Day 12 Assignment

[Heather Hood]

ASSIGNMENT 1

Heather

Seabiscuit Analysis

What I learned from this is: Someone always wants to tell you what your limitations are. Don’t let them. Push your own boundaries.

Profound Moments:

· The Stock Exchange crash. I couldn’t help comparing the change then with the changes going on now, especially the climactic, dust bowl scenes with the fire scenes we are going through in BC and along the Pacific coast. Who knows if things are going to go like this in the next few years. People are already living in cars and downsizing from homes to vans.

· When Howard lost his son. The expression of grief was intense. It’s hard to lose your business, but your family on top of it…

· Same for Red. His family leaving him behind was heartbreaking.

· Smith buying the horse because you don’t throw something away just because part of it is damaged. I’m disabled. This sentiment resonates.

· When the little horse turns into a plucky fighter and wins his first race because he’s given his chance. Often people and animals will excel if you believe in them.

· When Biscuit came back and won the race against War Admiral. Size doesn’t matter. It’s a matter of spirit. Don’t let someone tell you can’t do something because you’re not the favorite.

· That Red was able to ride despite his injury. Doctors aren’t Gods, and if we believed them every time they said we would never walk, Terry Fox wouldn’t have run part way across Canada. I wouldn’t be walking either. Don’t let someone tell you what you can and can’t do because of ‘limitations’. Just get on with life.

ASSIGNMENT 2

Create a list of the New Ways and Insights you’d like audiences to experience when they watch your movie.

1. Old Way of thinking: Andrew feels he is worthless

o Native Americans are treated as worthless

o Chinese are abandoned after they have built the railway

o Blacks are segregated

New way: Everyone should feel like they have worth

2. Old way of thinking: The people Andrew runs into are prejudiced:

· He is guilty because he is Irish

· Immigrants will take peoples jobs

· Native Americans are drunkards, lazy, and thieves

· Chinese take money away from hardworking folk

New way: We need to stop judging and treat people fairly

3. Old way of thinking: Meilin cannot be part of frontier society because she is blind

The Haida do not see her this way. They give her jobs and trust she will figure things out.

New way: The disabled can do whatever they are capable of

4. Old way of thinking: your family is who you are born to

Andrew collects a family on his journey and learns to become close to them

New way: Our family can be anyone we hold close to our heart

5. Old way: Once you hit a certain age you are no longer useful

Boy this is so far from the truth I just couldn’t help taking two old guys on an epic road trip to rescue their daughters, let them confront monsters and pirates and have a bar fight.

New way: your age has nothing to do with being useful

[Christopher Carlson]

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Christopher Carlson’s Seabiscuit Analysis

What I learned doing this assignment is to be on the lookout for every potential profound moment.

Intro to Charles Howard, i.e., seeing the moment when his boss challenges him re the construction of a wheel, “Well, then what would you do?” – this is a character who wants to innovate, make something better

Intro to trainer Tom Smith: seeing his ability to tame a wild horse with calm, simple gestures

In the context of the stock market crash and losing everything, the parents’ decision to bid their son Johnny (‘Red’) farewell – mother, father and son in tears

Seeing the grief of Charles Howard after his young son’s death in an auto accident, i.e., closure of barn, padlocking his son’s chest

Horse whisperer Tom Smith saving a horse from being shot, “I’ll save you a bullet,” – each life has worth, even if it’s damaged

Red realizing that he’s blind in one eye

When Charles Howard is looking for a trainer, someone says of Tom Smith, He’s a crackpot, live alone with that horse,” after which Tom shares his philosophy with Charles, “You don’t throw a whole life away just cause he’s banged up a little.” – compassion for others – Charles, “You always tell the truth?” Tom, “Yeah, I try to.”

Tom Smith’s describing the first time he encountered Seabiscuit, that the horse was looking right through him. Tom, “Goddamn.” – kind of a love at first sight encounter

Three guys can’t control Seabiscuit; at that same moment, Tom sees Red fighting against three other guys – Tom has the insight that this rider and horse are made for each other

First time Red meets Seabiscuit, we can see they form an immediate rapport

Beautiful imagery of Red riding Seabiscuit through the trees

Red eating small portion of food at Charles Howard’s dinner table; in a sense he gives Red permission to eat, “Rather have you strong then thin.”

Profound coupling of the country’s history in the depression – govt programs making things better — coupled with Charles opening up this barn, unlocking the padlock on the chest, visiting his son’s room, rebuilding the stable; sense that a person and a country were righting themselves

Seeing Tom discover ways to soothe Seabiscuit, providing him with animal companions

Tom, Charles and Red discovering the Seabiscuit needs competition to run his best

Charles to Red, “Son, what are you so mad at?” – the probing question that strikes at the quick of the character — a turning point for Red as he recalls being abandoned by his family but clarifying that it was because he had a “gift” — and also marking the sense that in the character of Red, Charles has found a ‘son’ to care for

Charles to Tom, re Red, “Well, we gave him a chance. Sometimes all somebody needs is a second chance.” – profound dialogue because the second chance idea represents all the characters: himself, Tom, Red and Seabiscuit

Intro to War Admiral, a worthy opponent

Charles to Tim, re Red’s confession that he’s bling in one eye, “You don’t throw a whole life away just cause it’s banged up a little bit.” – a display of profound compassion, quoting what Tom said about the horse he’d saved when Charles first met Tom

Profound link between Charles and Red – father to son – as Red recovers in hospital, Charles playing with his son’s tiny puzzle game, reinforcing emphasis on father and son; this also reverberates when Charles doesn’t tell him what the doctor said, i.e., that Red would never ride again

Red sharing his trade secrets about riding Seabiscuit with his replacement, jockey George Wolff – profoundly valuing Seabiscuit over any feelings of personal jealousy; profound insight about Seabiscuit, “It’s not in his feet, Georgie. It’s right here.” (while touching his heart.)

Profound staging of the head-to-head race, showing a nation gathered around their radios then cutting to the race itself

Seeing Seabiscuit injured, with the vet ready to put him down, pronouncing, “Never going to race again.” – profound comparison with Red’s injury and the doctor’s pronouncement that Red was never going to ride again

Seeing the wounded warriors Red and Seabiscuit meet at the stables

Seeing Red’s profound comforting of Seabiscuit during slow recovery process – talking to the horse all the while – concluding with the two lying in the grass together

Seeing Red take smaller portions at dinner table, visually telling us that Red was preparing to make weight so that he could ride Seabiscuit again

Seeing Charles reveal that he has fears that he might lose a “second son,” with tapping into recurring image of Charles playing with his son’s tiny ‘put the ball in the hole’ game, always symbolic of his biological son

Setting up the Santa Anita race as the huge comeback race for horse and rider

Final narration by Red, as the Santa Anita is being won, “We didn’t fix an old broken-down horse. He fixed us. And we kind of fixed each other, too.”

Triumphant final image of Red on Seabiscuit, smiling, victorious, fist in the air – the completion of a profound journey for all characters from absolute defeat to victory, then to have it all taken away, followed by a final profound victory

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[Julia Keefer]

What I learned is to focus on the vicious circle of insight to action to insight fueled by some kind of conflict.

Insights into Action: In novels characters can transform through inner thoughts, dialogue, poetic epiphanies etc. but this exercise reminds me that major scenes must have enough conflict followed by insights followed by ACTION to propel the story forward. In the past I eschewed small, minor actions but arguments over toothpaste, an alarm clock, or even imaginary or past events that create animosity can create narrative thrust. In real life, most scenes are not catharsized in definite action, one reason people like stories and films. I must go through Jake’s 9 chapters to describe one or two actions that can push his throughline. Since aging and climate disasters create deus ex machina actions that traditional dramatists dislike, Jake must do something to change his character right up to his death.

Or do the actions deliver insight with impulsive Jake? 1) Arguments with Keith about sexual harassment of minors in the bar erupt in physical confrontation but the action of hitting Keith gives Jake the insight that he is only hurting himself by breaking the law in a vicious circle. He should have called the cops. 2) The eminent loss of his dad to ALS precipitates Jake’s action of massaging his father’s cold feet, delivering the result his father wanted, a blissful quick death from throwing an embolus, so this becomes an insight as Jake lets his dad keep lecturing as he “goes to a better place.” 3) As his mother is dying of Alzheimer’s, he must curb all action to respect her living will, something that gives him insights into the concept of dying at the right time since we must die. 4) He finds his tremor too bad to hold weights or focus pads (plan gone wrong) so he shovels ice cream into his face and then realizes he is hurting himself. 5) When Jake learns of BB’s past and present crimes, he subdues his action, the desire to throw BB overboard. Instead he calls the cops and as they arrive, BB jumps overboard so the action is the same. 6) At the end of his life, with the stakes raised by age and disaster, Litonya’s screams force him to hobble towards her as she tumbles down and they both die, a mistake but one that avoids more suffering going forward. His final action was to help a loved one despite his PD disability.

[Christopher Carlson]

Christopher Carlson’s Insights Into Action – Assignment #2

What I learned doing this assignment is to look for cinematic action that demonstrates New Ways.

1) New ways/Insight: A handicapped woman is absolutely capable of and has the right to physically love another human being

– action: Helen accepts Peter’s declaration that he cares for her and invites his kiss, it being the first one in her life, and does so knowing that the woman closest to her, Teacher (her companion of twenty years plus) objects to Peter’s continued presence in their life and has asked him to leave

2) New Ways/Insight: Affirmation of knowledge over ignorance/live in the present, not the past

– action: during filming, the young woman representing Knowledge defeats the giant representing Ignorance, and saves the baby from the Dark Cave of Father Time – Helen affirms the action while Teacher views it as simply ridiculous

3) New Ways/Insight: Affirmation of physicality; loving another is a positive human expression

– action: during filming, a scantily clad actress representing Helen lustily kisses brave Ulysses when he reaches the shore from his storm-ravaged boat – Helen affirms the action while Teacher views it as false and ridiculous

4) New Ways/Insight: A blind/deaf person is capable of embarking upon adventure

– action: while Teacher frets and worries, Helen rides in an open bi-plane and experiences all the flying stunts with joy

5) New Ways/Insight: A blind/deaf person can fully participate in her society

– action: Helen addresses a standing-room only crowd at a New York City anti-war rally

6) New Ways/Insight: A hearing and sighted man can be attracted to a blind/deaf person

– action: Peter demonstrates his seriousness about his feelings for Helen by learning to finger-spell, her primary means of communication

[Julia Bucci]

Julia’s Seabiscuit Analysis

What I learned: SO many of the best profound moments are completely visual – no dialogue. It was especially illuminating to notice these moments in Seabiscuit, since this is a film that’s filled to the gills with lines of dialogue that are so profound that they even sometimes feel On the Nose.

Out of the many profound moments in Seabiscuit (there are so many!), here are a few of my favorites:

The depression camps. Seeing Red and his family there.

Red’s father saying goodbye to Red – gives him a bundle of books after we’ve seen how much the father/son have loved literature together. Visual of the books in a hobo sack – heartbreaking ironic contrast.

Red sleeping alone in the barn.

Seabiscuit making friends with the other horse that Tom Smith put in to calm him down (after kicking out the sheep).

Howard’s son taking the fishing pole – missing and trying to please his father.

Howard’s wife and their estrangement – very few words were exchanged, but we could feel the whole thing.

Almost every moment, gesture, action of trainer Tom Smith felt like a profound moment. How he worked with horses.

Red deciding he had to ride Biscuit in the race despite his injury – risking his leg (life?) for this.

Lines of dialogue:

You don’t throw a life away just because he’s banged up a little.

Sometimes all somebody needs is a second chance.

The other jockey at the end: I (we?) don’t stand a chance.

ASSIGNMENT 2

Julia Turns Insights into Action!

What I learned: Showing new ways/insights through actions rather than dialogue will make my script much better. While I don’t love the 5 I brainstormed, it’s a start and a reminder to keep brainstorming these kinds of actions that show insight.

List of 5 New Ways/Insights and the Action that will express them:

1. Maud’s car has been fixed and is waiting outside her cabin. She can slip away. Instead, she gets dolled up to see Ray in the mess hall.

2. When the class gets mad at Maud because they think she was trying to steal Ruth’s story, Maud calls the Brattleboro Book Festival and arranges for the group to give a reading.

3. Maud puts Ruth and Mike together to work on a project.

4. After rejecting Mike’s advances (old way), Ruth (new way) relents and starts another painting of Mike.

5. Maud attempts to get a mortgage to buy the camp, even though she’s completely broke.

• This reply was modified 3 years, 10 months ago by  Julia Bucci.