Today we’ll try one more riff off the wonderful Buzzfeed article “129 of the most beautiful shots in movie history”. I wondered what the scripts for each of these frames would look like. Film, being a visual medium, places the director’s place at (or near) the top of the priority pyramid. While the screenwriter’s place on that priority pyramid can be debated, the point is that the frames don’t exist without the writer either. But how far from the original vision is the final vision? I will attach the screenplay portion of these classic moments in film history and let’s see how they hold up. Are they flat as the paper they are typed on or do they do the images justice? Let’s find out…

**Like the first time around, I cut, paste, and spaced(yes, for hours) to no avail on a couple of these. They have a mind of their own and sometimes the technology just wins. Que sera sera…

  • AMERICAN BEAUTY

original-7438-1438602110-3

The ROSE PETAL drifts into view, landing on his pillow.

LESTER (cont’d)

I feel like I’ve been in a coma for about twenty years, and I’m just now waking up.

More ROSE PETALS fall onto the bed, and he smiles up at…

His POV: Angela, naked, FLOATS above us as a deluge of ROSE PETALS falls around her. Her hair fans out around her head and GLOWS with a subtle, burnished light. She looks down at us with a smile that is all things…

Lester smiles back and LAUGHS, as ROSE PETALS cover his face.

LESTER (cont’d)

Spec-tac-ular.

  • PLEASANTVILLE

original-9637-1438603384-9

115.
EXT. ELM STREET – NIGHT
David and Margaret stand beneath the big Elm tree outside
Margaret’s house: a statue of two young lovers. They wrap
their arms around each other in a classic silhouette. The
meeting across town seems a million miles away. After a moment
or two, David reaches behind the tree and pulls out a
beautifully wrapped gift. It is three feet long with a bright
RED bow.
DAVID
(softly)
I got you something.
Margaret’s eyes widen. She beams at him, then tears off the
wrapping paper revealing a great big umbrella… a real
umbrella. She looks up at him thrilled.
MARGARET
It’s beautiful. Where’d you get it?
DAVID
It was a prop for the school play…
She looks down and giggles.
MARGARET
Can I open it?
DAVID
Sure…
Margaret gives him a quick kiss then opens the umbrella.

original-22549-1438603005-5

  • GOODFELLAS
               EXT.  CONNECTICUT WOODLAND - NIGHT

               WE SEE TOMMY, HENRY and JIMMY burying BATTS.

                                     HENRY (V.O.)
                         Before you could touch a made guy, 
                         you had to have a good reason. 
                         There had to be a sit-down. And 
                         you better get an okay, or you'd 
                         be the one who got whacked.

               HENRY slams down trunk.original-8906-1438602103-3
  • A CLOCKWORK ORANGE
INT. PEDESTRIAN UNDERPASS TUNNEL – NIGHT
A Tramp lying in tunnel, singing.
TRAMP
In Dublin’s fair city
Where the girls are so pretty
I first set my eyes on sweet Molly Malone
As she wheeled her wheelbarrow
Through streets wide and narrow…
Shadows of the boys approaching fall across Tramp.
TRAMP
Crying cockless and mussels alive,
Alive O…
Alive, alive O… Alive, alive O…
Crying cockless and mussels alive,
Alive O…
ALEX (V.O.)
One thing I could never stand is to see a
filthy, dirty old drunkie, howling away at
the filthy songs of his fathers and going
blerp, blerp in between as it might be a
filthy old orchestra in his stinking
rotten guts. I could never stand to see
anyone like that, whatever his age might
be, but more especially when he was real
old like this one was.
The boys stop and applaud him.
original-13267-1438603471-13
  • THE EMPIRE STRIKES BACK
INT. CLOUD CITY - CARBON-FREEZING CHAMBER

Luke rises into the chamber, borne by the platform.  The room is 
deathly quiet.  Very little steam escapes the pipes and no one else 
seems to be in the large room.  Warily, Luke walks toward the stairway.

Steam begins to build up in the chamber.  Looking up through the steam, 
Luke sees a dark figure standing on a walkway above him.  Luke holsters 
his gun and moves up the stairs to face Vader.  He feels confident, 
eager to engage his enemy.

				VADER
		The Force is with you, young 
		Skywalker.  But you are not a 
		Jedi yet.

Luke ignites his sword in answer.  In an instant, Vader's own sword is 
lit.  Luke lunges, but Vader repels the blow.  Again Luke attacks, and 
the swords of the two combatants clash in battle.

 

 

 

 

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