Lecture 11: It’s What They Don’t Know!

Lecture 11:It’s What They Don’t Know! Professor Christopher Bradley True Lies (1994) Screenplay by Claude Zidi and Simon Michael and Didier Kaminka

Previous Lesson Maintaining Interest The “Center of Good” Curiosity and Concern Strategies Mystery Suspense Dramatic Irony Wait Until Dark (1976) Screenplay by Robert Carrington and Jane Howard Carrington, based on the play by Frederick Knott

Previous Lesson (Continued) Storytelling Challenges Surprise Strict Rules for Using Coincidence Comedic Design Point of View Avoiding Melodrama Logic Holes Assignments Wait Until Dark (1976) Screenplay by Robert Carrington and Jane Howard Carrington, based on the play by Frederick Knott

This Lesson Dramatic Irony Scene Analysis Define the Conflict Note Opening Value Break into Beats Compare Closing & Opening Values Locate the Turning Point Assignments Tootsie (1982) Screenplay by Murray Schisgal and Larry Gelbart based on a story by Don McGuire and Larry Gelbart

Dramatic Irony Sweeney Todd (2008) Screenplay by John Logan Based on the musical by Stephen Sondheim and Hugh Wheeler Lesson 11: Part I

Sweeney Todd Clip Please pause the lecture and watch the first clip from Sweeney Todd. Keep in mind what we as the audience know, and contrast that with what the characters know.

Scene Analysis Tootsie (1982) Screenplay by Murray Schisgal and Larry Gelbart based on a story by Don McGuire and Larry Gelbart Lesson 11: Part II

Scene Analysis: 5 Parts Define the Conflict Note Opening Value Break the Scene into Beats Compare Opening and Closing Values Locate the Turning Point Tootsie (1982) Screenplay by Murray Schisgal and Larry Gelbart based on a story by Don McGuire and Larry Gelbart

First Tootsie Clip Please pause the lecture and watch the first clip from Tootsie (the scene where Michael Dorsey is arguing with his agent). Keep in mind the 5 aspects of scene analysis while watching. We will review them after watching the scene.

First Tootsie Clip (2) Define the Conflict Michael Dorsey needs to work to finance his friend’s play. ‘GET ME HIRED!’ His agent says Michael is unemployable. ‘I CAN’T!’ Note the Opening Value Negative. His agent doesn’t even want to talk to him.

First Tootsie Clip (3) Break the Scene into Beats Beat 1: ‘I need money for a play.’ ‘I can’t help you.’ Michael’s Action: Demand assistance George’s Reaction: Refuse assistance

First Tootsie Clip (4) Beat 2: ‘I am good at my job.’ ‘Yes, but you’re too much of a problem.’ Michael’s Action: Justifying demand George’s Reaction: Justifying rejection

First Tootsie Clip (5) Beat 3: ‘Directors are idiots.’ ‘They can’t all be idiots.’ Michael’s Action: Throwing blame off George’s Reaction: Throwing blame on

First Tootsie Clip (6) Beat 4: ‘No one in New York will hire me? Not possible.’ ‘No one in New York OR Los Angeles.’ Michael’s Action: Denying assertion George’s Reaction: Confirming assertion

First Tootsie Clip (7) Beat 5: ‘My difficulty is really commitment to my art.’ ‘You’re committed to stupid details.’ Michael’s Action: Claim persecution for virtue George’s Reaction: Claim persecution for idiocy

First Tootsie Clip (8) Beat 6: ‘My integrity should matter.’ ‘Get therapy.’ Michael’s Action: Claim moral superiority George’s Reaction: Claim mental illness

First Tootsie Clip (9) Beat 7: ‘I will succeed.’ ‘You will fail.’ Michael’s Action: Strut George’s Reaction: Shock into reality Then, cut to: Michael in drag as Dorothy!

First Tootsie Clip (10) Compare Opening and Closing Values Opening: Distinctly negative, hopeless Closing: Determined and hopeful

First Tootsie Clip (11) Turning Point The turning point is at the end of the scene, when Michael stops fighting. He has an idea, and this bad news from his agent has pushed him over the edge into drastic action. He is not going to change his commitment to his art. He is going to trick the entertainment industry into working with him.

First Tootsie Clip (12) Define the Conflict Dorothy Michaels wants the job. ‘HIRE ME!’ The director doesn’t want her. ‘YOU’RE TOO GENTEEL.’ Note the Opening Value Negative. The director says no and dismisses her.

First Tootsie Clip (13) Beat 1: ‘This is Dorothy Michaels’ ‘We don’t want you.’ Dorothy’s Action: Be easy to work with Ron’s Reaction: Reject

First Tootsie Clip (14) Beat 2: ‘I can do this role’ ‘You’re too genteel’ Dorothy’s Action: Argue kindly Ron’s Reaction: Reject

First Tootsie Clip (15) Beat 3: Kick Ron in the nuts and scold all concerned ‘You’re wrong.’ Dorothy’s Action: Argue not-so-kindly Ron’s Reaction: Reject

First Tootsie Clip (16) Beat 4: Refuse to commit as to intention Invited to audition Dorothy’s Action: Stand her ground Producer’s Reaction: Surrender

First Tootsie Clip (17) Beat 5: Flatter Surrender (somewhat) Dorothy’s Action: Flatter the director Ron’s Reaction: Instantly likes her more

First Tootsie Clip (18) Compare Opening and Closing Values Opening: Rejected. Hopeless Closing: Tentatively accepted. Hopeful.

First Tootsie Clip (19) Turning Point The turning point is the moment when Dorothy refuses to commit to whether she’s acting or not. She wants to audition. She has shown herself to be the same kind of strong “career woman” as the character.

Second Tootsie Clip Please pause the lecture and watch the second clip from Tootsie (the scene where Les woos Dorothy). Keep in mind the 5 aspects of scene analysis. Also keep in mind the concept of Dramatic Irony. (Notice! The conflict here is in the subtext!)

Second Tootsie Clip (2) Define the Conflict Les would like to re-marry Dorothy isn’t available for marriage, for reasons we as the audience know, but the character Les does not. (Dramatic Irony) Note the Opening Value Positive. Les is hopeful

Second Tootsie Clip (3) Beat 1: ‘My daughter is nice.’ ‘Yes, she is.’ Les’s Action: Point up his familial assets Dorothy’s Reaction: Agreement (Subtext: ‘Yes, I’m in love with her.’)

Second Tootsie Clip (4) Beat 2: ‘I’m glad Ron didn’t come.’ ‘Me, too.’ Les’s Action: Dismissing chauvinist. Dorothy’s Reaction: Agreement (Subtext: ‘Yes, he’s my romantic rival.’)

Second Tootsie Clip (5) Beat 3: ‘I thought you’d be a women’s libber.’ ‘I’m not entirely like the character on the show.’ Les’s Action: Expressing approval Dorothy’s Reaction: Agreement (Subtext: ‘I’m starting to see that I’m a chauvinist.’)

Second Tootsie Clip (6) Beat 4: ‘I think women should have equal rights, but shouldn’t try to be men.’ ‘No...’ Les’s Action: Expressing approval of her femininity Dorothy’s Reaction: Agreement (Subtext: ‘But this woman is a man.’)

Second Tootsie Clip (7) Beat 5: ‘Can I get you a drink?’ ‘I need my wits about me tonight.’ Les’s Action: Work to make her vulnerable Dorothy’s Reaction: Protection (Subtext: ‘I have to keep track of my lies.’)

Second Tootsie Clip (8) Beat 6: ‘Tonight?’ ‘Always.’ Les’s Action: Check if he’s succeeding Dorothy’s Reaction: Shut him down (Subtext: ‘My carefulness has nothing to do with you.’)

Second Tootsie Clip (9) Beat 7: ‘Males and females are different, and shouldn’t try to be the same.’ ‘Right.’ Les’s Action: Claim dominance Dorothy’s Reaction: Agreement (Subtext: ‘I’m a man, too. We’re the same.’)

Second Tootsie Clip (10) Beat 8: ‘Being with someone is the most important thing.’ ‘Right.’ Les’s Action: Prepare his case Dorothy’s Reaction: Agreement (Subtext: ‘Yes. I want to be with your daughter.’)

Second Tootsie Clip (11) Beat 9: ‘You’re not married.’ ‘No.’ Les’s Action: Prepare his case Dorothy’s Reaction: Agreement (Subtext: Preparing to escape.)

Second Tootsie Clip (12) Beat 10: ‘Like another drink?’ ‘Time for bed.’ Les’s Action: Try to make her more vulnerable Dorothy’s Reaction: Escape

Second Tootsie Clip (13) Beat 11: She shakes his hand He tries to kiss her hand She pulls away and leaves Les’s Action: Seduction Dorothy’s Reaction: Rejection

Second Tootsie Clip (14) Compare Opening and Closing Values Opening: Positive. Hopeful. Closing: Negative. Rejected.

Second Tootsie Clip (15) Turning Point The turning point is the moment when Les brings up the possibility of marriage. The possibility of hurting the father of the woman he hopes to marry becomes to real. He has to run before his mere presence provokes disaster.

Assignments Sweeney Todd (2008) Screenplay by John Logan Based on the musical by Stephen Sondheim and Hugh Wheeler Lesson 11: Part III

Reading • Read Chapter 11 in Story, “Scene Analysis”. • Do the Reading Review to be sure you’re clear on what you’ve read!

E-Board Post Post at least one example of Dramatic Irony in a film. Think of a scene where you as an audience member know more than the character(s). 45

End of Lecture 11 Next Lecture: Writing Strategies / More on Exposition The Invisible Man (1933) Screenplay by R. C. Sherriff, based on the novel by H.G. Wells

Lecture 11: It’s What They Don’t Know!