MoviePoet - The Best Short Scripts

You might be getting used to the in-depth film and script reviews posted on this site, but here is something different.

One of my favorite screenwriting sites, MoviePoet, is closing down tomorrow. MoviePoet was a site where amateur and professional screenwriters could submit short scripts for monthly competitions. These scripts were usually up to five pages long, but some of the competitions challenged participants to make shorts, single-page scripts and even feature-length screenplays. 

During the eight years in which the site operated, over 2400 scripts have been submitted on it. Below are five of the best. All of these won the monthly competitions with over 40% of users giving them an "Excellent" rating. Click on the script title to read them.

Christmas Cards by David M. Troop

Les Garcons by JeanPierre Chapoteau

Saved My Bacon by Tim Westland

The Tower of Wishes by Matias Caruso

Wheel by Dan Delgado

All of these scripts are published here with the permission of the authors. 

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 – 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 – 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.