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    © All Rights Reserved
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    1K views32 pages

    Judith Weston Script Analysis

    Uploaded by

    justwendy
    Script Analysis

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    © All Rights Reserved
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    ‘Scare ANAYSIS Script ANALYSIS ‘ucThem there are other directors Latch and wonder by they get on fb in he maring, bens ofthe stoning, of homework they do.” — Anthony Hopkins T's naroral, when you read (or write) 2 serpt, to ear the fines and see che characters in your minds eye, but ifyou ae che director fof the movie, this only place to sare! "This nora completed Scrip amas: Ts sili your head. You need ways bring your vision out of your head and int if Many dizectors are primarily visual in ther orientation, and their story imaginition are les well developed cha thie wsulimagin tions. But even directors who are ako writers often have rouble bringing their story imaginations ff the page, ‘The words on the page, the dialogue, and (to some extent) the stage directions ae cues t avast subwoeld of behavior and feeling ‘which isthe dat and pevlege of the director and actors spy ‘Thisis the ninety perent ofthe icberg that isbclow water. In order to understand the script you need tobe able to operate in the sub ‘world of these characters to believe init create int and trast it ‘The tendency people have, once they have heard the line, to adhere rigidly to thar line reading or interpretation, is very dec ‘mental. Instead directors need to know the characters and the sripe Structure inside out. The purpose of script analysis i to find ont who these people (characters) are and what happens to them, to become the teller of their story. Then you won't have to remind Dacor Acrons / Wesrow youself to phrase your direction inthe correct vocabulary ot argon: ‘You will have insight and understanding that you can comme to the actors, ‘ou will be able to think of characters in your move scripts not 8 conventions, stereowypes, pawns, movie elements, or theatrical eves tbe manipulated — but as people, You may notice that T we the-erms “character” and “person” interchangeably. think of char actersas people. Lallow the characters T meet the ste independence and privacy that [allow the people I mect in eel fe. As a resul, charters sep off the page and take on independent fein my imag inaton. ‘This makes dieing actors actoaly fn, have a set of tols which will help you go deeper ino the ives ofthe character. They work for every genre, and ae helpfl both for food serps and mediocre scripts. Good serps are complex with 1 Fich subworid hined at and not overexplained; you need 3 sxpe aualjsis in depth so you can dig out every delicious tidbit but you nus! do the same work with a bad script. Bad script are offen over- ‘exphined and obvious, so you need to create something behind the ‘worl, to flesh them ourand give them textre off. Although 20 actor ean really be beter than her material (and you must be cael ‘ot burden the sen with profundity i cannot eary ort could bbeceme pretentious), borderline or medioere material can be made ‘more lively and entering by using the sme script amass too you ise to dig out the riches and layers of good serpt (Helen Hunt seems to have done this in “Twister”) One of the most important adjuzmens 1 want you to make is, once you have decided to directa Ser, to teat ie as fis good sript You must stop judging and beg to engage This kindof sripc analysis mora competing approach to any’ of the various ways that screenwriting teachers talk about script stuc- ture. Weiters may find ic sel to underseand the tool directors nd ctor use, ad they may find some of my exercises hepfl for geting ‘thet creauve juices going, but my serie analysis dictions are not meant asa way to design aseript you are writing, They ae meant tools for your design of che adaptation of that script forthe screen, 164 Scurr axa “Thashese oo process re very deen scx my pine. This tncas for one thing thar your thinking abot scrip srucare Indus sachor ih acer her ene tres the purposes of th sep ara Teed to ak yu to et fof uch cregoris and thin ol each Gara as» human being Pm going to refer toa setof charts that Tus to teach my script analysis methods, There are four chars, each with eolumns; they tea teaching tol, For some people the chars might also work 35 ftamework for your notes, although T dont ase them thar way Inyself 1 like to make my directors notes on lined pad, a paper apkin, othe back ofa telephone bill. Serpe analysis snot relly 1s linear a i looks on the chars. But I beliere tha all the good ficcetors go through someting ik these thought processes and do ‘work of thi ind heen i wen pin a pm, Te spon of prepa t be toy met ands the moment That go trong your medio deny so you wil be read, once oo gtr and he se for your gets. PREPARING FOR THE First READ The Skim is what I cll the fst ie you recd a sre. Teall ita "Skim? bese T don't belive tha the very fs: time you pass your cjes over the words of sri can bea meaning reading. Even i {ou read slowly, you donot, onthe ist Skim, ake in much ofthe its peace. You may Se tae Bar posites, but thats ror dhe sme a seing she posible, because you are sting what you read through te fltr of what you expect read “The Skim will eave you wth impresions and flings, of course, sand these can be very valuable. Because these fist mpressions are ihound o have more todo with what yoo alread know and feel than swith hte dhe srr has to offer, they tll you omething about the personal investment you may beable to make the more, why it us ee tee eee Disccrua Acrons /Wesroy right be important you to do it, what personal and original lant you may give the material — zhu, for you, the mesic abnt. Sots, a good idea to make notes of your frst imprestons, Column lof (Care 1 (page 184) isa place for sach notations, Dont worry at this point, whether you have phrased your idess as a rel. Once you have jrted them down, 1 sugges that you lee goof them for the ume being refain from allowing them to ossify nto prejudgment, and Drepate yourself to meet the material self during your Fist Read ‘THe Warrer-DmecTor Ifyou have writen che serpt yourself you may not need he ‘Skim; you may already know what you think the script is about. But Tinviee you t0 approach the First Read the same way asa rector who hasn't writen the sexipe — that i, with an open, fresh beginners mind Directing i an adaption ofa sript. You must do this work of adapeatio even ifyou weote the script youre. You need to take off your writing hat, put on your directing ha, and teat the seri as if was writen by someone ls. This may seem almost impensible to do a fist, buc I can ell you that [have worked wit directors who ‘were able todo this, who believed in their characes so deeply that they eould allow them to have independent life. ‘They were not threniened by the actos’ contributions and they could collaborate with the ators to bring the characeers ou of ther own head ofthe page, ard into lie Sowhen Trak abou figuring out what the words mean I dont say “Find out whac the author meant” Imean no disrespect tothe author vwhen [say thar the director most find the meaning ofthe rie, not the meaning the author “intended.” My intention is aot to "decom strut” the author intention. Good writing afen takes place a the ‘most creative, ie, subeonsiou level. In working with wnter, Ihave seen over and over thatthe authori not aay reliable inccepeter fof what he bas writen. His unconscious impulses ae offen richer than his conscious intention. Adapting the clues of the seipe into 166 Sours Avs cinematic life is different process and requires diferent talent from the talent of writing. Sometimes a person has both alent, but thay are ewo diferent talents. EDITING STAGE DIRECTIONS Before you actully start reading you should eit the stage dire tions —and eros out os of them, Atthe ver east all stage direc tions shouldbe adaptd rather than swallowed whole as emotional Inarks tha the actors are supposed to hit. Movie people dont have ny trouble understanding thatthe production designer must adapt father than enecote rigidly the screenwriters description of sets and Toeations. Is the same for actors. “There are diferent kinds of tage directions, some more nee ofeitng than others 1). Directions that dercribe the characters eer life “Longingly” “kindly livid with rge,” “a withering lok” ee ‘These shold al be eowsed out, forthe stme reasons at you Sty aseay from result direction. Ieis expecially imsportant to cross out OF St lent approach with serious skepticism) the parenthetials “pause,” Sean” and "she kes a moment” All thes kinds of stage dircetons are adjectives, adverbs indica tions of transitions or pychologial explanations, or emotional maps (CHe cannot look away") "She makes a decision"). They are not Playable. What the writer has done by puting in these abbreviated motional gsidepons isto take a stab at proving the characters subtest This useful to the producers, executives, distributors, and tents who read lt of screenplays — dozens per week — and need ‘ich de-saving devices, Tis exactly the job ofthe diretor and actors vo erate the sub worl, Heed such shortcuts go the characters emotional ie wll Inake the dieetors and aciore’ job more, aot less dificult. You 6 Dnccrne AcroRs/ WestoH might want to keep an unrossed-out version ofthe serpt hidden {vay to look ata some pent daring rehearsal, to make sre that the choices you and the aetorsare coming up with area east as good 2+ the authors suggestions. But crowsng them out fist is a important Invitation w your stony imagination. The wrist-utting scene in “Fal Atracton” contained the stge direction laughing” Actor Glenn Close red but coud not make it work honesty. Gieen permission by director Adrian Lyne to do Uwhatever she needed t da, she ended up eryng inthe scene, 2) Directions that depice Mocking or business with no plot consequences. “She seraggles with her coat; “He looks at his watch.” These should be erased out too. Such 2 stage direction as “She struggles with her coat is sla shorthand suggestion of the inner life of the charactes, another version of the fist category above, Tes better ‘writing than describing thecharater ay rustted” but it relly the sme thing In addition to finding the subtext, finding the movement and activities tha physicalze the emotional evens of the sxe exacy ‘your job, a big pare of che creative challenge of acting and directing Jn “The Bridges of Madison County” Meryl Steep eested a bit of business around fixing the photographer collar that was the sexiest thing in the whole movie If here iss bi of business or blocking in the stage directions that looks interesting to you, that brings to ie an emotional evento jus- tiles a character line, you mighe highlight fe with a queson mark, tory in rehearsal. Bue if a rehearal, dhe actors’ connection {0 the emotional even leads them to some other physiclization (atv), "you can consider that as well, and make a eoie. 3) Directions that give ue character’ personal objects Inthe examples above, perhaps we would want to make note of she one character's coat or the other character’ watch, as potential 168 Sea ANMLSIS personal objects. Objects ae very important elements in a persons (charscrr') lf, When we find cues a tothe objects in the charac= ter lives, whether they are inthe stage directions or dialog, we need to circle them, then ls them in Column 8 (Physical Life) of Char 3 “On his desk there i a ice ina sive fame of a woman and two litle gids ‘Ths should e citled as one ofthe characters por sonal objects. Any adjectives adverb that sagest nner life should be eossed out (Eg A pict of his wife and two daughters hat been lovingly placed on the desk.” You should eross out *lvingly") Even if you end up without he picture fame in any shot of the movi, itis helpfal and necessy for script analysis. Ic leads vo ques- tions: "What sche history ofthis framed photo? Who bought and placed ion the desk? Is ie prsence a gestute that fll obigaion, fand proper form, or deeply elt? Are che stil marred? Is the ‘ivorce to panflyrecene fr im to have put away the photo?” 8) Direction that give ws backstory fact, “The last time a crime ocurred in this town was owentyfve years ago"; "He graduated fit in his lass at Harvard.” Backstory Tes in stage direetion lito two subcategories) facts that ar refered eo the srpt, that a line someniere in the serpt refers to the fac that the churacer graduated fist in his clas from Harvard; and b facts that are not refered ro in the script, that, there i no line describing his education one way ofthe other In the case of, since ther re already in the dialogue, you don't need them in the tage dtetcas and you cin cross thera out. 1 Rind fe mich more excing and creative to do the detective work of ‘deducing the backstory fcts than being fed then. Ta the case of (), since they are not inthe dialogue, they may contain useful or even neces cues. In that case you might ener them oa ist of Fats” (se Column | of Chart? on page 192). On the other hand such statemerts by the author may be Amaginaie oie which you ean vse, iyo Bind them hella inet you ca Dnecrne Acrons / Weston reject and invent your own. In that case they belong in Column 1 ‘of Chare3 (page 207). For now Isuggest that you circle chem with 2 question mark 5) Directions that give us an image For example, the feather which escapes Forrest fingers and floats up into the air during the opening credics of "Forrest Gump.” “This image was described in che original serpt, and even if t had never ended up inthe completed move, it would have ben circled a an image of the scrip, and # potential clue to che themes of the ‘move. Te should also be listed in Column 6 of Chae 2 (6) Directions that desribean emotional event. ‘That i an event with plot consequences (eg., “He searches through the pile of laches unt he finds a gun "They kis”) These ‘eed to be lefin after you cross aut any descriptive words ("He Searches depertly through the pile”). You should translate any psychologzing explanations (“Fe cannot look away") into emotional fxents He doesnot look away"). Once you have edited and rans- lated the description ino an ezent, highlight it Make sure you ae not confusing essential information about the emotional events ofthe script with optional stage busines, optional stage businst may be highlighted tue should have 1 question marc net to it. An importa reason for crossing out superfnous stage directions and questoning ‘optional ones is so that you can locate and highlight the necessary fones — the ones that tll you an emotional event which is not revealed by any dialogue ‘After you do thi, youl be lefe with very spare, circled or high- lighted sage directions, and some question mais. The cirled images, facts, and objec wil hive been entered on the proper chars Highlighted material wil canain cues to the physical and emotional eof the characters 170 First Impressions — Cuarr I Reading outloud isa good way wo aces frst impressions. You make friends with the words. You may of may not wish o be alone when you read outloud. Read slowly in full voice. Don't whisper oF mumble. Dont rush. Don't ey to "be" the characters but don’ censor yourself. Don't listen to yoursel Enjoy the words, Feel them in your mouch. Don’ read the tage directions (even the ones that you have circled or highlighted), you are related and open, there are ewo benefits you may gee feom reading out loud, You may get new ideas — or questions ‘Questions are beter yet. Ev any ese, you might want to jot them down briefly because yon are doing this properly — thats you stein che moment — you might not remember them later. 18 Dmccrno Acrons/ Wes “Tie Fact on oats sun Tae ‘Use 5 “Tiese Manne EMENTS Tins on Mystemovs 7 Passermase First IMPRESSIONS — CHART T ‘your Ines z Eupexce rom T IorasFsr Istreesstons Sexe Anataes “ows” Tae Cranacrens The second benefit of reading aloud is that this can begin the process of awning the characters. Justa each actor must “own” his fown character, the director must own each of the characters, sepa- rately At thie point you have not yet begun Siguring out whet the ‘words meas. You ae allowing them to find breath and voice in your ‘own body. You are beginning vo take them ofthe page. Pansrnnssive Then you ca start putting thie ines nto your own words. Does thie sound abit radical? Tdoa' know. This sea is based on avery fei excise Lue i ty case. Task di student oy the ie ‘fa monologue she ha learned. Then Task her ell me what is tong on in the speech, what she understands about the character fnom i, starting wih the words "This isa character who,.” Tell her ‘that her paraphrase canbe any length: tean be much longer than the speech or uch shorter, ic ean go far afield, in eflect, she can say anything that pops into her head After ths ell her > do the same thing aguin — again puting the spech inher own words allowing Ihr impulses wo take her wherever ty go — only changing the pro ‘noun fron she" to “I” when she speaks ofthe character, “The parpose here is me rewriting che sripe, but “owning” the caracers and accessing your intuition about them. Ideas often face that you dida' even know you had. Lets ake one of Stephen’ speeches on page “Higy, look, Tbe gone in a minute, T mean if 0 too much to ask if Ihave a clgarstta and a cup a coffee in peace, for chrissake, Just say 80. A person's supposed to ‘unwind for two minutes a day, in case you fit read the latest medical report. If i's too much to ask to just lemme sit here in peace for two minutes, then say so. 8s incor Acrons / WesroW ‘wouldn't wanna take up a stool somebody ‘was waitin’ for or anything. Christ, will ya ook at the waitin’ line to get on this stool” have heard stdons paraphrase tts “Thisis a guy who over- reactstoevervhing. Heb a conto freak. No matter what Angel says he's to heather down and get the ase wor.” Tm sure you have recognized this as an unplayable judgment on the character, Stephen probably doesn't think oF himself asa conteal freak. When the student takes the nex step and changes the pronoun 0"L" he experiences lite bit of revelation because he has tos, “Lam a contol Reak. I cant stand ie when anyone gets one up on sme." Putting iia the fs person makes him fel something. Maybe Aiscomfore. Maybe a pang of ecopniion, In fae, when he puts tha way, he may realize that there i lie bit of coral freakin all of us. Judgments may be accurate, but they are not playable. Aslong a you own them, a long as you adit that these fetlngs are ones that weve al had o are capable of, then you're not judging but emputiving. Empathy isthe diference between saying "This guy is contol feak-— jst as Tam sometimes (althoog T may not like 1,” rather than "This guy i a comttl freak jus like all the people I cant stand and who make my fe misee- able and who are nothing like me.” Another paraphrase ofthe same speech might be: “Pm ined. 1 dn’ want tobe here, but I don't want to go home either. My fe is not very ctitng or very much fun in act, smoking cigarettes is one ff my only pleasures. And now my mother has got into er head to nag me about my smoking and she wont let me smake in the house” This an example. ‘There could he dozens of other ways 10 paraphrase che speech. Such a paraphrase gives us «posible subtext ‘of the speech. Or maybe an idea for a bucktory choice (he idea of the mother forbidding smoking inthe house is not anywhere in the script —Imade cup). Andi lets us inside the characters experince 2nd Feelings 186 Soure Axess | think directors daring their Fit Read should do some ofthis paraphrasing; not every ine ofthe serpe neces, but as meh 35 you have time for. Lett be fun — something you gi to do rather ‘than something you bre todo. You can take notes: there isa column ‘Column 3) on Chare 1 fortis. You need fel thatyou have wo ake notes, however: you ean let the exercise bean experince, rar than information. If ic sare to feel boring that means you're doing ic mechanically stake a break and go onto another srpt analysis oo [Bt paraphrasing docs get easier and more fim the re you do “The porpose ofthe paraphrasing eerie et get you out of your head sd ableto ccs jour inion. When iy this exr- {ee peple often find hemes sans things shee the character tha thd iow hey hohe The resures of thr obo stow nse being ented athe tk of rp say The paraphrasing exercise can be used to gently confront an actor with his own prejudgments(resistnces) 10 a characte, OF ‘nlock asta interpretation. you sense a resistance onthe pare of you can ask him, "What do you think of this guy? Do you * Ihe answers witha string of negatives, you can quietly say, “Say the same thing again, ony sing the proncon ‘I. “tv's ost." aNb “L Assis” make s big fs with my students abou the words “Ie just. all them the ovo greatest enemies of an artist. Instead of "Te ost a Tove sone," say “Ieha love scene.” Instead of “He's just apalo izing to his mother,” say "He¥ apologizing to hs mother” Do you see what big difference that? A good divertor inspires the fctors"She' ast waiting forthe doctors report” "es just a on- frontation between two friends.” "He' just being sarcastic to the judge.” You ean expect o inspire anyone when you misimize such Important events. Our artistic goal to illuminate hurman event, snot minimize them “Obviously” is another red flag for me. “Stepien is obviously not attracted fo Angel.” Maybe I'm perverse, huts so0n as These 87 Disccrw AcroRS / Weston someone say that something in a srpt is “obvions” I want to con sider its opposite, Nothing in a good srg s obvious. Like people tharactere are subde, arbitrary, fll of contradictions, and lacking in self-knowledge, Other uninspiring qualifiers ar "basically “poten- ally sort of ete. Think of yourself a2 person who can commit, rather than qualify and hedge all your ideas, and thea, when a ew ‘ea o information comes in, change your mind. “Thera mo ther worth ects to fqn se the sa vox of ther sep ami "assume “Taman that Ange Ines ith ber matics” Don't assume anything. Investigate. Imagine. Choose, Tur Tecuntour oF Tues Passias ‘One ofthe best things that can happen on a First Read i that there will be lines that you doa’ understand and that do ft An norm rate tendency in Hollywood today isto rewrce sch lines, to make erything Ht without an atm to fd out what they might mean, Logic can be a serious roadblock to the imagination. In a well- ‘wren seripe (and remember, foe the purposes of serie analysis, we sare considering any sripeyou have decided to direct sa well-writen Scrip), such on sequiturs and contradietons — even lines that at first you don' like ~ can be gold. They can hold the key 9 some insight you have been revising that che key was chsive and the insight hard-won will make is tuth all she mare powertal Anytime you finda line that you don'like or doesnt make sense, suggest hat you make a quick ls of thre things i ight possibly mean. Don't ay to find the right answer but, rather, without eal ating your ideas, scubble them down. Lets tke Angel ine, “Who etn’ aback pack" Why does she say this (other thant set up the joke of Stephens nex ne)? She st Asked him what he was getting from the eaupon book. Why does She seem to understand that "back pack” isthe answer to her question? (Olay, deze posible nnwers. 1) Maybe she has sme association with back pacls that isso diferen from her associations with 1s Stephen that fora moment she can't cornet the two. For instance, maybe she has a sister who is Gin! Seout leader and was talking hou backpacks for er troup yesterday, hearing the term ols her ‘mind back to hac conversation and ic tales a moment tallow “back pack" tobe part of his conversion. 2) Maybe as soon as she hears the words “back pack” she associates i with Stephen’ depertor, which perhaps he has spoken of on ofher occasions, Maybe the mage of him leaving is too painful to process quickly. 3) Maybe she ‘engaged in some physical ~ or mental — activity dat requtes alot fof concentration." Maybe she is subbing the coffee machine. OF pethaps she is totaling the receipts from yesterday or making up the ‘order forthe vendors wi will make deliveries today. [Now I didnt parscularly concern myself with making sense but rather with tying to find tee ideas that were diferent from each other. “Tm looking for something — anything — to get mysell Stated, so I can fal that lam coming wo with ideas — any teas — rather than lisessy staring atthe pager. IF wrive them down Without evaluating them, I iay acces my deeper resources, Wht Pm ering to do not find the vight anser, but ten nylon 1 find she “Technique of Three Posible” most wsefal hen I come across hackneyed “movie-sounding” phrases, lke "You just tnt get i do you?” or “You're sor? All you can say is youre Som?” These are words that people almost never eel sy tn real life but which show up in moves Tot. Such ies require special attention to finding some truth, some subtext, to keep then from sounding clichéd and actorish If you open yourself wo the ida tha: any ine might ave more than one meaning, you wort lose your equilibrium when an actor doesnt relate to something inthe Scrip that you have found com palling oF besusfal or finn, and you wont panie when the actor Imterpres it dllrendy. ‘Then, too, you ean vse the “Technique of| Tree Possible” with actors who are resisting line, ro get them turned on, When they iy, "This dosntemake sense to mes you en ask, "Well what eoald ie possibly mean?” Drscorne Acrons / WesrON ‘Tae Reatsrr (Pact) env Tae Wosos Another way to understand mysterious lines iso look fo the fat ‘or event that they refer to. This goes fr lines that you lke aswell as for lines that bother you. Lines that you like ean be especialy dan- zeros: you might fl n love with thei wit or poet and forget 19 Took for the reality behind them. (This ix one ofthe pital of per- forming Shakespeare) You have to approach such lines not by looking for the most effective way to say them and thus display their beauty, but by looking forthe reality Behind them. For the “Forrest Gump” scene ia which Forrest calls the front desk tw complain about the noisy Watergate burglars, the director in seript analysis (and the actor in performance) must put ceir concentration ‘not on how funny the scene is going to be but on some reality behind Jt — for instance, that Forrest is light sleeper Mone Rabin Iotas Ar some point you might ty reading aloud the lines of one char acter ata ne. For this technigue, you dott even read silently the words ofthe other characters of any stage directions, and you don't try tomake sense ofthe seenes. You read sllhisor her lines one afer the other, slowly, ia fall oie. Something may come to you. Perhaps you may wane ro read the serie with another pers, Don't uy to act the foes or the scenes. Instead, look at each other as much 2 pos- sible, switching around roles from scene to scene. Or (his i my favorite) read the whole sript aloud to another person. Don't read the character names oF any stage directions, ven circled or high lighted ones, Finally, I want to strongly encourage you to reread the script (ileal of aloud 2 often a8 you can throughout script analysis, pre- production and rehearsal. Each dine pretend tis the Bs time. Free Your mind of the ideas you are coming up with you have notes so you don’t have to remember the), so you ean return to the beginner’ ‘mind dat characterizes the Fie Read. You may be surprised a the ideas and questions thac will eome to you 190 Scwurr AALS ‘Tae IMMUTABLES: FACTS AND IMAGES: CHART 2 Tal thefts and images of the script immotable beceuse they sare not subject to interpretation; they are inthe srip. "They are 3 wonderfl place to start for these reasons: 1) You don't have tobe creative to come up with them. [essomething you can do when you'e not "in the mood” and Find yourself staring atthe page and don't know where to 2) They are the shelton of the scrip, ts infrstrutue, ‘You need t0 know them in order to feel confident tht you Jknow and understand the spt, 3) They are magic keys into che subworld. Whenever you ger stick creatively you can return to them, ask few {uestions, and your creative juices can he renewed *4) Both are great ways to give diection. The facts of a script are it situation, ts maginative given circumstances — 2 good jumping-off place for ators. ‘The images are an exel- lene toa for shaping and deepening performances. 3) They an help you avoud arguments with actors. Tfan ctor brings in an interpretation ofthe scrip that doesnot {encompass the fats and images, you can point them ox, and they are chere in black and white this especially wef to keep ators fom judging or sentimentalizing characters. You cua sy, "Yes, But what about the fat that?” This approach «an help kep your egos ou of the discusion. Sometimes an actor brings in an interpretation that s supported by the facts and images, but diferene from yours. When this hap- pens you should Isten with an open mind tothe actors ideas; they thay ten out tobe valida yours, or they may even be beer. IE yu can tell the difference between this station and the situation (above) in which the actor ideas are not supported bythe srpt you wil be moch better prepared for discssion and reheat wt ‘Tue, IMMUTABLES: FACTS AND IMAGES: CHART 2 12 Sour Anus acts aNp EviDeNce acts are very powerful for actors — the magic“ if” The actor creates se of simple circumstances allows himself to believe them, tnd then fanesons a fhe were in those Greumstanees. For the pa poses ofthis exrise we will teat the scene from "When You Comin" Back, Red Ryder? sift were a complete script. IFwe were making ‘Bis movie, planing 2 rehearsal of this scene, we would of course texamine the fll crip for fee. Working on one scene sfc all Scrip is an exercise to teach you sri analysis techniques which in ‘he real world would be applied to a whale stipe, Some facts wll be clear, others we will deduce. We're not going to innit thae che writer pel everything out ond wel tok fo tvidence and fallow cues Bor we're not going t prasend to have any facts that we dont actually have We're not going o make sssunpions, judgments, o ump conclusions; were going to stick tovfct. ‘This x detective work. In way well we some of the rules ‘of cour For instance, hearsay isnot admisbles jst because a char fscrer sys something tue, we won' automatically ell ira fact. We ‘wil ook for dreumstancal evidence to back i up. “Pacts are events that have happened circumstances chat are te before the scene sats — the characters situation. "Event" are things that happen inthe scene, but once they have happened they hecome fics. For instance, Sephen eas a danut that an event this scene. Forth sone fllowin this one, “Stephen has had break fast would be a face. Sometimes stants sugges ft for this scene, "Ange! likes Stephen” Thats nota fact. Tm not sying that che role coulda’ be played with tac coc, but anything that has to do wit a characters fae of mind i nota fact. Ita choice or interpretation, (fen, the fs thing students say when Laskthem for the foes ofthis scene , "Stephen wants to lave.” This is not 2 fact ether, Tesides describing a tte of mind, this statement is contradicted by. ws core Acrons / Wesrow the face that he keps sitting there, So it belongs under Column 4 "Disputes, Conuaictons, Tssies” Don't forget — characters, like people, don't always tll the truth. They don't always know the truth, They remember things incompletely o inaccurately. They may not admit the truth to them selves, and, of couse, sometimes the le A good place to stare in establishing some facts in the “Red yrds" scene isthe characters" relationship. Tl propose thie state meat for our list of facts: Stephon and angel srk a the same diner Somerimes students ell me on this one. ‘They say tha if they rons ‘ovtall the stage directions es noe certain tat they both work there ‘eeould be that Stephen works there; Angel could be a frien, i fiend, or even sister picking Stephen up afer his shift, Okay, lets ‘nck up a step and look atthe evidence There early evidence (Column 2) that Stephen works ther (his line, Igor sit minutes to jase hang around thoi when my shits tp, right"). There also ie evidence that she works there to: She ows about the rules of the place (how much to get charged if you drink from a paper cup); she brings him donut and coffe; her line fic wasn for Lyles season and his motel, Lyle'd be ov only coe tomer” includes the propriewry “our” On he other hand, iF 3 small diner ina small town and she is known as is steady gelfiend, she might he familiar enough with the plac to know the rules and 0 our a cup of eoffe if the waitress wat not here, or even to cll the place “our place. ‘The lise in which se ak him what is playing a the films could be seen as evidence that they are friends oF hoySiend/glfiend, ‘The stronger evidence that she does work there is her ial ine “In the three weeks since the by-pass opened, Stephen, you know ‘exactly how many customers you had inthe ghts? You wanna know ‘eacly how many, Stephen?” The way Tunderstand chs line is by looking forthe ever behind it Fito ll reall what [now aboot small diners (used to work in one), Ar dhe end of each si the Corder tickets were collected and putin numerical order and sucked 4 Sen AN neatly so thatthe nemt morning the manager could yo through them ‘nd compare them tothe cas register totals. Angel sift (if we end up proving that Angel does work chere) follows Stephen’. So if she does work there, she isin a positon, each morning, © count Stephen’ tickets maybe iv cven her job todo so. Unpacking the fact behind chisline also called "jusiying” the ln, and Rinding that itjlls with excirevdence pointing othe likelihood that she does ‘work there, eonfims that Jedeion, Prope facts Angel at fo bor hfe Perhaps we can acept this hearsay of Anges because Stephen docs contadie it Think we can be sure that she sno more than Sx minutes late; if twas more than six minutes, i seems ikely that Stephen would comment (Whadya mean, si? I eight minutes) Some questions (Column 3) aise in my-mind: Has she ever been late before Init habiwl? Ts this the fs ie? Maybe she’ not acually late. When I was waitesin, the other mates used to habitually arrive half hour eary for their shi | they arrived exactly on time, they considered themselves late, 5 did the vwatesses they were relieving! IT were directing this scene I night ‘rant to sugges thi litle adjustment to he acts, give her another layer. (See Column 6 of Char 3, “Imaginative Choices," page 207) My idea for this adjustment arose ors information I happen to have beeause of my experience waitessing ina diner. Ifyou are unl nilar wih the customs and traditions of diner employees, you might ree odo some Research (Coluran $0) roped at: Angel baa daly elationbip wth er mother ‘The line “My mom and me, our daily ght was a litle off Schedule today” is strong esdence, although not actsl prof, that they live together (they could live separately but speak on the phone crery morning), Her ealling its "daly ight” does not actully mean they fight every dy, but it might fd ike is every day. Her mother, ‘faked, might claim dat she and her daughter never fight! 9s Dincorm Acrons/ Wesrow Ithisa ce *Stpho dan want Ange cl hie Soph ® No, Al we can say asa faces that there has Been 2 least one conversation between the two of them on the subjece af his name. Eventhough he says “How many times I ora telly," itsill may have been ony ence forSome people, tice is too many nes to discs certain subjects. ‘We can even include asa fice chat Stephen was called “Red” aikid, Even it he claimed was tre, we wouldnt e able to accep 4 fact. Interestingly, when we reread the scene carefly (expe research, Cour 53), we find he doesn actually say that. What he ‘Sys that when he wae ald he ad red hair Of course we cant be Sure that ths sre either. There ino evidence fr itsince ow his hairs brown, aseven he admits ll we can sty aa facts that he that he had red hair as ahd, and chat on atleast one acesion pre vious to this scene he has made a request that Ange all him “Red” Another way of puting this would be to lis it as an “ssue" under Column 4. Hisname isa nse between them, Other fesues might De her lateness, if we make the choice that itis habitwa or the rules ‘ofthe dine, eg, che paper cup rue. Actually as oon a wrote that, considered its opposite: maybe the paper cup isnot a standing ime between them. Maybe its the firsttime this particular issue has come up. Maybe he slays ures the prohibited paper en, but usally she mdlger hs lapses today she doesn't. Or maybe he usualy uses the ceramic cup and this morning has decided 19 make this itl rebel. Tem not sying to talk you into any ofthese ideas. The poin is that they are kat — cues — not facts. (At fst glance they seem like weaker choices but you never know, Sometimes an apparently les plasile choice can ge 4 performance amystey, an edge. Temighr be something you could Whisper o the ator in between takes to freshen things up) Questions (Questions are perhaps the most important product of script analysis, eventhough you are not going to rewrite the sxpt so all, 196 Scaurr Axis questions are answered. Make aig istof chem. Ifa character says, "Why ate you shouting?” insteac of assuming tha the second char accor shouting ask questions: Ith other guy shouting? Or does ‘he frst guy have alow threshold? Could it be that what aeually bothers him i the content of whit che second guy sid? “To me an imporanc question ofthe scone is raised by Stephen's line as soom a5 1 ge something taken care of" Characters ca i, sorhe aie he balling — there might be nothing he has to tke fare of. He might have no eexon except his own immobility for ‘ying in thie rown instead of lewing. But I don't want to stop my senpe analysis here, because this thinking is Ukely ro lead me into generalities and ugment about Stephen. What isthe ching he has co ke care of? Ie may be tht 38 Soon ss the thing he is referring to get “taken care of” there will be tother thing t take care of, but even so, itis something specific ‘Wah whom does helive? Does he ive with his parents? Could there be abuse or alcoholism in the fn? Tee posse that he has to fix his mother’ life before he ca ese? you find yourself jumping 3 concloson, [want you to putt Inshe form ofa quesion. I, for instance, you Gnd yourself saving, ‘Obviously this has happened many umes before.” urn i ght sound and ask, “Tas ths happened before?" ‘Thats aways 2 good ‘question in any case. One queston you should always asks, “What In this scene is happening for theirs ome Anime there i more an one possible explanation for some- thing, ie noes fice. Tiny seen bering at Be open up 2 ‘may porsibles. You may el though knew what Tsong Ind now U have nothing to hang onto” There ae two purposes 1 dhs seemingly chao sproach: One ito bring ut sry agian fone wo He Allowing oes to iaydream around the as oF these gresuethe oppor colt the materi ele what is sbost The othe purposes to prepare ousctvestomake choices. In deder to make Gee yo neds el rom which to hoo othe crvie ib nova cots it an aaumpion. As you ge ted is Discorne Acrons// Wesrow ‘echnigue you wil find i cleaner, and more liberating than prychol- ‘ogicng, explaining, or gossiping about the charters, often hear directors describe characters in te are not. “Stephen is not a good employee.” Aloesnt have boyiends” As soon as I hea statements ie that, 1 ura them into questions: Is Stephen good at his job? Does Angel have boyfriends? If Stephen snot good at his jo, what is he good av If he is not interested in his work, what i he interested in? ‘What sexual experience has Angel had? (A good question to ask aout any character) Sometimes I heat people say about characters, “She doesn't have much ofa cence of amor” ot "He n't vry mare” A character who is what socey cals “slow” snot eying tobe slow, 50 an actor who tees to show us intllecaal slowness is condescending tothe acter and playing a result (society's judgment of him). What such a person (character) i usually doing (his objective) i to raga tp tip. An actor should never stow us that a characteris “slow” but always involve himself with how the character copes with the cards fate has del it, In ay case, eoryhody smart abou smetbing. ‘There are certain qvestions which you shold ak about every character, What is this person smart about? What docs this character find funny? Where bis pia? How does he play? In what way ise an ats? What does hhe most far? What profession hat he choren or docs he apie to? Whom does he look up ta?” Whats the biggest thing that has ever happened to him? How is the characcer diferent atthe end of the story (or sene) from the beginning? ‘You may occasionally come across a character who has no play ‘sie, This would be very sare, very bold choice. Mort ofthe me an important way to bring character to life so look for serous char 2cter sense of humor and for the serious side of comic character Always ask, what is the character nr saying? Whenever achar- acter breaks off speech or is cu af by another person, you need 198 Sewer ANuasis to ack yourself, what wat she going to say? ‘The longer and more thoroughly you work ona sri the more such questions wil erop up, which i good. ‘The things that bother you can bring the most, creativity, ike the grain of sand that becomes pearl by irrating the oyster. Sometimes when I do this kind of work with writer rectors, and stare opening them to che subworld ofthe sory they ‘wrote themselves, instead of congramlating themselves on their food writing they want to rewrite the script, purtng inthe sebtext Don't doit!’ Don’ fix! Dont bury! Instead, question, daydream, spin stories. You will enrich theseript wth ayers of association and Understanding. And don’ forget, dhe bes way to direct actors s by ssking questions Reseancit ‘Question lead to Reseate Script research - Sometimes 2 question wil be answered, and a face gleaned, from rereading the sept. Or 2 new queston will be generated. When we notice, on reread, that Stephen does nat acti- ally aim co have been called "Red" when e was id, the question tres, “When did he start having the notion of being called "Re [External research - Always find out the meaning of a word or lea you dont understand. happen tobe ald enough to remember Raleigh cigarere coupons, bu | didnt know what they were, I'd have to do research, Anything you don't understand you should research. Ifyou dant know where to star ty the dictionary. Internal research - By ths I mean intemal ojo — your expe- riences, observations, and understandings. Connect your script ‘alysis preparation to whit you kno abou if. For example, when ov are looking for fet, questions, and choices around the ave of| Stephen’ mame, you should think about your own ehuldhood. Did you have aalckname? Did you wish for one? "Wis there a hero oF Storybook character that yu identified with and wished you'd been ramed afer? Did you have friend with» cool nickname? income Acrons / Wesron This is che work thar novice flmmakers most frequenty neglect, to do, But iti the work thar must be dane if you want o make movies of any insight or originality. How can you ask ators foe per Sonal investment unless you makes personal investment yourself ‘You approach all your preproduction homework technialy, that’ he produce you will hive a movie technically proficient, without sul. “Two movie-maling pants, Federico Felinand Ingmar Bergman, often made movies that were frankly sutobicgraphicl. Ba ARs Kurosawa, William Wyler, Jobs Huston, Joha Cassavetes also made everyone oftheir movies personal without necesaiy choosing 200 Diographical sips, Teabwaye shocks me when people critique Cassavetes soley on the basis of his flaking syle. Whar co me sands ut about his work is chat first, his films are always sbvut something, and second, he allows ae ematonaldiseneeberwoen the audience and, notably the ‘main character in "Woman Under the Influence”. ‘The prodigioos tft ofactorGena Rowlands make his possible, but he ra intimacy Df the performance could not have been resized flmicaly without the personal identification and commitment ofthe director 1am giving youths simple seripe analysis tool of eral resarh ino the fac and images ofthe seripe to help you begin making this onaection, even ifthe erp seems to have no personal reverberation for you. Inuces ax Associrrions “The other immutable information from the script is is images. The next sript analysis too 4 way to unpack the rere folded in the images. tba kind of fee association exercise. Your asocia- tions come from your okn memary and experiences, your observa- tions, your imagination and from research. ‘These associations sti, up and rete a soup of unconscious material, and weave a emtre of Iie around the characters and tei situation, 200 There ae exo kinds of mages that concern usin script analysis: the writer's thematic images and each characters personal images ‘These are diferene from the “actor's personal images” or substi tions which [ discussed in the Actor’ Choes chapter. First I'l identify images from the “Red Ryder" sene, isting the images separately for each character” Angel talks aboot the "chedule” of her “daily ht” with her mother, and about Stephen’ ‘igarewe coupons"; she uses the word "Stupid she mentions Sephen’ nickname “Red” and her own name, “Angel.” She take oat Stephen “cleaning your eth,” the “films,” the Raleigh coupon "it book,” “the FBI," and “camping.” She tlks about tattoos: ones shat are “out of syle" a wel at “attoos that say Love and Peace.” She menos "Lyle “nner,” ad the "bypass Stephen uses these images: “dump,” “Clark,” “pene” “problem,” “counts” “Mabel.” “medical repor, newspaper” "ear" “back pack,” "home fies in your ears” “Chingado the Chicano,” “donot” “hiedhiking.” “Turd,” ‘Elmers ge,” “cold coffee The free association technique goes something like the rif I did sith che image “ain” in the section om Images from the Actors Choice chapter. We flat around onthe image, oting down what- cer pops into aur heads in response to i ranging as freely and ‘daly a posible, withou censoring ourselves, aot worrying about whether anyzhing we come up with i actually useful. Maybe a ny {moun of what we come up with, say en percent, will e wsefl. Tn larder to doa meaningful script analysis, you need sped time oni ‘Okay. Lets start withthe “schedule” of Angel’ daily ight” wich her “mom.” “Daily fighe schedule” makes me think of daly fight schedule, airplanes, airports, two-seater planes, big jets, air tlic ontal, "Fight schedule” al makes me think of heasjweight ste touts, Muhammed Al, George Forman, Mike Tysoa (ape, prison, Barbara Walters) and fight ays; Uhave never been ina fight gym 2 Disecrne Acros / WESTON bur Tagine chem as dark, with low lings, cement walls, noises of punching bags, grunts, sounds of flesh being suck by boxing glores ‘Then I think abou fights without hing, verbal hts, fai fg [Now we're getting closer. Why did Ihave o go through “air wate conte and “fight gyms.” which were clei off the mark of any thing useful for this scene, before T got to “family ight," which spparenty what Angel stalking about? 1 don’ know, Tat not censoring mye, 1 gave my imagin Sion is head; T et lead me, instead of me tying to lead Imagination, by mart, rests the junction to be seh.” MT command my imagination to go only to use ares probaly Son do anything ie wl si there ikea sick This is what hap. pes when directors ring at the page, unable o ge stated on Ghat spe analysis homewort. Back to Ange. To call ita “daily fighe” which usually follows & “schedule” makes me think of routine bickering or nagging, perhaps persistently on the same subjets, Thave seen affectionate reason- Ships that include bickering or heckling. T have also sen fais ‘whose every interaction communicates antipathy and neglect. Which Lindi Angels situation? What do they fight about? Maybe Angel likes to io her usform inthe moming and her mehr thinks the ironing shouldbe dose the nigh before. (When Iwas tcnager my father and T once had 2 fight on this very subject) Maybe Angel serves the toast unbatered, an act perceived by her mothe s rai les, or even aa gesture of disrespect and rejection, Or maybe Moma init on smoking a the breakfast able and extinguishing her cig reves in her coffe cup, ro the disgust of Angel, who doesnt sok, Hoow much do these fights hure? Here ll do some “internal research.” My own fights with my parents, no matter how infre- {quent oF wivial, always hur me deeply. At fist glance, that exper fence seems not at all ike chat of Angel, who sees to tivilize the figh by referring to its “daily schedule Bye wha if she only pre ‘ends to make light of her situation? What ifher pain and lonelines go very deep? Fo Scurr anus “The image and sssciaton exercise call atention to what «char acter tks about eather than what he says about tor elaims to fel thoue ie The theory here thar things people alk shout are a good indicator of what is relly on thet minds wha smporant to hem, their interests and needs — in other word, wha is causing them to td the things they do, Ics a peek into the characters emotional Storage banks, Iegives us questions and ideas chat may lead to choices. It also brings ws int the experience that thse characters might ‘be having while they say these words. Tn life people change subjects make Freudian lips and forget what dhey were saying, offen without ny reson that they are conscious of. Rather, the association they inake is mbconsciows.Angel mentions “tatoos that say Love and Peace” Is this an appealing or an unappealing image to her? How does she fel about the hippies? Does she have dreams of going to ‘San Francisco wih lowers in her baie? ‘When I look tthe lise I made earlier of Stephen images, if free-asscite and don't censor myself, afew things jamp out. Four of his images have aeocations with excrement: dump, stool, eap, “Tardvlle, tot to mention “ny Aunt Fanny's ott” and “sched our on shy rear” Two images of death: his tttoo “Bora Dead? and “ceme- feo.” (Lam calling "Horn Des his image even though Angel men= tions it because he isthe one who wears the tao; and since she ‘does mention i [deduce that is visible) Doesn't this say something about him? Do you see how itt more powerful ro svoke his excrement images than f0 say he has fContempe forthe town he lives in? Could his evo death images ‘mean that someon he cates about has died? Or that idea of suicide te in his emotional storage banks? This is where my uncensored imagination may pay oft Maybe the “air taffic control” nif off ‘Angels “daily fight schedule” led nowhere, but inking, via free a80- dation, Stephen’ deth and excement images may actually end up being wef Fe mentions “the clap" in conection wit hitchikng. Or isthe connection with the “tattoos that say Love and Peace”? Does this 205 Disccrna Acrons / Wesron mean that he belioves he can con-act asexually transite disease from a carseat? Or that he has seal fantasies about riding with» ‘afl oF hippies? He mentions "medica repr” — i anyone in his family il? “Chingado the Chicano" — is this a racially derogatory epithe? Could it have some otker meaning or association? How such Spanish does Stephen krow? Docs he have ‘Mexican American friends ‘What about the images ofthe tie? When we lok a the tie, wwe are looking for thematic images rather than the characters’ per. Sonal images, as we have been dong. “Red Ryder” sounde western bout has no specifi associations fr me. However, my husband told ime (my external research) that he membered Red Ryder ae very famous comic hook cowboy hero eis youth, Could “heroism tara ‘out t bea theme ofthe serge? Without the fl eipe we won't be able to make ths determination. We ean make a note that exter ‘esearch tb learn more about the comic book hero Red Ryder i going tobe needed We can also investigate (intemal research) ou own associations with heroism. Te was athilling moment forme, watching the 1996 Academy’ Awards, when «childhood hero of mine, Micp Gies, was introduced to che audience by the flmmaker accepting is award for the documentary “Anne Frank Remembered.” “Even though iy notions of what consttes heroism may difler from Stephen’ ot Angels — or the authors — alloy my associations with heroism to jumpstart my connection to dhe sie and its characters “The image and essociation exercise can even have practical appi- cations. “Tatoos that sey Love and Peace” gives us a prety good ide thc the sripis sein che eal seventies. “Dont” eonjares up for me associations around the stale diner donats Ihave encountered in my life: the Plexiglas donut display case, which rocks slightly when you open it the lave froma glazed donut smeared agsnst the inside ofthe Plexiglas, che sg steko my fingers when | pick one up; sugar donuts, jelly donuts, chocolate donuts, callers; the di ferent sensations of breaking opera stale, dry sugar donut a com pared ro a fesh jelly donut; dankng, my Unele Andy, who used to love to dunk, the controversy over whether or not dunking was polite. This donut rif could give me some ides for aie forthe tors wo ty in rehearsal While you are thinking abou images, you night ake note of he people plates, nd things the characters ks that are nt pre Sent Angels moter, Clary Lyle, and track driver the eer typasy the back puck Sepcn hs ordre fo the Raleigh coupon ‘ook he coupon book sel. The actors wil sed o have subst tion ether personal or imaginative, fr all thee of camera people fn things, you mate ante of them now; when You get sing jou can remember to noGce wheter the acters, When they speak {hse words are talking about something real ce merely saying nes. ‘Once we knw the rit skeleton — fits and mages — we cn gem sneer le Th *Eovturopportniy to cuit ses sto pyle decom. The thot importa thing to remember when loki tpl choles iat we are lookang a what might be going on under the Hes. Wath or choles that ae to “onethe-nose” at come wo "ead bathe surface meaning othe fins, To coe more dep ag Sepsis consider cht tat at fist yo hk are wrong aos Drrccane AcTons/ WESTON Imacrvarive Cuoices: CHART 3 1. History (Bacxsrom) Aaors and writers often write biographies of their characters “These are fas that are notin the seripe. Since they are not inthe script they ae only fats if they work fey stiulate the imag nations of the actors and catapult them into their sense of bliin the moment. ‘Qretions are the col that ges ws to imaginative backstory. Foe insance, afer deducing that Stephen and Angel work in he same dine, we might ask how long they have lnown eachother. They may have met on the job, or they have known each other all thei ves ‘There is nothing in the scene that proves one theory othe other, Even we read the whole play there may be no evidence proving one ies or the other fey have known each other, are they the same age? Were they in the same grade? Were they good student? Was either of then ver keprbacka grade? What kind of iende did each hang out with? ‘Was ithe popular crowd? Were their families acquainted? What were heir impressions ofeach other? sit possible that they ever had anything ikea date? Ifo, whac happened ‘Wat if Ange used to let Stephen copy her homework? ‘That ‘would be an example of an imaginative backstory choice I's notin the serge, but there is nothing inthe serie that makes it impossible, either famed as a"what "because eh not an actu fei choice — the desis to generate behavior inthe ators. Tecould also be called an adjustment (Colums 6). Actors do not have to agree on each other’ imaginative backstory Ifthe actor playing Angel = working witha backstory choice that she wed tole Stephen copy hher homework in high schoo! (this could be either a suggestion from * the director or her own idea), the actor playing Stephen docs not have o agree that this ever took place, or even to know that she as made his choice 206 IMAGINATIVE Crtorces: CHART 3 Scaurr Anas 207 Draccme Acrows / Weston ‘Now what if they mec at thei jobs inthe diner. Who was there first?" Maybe Ange has lve al her le in this town, and Stephen appeared on the scene a year ago. Maybe she befriended im What iT few months after he arrived, he played some hurl practical joke fon her? Making such an adjustment is diferent from making the judgmenc that he ia mean person, and itis more specie. Again, do intermal, external and srt research on any of these ideas. What practical jokes have you played on people? What jokes have been Played on you? Ask other people for their experiences with practi Inks, Keep ereding the erp tose ifthe eee rsp (Ona reread earlier, we came up with the question, “How long has Stephen had the notion to be ealled "Red" IF it was two weeks 260 ‘hat he came up with his idea, chat would be a different imaginative backstory choice and would give Angela diferent adjustment than if Ine had been cling himself “Red” for along time. Pay special ate tion to characters" memories. Memories can never be accepted ss fallbiown fact, they ae alvays tinted by wish and imagination. But hey always contin truth, sometimes deeper truth than fic Stephen speas ofhaving red hairas aid. How red was it) Ife hs brown hair now itis unlikely that he was “carottop.” How did he lect this idea that he was a redhead? Could he have had favorite Sante with ed hr who was kinder to him than his ithe, and who he secret imagined was his real father: ‘What we are after here are tories that may help catapult the setor into his sense of belief nthe character’ sitsation. An important pur pose of a dreceor serpe analysis eto prepare yourself to tall tse Stories vividly and fling 2, Wusr Jost Haprenen ‘This column applies if heres exp in ime between the scene st hand and its previous scene. This iv the “of-camers beat” the ‘moment-by-moment lie of the characters before the sene sated, Firmly rooting 2 scene thus in the physieainyofmoment-by moment 208 Scxurr ANUS Ife gives it a texureof if,” a sense that the scene i “inthe mide oF something. ow long has Stophen bee sting on that stool? What article has he been reading inthe newspaper” How many customers were there that night? Whospecfially were they? Wasi chilly inthe empty diner? Ihave worked graveyard shifts, so Uhave a place to sartimag- ‘ning the previous eight hours of Stephen’ le. Ifyou never have sworked a graveyird shi, have you ever een awake all ight in 2 lonely place? Can you imagine Do you know anyone who has worked graveyareshifs that you might wk wo (research)? As much ‘posible create in your imagination the sensory details: the colors ‘of the wal, the broken linoleum ales, the changing taste of the offs asthe aight wears on, crossword puzzles he might ay co get interested in, famsis, naps. For Angel, how dd she arrive at work? Did she drive? Walk? “Take the bus?) Get dropped off Wha s the weather like Is i warmer or cooler when she walk nto the diner (is there ai-condi- ‘ning? Did she wash her hai this morning? “The actor does this kindof work as «sensory preparation for 2 scene, But itis appropriate tothe director job aswel as part of her Investigntion of te characters’ ives ouside che four comes ofthe 3. Onpecre/xrexrion/NexD Daring your seri analy, you shoul come up wih s many cand- Gas freach chracers objective as you can DK OF IyouYe nak sure what a hanctersobjcve & don angush over fbut make hots anyway. Ifyou don't have goo ies, ja down three Bad ess to atleast get yon started, Ifyou ae sre what the objetivo down tree ober posses anyway. you se » se you now rat de objective thet you can thnk of anyother, hen a east joc down the opposite of our es 209 Dracorme Acrons// Weston While you are leaning how co analyze serpts and work with “objetives, you should follow this rule: me objective per scene per character (less i a scene with theee or more people ini then each character may have + diferent objective foreach of the ‘other character) What kinds of evidence do we have ato what a character’ objec: tive might be? ‘The least wsefl piece of information wha the char- acter snshe wans. When characters make a point of declaring the ‘oivations fr their behavior, tb usually pertinent to look for the issue or ambivalence underlying thei protestations, Here are some useful ways to go about choosing objectives, 3) Look at the facts, and then ask, “What might person wantin that situation?” Make a lst Dont confine ‘Yusef what you would wan ifyou were in che sitaton, ‘to what “the characte” would want, or even 0 what 2 rational person would want. Don‘ get stick in your preje> des. Listas many candidates a you ean think of 2) Loolea behavior, look at what the character dos ‘ther than what he sys he is doing 3)” Look at the things he walls about, that i, his ‘mages. This wil give us some clus a5 othe concerns ofthe character’ subconscions, the things he wants but doesnt now be wants, '4) Look at the emotional event ofthe scene, what ‘nppensin the scene, how shings end up. Ist posible chat the character wanted that to happen? “Or mished to prevent it? 5) Look atthe chings people want out of life: love, feedom, power, coatel,adventre, comfor, scary amily, sex, money, respect, honor. We ll want everthing, right? But there are cerain things we want tha we will sactfice other things for. What is important tothe character? What Is the thing he will sacrifice for? What docs he make the retest effort to avoid? What intesets him? 6) Transat Your ideas into playable form, Instead of, saying, “He is atracted to er” translate it into the more 210 Scure Axwas playable “Hl wants herr go to bed with him.” Rather than ile is eaking out his fostations.” say "He is pickiag a fight.” Rather than "He wants vo tall wo someone," say,"He needs a fren” 7) Te nothing stall comes ro you, tke look atthe lise of “Sample Simple Ohjeesves" in Appendix C. 8) Ifyou ae sillfeling blank ask yoursel, "Does he wane the other charsterto fol good ar does he want her to Feel bad” An objective should engage other characters, create is own obstacles, and be somethingthat she actor ean personally gt behind fn commit to. You may’ Bid the coolest ida inthe world for an ‘objec, barf he acor eats ene a ganesh unc be found. An important thing remember about objectives is that they dont have ro be realistic. People dan always know what they want ‘whae they want snot necessrly something they can have; and they Aone sbways do the right thing to ge ic Les look at some posse objectives forthe “Red Ryder” scene. rm going to come up with three for each charscer, and I'l ey 10: make them differen from each ther. Fst let ake Stephen, 1) A suggested objective for Stephen is that “He wants to get out of the diner” Thats what he says he wants, bru what he say he want i contradicted by what he des, which isto sit on the soo! and read his newspaper. [Phe teant to leave, why doeat he do it? And ths idea doesn ‘net him to Angel. wil be hard for an audience to stay lnuersted inthis sene if Stephen snot connected to Angel via an emotional need cf some Kind. Lett say we want 10 ‘make this thinking playable. A playable alternative might be that "he wants Ber to ewe." Now this would be irrauona, but ie would be playable, it might work, and even be funny. ‘We woulda know whether would work soles we Wied it 2) “Stephen wants Angel t take eare of him” I'm tasing this idea o Stephin’ line “as soon as I get some- thing taken care of” Could thisline be evidence that he as Drcorma Acrons / Weston trouble at home? Gould he hang oucat the dine past his hie So he doesnt have to go home to fice the prcblems there? [Pm also basing the idea on events in the sene: she dos take ‘ate of him (cleans up his mess, brings him cofee and donut). Maybe her behavior isa response to his unaztieu- lated need. He even uses the phrase “taken care of” Maybe the presence of at phe in hs emosonal tore banks reveals his own need 5) "Stephen sans Angel to treat im with respect, ‘seat him ike aman.” Maybe we should take thisall the way and say he wants to hea hero. Tm king this fromm the image in the tide ofthe piece, “Red Rydex” a comboy hero. He doesn: seem to do things that might make people teat him with respect or thnk of him as'2 hero, but don't forget, people often do che wrong thing to get what they want, iow shout Angel? I chinkies possible that she wants him co ike her. oF to make it more specific, wants him to ask her to 40 10 te movies tonight. Another posiiliy might be that she wants him to respect her intelligence and wit. She could want him to leave. She ‘ould want him to stay. She could want him oda his ob better, leave theplace cleaner after his shi follow rules etc. Maybe she needs to he needed, What waneyou todo now it ty to gue out nelle wich one ofthese i rgb (or why hy tre ll wong) None of them i ght unles fe works and none i weong nls it does work. “These are ideas fr rehearsal, o east ail ack on the Choice you shoughe would work dosnt werk Above al hey ae tsk the imaginatie buco dean, to eure and engage your soy imagination 4. IssuesWinar's ar Sraxe/Due Promsew/Ti: Onset ‘One ching you really want to watch ovt for is any inclination youmight have to say tha either Stephen or Angels just reacting” to the other one, or tha either of them doesn’ care what the other Some ANADIS fone thnks, In other words leavirg them with nothing at sake in the scene A characters trougline or primary engagement i not aways withthe other person inthe wene. The primary engagement may be ‘vith an image or memory, nother gers who snot presen, or even ahs The ed Ryle senso Be aed with tha coi Sig, for instance, that Angels primary engagement is nor wi Stephen but with Clark, with staring on Clas good side, and eping herb, Maybe she hs recently been promoted to mansger {that could be why she goes over the receipt every morning). Ta that ‘ease we might say tha her jb" is whats at stake for he. Stephen’ Primary engagemene could be with his newspaper, maybe he is Strugeling to finish an acc that genuinely interests him, Mating choices about wheter the primary engagement inthis scene is between the wo of them, or ewher, wil ect you dee {onal syle One thing hat dros ne» drector to this scene Pal humor anc ha ang elas he may engagement ofthe sane wll give me mare comedic options ureven tough Lay wane the seme o end fon, Tt ok for the sturacters pain which another way of asking, “whats 2t Sake?" Faploring the ide that Suphen needs oe treated ikea ‘han migh ead uso sy that what at stake fori eis selina, rhs mci. Maybe he has stepparent who belts him. Does Angels mother have a ph? Where is Angels father? Is Angel her mother’ sole support? Why doesnt Angels mother have ajob? Isshe sickly? Selfish? Tecoud be cat whats at stake for Ange is'an unending future of taking ore of an ungrateful, demanding ‘mother This thinking mighe ead esto say that Angel aceds Stephen 5. Acriow Venss “The action verb is what che character is doing to get what she wants. ‘Sometimes the whole sens will Work with one action verb, Desccrwe Acrons / Wesron “This could mean that she i geting what he wats and has no need to change what she i doing to get i; ot ould sopgst iy {o the characters personaly “Often the verb changes whet he “ee” changes : [you have in your mind a eri look or sound fos cern line, you might wane to warslate it into verb. For exami in yout ‘mind you see the charter shouting witha raised ft, ethaps the action verb you want on that line is eo three,” or it ahight be “to ini"; icp even be“ beg.” Some decors and teacher say that for preperton you should Gp an acon verb foreach ine. Fors bepnner hres anger hat ths approach lle you stun mechanically casing te pre ‘concerted ways you her the ine fn your hesd into avers Fining the verb foreach line isnot subsite for andersandig the sence ena emodonal event an the character troughlines- en though ik on my “Shore Liss," Lsugges thst you sty sway from "to conence “To convince” is epi it often a way of not doing something ese, For example, when Task my sudents to psy the intention “to accuse” they sometimes take that to mean they must convince the other person to admit that he is wrong. The what we might do in dally life — ek the more socal acceptable behavior — but probably not as dramatic. (Although i would be preferable to have the actor convince X to admit he is wrong simply snd honesty chan to have him “accuse” in an overwrought actors “movie” manner that becomes an atempt co convince us of the truth ofthe words) ‘Actuilly any ofthe vers onthe Short List are posible for either Stephen or Angel. Te mighe be hard to imagine Stephen fring, ‘coaxing, soothing, or encouraging, bt you could be surprised. Ifa actor played his lines wich an intention “mo soothe," would be called “plying the opposite” or “playing against the lines,” You shoulda rule i out without seeing an expert actor ty sewn axis 6 Anpusments Adjstments are among the most powerful tools «director can Ihave. They are an invitation “lets pretend.” Directors who are able to come up with perceptive and enticing adjustments are rate, and adored by actors. An ajustment can be an ‘asi or an “its like when” — 3 smeuphor or parallel, Ardhur Pon, hen interviewed on Inside the Acoots Studio," revealed the adjustment he suggested to Dustin Fiofiman for che scene from “Lite Big Man” in which Hofman’, character most convince General Caster that he is ota reneged, oF bbeexecuted. Penn was worried thatthe seene was coming off merely funny and needed a more powerful undereurrent. He suggested in Jengehier and more vivid ves than thi) that an analogous circum stance might he that Hoffman had to deny his Jewishnes in acon- ‘entation camp in order to eventually be in a positon to il the ‘oppressor. In the filmed scene, Hollman appears to have the inten ‘on “to enterain” Custer. And ye, because ofthe secret adjustment, there isa second level of danger and treat giving focus to the char- secrers clowning (Or an adjustment can be a “that i" — a imaginative backstory choice. In an imerview reported in Daily Varery John ‘Tavoles spoke abour being directed by Robert Altman in Harold Pinter’ "The Dumbwater™T ha a scene where Iwas reading» newspaper aloud to someane. Twas rating away. Altman didnt say much a fest. Then he came over and whispered in my eae, ‘What if your characteris really literate and cane read a word on the page, i ‘making itll up he goss along?” Wow. ‘That changed everything, permeated the whole scenario.” ‘What might have been going on in Aleman’ mind? Pethaps he ‘thought the scene was playing too dead-on andthe adjusment would tzve it more risk» Maybe twas an idea he'd had all long, hate was In this characters personality 0 pompouny pretend to have informa ‘on on every subject, the adjustment would be a way to eeate that fide of the character without making” an unplayable judgment. Dnecrne Acrons/ WesTon Maye the idea popped suddenly into Aluman’s head inspired by something the actor Was unconsciously doing, andthe director chose to follow that whim, When Teavlta says, “That changed crery- thing," he means the new adjustment became his rough. What if Angel and Stephen went to high school together and Angel use to lee Stephen copy her homework?” "Whaeif Angel hs just been promoted to manager of the diner?" “What if Angel and Stephen had sex together once?” “These adjustments ean be agreed fon by both actors (and the director or they ean be private; they

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