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
The ROSE PETAL drifts into view, landing on his pillow.
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.
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.
- A CLOCKWORK ORANGE
- 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.