christopher, an older student who introduces him to the world of cryptanalysis. This ensures that he is a more relatable protagonist, and provides motivation for his actions throughout the rest of the film.

If A Line of Dialogue is Significant, Echo It Later - There are a number of instances in the film where a minor detail or exchange is used again later to emphasise its effect. Some of these are comedic in nature. For example, when Turing is hard at work designing his decryption machine, he refuses a request to go out for lunch, claiming that he dislikes sandwiches. Later, one of his fellow codebreakers steals a sandwich from him, citing this earlier comment when doing so. Though the sequence is entirely humorous, it demonstrates that Turing’s colleagues are ambivalent in their opinions of him. They accept his skills, but still regard him as a loner and therefore treat him in a disrespectful manner. This indicates that Turing is yet to fully win the approval of his team, and provides a personal motive for Turing to succeed, in addition to the wider need to save Britain.

However, the majority of echoes in the story are far more direct. One significant line is “Sometimes it is the people no one imagines anything of who do the things no one can imagine.” This is used three times in the movie. It is first used Christopher, then Turing himself, and finally Joan in the last scene. This reflects and reinforces the message of the movie, which is that the Second World War was not won on the battlefield, but by an introverted mathematician who was “agnostic” towards violence. The contrast between Turing’s anonymous nature and his highly valuable contribution is inherently fascinating, and this is at the heart of both the quote and the movie itself.

Protagonists Don’t Have to be Likeable – The film places a significant amount of focus on Alan Turing’s flaws. He was anti-social, overconfident, obtuse and lacking inhibition. These traits are made particularly apparent in his interview with Commander Denniston, the head of Britain’s Government Code and Cipher School, the organisation for which Turing worked. For example, he tells Dennison “You would need me a lot more than I need you.” The purpose of an interview is usually to win over the person conducting it, but Turing’s blunt comments show that he regards himself as being superior to Dennison, which is hardly an endearing statement to make in such a serious context. However, because Turing’s judgements turned out to be correct, the audience are on his side, because they are aware that he will be an essential member of the team and hope Denniston will recognise this. Turing’s confidence in his abilities make him a compelling character, and this ensures that the audience more inclined to follow him and see what effects his positive and negative characteristics have on his success.

Use the Period – The majority of the film takes place during the Second World War, and this creates a significant degree of tension. The extent of the threat posed by the Germans and their apparent invulnerability makes Turing and the codebreakers seem like underdogs, and this is highlighted through the menacing depiction of German ships and planes advancing on their enemies. Furthermore, they represented a more immediate threat through “The Blitz”, their bombing campaign against British cities. The attacks are depicted in a quick montage which focuses on the effect that they had on the ordinary British public. This conveys how destructive the conflict was and raises the stakes – If Turing and his team don’t succeed, Britain might be destroyed. Due to the distance between the codebreakers, based in the country estate Bletchley Park, and the battlefields on which the war was fought, the decision to show the impact of the fighting on those directly involved creates an increased sense of urgency, and this is what forces the team at Bletchley Park to work together in order to find the secret behind the Enigma machine as quickly as they can.

The German’s apparent dominance soon becomes an advantage for Turing, but this generates an ethical dilemma. After he succeeds in cracking the Enigma machine, the British now have a complete understanding of German strategy throughout the world. However, Turing realises that if this advantage is revealed, it would undo all the progress he has made. Therefore, he chooses not to warn the British government about an impending attack on a ship.  Even though one of his fellow codebreakers has a brother on board the doomed vessel, Turing stands by his decision. Although this is a pretty unlikely coincidence, it does highlight the effects that concealing all knowledge of German activities had. Because the depiction of the code breaking process omits almost all developments after Turing’s breakthrough, the story needs to find another way of demonstrating the obstacles the codebreakers faced from this point, and highlighting the problems generated by the newfound insight into German activities provides a striking way of doing this.

Relationships are Key – The story of the Imitation Game is structured around Turing’s relationship with Clarke. The first act ends with Turing inviting her to join the codebreakers at Bletchley Park, his decision to propose to her occurs at the midpoint of the story, and the second act ends with the revelation of his sexuality.  This is important because whilst the cracking of Enigma was a significant event, the majority of the process saw Turing use skills that he already possessed, namely his tenacity and mathematical knowledge. In contrast, his relationship with Joan forces him to change as a character and develop a close relationship with another person – his inability to do so is at the centre of his personality. This growth not only makes him into a more developed character, it enables him to enjoy greater success. For all his prowess as a mathematician, it is being able to listen to others provides Turing with the information needed to solve the German code.  Biographical dramas can risk emphasising facts over character, and by focusing on Turing’s inability to interact with his team, the script creates a story that can be applied to any time or place, but is enhanced by the people and events involved.

Verdict

The Imitation Game succeeds as a biopic because it focuses on characters instead of events. The Second World War is kept firmly in the background, and the focus in in Alan Turing himself. He is a highly flawed character, but has enough relatable traits to make him a protagonist worth rooting for. The period is well depicted, and the flashbacks and flash forwards are incorporated into the story effectively. The dialogue is strong, and in spite of the lack of action, the various conflicts Turing and other characters face are engaging. The screenplay provides a solid foundation for a talented cast and crew, and this is the main reason why the film is a prominent contender in this years’ awards season.

5 Screenwriting Lessons – Pride

Who Wrote It?

Pride was written by Steven Beresford.

How Long is It?

Pride is 120 minutes long, including credits.

What’s It About?

Pride is based on the true story of the LGSM (Lesbians and Gays Support the Miners) group that operated during the British miners’ strike of 1984-5. It is founded when a group of gay activists, including the young rebel Mark Ashton (Played by Ben Schnetzer) , the flamboyant Johnathan Blake (Played by Dominic West) and the inexperienced Joe (Played by George MacKay), come together during a Gay Pride demonstration and decide to raise money to help the fight the British government’s attempts to close the country’s mines. After numerous failed attempts to find support from the British Union of Mineworkers, the LGSM are allowed to come to the small Welsh mining town of Onllwyn to promote their cause. Once there, they make an impression on the initially reluctant townsfolk, and gain a number of friends, such as Dai (Played by Paddy Constantine) and housewife Sian (Played by Jessica Gunning). However the homophobic attitudes prevalent throughout Britain at the time, coupled with the difficulties that the miners face as their strike progresses, ensure that the LGSM’s cause appears doomed.

5 Screenwriting Lessons – Pride

(The Following May Contain Spoilers)

Every Character Should Stand Out – Pride contains a large cast of characters, all of whom are depicted in a vivid and memorable manner. The initial focus is on the individual members of the LGSM. Joe, who refers to himself as “Bromley” until the climax of the film, is unsure of his sexuality. Mark is a provocative radical, whilst Johnathan’s partner Gethin is more grounded and less flamboyant than other members of the group. All the members are given a number of strengths and weaknesses; for example, Mark is shown to become a bit too self-centred as the LGSM gain prominence.  As a result of this nuanced portrayal, the characters always seem real, enhancing the legitimacy of the story and increasing the viewer’s interest in it.

The diversity of the cast is also showcased in the village of Onllwyn. The inhabitants all have different outlooks and different reactions to their unlikely supporters. Dai is the first person to meet the LGSM, and takes to their approach quickly, giving an introductory speech for them at a gay club in London. Sian is the one who undergoes the strongest character arc, as she transforms from an ordinary housewife into one of the LGSM’s strongest and most helpful supporters. Maureen is the nearest thing to a human antagonist in the story (the main opponents are the background forces of Margret Thatcher’s Conservative government and the institutions that supported it) as she refuses to let go of her homophobia and clings onto her belief that the LGSM are only out for themselves. This wide range of responses from this cast of supporting characters allows the film to reflect the wider views of society at large, acknowledging the fact that those aiming to bring about change, such as the LGSM, will always have to face up to intolerance from individuals, but their ability to open up the minds of the wider community is all that matters.

Portray the Past Effectively – The film begins with stock footage depicting the protests that occurred during the miners’ strike. Miners are depicted engaging in peaceful rebellions and being attacked by the police, and we soon switch from this succinct introduction to scenes depicting the strike on the news as Mark watches. This sets up the main subject of the story, in which the rebellious masses will take on the might of the government. Whilst the strike is merely in the background, as the film zeroes in on a small group of people involved, it serves to mobilise the plot and the protagonists driving it, and is therefore a vital part of the story.

The effects of the miners’ strike also increase our understanding of the characters. The destitution experienced by the strikers and their families is conveyed in a manner that can be remembered by those who experienced it, and understood by the viewers who did not. At the Onllwyn village hall, the main prize in the bingo games is a tin of corned beef. This is usually regarded as a cheap item that few would eat out of choice, but the fact that it is such a valuable prize highlights how desperate the inhabitants are, and how they are trying to make the best of their situation.  The best way of depicting an important event such as the miners’ strike is to depict realistic characters coping with the effects of it in a truthful manner, and Pride succeeds in doing this.

Subplots Are an Integral Part of Any Film – Within the overarching story of the LGSM’s attempts to bring attention to the causes of both the miners and the LGBT community, there are a number of smaller subplots. The most prominent of these concerns Joe, whose conservative parents want him to study in a catering college. However, he actually wants to be a photographer, and struggles to see eye-to-eye with them. Over the course of the film, Joe learns to be more assertive and accept his sexuality, and his parent’s failure to understand this increases his desire to be independent. This struggle with adversity gives the story a human focus, and reflects the main theme of being open about your orientation even in the face of considerable opposition.

The message about being proud of yourself is also apparent in two secondary subplots. The first of these concerns Gethin, who tries to rekindle his relationship with his Christian mother. The other one follows Cliff, a respected member of the Onllwyn community, who eventually reveals that he is gay. In both cases, the characters decisions are accepted by those close to them. In spite of the ultimate failure of the miners’ strike, the overall tone of Pride is a triumphant one, and Gethin and Cliff’s ability to come out reflects this.

Changes in Mood Should Feel Natural – Pride has to balance both comedic and dramatic elements, and does this by contrasting them; an upbeat sequence will be followed by a serious setback that hinders the protagonists. Therefore, the emotional high of acceptance from the community is followed by the reveal that Maureen has told the tabloids about the LGSM’s presence, and the heartwarming scene in which Gethin’s mother comes to visit him in hospital, completing the subplot depicting their reconciliation, is followed by Johnathan’s admission that he is HIV positive. This alternation between increasingly positive and increasingly negative events creates a growing progression, and ensures that, instead of seeming like a constant stream of events, the film flows naturally, with a story that can follow the beats of a conventional screenplay structure perfectly.

The brutal nature of homophobia in the 80’s is summed up by an attack on Gethin that leaves him hospitalised as he goes out on his own to ask for donations. Whilst it is not actually shown, it is foreshadowed skilfully, with the warning that the LGSM members should stay together when trying to collect funds, and the attacks on Gethin’s bookshop earlier in the film. This ensures that when the lighting dims and the score turns ominous, the viewer can figure out what is going to happen without having to see it. As a result, the film is successfully able to depict the reality of homophobic violence without the jarring deviation from its overall tone that would have resulted from actually showing it.

Be Energetic - Pride’s approach and tone is reflected in its soundtrack, which is a mixture of protest songs and up-tempo 80’s pop. However, the music is more than just a way of setting the mood. It becomes particularly important during “Pits and Perverts”, a benefit concert set up by the LGSM in response to vicious articles from the pro-government tabloids. Enlisting the services of the electronic pop act Bronski Beat, they manage to gain large amounts of attention for their cause and money for the people of Onllwyn. This marks a significant milestone in the story, as a group of amateur activists founded only a few months before are able to recruit the services of band who, at the time, were one of the most popular acts in Britain. The ambition of the LGSM highlights their commitment to their twin causes, and shows that they are gaining increasing popularity and prestige as a result of this. Music is an important part of modern life, and the LGSM’s ability to connect with it allows them a simple and appealing way of proving that minority groups can make a difference.

Conclusion

Pride provides a unique perspective on one of the most important events in modern British history. It provides a wide range of characters who are defined clearly enough to stand out, but depicted in a manner that allows them to seem like real people instead of stereotypes. It makes good use of the period in which it is set, embedding the culture of the time into the story seamlessly. Most importantly, it provides large amounts of comedy and drama without letting either dominate the film completely. Generally, Pride is a good example of how two complex genres, the historical drama and the ensemble comedy, can be combined in a manner that is both enjoyable and appealing for a wide audience.

5 Screenwriting Lessons – Collateral

Who Wrote It?

Collateral was written by Stuart Beattie.

How Long is It?

Collateral is 120 minutes long, including credits.

What’s it About?

Collateral follows Max (played by Jamie Foxx), a cab driver in Los Angeles who has been working for years looking for a way to start his own business. His next guest is a mysterious man called Vincent (Played by Tom Cruise), who offers Max $600 to transport him to various LA locations over the course of a single night. Max accepts the offer, but finds out that Vincent is really a hitman contracted to murder five targets during the journey. Forced to continue anyway, Max struggles to find a way to escape as the night progresses.

5 Screenwriting Lessons – Collateral

(The Following May Contain Spoilers)

The Stakes Should Steadily Escalate – As Vincent carries out his five hits, Max is forced to become increasingly involved in his crimes as he tries to prevent them. However, at the start of the story, he is completely passive. The first hit happens in an abrupt and terrifying manner, as the corpse of the victim drops onto the taxi from a nearby window. Max panics when he sees this, shouting and swearing repeatedly, but when Vincent reveals that he was responsible, he does so with a nonchalant “Good guess”, that shows that his actions have not had any effect on him at all, proving that they are almost routine. This establishes Max’s status as a victim, as Vincent’s calm demeanour and his willingness to threaten others and commit violence to achieve his goals place him in complete control of the situation.  The only way that Max can escape from Vincent is if he manages to regain control, and this dynamic allows for increasing tension as the night progresses and his enemy gets closer to his goal.

Switches In Mood Are Important – Sometimes, an elaborate set-up can be used to increase suspense. A notable example of this is in the scene where Vincent carries out his third hit. Stopping at a Jazz bar, he invites the owner to join him and Max at the table and talk about why that genre of music means so much to him. However, when Vincent reveals why he is at the establishment, the scene turns dark abruptly, and the owner is forced to correctly answer a question about the iconic jazz musician Miles Davis, to save his own life. Hearing the owner discuss his backstory makes him into a more sympathetic character, and therefore the viewer wants to see him survive. The fact that Vincent kills him anyway him even more menacing, and highlights the fact that Max lacks the ability to face up to him properly.

Another tense sequence depicts Vincent entering a club to carry out his fourth hit, as a group of cops investigating the case try to execute a stakeout. The sequence is set to loud and up-tempo music and flashing lights. As Vincent tries to get through the crowd to his target and a disorientated Max attempts to escape, the noisy and energetic atmosphere becomes a major distraction. The contrast with the quiet and lonely nature of the majority of settings in the movie, such as Max’s cab, ensures that the club stands out, and its busy nature makes it harder for the characters to fulfil their objectives.

Both Heroes and Villains should be Complex – After he carries out his third hit, Vincent forces Max to stick to his night-time routine by visiting his mother Ida in hospital. However, in the hospital, he behaves with unexpected friendliness and warmth, persuading Max to buy flowers, and striking up a conversation with Ida. The sequence serves two purposes. First of all, it highlights Max’s central flaw, as Ida tells Vincent that “You’d have to hold a gun to his head to make him do anything”. It also makes Vincent seem more human, as he reacts to Ida’s questions with a polite awkwardness that appears genuine, even though he is faking his affection. This makes him even more unnerving, as it ensures it is hard to tell whether or not his statements can be trusted, making him even more difficult to understand.

Meanwhile, Max is defined by his major flaw – an inability to act. Whilst this is common to thriller protagonists, who are expected to start out as passive characters, Max has been spending twelve years waiting for an opportunity to seize his dream. After Vincent kills a policeman who had believed his innocence, Max calls him out on his sociopathic nature. Vincent responds by attacking Max’s cowardice, claiming that his big plans are never going to come to fruition, because he lacks the conviction to make them happen. This turns into an important scene in Max’s character growth, as he defies Vincent, deliberately crashing the cab to ensure that he cannot get to his fifth and final victim. The fact that Max initially lacks commitment means that when he chooses to act, his heroism has a far greater impact then it would if he was active from the beginning.

Make the Extra Characters Significant – The set-up of the movie depicts Max’s interaction with Annie, a friendly lawyer, as she takes his cab to reach her office. In addition to foreshadowing the climax of the movie, where Max has to take action to protect her from Vincent, it allows him to develop as a character and gain our interest. We find out about his dreams of starting a limousine company, and his kindly nature is highlighted when he allows Annie to keep his favourite photograph. Annie is also a well-rounded individual, as she listens sympathetically to Max, and tells him about the various problems she faces when working on her cases. This ensures that the audience wants the two to start a relationship, creating a reason for them to continue watching in the hope that they escape and get their happy ending.

Another character who manages to be memorable in spite of a lack of screen time is Felix, the mobster who has hired Vincent to carry out his various assassinations. Max meets him when he is forced by Vincent to assume his identity and find the information on the last two victims. Felix provides this exposition in the form of a monologue in which he compares himself to Santa Claus and Vincent to Black Peter, a figure who punishes naughty children.  This analogy is both childish and threatening, but manages to convey the key points effectively – Vincent’s targets represent a threat to Felix, and he is being hired to “punish” them. With his offbeat yet menacing personality and a brief mention of his family that serves to humanise him, Felix stands out as a unique and interesting character, and his delivery of the key information is highly intriguing. As a result, the information that Max and the audience need to know stands out, because it is being given in a manner that makes it worth hearing.

Make the Action Sequences Exciting – Because it focuses on characters and atmosphere in a bid to generate suspense, Collateral uses action sequences sparingly. However, when they do occur, they are intense in nature. Most of the violent scenes in the movie are due to the actions of Vincent, who casually carries out his various kills with a high level of brutality. Just after performing his second hit, Vincent returns to find that a pair of muggers have stolen his briefcase from Max. He follows them and shoots them both. Once he has retrieved the item, he notices one of the men writing in pain, and shoots again to finish him off. As well as setting up how important the briefcase is to Vincent, it shows that he reacts to setbacks with a cold efficiency, as the severity of his retaliation is unnecessary, even given the obnoxious nature of the victims and the potential repercussions of their theft. In a very brief and one-sided burst of action, the extent of the threat which Vincent poses to Max is made disturbingly clear.

After the slow-building tension of the first two acts, Collateral climaxes with an elaborate chase sequence, as Max tries to rescue Annie from Vincent. As Vincent cuts the electricity at Annie’s office, the darkness increases the tension of the scene, as it makes it harder for Annie to get out, and places her at a disadvantage. Meanwhile, Vincent uses mirrors to track his target, and this allows him to move without her knowing where he is and what he is doing. Vincent’s increased freedom in this confined space forces Max to react quickly if he wants to save Annie. In chase scenes, the villain should usually have an ability that makes it harder for the heroes to defeat them, and Vincent’s experience and composure make him a formidable opponent.

Conclusion

Collateral is a textbook example of how to make an efficient and engrossing thriller. It uses the classic formula of an initially uncommitted protagonist threatened by a unique and unyielding enemy and forced to take action. However, it does so in an original manner, with its focus on a well-developed lead character and an implacable but fascinating foe. The supporting cast is memorable, and the scenes are directed well, allowing for the escalation in tension that is integral to the story. Overall, it proves that the simplest thriller concepts can be the most impressive if they are well written and contain great characters.

5 Screenwriting Lessons - Pretty Woman

Who Wrote It?

The script for Pretty Woman was written by J.F. Lawton. It was heavily changed from his original script $3000, which provided a much darker take on the same subject matter.

How Long Is It?

Pretty Woman is 120 minutes long, including end credits.

What’s It About?

Pretty Woman follows Edward Lewis (Played by Richard Gere), a corporate raider who specialises in dismantling failing businesses with the help of his partner Phillip Stuckey (Played by Jason Alexander). Driving away from a party in Stuckey’s car, he gets lost in Hollywood Boulevard, and has to ask prostitute Vivian Ward (Played by Julia Roberts) to give him directions. When he arrives at his hotel, he makes Vivian an offer; For $3000, she can remain with him for a week and accompany him to the various engagements he attends as he spends his time in Los Angeles trying to close a crucial deal. As Vivian gets to buy fancy clothes and attend polo games and opera shows, the two begin to fall in love, and Edward has to question his aggressive approach to business.

5 Screenwriting Lessons – Pretty Woman

(The Following May Contain Spoilers)

Culture Clash Creates Effective Comedy – The funniest sequences in the film are those that depict Vivian adjusting to her new, opulent lifestyle.  One of these occurs when she and Edward arrive at the luxury hotel in which they are staying for the week. When Edward orders champagne and strawberries, Vivian eats the fruit without adding it to the champagne first. This resembles the way in which her friend Kit collects and eats cocktail garnishes in the bar. When we first see this character trait, it fits Vivian and Kit’s uncouth lifestyle, but when Vivian continues doing this in the lap of luxury, the incongruity between setting and behaviour generates some amusing humour.

Even when Vivian starts to look like someone who fits in with the wealthy lifestyle, she continues to behave in an inappropriate fashion in many unfamiliar situations. When she and Edward go to a production of the opera La Traviata (Which has a plot similar to that of Pretty Woman), she struggles to use the opera glasses properly. After the production, she claims that she enjoyed it so much she “almost peed her pants” forcing Edward to step in and cover up the statement. This shows that whilst Vivian has changed in many ways, she still holds onto her uninhibited nature, and this ensures that she remains endearing.

Wish Fulfilment Makes A Film Enjoyable –After Edward and Vivian arrive at their hotel for the first time, he tells her his name for the first time.  Vivian responds by telling Edward that his name is her favourite, and claims that their meeting is due to fate. This sets up one of the key themes of the film, that Edward and Vivian are destined to be together, much like an ideal couple in a fairy tale is. In a similar manner, a throwaway line from Kit highlights the parallels between the world of fairy tales and Vivian’s present situation, as she claims that Cinderella is the only example of a successful prostitute. The basic premise behind the Cinderella story (that beauty and goodness will always lead to prosperity regardless of one’s initial circumstances) is inherently appealing, and Pretty Woman exploits this primal fantasy to create a story that can appeal to the wide majority of viewers.

The fairy tale approach is highlighted in the third act, as Vivian’s contract with Edward nears its end. She tells him about a fantasy that she had whenever she was being mistreated by her aunt, in which she imagined that she was a princess locked in a tower, waiting for a handsome hero to rescue her. Edward’s status as Vivian’s heroic knight is subsequently demonstrated twice, once when he rescues her from Stuckey, and in the end scene, where he goes to her apartment with flowers and overcomes his fear of heights to meet her on the fire escape at the top floor. This focus on fantasy is highlighted by an ending voice-over which tells the viewer that Hollywood is the “land of dreams” and they should “Keep on dreaming”. The fact that modern-day LA is used as the location for this fairy tale highlights the fact that this fantasy remains relevant and will never lose its popularity.

Relationships Should Progress Organically – Given the unsavoury nature of his job and his initial relationship with Vivian, Edward has to be made into a likeable protagonist if the audience is going to root for him to gain a happy ending. Therefore, his introduction to Vivian occurs by accident, when he asks her for directions. The two have a long conversation in the car, and Edward is impressed with Vivian’s knowledge of how it works. This ensures that, when he invites Vivian to join him in the hotel, his reasons for doing so are sympathetic, because he is basing his decision more on personality than on looks.

Pretty Woman also makes good use of a limited time frame during which the story can steadily escalate. Initially, Edward and Vivian only make plans for a single night together, but by the following morning, he is willing to pay her to stay with him for the rest of the week.  On the sixth night, the two kiss mouth-to-mouth for the first time, violating a key aspect of their agreement to keep their relationship from becoming too personal. The use of a time limit means that the story moves at a consistent pace, with a romantic tension that increases as the deadline nears.

Supporting Characters Should Mirror the Protagonist in Some Way – As Edward and Vivian spend the week together, they begin revealing personal secrets about each other, which highlight how much they have in common, despite their initial differences. For example, both had troubled relationships with their family (Edward’s distant relationship with his father is echoed by Vivian’s absent parents) and a series of failed romances. As Edward becomes disillusioned with his job, he realises that he “Screws people for money” just like Vivian. This awareness is key to a relationship, as the couples’ ability to connect with each other encourages them to realise that they have more reasons to stay together than they thought during their first meeting.

Conversely, Edward’s relationship with Stuckey deteriorates as he realises that he does not want to continue following his avaricious approach. Initially, the two enjoy a pretty close relationship, and Stuckey’s decision to loan Edward his car sets the plot in motion. As the story progresses and Edward’s positive traits, such as his love of creating things, become more apparent, Stuckey’s negative traits start to stand out. In the climax, he tries to force himself upon Vivian, at which point Edward fights him off and announces that he will no longer have him as a partner. Whilst the protagonist changes for the better, the antagonist should not only retain the traits that mark them out as an obstacle, these unpleasant characteristics should become increasingly pronounced as the protagonist grows.

Character Goals Should Be at the Centre of the Story – Edward’s primary goal, of maintaining his relationship with Vivian, soon becomes intertwined with an internal goal, which entails being less of a workaholic and learning to appreciate life. Initially, Edward refuses to spend time with Vivian, as he is too busy focusing on his work, but when he takes  a day off to be with her, he begins to realise that there is more to life then getting business deals signed. His decision to abort the takeover of a struggling shipping business and partner up with the owner instead reflects the fact that he has become less self-centred as a result of his week with Vivian, and is now focused on helping others. The ability to be kind to others is a strong positive trait, and the fact that Edward is more willing to demonstrate these attributes than he was at the beginning of the film is a major indicator of how much he has grown as a character.

Vivians’ desire to escape the seedy world in which she works is made evident from her introduction. She looks on, horrified, as tourists take photographs of a dead body in the back alleys of Hollywood Boulevard, and is dismayed by the fact that Kit spends their rent money on drugs. Even before she tells Edward that she wants to escape the prostitution industry, we can sense that she prefers the opportunities generated by his lavish lifestyle. Whilst her goal of finding a better life remains consistent throughout, her means of doing so change through the duration of the film. This is evident when she refuses Edward’s offer to provide for her after the two part ways, and decides to resume her education instead. As a result of time she has spent with him, she has realised that her main aim is to be seen as a strong and independent woman, and not subject to the degradation and exploitation that has defined her time as a hooker.

Verdict

Pretty Woman is a notable example of a movie designed to be escapist. Although traces of the dark source material appear on occasion, it is generally an idealistic portrayal of idealised characters. Although the contrast between the glamorous protagonists and their distinctly unglamorous jobs can be problematic for some, the film succeeds in providing memorable characters with a well-developed relationship, and amusing comedy stemming from the contrast between characters and situations.  Overall, it succeeds in its aim of providing a modern-day fairy tale for adults with a storybook approach, but still manages to keep the focus on the characters, as a good romantic comedy should.

Script To Film - Jurassic Park

The screenplay for Jurassic Park can be found below:

http://www.imsdb.com/scripts/Jurassic-Park.html

It is a first draft, and is therefore substantially different from the finished film, bearing a greater resemblance to the source material. The changes made between the script and the finished film form the basis of this post.

Who Wrote It?

The film was written by Michael Crichton and David Koepp, and based on the novel by Michael Crichton.

Who Directed It?

Jurassic Park was directed by Steven Spielberg.

How Long Is It?

The film is 121 minutes long, including end credits.

What’s It About?

The eccentric tycoon John Hammond (Played by Richard Attenborough) invites a pair of scientists, Dr Alan Grant (Played by Sam Neil) and Dr Ellie Sattler (Played by Laura Dern), to visit and endorse his pet project: Jurassic Park. Based on a tropical island, it contains dinosaurs of all kinds, brought to life through advanced cloning technology.  Other guests on the trip include rebellious mathematician Ian Malcom (Played by Jeff Goldblum) and Hammond’s two grandchildren, Tim and Lex (played by Joseph Mazello and Ariana Richards). However, when an employee tries to steal the park’s advanced technology, he inadvertently releases the dinosaurs, who begin to run amok. As Hammond, Ellie and Malcom try to find a way to contain the creatures, Grant, Tim and Lex journey across the island to find the rest of the group.

5 Key Scenes – Jurassic Park

(The Following May Contain Spoilers)

Discussions With Hammond – In the film, most of the opposition to the idea of resurrecting dinosaurs is voiced by Ian Malcom in a speech during a dinner meeting. He notes that Hammond and his scientists were “so preoccupied with whether they could, that they didn’t stop to think about whether they should”. This sequence serves two purposes. Most importantly, it prepares us for the fact that the dinosaurs will go on the rampage. It also sets up the tension between Hammond and Malcom, indicating that the two will be forced to put their animosity aside when the dinosaurs attack.

On the other hand, the script omits Malcom completely, and cuts the dinner scene. Instead, the objections to Jurassic Park are primarily voiced by Ellie, who claims that dinosaurs cannot repress their hunter instincts, and Grant, who notes that commercialising science leads to “A disregard for method” that eventually leads to the failure of the island. However, because the screenplay is focused on action, there is less emphasis on the issues regarding the cloning of dinosaurs. As a result, the characters are less developed, as their views on the matter go a long way towards defining their personalities.

T-Rex Attack – The most iconic action sequence in Jurassic Park is the Tyrannosaurus Rex attack that occurs at the halfway point of the film. At the start of this scene, the T-Rex’s arrival is signalled by a vibrating glass of water. In the script, it is signalled in a more conventional manner, as “The whole car vibrates” to signal the arrival of the dinosaur. The vibrating glass of water is more effective, as it increases the suspense. As soon as the protagonists notice what is happening to this minor object, the slow-building sense of awareness is more terrifying then the sudden attack in the original script.

This leads to the first major chase in the movie, as the T-Rex attacks the car containing Tim and Lex. The script portrays the creature as toying with the cruiser “like a dog with its bone”. This description highlights its destructive nature, as the car, and the children inside, are treated by it as a plaything. The film stays true to this description, and depicts the dinosaur in close-up from Tim and Lex’s perspective. This makes the creature even more dangerous, because it causes large amounts of damage with little effort.

Grant And The Kids - Dr. Grant is the story's central protagonist, as he has the strongest character arc out of all the main characters. At the beginning, he is opposed to the idea of having children, but looking after Tim and Lex brings out the father in him. This is highlighted in a sequence where they have to climb over a perimeter fence before the power gets turned on. It appears in both the film and the script, and there are a number of similarities between the two depictions, most notably the fact that one of the children (Lex in the script, Tim in the film) is afraid of heights. However, the risk level in the screenplay turns out to be low – the power doesn’t return. The fact that the obstacle isn’t as severe as it is in the film reduces the pressure placed on Dr Grant, and therefore ensures that the episode has less of an impact on him and his relationship with Tim and Lex.

One notable scene in the movie depicts the three hiding in a tree for the night. They crack a number of jokes about dinosaurs, and Grant promises to watch for dinosaurs and protect the children. However, in the original script, the children fall asleep the instant they settle down in the tree- there are no heart-warming interactions between them and Grant. Overall, the idea of Grant being a father figure is far less prominent in the script then it is in the film.

The Final Battle – The climax of Jurassic Park depicts the protagonists taking on Velociraptors who are attacking the Island headquarters. This sequence is divided into two parts. During the first part, Tim and Lex are chased through the kitchen by two Velociraptors. In the script, they use steaks to trick the raptors into entering a walk-in freezer. In the film they also use trickery; Lex hides in an oven, and the dinosaurs mistakenly attack her reflection. However, the two children seem a bit calmer and more composed in the script. Their panic in the finished sequence increases the tension, as it emphasises the fact that they are a disadvantage and leaves the viewer wondering how they will be able to survive.

In the second part of the climax, Grant, Ellie and the children face the Velociraptors in the Visitor Centre, dangling from the giant Tyrannosaurus skeleton that is the main exhibit there. In the film, the Velociraptors are defeated by the timely arrival of a T-Rex. This represents a “payoff” following the Tyrannosaurs’ appearance in the middle of the film, because a monster that memorable should not be used for a single scene only. However, the live T-Rex does not appear in the screenplay. Instead, the raptors are defeated by Grant single-handedly, as he uses the skeleton to crush them. Whilst this cements Grant’s growth into a strong, brave hero, it seems like an easy way of defeating the implacable velociraptors. Therefore, the denouement of the film proves to be more memorable.

Hammond’s Behaviour – The screenplay retains the novel’s depiction of Hammond as an antagonist who is more concerned with making money from the theme park then he is with thinking through the risks and implications of his grand idea.  He responds to Dr. Grant’s criticism with a megalomaniacal rant in which he announces that he will persevere with his idea, and dismisses Grant as “one more negative voice in a universe of negativity”. However, the film makes him into a more likeable character. At the end, he decide to leave the island with the rest of the protagonists (albeit with a degree of reluctance) and responds to Dr Grant’s comment that he has decided not to endorse the park with a simple “So have I”. Character arcs are a convenient way to distinguish between protagonists and antagonists, and by realising that his dream cannot be maintained, the version of Hammond we see in the film is able to grow as a character and therefore remain sympathetic.

This difference in personality between is summed up with how the character is introduced in both versions. In the film, he is introduced turning up suddenly at Grant and Ellie’s dig.  His primary motive for turning up at the location incognito is for the sense of adventure. This establishes Hammond’s energetic personality, but also shows that he is overconfident, as he nonchalantly helps himself to champagne from the fridge. Conversely, in the script, he is not introduced until the protagonists arrive on the island. This makes him into a more mysterious figure with a greater sense of power, and establishes how dependant he is on his park. In the screenplay, Hammond’s fanatical obsession with making the park successful ensures that he will be blind to the flaws in his idea, making him unable to change and ensuring that he poses an obstacle to the protagonists.

Verdict

Jurassic Park improved substantially between the first draft and the finished film. Whilst the original script has a number of strong action sequences, the finished film contains more likeable and better-developed characters, and also provides a fuller focus on the issues arising from cloning. Furthermore, it benefits immeasurably from Steven Spielberg’s direction, as he wrings the maximum levels of tension out of the various action sequences, increasing the jeopardy levels through his focus on the small details, which are expressed through close-ups. He also manages to give the various dinosaurs, who are the story’s most spectacular and important aspect, plenty of memorable moments, which allow them to stand out as characters in their own right. As a result of the changes made to the screenplay, Jurassic Park is an example of a summer blockbuster that can be enjoyed for both the spectacle and the characters.