5 Screenwriting Lessons – Little Miss Sunshine

Who Wrote It?

Little Miss Sunshine was written by Michael Arndt.

How Long Is It?

Little Miss Sunshine is 101 minutes long, including credits.

What’s It About?

Little Miss Sunshine follows the Hoovers, a dysfunctional family who live in Albuquerque. They consist of harried mother Sheryl (played by Toni Collette), Richard, her husband, an unsuccessful self-help teacher (played by Greg Kinnear), drug addicted grandpa Edwin (played by Alan Arkin), uncle Frank (played by Steve Carell), a gay scholar recovering from a recent suicide attempt, teenage son Dwayne (played by Paul Dano), who is taking a vow of silence, and daughter Olive (played by Abigail Breslin), a perky seven year-old obsessed with beauty pageants. When Olive gets a last-minute invitation to compete at the Little Miss Sunshine beauty pageant, which will be held in California, the Hoover family have two days to get to the venue in a derelict VW camper van, and their journey proves to be highly eventful.

5 Screenwriting Lessons – Little Miss Sunshine

(The Following May Contain Spoilers)

Journeys Are Vital to Character Growth – The main focus of Little Miss Sunshine is the Hoovers’ realisation that they will have to work together in order to fulfil Olive’s dreams. Out of all the family members, this challenge is hardest for Dwayne. His dislike of his family is expressed clearly and effectively when Frank tries to start a conversation with him at the dinner table. When Frank asks Dwayne if he has any friends, Dwayne writes “I hate everyone” and underlines his comment when Frank mentions the rest of the family. His strained relationship with them is severely tested when he finds out that he’s colorblind and will never be able to fulfil his dream of being a pilot. This causes him to have a breakdown, during which he ends his vow of silence and viciously attacks his family. However, when Olive decides to go and comfort him, Dwayne realises how much she appreciates him, and re-joins the family, allowing them to get to their destination in time. Dwayne’s acceptance of Olive’s dream demonstrates that he has become a more selfless character, as her goals now matter more to him than his failures.

Another member of the family who tries to deal with unattainable dreams is Richard. When he finds out that his agent, Stan Grossman, has failed to land the deal that would get his book published, he steals a motorbike and drives to the hotel where Stan is staying to confront him personally. Once there, Richard responds angrily to Stan’s comments about his inability to sell as an author, and announces that he is dissolving their partnership. During this sequence, Richard’s assertive nature, which has previously been a hindrance in his relationship with others, is given a more positive use, as he states that will not let others define him and the manner in which he pursues his dreams. Dwayne and Richard are both forced to realise that the effort they put into attaining their goals was futile, and a longer-lasting and more reliable source of happiness can be found by supporting their family.

Give Characters Shades of Grey – No matter how colourful and distinctive a character is, they need to be depicted with enough nuance to seem realistic. The characterisation of Edwin provides a good example of a memorable but seemingly one-note character who is portrayed with increasing complexity the longer we get to know him. Initially, Edwin appears to be little more than a vulgar and immature grandparent. In the car, Edwin gives Dwayne a talk in which he provides very inappropriate advice, telling him to start having sex as quickly and often as possible, in a speech full of profane language. However, when he interacts with Olive, we see another side to him, as he assures her that she is “beautiful inside and out”, and tells her not to worry about failing, as the real losers are those that do not try. The contrast between Edwin’s crass and offensive behaviour towards the male members of the Hoover family and his caring treatment of Olive develops his character, as the seeming contradictions between the two sides of his personality demonstrate that he is not a completely stereotypical character. This makes him seem more rounded and interesting to watch.

Olive is another character with an important personality trait that is gradually established throughout the course of the movie. In spite of the enthusiasm with which she pursues her dreams of being a beauty queen, Olive’s insecurity is her defining flaw. When the family have breakfast at a diner, Richard tells her that the ice cream that she has ordered can make her fat, causing her to feel uncomfortable. At the pageant, Olive meets one of her favourite beauty queens, Miss California, who says that she eats ice cream frequently as well. This highlights one of the main problems with beauty pageants, as Olive feels like she has to conform to an established image in order to compete. Miss California’s comments demonstrate that it is unnecessary for Olive to forbid herself from enjoying the things she loves, and this foreshadows the primary message of the climax, that Olive doesn't need to follow the conventions of beauty pageants, and, like the other members of the Hoover family, is happiest being herself.  

Establish Personalities Effectively – The Hoover family are introduced in an opening sequence that establishes their quirks and flaws. Olive is watching a video of an old beauty pageant, Richard is giving a lecture to a near-empty classroom, Edwin is taking heroin in the bathroom, and Sheryl is arguing over the phone, denying the fact that she is smoking in the car. This extract sets up the various obstacles that the family face in their daily life. Whilst it establishes their unusual nature, it also demonstrates that their problems are typical enough for them to seem like realistic and relatable characters.

The emphasis on the Hoovers’ distinct personalities is a pivotal part of the first act, especially when they sit together at the dinner table for the first time. The primary sources of conflict in the scene are Frank’s reluctance to reveal the issues that led to his suicide attempt and Richard’s belief that Frank’s actions render him a failure. Their primary character flaws, namely Frank’s inability to get over his depression and Richard’s refusal to accept the perceived weaknesses of others, are fully displayed in this scene, and the presence of the rest of the family provides an extra level of tension, as they notice these failings as well. This means that both Richard and Frank have to face up to their negative traits in order to gain the respect of those around them. Generally, the first act is focused on setting up the dysfunctions and flaws that define the Hoover family, whilst making them appealing enough for the viewer to want them to overcome these issues.

Hypocrisy is Key to Comedy – Comedy is heavily based on the contrast between an expected outcome and an unexpected one, and this incongruity can often be highlighted through characters who say one thing and do another. The best example of this in Little Miss Sunshine occurs during the climactic beauty pageant. The various girls who participate are dressed in a manner that is highly inappropriate for their age, with several wearing bikinis. When Olive performs the routine that Edwin created for her, it turns out to be a burlesque-style striptease. The pageant organisers are horrified by this, and attempt to remove Olive from the stage. The contrast between their acceptance of the earlier performances and their reaction to Olive’s dancing suggests that they regard the latter as extreme and unusual, but the viewer is made aware of the fact that the difference between Olive and her competitors is not as significant as it seems to the people running the pageant. This narrow gap, and the inability of the pageant judges to notice it, highlights how unreliable their opinions are, and suggests that the sexualisation of child performers is inherently problematic.

Tight Time Frames Increase Tension –The Hoover family have just two days to make the 800-mile journey from Albuquerque to California, and they have to deal with problems that make an already-difficult task seem impossible.  When Richard breaks the clutch, the mechanic he consults claims that replacement parts will not arrive until the following week. The Hoovers soon find a solution to this problem, as they are told that they can get the car moving by pushing it until the engine starts, then jumping into the vehicle. This dangerous strategy establishes that the Hoovers are willing to take any risks to get to California. More importantly, it provides effective symbolism for the changes that they will have to undergo on their journey. In order to achieve their external goal (reaching the beauty pageant) and their internal desire (repairing the rifts between the various family members), the Hoovers will have to work together to keep the VW van – and their relationship – on track.

The problems with the car seem insignificant later on, as the Hoovers face a number of problems that would usually spell the end to a road trip like theirs. At the midway point of the film, Edwin dies of a drug overdose. However, realising how much seeing Olive at the pageant would have meant to him, the family continue on their journey anyway. When they are told that they cannot transport Edwin’s body until funeral arrangements have been made, they steal it from the hospital and hide it in the trunk of their car until they reach their destination. Their readiness to carry out such a risky action highlights how desperate they are to get to the beauty pageant, and establishes that their journey is no longer solely for Olive’s sake – it matters just as much for the rest of the family. This shift in motivation proves that the Hoover family understand each other better, and this would not have happened were it not for the time spent on the journey so far, and the difficulties they have faced together.

Conclusion

Little Miss Sunshine proved to be successful both critically and financially because of its engaging and developed characters and ability at dealing with dark issues, such as suicide, depression and child exploitation, whilst keeping a generally upbeat tone throughout. The Hoovers are relatable characters whose growth during the movie is entirely believable, and the story is both familiar and unusual. The blend of the conventional and the unique allows Little Miss Sunshine to appeal to both viewers who want something that is fun to watch, and those who are interested in more challenging fare. This is the main reason why the film was popular on release and remains well-regarded today.

5 Screenwriting Lessons – The Player

Who Wrote It?

The Player was written by Michael Tolkin, and based on his novel of the same name.

How Long Is It?

The Player is 124 minutes long, including credits.

What’s It About?

The Player follows Griffin Mill (played by Tim Robbins), an executive at a film studio with the job of approving or rejecting the numerous scripts he sees. When he begins to receive threatening letters, he suspects David Kahane (played by Vincent D’Onofrio), a hot-tempered screenwriter whose idea he had dismissed in the past, of sending them, and goes to Pasadena to confront him. During a heated brawl, Griffin accidently kills David, but as the threats continue, he realises that he was going after the wrong man. This forces Griffin to try and cover up his crime, whilst avoiding being exposed in an investigation conducted by Detective Avery (played by Whoopi Goldberg). He also has to deal with a rival for his job, whilst conducting a romance with David’s widow June Gudmundsdottir (played by Greta Scacchi)

5 Screenwriting Lessons – The Player

(The Following May Contain Spoilers)

Demonstrate Movie Knowledge – The Player relies heavily on “in-jokes”, which can be understood by those with an advanced knowledge of movies. One of these is a reference to the successful erotic thriller Fatal Attraction. Shortly after Griffin kills David, we hear an executive mention the fact that the movie’s ending was changed as a result of audience feedback. The specifics of this change are not mentioned in the scene, but Fatal Attraction’s initial, darker, ending was replaced by a more mainstream climax in which the protagonist kills his unhinged stalker in a fight in the bathroom. This allusion has two purposes. First of all, it reflects the action we have just seen, implying that Griffin’s actions will have far greater repercussions then they do in the movies. It also sets up the changes that the studio will make to their movie Habeas Corpus, demonstrating that they will always put audience approval before creative freedom, therefore establishing a major theme of the movie. As a result, a seemingly innocuous piece of movie trivia that reflects the Hollywood execs’ obsession with movies turns out to be significant for both the characters and the story.

There are also a number of in-jokes which do not pertain directly to the plot, but instead focus on the large number of celebrities who cameoed. Sixty actors, 12 of whom were Oscar winners, made cameos in the movie, and there are a number of allusions to their fame, for example a scene in which Griffin is accosted by Malcom MacDowell, an actor famous for playing threatening characters in violent movies such as A Clockwork Orange. This adds a degree of realism to the movie, as fictional characters are interacting with these celebrities as if they were real people in their world as well, and the dialogue between the characters and celebrities would feel plausible in Hollywood. However, this gimmick also adds to the artifice inherent in the story. Even when an actor is playing a character within the film, their celebrity status is made clear throughout. Detective Avery is introduced holding an Oscar, a reference to Whoopi Goldberg’s win for her role in the movie Ghost, which occurred just a year before The Player was released. The large number of stars making gratuitous appearances reflects the belief that Hollywood movies rely too much on star power, but at the same time, The Player takes this convention to its logical extremes.

Meta-humour Can Be Easy to Understand – Meta-humour is a term used for comedy that is about the telling of jokes, and the use of jokes about filmmaking in The Player is key to its irreverent approach. The opening scene depicts everyday life on the backlot of a typical Hollywood studio. It moves between various execs discussing movies, studio tours, and pitches being conducted in the rooms overlooking the space, with all these elements being shown in a single eight-minute shot. The scene introduces the characters of Griffin and Bonnie, and establishes the former as the protagonist by setting up the threat to his job, and ending with him receiving his first poison pen letter. The unusual nature of this introduction is highlighted by two employees discussing Hollywood’s obsession with constant cuts, and talking about similar single-take openings, such as the beginning of the classic movie Touch of Evil. This sets up the “Postmodern” tone of the movie, in which the reality of Hollywood is deconstructed to reveal that the movie studios are just as artificial as the films they make.  

The ending is another example of meta-humour, as it proves that The Player is set in a world guided by movie conventions instead of more sensible outcomes. In the final scene, Griffin receives one last call from his blackmailer, who presents the story of Griffin’s crime and escape in the form of a pitch, and promises to provide a Hollywood ending for him “if the price is right”. This is followed by Griffin’s return to June, and the closing lines of the film are the same as the closing lines that follow Habeas Corpus’ tacked-on happy ending (“What took you so long?” “Traffic was a Bitch”). This demonstrates that the resolution of the movie is primarily based on the audience’s desire for a completely happy ending. In providing one for Griffin despite his actions, the film aims to make viewers question the ease with which it was attained, and therefore point out how problematic a formulaic Hollywood ending can be when applied to a situation where it’s undeserved.

Increase Suspense – The Player climaxes with a scene in which Griffin is put in a police line-up, and has to avoid being identified as David’s killer by a witness. As the detectives move through each of the suspects in turn, the tension is increased by the inexorable progress of the procedure, as it is already clear that Detective Avery believes that Griffin is guilty of first-degree murder. This puts him at a disadvantage, and leaves the audience wondering how he will manage to escape. Therefore, when the witness identifies the wrong person as the culprit, it is easy for the viewer to feel Griffin’s relief, in spite of the fact he has just gotten away with murder, as the outcome he had expected and feared is avoided in dramatic fashion.

Another tense scene occurs at the end of the first act, and Griffin goes to Dave’s house to try and find him. His call is intercepted by June, and, as he talks to her, he tries to spy on her through the window whilst avoiding detection. Although David is out of the house, the risk of being exposed by June could ruin Griffin’s chances of creating peace with him and ending the increasingly vicious threats that he has been receiving. Furthermore, as Griffin talks to June, he begins to develop feelings for her, and the prospect of this makes reconciliation with David even less likely. Putting a character in jeopardy is a good way of making the audience interested in them, and the threat Griffin faces, whilst mostly his own fault, is serious enough for most viewers to relate to his desire to be free of it.

Focus on Primal Issues – Griffin is a notable example of an antihero who can interest the audience in spite of his unlikeable behaviour. Even before he kills David, he is demanding specific brands of water from a waiter, and complaining when it is served in a wine glass as opposed to a more traditional one. However, when he commits the murder that should make audiences hate him even more, it is a panic-based accident. Because the circumstances in which the crime was committed are easy to understand, the audiences becomes interested in seeing whether or not Griffin can avoid the murder conviction which he now faces.

One example of the emphasis on basic feelings that can be understood by all viewers is the subplot focusing on the making of a legal thriller called Habeas Corpus. The script is depicted as being very pretentious, relying almost entirely on its bleak denouement, and the enthusiasm with which the writers accept the happy ending imposed on it at the end reveals that their focus on making a “serious” movie was little more than a marketing gimmick to attract audience attention. However, for all its melodrama, the basic concept of Habeas Corpus (a prosecutor tries to get an innocent woman executed in a bid to subvert Capital Punishment statistics) is highly dramatic and therefore intriguing. As a result, it feels like a movie that Hollywood could conceivably make (Michael Tolkin was allegedly approached to turn it into a real film), and this increases both the realism of the world in which the Hollywood executives operate, and the accuracy of the satire.

Understand the Realities of the Industry – With its emphasis on the realities of Hollywood, The Player places a significant amount of focus on role of screenwriters in the movie industry. The opening scene features a lot of screenwriters pitching stories with outlandish premises that can be summed up by comparing two existing movies; For example, When Griffin receives his first threat, he is listening to a pitch describing a story as “Ghost meets The Manchurian Candidate”. This simplistic style of pitching grabs the attention, but makes the movies seem highly formulaic, establishing that Griffin and the other executives would rather have a marketable film than an original one.

There are also a number of instances where excerpts from screenplays are read out loud. Bonnie reads a poorly-written, mechanical, sex scene from a popular script to Griffin, whilst the writers of Habeas Corpus begin their pitch with short sharp sentences and vivid descriptions that attract Griffin’s attention, but highlight the ostentatious nature of the project. The Player is primarily focused on storytelling, but the way in which a script is written reflects the approach the writers are taking to their material. Even though the screenwriting industry is portrayed in a rather unflattering light, the observation that storytelling is one of the most important aspects of a movie can be highly valuable to anyone trying to write a strong script.

Summary

The Player is a great example of a satire that can be highly vicious towards its primary target, the people working for the movie industry in Hollywood, but is light-hearted enough to be enjoyed by them as well. It uses creative meta-humour, and manages to be intriguing and suspenseful enough to catch the audience’s attention, in spite of the unlikeable protagonist. However, the most important reason for The Player’s success as a satire is its knowledge of the movie industry and the aggressive manner in which it operates. This provides the film with a level of insight that is just as relevant today as it was upon its release in 1992. As a result of this, The Player is an especially good film to watch if you’re familiar with the movie industry, as any budding screenwriter should be.

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 - 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.

5 Screenwriting Lessons – The Lego Movie

Who Wrote it?

Phil Lord and Christopher Miller wrote the script, inspired by the Lego Toy Line. They also came up with the story with assistance from Dan and Kevin Hageman.

What’s It About?

The Lego Movie is set in Bricksburg, a town in the Lego Universe, where everyone and everything is made of Lego. Emmet Brickowski (Voiced by Chris Pratt) is an entirely ordinary Lego figure who takes great pride in being like everybody else. However, when he meets a mysterious Lego woman called WyldStyle, he ends up in possession of the “Piece of Resistance”. According to a mysterious prophecy made by the blind Vitruvius (Voiced by Morgan Freeman), this is the key to defeating the evil Lord Business (Voiced by Will Ferell), who plans to use a weapon called “the Kragle” to destroy the Lego Universe. Emmet is trained as a “Masterbuilder” and has to find and unleash his inner creativity in order to defeat Lord Business. In order to do this, he has to make his way across the Lego universe, meeting a variety of colourful characters ranging from Batman to a cyborg pirate.

How Long is It?

The Lego Movie is 100 minutes long, including credits.

5 Screenwriting Lessons – The Lego Movie

(The Following May Contain Spoilers)

Insecurities Make A Character Great – Insecurities and flaws are played for both comedy and drama in the Lego Movie. One character with a notable and amusing flaw is Princess UniKitty, the ruler of Cloud Cuckooland, which is full of sunshine and rainbows.  The character is as cute, perky and relentlessly upbeat as her name implies, but when she gets angry, she can become incredibly destructive. This trait is set up on her introduction, but it is not fully unleashed until the climax. This ensures that when Princess UniKitty finally snaps, it is not only funny, but it fits the character.

However, a number of flaws are played entirely seriously. WyldStyle has chosen her rebellious identity because she feels insecure and lacks self-esteem. This is foreshadowed in a simple but effective manner with her refusal to discuss her name. Conversely, Emmet is confident that everyone loves him, until President Business’ henchman Bad Cop shows him a video that proves how anonymous he is. In both cases, the flaws can be easily understood, and they make the characters more relatable.

Build Worlds – The reason why the Lego brand is so iconic is because it encourages users to build a wide variety of exciting and creative worlds. However, one of the most successful and longest-running Lego sets is Lego City, which depicts an ordinary modern town. In spite of its simplicity, it is appealing because of the fact that people can relate to it. The Lego movie capitalises on this, as Bricksburg retains the big buildings and crowded roads of our modern world, but introduce a number of fantastic elements that can only be seen in a fantasy universe. This juxtaposition of the banal and the unusual makes the Lego Universe unique and fits its emphasis on creativity.

Outside of Bricksburg, the movie places its emphasis on showing strange and unique locations. These include the Wild West, Cloud Cuckooland and the Underwater world. Depictions of the various lands showcase them in a simple manner that borders on stereotype. The Wild West is full of cowboys and horses. The Medieval World, Middle Zealand, is full of knights and dragons, but also contains most of the negative aspects of life in the Middle Ages. Because these lands are only featured briefly, the stereotypes do not become overused and the worlds remain interesting and enjoyable as a result.

The Mundane Can Inspire Anything – The most valuable power that a Lego character can have is the ability to be a “Masterbuilder”. This means that they have an encyclopaedic knowledge of every item in the Lego universe, and can transform every item they see into something different according to their need. This leads to a variety of quirky and creative ideas, such as Emmet using his head to replace a car’s axle, and Batman turning a police cruiser into a baby carriage. This incongruity makes the situations both unique and humorous.

The Lego Movie’s main messages, that you should be yourself and be creative, do not just apply to the unusual use of Lego Bricks. Ordinary objects that we take for granted are depicted as strange and threatening in the Lego World. The mysterious “Kragle” is actually a tube of Krazy Glue, and Lord Business also uses Chewing Gum and staplers as weapons. By taking something ordinary and making it part of this extraordinary universe, the writers aim to show that the only thing limiting the Lego Universe is the imagination of the people using the toys.

There Must Be Some Dramatic Depth – In spite of the fact that the characters are made of Lego, they are generally treated as real people with real insecurities. We can all relate to Emmet and Wyldstyle, and even in the cases of comedic characters such as Bad Cop and Princess UniKitty, their internal dilemmas are interesting and easy to understand. This emphasis on character ensures that when something bad happens, such as Cloud Cuckooland being destroyed and Vitruvius being killed, it has as much of an impact on the viewer as it does on the protagonists. This emotional investment ensures that the audience can root for a happy ending.

The Lego Movie’s main talking point is probably its third act, in which it is revealed that the events of the film so far have been the result of a child playing with his various Lego sets. The characters all reflect his flaws and beliefs, and his strict father is the inspiration for the character of Lord Business. The climax in the Lego world corresponds with the parent and son arguing over how the Lego should be used, and their eventual reconciliation leads to a happy ending.  In spite of the fact that they only appear in the third act, they are both realistic and convincing characters because the nature of their strained, but ultimately close, relationship is probably familiar to a large number of viewers.

Don’t Allow Jokes To Drag – Several of the funniest jokes in the Lego Movie are based on long lists. An example of these is a mention of the various areas of the Lego Universe which incorporates failed lines such as the Speed Racer range. This provides a clever and amusing Meta joke that will appeals to hardcore Lego fans whilst fitting the tone of the movie perfectly. Another case in which long lists provide the opportunity for humour is when Emmett lists Lord Business’ various interests, and soon realises that someone who owns history books and surveillance cameras is not a trustworthy ruler. Here, the use of a list allows for comedic escalation, as the examples given start out as mundane and prove to be serious. In both cases, listing generates an effective set-up which encourages the Off-the-wall humour embodied by the later examples.

However, some of the jokes last too long, and as a result, an idea that may have seemed amusing for a few seconds becomes tedious very quickly. A notable example of this is the opening, where Emmet narrates his every move from when he wakes up to when he heads for work. Whilst this exposition makes sense in the light of the Third-act reveal that the action is being narrated, it lasts a bit too long. A scene in which Emmettpauses for far too long on a single syllable when he sees WyldStyle’s face for the first time is also stretched until it stops being funny. The best jokes are often the most concise, so writers need to be careful to control how long a joke lasts.

Verdict

The Lego Movie is a good example of an enjoyable family animation. Its strongest feature is its creativity, which is apparent throughout and applied to both the Lego Universe itself, and the people and objects that it is composed of. The characters are memorable and well-developed, and it succeeds in being dramatic and moving without losing focus on its comedic nature. Whilst the jokes are hit-and-miss, there are enough funny ones for the film to succeed as a comedy. Overall, it’s a unique and entertaining movie with a worthwhile message that all screenwriters should take to heart.

Unproduced Scripts - Mermaids

The unproduced script we will be reviewing this time is called Mermaids, and can be accessed below:

http://www.simplyscripts.com/scripts/screenplaymermaids.pdf

Who Wrote It?

Garry Hicks.

How Long is It?

The script is 106 pages long.

What’s It About?

Four friends, The unemployed Brandon, Doctor Kyle, businessman Derek and recently-fired builder Sean,  head out on a long vacation. Taking a ship belonging to Derek’s dad, they sail into the Bermuda Triangle, looking for mermaids and pirate treasure. The four are attacked by a group of sirens, led by the tyrannical Nemeritas. Sean is kidnapped by the Sirens, but the other three are rescued by a group of Mermaids, who are led by the benign Lorelei. As Brandon, Kyle and Derek seek the Mermaids’ help in finding Sean, Sean attempts to escape from the siren’s island with the help of Nemeritas’ adopted daughter Chiron.

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5 Screenwriting Lessons – Mermaids

(The Following May Contain Spoilers)

Create a Unique Mythology – Mermaids have fascinated people for centuries, and as a result, they have been depicted in numerous works of fiction. This means that the stories featuring them have to do something unusual and interesting to stand out. In this script, the Mermaids are depicted as a benign race, whilst the Sirens are depicted as a hostile enemy. This is a clever idea, as it highlights and plays with the fact that mermaids were initially seen as predators who would lure sailors to their doom, a perception which originated from the depiction of Sirens in Ancient Greek works.  

Both sides have unique cultures and unique powers. The Mermaids have dreams that can predict the future and have the power to communicate with animals. The Sirens have shark-like teeth and the ability to control people. These quirks reflect the nature of both species perfectly – the powers of the Mermaids show that they are gentle, but also scared of their enemies and the powers of the Sirens emphasise their predatory traits. If you are depicting supernatural beings in your script, you need to adhere to the basic rules regarding the species, but apart from those, you can do anything you wish with them.

Develop the Characters – Of the various prisoners on the Siren’s Island, the one who is most developed is Joshua. His disappearance is mentioned early on in the story, he is the most experienced prisoner and he is the one who kills Nemeritas. He also has an interesting backstory, as he tells some of his fellow prisoners how difficult it is to work towards freedom without knowing if he can obtain it, and his emotional reconciliation with his daughter at the end of the film is one of its most powerful scenes.  However, he doesn't get introduced until the 76^th page, which reduces his character development, and ensures that he seems like a deus ex machina who exists solely to save the day.  Characters who influence the outcome of a story should be introduced early on, especially if they have a developed personality and an interesting background, as Joshua does.

Of the four main protagonists, Brandon stands out as the leader of the group. He is the first one to be introduced, and is the most interested in the idea of mermaid mythology. Once with the Mermaids, he spends a significant amount of time interacting with them. He also builds up a romance with Lorelei’s daughter Treena. Whilst it is love at first sight for him, the growing relationship receives plenty of attention, and ends with Treena choosing to join the human world. The fact that Brandon is the member of the group with the greatest role shows that even in large groups of protagonists, there has to be a distinctive leader to help us get into the world of the script.

Ensure That the Action is Spectacular – Mermaids has two big action sequences. The first of these sees Brandon, Derek and Kyle explore the ocean on dolphins and get chased by sharks. The sharks are depicted as advancing with “Big teeth, moving fast”. This description makes the sharks menacing, as it depicts their advance in a manner that highlights its inevitability and increases the suspense of the scene as a result.

The climax, which sees the mermaids and sirens battle over Sean and Chiron’s fate, represents a far bigger and more important action scene. The big fight is depicted in short sentences loaded with commas. The style of fighting, with Mermaids launching themselves at the Sirens “Like A guided Missile” is fast-paced but coherent, with frequent pauses to show how many combatants are remaining. This makes it easy to follow, in spite of the large numbers of combatants. Therefore, it proves to be a memorable sequence, as it is simple but developed with enough detail to stand out.

Make Sure That the Scenery Stands Out – stories and films about mermaids are often defined by their vivid and evocative depiction of the ocean scenery. This script is no exception, as it features a scene where the Mermaids take Brandon, Derek and Kyle on a journey under the sea. The diversity of the underwater life is depicted in a manner that shows how amazing it already is, as the protagonists meet and interact with Sea turtles, octopuses, and “Other amazing things”. This highlights the fact that the sea is naturally beautiful and fascinating, and makes it easier to imagine what an experience it is to see up close and personal.

The script also places a good deal of emphasis on depicting the island which the Mermaids and Sirens inhabit. The mermaid’s island, Artagatis, is defined by the “lush green plants” and “hanging fruits”. Conversely, the siren’s island is shown to have “half the vegetation” and “Old, wrecked, pirate ship”. These descriptions give us an insight into the characters inhabiting the islands. The Mermaids are a peaceful species at one with nature, whilst the Sirens are destructive scavengers. Even the simplest descriptions of a place can convey the personality of those inhabiting it, and this should be emphasised when thinking about how to depict a location.

Have a Firm Grasp on Tone – One of the major flaws with this script is its tonal inconsistency. In many ways, it resembles a story aimed at children. The heroes are purely good, and the villains are purely bad. The most complex character is Chiron, who is torn between obeying Nemeritas and her growing feelings for Sean. However, the third act revelation that she is in fact Lorelei’s missing daughter makes the story seem a bit too simplistic, as it highlights the fact that everyone on both sides is depicted in a simple and unambiguous light.

The story also has a rather immature sense of humour. There are several references to flatulence and other pieces of toilet humour that are more likely to appeal to children than adults. This would be less of a problem if the characters were younger, but they are all adult males in their thirties. This makes them seem a bit juvenile and therefore less likeable. Furthermore, one of the main themes is the prospect of mating, as the Sirens kidnap Sean so that he can impregnate Chiron, and the mermaids want Kyle, Derek and Brandon to generate children for them. This is hardly an appealing subject for children. However, the majority of the script seems to be focused on a family audience. There is little violence, and the language is not as crude as you would expect from the four protagonists. This ensures that the project is stuck between a rock and a hard place, as it is neither edgy enough to attract a teenage or adult male audience, nor is it entirely suitable for young children.

Verdict

Overall, Mermaids is not a particularly strong script. It has a good storyline and succeeds in depicting the oceans and islands on which the story is set in a vivid manner. However, it has a number of weaknesses. With the exception of Joshua and Chiron, none of the characters are particularly interesting, and the script isn't funny enough and is low on action, although the few action sequences are described well. Furthermore, it can’t decide whether to aim for children or adults, and would have been better if it had gone for a single audience. Whilst its depictions of mermaids are imaginative and the scenery is colourful, it is often derivative and weak. With a bit more effort invested, it could have been a highly enjoyable family film or raunchy adult comedy, but it ultimately turns out to be a sophomoric disappointment.

5 Screenwriting Lessons – Airplane!

Who Wrote it?

Airplane was written by Jim Abrahams, David Zucker and Jerry Zucker. It was loosely based on the 1957 film "Zero Hour", which was written by Hal Bartlett, John C. Champion and Arthur Hailey (Who all went uncredited for Airplane).

How Long is it?

Airplane is 88 minutes long, including end credits.

What’s It About?

Airplane follows Ted Stryker (Played by Robert Hays), an ex-fighter pilot traumatised by an incident which occurred during the war. When he finds out that his ex-girlfriend Elaine (played by Julie Hagerty) is working in the cabin crew for a flight from Los Angeles to Chicago, he impulsively decides to book a seat on the same plane. However, trouble ensures when the passengers and pilots are taken ill with food poisoning. It falls to Ted to land the plane safely, with the help of Elaine, Dr Rumack (Played by Leslie Nielsen), a doctor dealing with the outbreak, an inflatable pilot called Otto, and the men on ground level in the control tower, including supervisor Steve McCroskey (Played by Lloyd Bridges) and Ted’s former commander Rex Kramer (Played by Robert Stack).

5 Screenwriting Lessons – Airplane!(The Following May Contain Spoilers)

Characters are Key to Comedy – Airplane is often regarded as a triumph of jokes over characterisation. Ted and Elaine are the sort of stereotypically good heroes often seem in the disaster movies like Zero Hour and Airport which Airplane parodies. However, the funniest jokes in the movie come from the various side characters. Like Ted and Elaine, they are based on stereotypes, but this makes them even funnier. From the Jive-talking grandma to the inappropriately precocious children, to Johnny, McCroskey’s hyperactive assistant, they all exist solely for the purpose of adding more jokes to the movie. However, these jokes are made even more memorable by the characters unique personalities.   

However, even the more serious characters are subject to some memorable running jokes. McCroskey starts out as a stiff and straitlaced character. However, as he follows Ted’s struggle, he begins to turn to his various addictions: Cigarettes, Alcohol, Amphetamines and Glue. When he starts sniffing glue, he goes off the rails, and leaves the film by diving through a window. The contrast between McCroskey’s initial tough nature and the bug-eyed, dishevelled maniac he turns into makes his deterioration even funnier. Much of the comedy in Airplane is based on extreme contrasts, and an authority figure losing their authority in such spectacular fashion is one of the funniest contrasts possible.

Setting Up a Joke Properly makes the Payoff Funnier – Fourth-wall jokes are common in comedies as zany as Airplane, but they are very difficult to pull off. However, Airplane has one particularly funny Meta joke concerning the casting of the famed basketball player Karem Abdul-Jabbar as one of the pilots, Roger Murdock. When a child is invited to see the pilots in the cockpit, he repeatedly asks Murdock if he is actually Abdul-Jabbar. Murdock continually denies it, until the child criticises his performance as a defender, at which point he breaks character and admits his identity. Later, when the food poisoning outbreak takes hold, he is seen wearing his signature goggles, and he has his LA Lakers shorts and socks on.  In this case, the joke works because it was properly set up. The revelation of Murdock’s identity is treated as a surprise, but it fits the anything-goes sensibility of the film perfectly.

Also on the plane is a seriously ill girl being flown to Chicago so she can receive a heart transplant. One of the air stewards decides to make her feel better by singing to her, so she gets a guitar from a nun and takes it to the patient. However, on the way, she accidently hits the head of various passengers with the guitar. This conditions us to expect an even greater mishap when she actually performs, and we get one – she accidentally knocks the girl's IV Line out and continues singing, unaware of the distress she’s causing, as the rest of the passengers sing along with her. The joke is hilarious because of the oblivious innocence with which she and her fellow passengers ignore the rapidly deteriorating condition of the girl. However, it would not have been as funny if were not aware of the stewardess’ short-sightedness from the beginning.

Never Forget the Rule of Three – The “rule of three” is often used in Airplane, referring to running jokes that are used exactly three times. The first time is set-up, the second reinforces the picture, and the third use is the punchline – subverting the routine for comedic effect. One running joke from the movie which relies on the rule of three concerns two passengers who communicate in “Jive talk”, which is translated for the viewer with subtitles. We see them communicate in Jive twice, and it’s funny on both occasions. On the third occasion, when one of the passengers is taken ill, the stewardess looks for someone who can speak Jive and translate for him. An old woman steps up to do the task, but soon she begins arguing with the “Jive Dudes”. The fact that she is even more proficient at the language than they are subverts the clichéd depiction of an old lady (Through the tough-talking Granny has become a stereotype in itself) and makes fun of the idea that Jive is a strange and exclusive language.

Another memorable running joke concerns the character of Dr. Rumack. As Ted prepares to land the plane, Rumack tells him “Good luck.  We're all counting on you”, and repeats the phrase during the landing. When Ted lands safely, Rumack enters the cabin and says the same thing a third time, completely oblivious to the fact that the danger has passed. This is funny because of the incongruity between the serious context when the line was used the first two times, and the peaceful state on the third occasion. The change in situation transforms the line from a clichéd piece of disaster movie dialogue into another very funny quote.

Don’t Forget the Little Details – Airplane primarily parodies the disaster movie Zero Hour, and is so blatant in its mimicry that the writers had to get the rights to remake Zero Hour so that they wouldn't run the risk of being sued for plagiarism. Two of Airplane’s most memorable running jokes were extensions of scenes and lines from Zero Hour. A line in which the Air Traffic supervisor says “Looks like I picked the wrong week to quit smoking” turns into the iconic sequence depicting McCroskey relapsing into his various addictions. The innocent nature of a sequence where a kid gets invited into the cockpit and talks to the pilots is memorably subverted, as Captain Oveur’s questions to the child become increasingly inappropriate. In both cases, throwaway moments from the original film are transformed into creative and funny sequences that give us a number of brilliant jokes and quotes.

The film’s tone is established with a simple but funny opening. The distinctive theme tune from the iconic movie Jaws sounds, as a plane’s tailfin cuts through the skies like a shark’s fin cutting through water. This is soon followed by a memorable running gag that occurs in the background, as two announcer’s state the same message simultaneously. However, they soon begin to get mixed up and give differing messages, leading to an argument between the two which reveals a personal relationship. These two jokes show that the comedy is wacky, easy to understand, and everywhere in the movie.

Remember to Take Some Things Seriously – One reason for Airplane’s success was the fact that the characters (With the exception of Johnny) take the ludicrous events that occur during the film entirely seriously. This is made particularly clear in a sequence at the end, where Kramer’s congratulatory message to Ted turns into a monologue that continues long after everyone has left the plane. It is delivered in a very serious manner by a very serious character, and he is unaware of how long-winded and silly it is, which maximises the level of humour.

Another aspect of the film that is funny because it is played (Relatively) straight is Ted’s backstory. Whilst his flashback sequences are as full of jokes as the rest of the movie, Ted’s main motivation is to get over his guilt regarding an accident in the war that claimed the lives of seven men. With the melodramatic music and voice overs, it resembles the typical hero’s journey in a disaster movie. However, it chooses to play typically dramatic moments for comedy which only the viewer is aware of. Ted’s memories of the ill-fated flight in the war are depicted through stock footage, and this is taken to its logical extreme, as the footage goes back in time to show us bizarre planes from the early days of Aviation. Whilst the viewer is aware of how artificial Ted’s central conflict is, he is not, and this makes the parody seem more sincere, and therefore funnier.

Verdict

Although parody films have gained a bad reputation in recent years, Airplane still retains its status as one of the funniest and most quotable movies of all time. It plays on the earnest and melodramatic nature of disaster movies, and provides a number of zany jokes that demonstrate how well the writers understand the basic tenets of comedy. There is a wide range of jokes, from verbal to slapstick, they are set up well and delivered effectively, and the characters are all memorable. Whilst many jokes are dated now, a significant portion are just as funny as they were when the film was released. In a movie estimated to contain about 250 jokes, that is a major accomplishment.