Lesson 1

[Christi Falk]

Christi finds the Essence! EDIT – Sorry I missed the second tab. Was doing it on my cell phone. I’ve added the proper notes for the exercise, as requested.

The Script I chose: Aliens

Note- the draft available in scriptorama was the first one. I will be referencing the film where there are variations.

Scene 1 – page 3

Logline- Ripley awakens to a dream that turns nightmarish, we see her distrust for new people in her life.

Essence- Ripley’s stuck in the trauma she’s experienced and finds solace in the only other traveler she awoke with, a cat and someone who can’t engage her on a human level. Her reality bleeds into the nightmare she’s experienced as she’s forced to relive it.

Expression – She is hostile and untrusting of the environment and the new people she encounters.

Scene 2- p 24

Logline- Ripley awakens from another nightmare to finally call Burke, committing to join the expedition.

Essence- While we don’t see Ripley’s nightmare, we know it’s different as she calls Burke as soon as she wakes. Ripley has made a decision that ending the nightmares must mean facing the ailens again.

Expression- Ripley calls Burke and commits to the expedition on her terms, deciding to take Burke at his word.

Scene 3 p 30

Logline- Introduction of the military team as they travel to the planet, with their quirks and personality traits.

Essence – The ominous tone of the film so far, as we feel Ripley’s dread of defeat is inoculated with the confidence of an elite military squad. We feel their confidence and bravado. Vasquez line- no, have you? Is still the most quoted line of the 80s. These are badass military folk who won’t be easily frightened. Setting up the irony that the slight Ripley is actually tougher than all of them combined.

Expression – While the military team assemble, Ripley is wary and keeps her distance.

Scene 4-p 133

Logline- Hicks brings Ripley into the military fold by training her on their modern weaponry.

Essence- The awkwardness of their first introduction is gone. Ripley feels comfortable offering up her deepest fear to who she feels is an equal. The fear is heard and understood by Hicks.

Expression – Ripley’s introduced to military tactics in an intimate way.

Scene 5- p 169

Logline- Ripley resolves to rescue Newt with the ticking clock of a very real bomb.

Essence- Ripley has connected deeply with her role as a mother, even though her own child is dead. She understands that leaving will likely mean her own death but she must leave. Hicks acknowledges the growth of her character by offering something of himself in return.

Expression – Ripley takes off to save Newt and Hicks offers her his first name, with her reciprocating.

Most profound essence is scene 5- although the producer felt the theme was man accepts machine and deleted this last scene. You have to hunt to knock off stores for it. Yeah, we get it, you like robots. It was way more profound to all of us that this badass woman could literally exterminate a race of bugs and still get the promise of a date. No high heels or lipstick involved.

• This reply was modified 1 year, 6 months ago by  Christi Falk. Reason: Missed second tab- corrected submission

[Michael Jones]

Mike Finds the Essence

What I learned is that the scenes aren’t just for entertainment, but a carefully selected view to showcase important elements of both character and story.

Script I choose: Stranger Things: Season Four, Chapter 7: “The Massacre at Hawkins Lab”

Scene 1 Location: Silo Lab-Eleven’s Room-Night – pgs. 6-7

Logline: Dr. Brenner prepares Eleven to face her fears to see what really happened the day of the mass slaughter in Hawkins Lab. A slaughter she believes she committed. He highlights the complexity of human actions, as if to help some of his own actions.

Essence: Dr. Brenner wants Eleven to get her psionic powers back.

Scene 2 Location: Russian Prison, Kamchatka-The Pit-Second Floor-Holding Cell– pg. 15-17

Logline: Hopper and fellow prisoner Dmitri wait in a cell preparing for a gladiatorial-like battle with a demogorgon, a monster from the Upside Down.

Essence: Hopper and Dmitri discuss hope on what it means to be a father and what they would do for their children.

Scene 3 Location: Woods – Night (Upside Down) – pgs. 22-24

Logline: Eddie bonds with Steve and relates how Nancy still cares about Steve.

Essence: There’s still love between Nancy and Steve.

Scene 4 Location: The Wheeler House – Kitchen/Hallway – pgs. 25-29

Logline: Dustin figures out that Vecna is making a psychic connection to his murder victims to open gates so the Mind Flayer can come through and rule the world.

Essence: Dustin realizes why Vecna is killing teens.

Scene 5 Location: Hawkins Lab (Memory) Final image – pg. 78 (but recommend pgs. 68 -78)

Logline: Vecna has a tattoo on his wrist showing him to be One, whom Eleven thought she killed.

Essence: Learn who Vecna is.

My selection for most profound essence:

Scene Location 3: Woods – Night (Upside Down)

BOOOOM! A FORK OF RED LIGHTNING scars the sky. We’re back in

the Upside Down, where —

Our teens are walking through the Upside Down forest. They

look around as they walk, nervous, keeping an eye out for

monsters and Demobats. As they walk, Steve sidles up to

Eddie, and — in very awkward “guy” way –

STEVE

Hey — Eddie — uh… just wanted

to say — thanks — you know, for

saving my ass like that –

EDDIE

Shit. You saved your own ass, man.

I mean, that was a real Ozzy move

you pulled back there –

STEVE

Ozzy — ?

EDDIE

When you took a bite outta that

Bat.

Steve stares, totally lost –

EDDIE (CONT’D)

Ozzy Osbourne. Black Sabbath? Bit a

bat’s head off on stage? Doesn’t

matter. It was very metal, what you

did, all I’m saying. Henderson told

me you were a badass — insisted on

it matter of fact — I just didn’t

believe him –

STEVE

(incredulous)

Dustin — said I was “badass”?

EDDIE

Oh yeah. Shit. Kid WORSHIPS you,

man. Like, you got no idea. It’s

rather annoying to be honest.

We can tell this means a lot to Steve –

EDDIE (CONT’D)

I don’t know why I even care what

that little shrimp thinks, but, uh

— I actually got like, a little

jealous about it. I just couldn’t

accept that Steve Harrington was

actually a good dude. Rich parents,

popular, girls love ’em, not a

douche? No way man, NO WAY, that

like, flies right in the face of

the laws of the universe and my own

personal Munson Doctrine. I’m still

super jealous as hell by the way

which is why I’d NEVER have jumped

in that lake to save your ass, not

under normal circumstances. Outside

of D and D, I’m no hero. I see

danger — I turn heel and run,

least that’s what I discovered

about myself this week. Truth is, I

came in here ‘cause —

(points to Nancy and Robin)

Those ladies jumped in after you —

and I was too damn ashamed to be

the one who stayed behind. Wheeler

there — she didn’t waste a second.

I mean not a split second. She just

— dove right in.

Steve tries to hide the fact that this means a lot to him.

EDDIE (CONT’D)

I don’t know what happened between

you two, but… I’d get her back,

man. Whatever it takes.

‘Cause that

— that was as unambiguous a sign

of true love as these cynical eyes

have ever seen.

Before a flustered Steve has a chance to respond –

BOOOM! The ground begins to shake beneath their feet. The

boys grab nearby trees to steady themselves as —

STEVE

Jesus –

EDDIE

Here we go again –

Robin nearly topples, but catches a tree at the last second.

ROBIN

(to Nancy)

Second on my list of least favorite

things — earthquakes. Like

seriously I’m unsteady enough as it

is –

Nancy is about to respond when her eyes narrow: She’s clocked

something. She hurries forward, ignoring the fact that the

ground is still trembling a bit beneath her feet –

ROBIN (CONT’D)

Nancy — where are you going?

Nancy??

Nancy doesn’t answer, she just keeps moving until she bursts

out of the tree line and into —

Essence: Eddie and Steve to bond, that people aren’t always stereotypical, and that Nancy still has feelings for Steve.

Why I believe it to be the essence: To break from the horror and have a real moment about what ways characters choose to act and what that can reveal about them.

[Susan]

ASSIGNMENT 1

Susan McClary Finds the Essence

What I learned from this assignment is that finding the essence of a scene and writing the scene from it creates intensity

Select five scenes from a produced script and tell what you believe the essence is.Of the five scenes, tell us the location, a logline for each, and the essence.

Please select the scene that you feel had the most profound essence and post the scene along with its essence. Then in three sentences or so, tell us why you believe this is the essence of this scene.

Script I chose: CINEMA PARADISO

Scene 1 Location: GIANCALDO. SALVATORE’S MOTHER’S HOUSE. EXT/INT. DAY
Logline: Maria and Lia argue about whether or not to tell Salvatore that Alfredo died
Essence: Alfredo was very important in Salvatore’s life

Scene 2 Location: ROME. STREETS. EXT/INT. NIGHT
Logline: Salvatore and Curly Haired Girl exchange looks through car windows. Girl’s Boyfriend gets jealous
Essence: Salvatore is handsome and desirable, but left behind as an older generation

Scene 3 Location: ROME. SALVATORE S APARTMENT. INT. NIGHT
Logline: Salvatore comes home late to his sleeping lover who lets him know his mother called to say he never visits and someone died
Essence: Salvatore is surprised and upset knowing Alfredo has died / Salvatore’s lover Clara loves and sticks up for him / Salvatore is estranged from his Mother, his Sister and the town where he grew up

Scene 4 Location: CINEMA PARADISO AND PROJECTION BOOTH. INT. MORNING
Logline: Salvatore watches the film and the situation as the Priest lets Afredo know when to cut out parts of the film
Essence: Salvatore is thrilled by the film, especially the kissing parts that the Priest wants cut

Scene 5 Location: SQUARE AND ENTRANCE OF CINEMA PARADISO. EXT. NIGHT
Logline: Salvatore used the milk money to see a film, his Mother is furious. Alfredo covers for him saying they let him in free, he must have lost the money and makes sure they get the 50 lire back. Alfredo is Maria’s Uncle.
Essence: Alfredo cares deeply for Salvatore as Salvatore cares for him. They have a special friendship, have secrets, and share a deep love for film

Most profound essence:

My selection for the most profound essence of the above scenes is Scene 3:

Post the essence and why you believe that is the essence:

Essence: Salvatore is surprised and upset knowing Alfredo has died / Salvatore’s lover Clara loves and sticks up for him / Salvatore is estranged from his Mother, his Sister and the town where he grew up

Post why you believe that is the essence:

I believe that is the essence because of the change in Salvatore when he finds out Alfredo has died, and because of the conversation Salvatore has with Clara.

Post scene here without worrying about formatting:

3 ROME. SALVATORE S APARTMENT. INT. NIGHT
The apartment is luxurious, tastefully furnished. There is no one waiting for
SALVATORE. Through the picture window on the terrace, the city can be seen
slumbering in the night. SALVATORE gets undressed on his way to the bedroom. He
moves quietly, as if to make no noise. He doesn’t even turn on the light,
finishes getting undressed in the pale blue glow coming from the picture window.
A rustling sound, a movement on the bed, the voice of a woman waking up.
CLARA
Salvatore…But what time is it?
She turns on the bedside light. It is CLARA, a young woman around thirty.
SALVATORE climbs in beside her under the covers, kisses her sweetly, then in a
whisper.
SALVATORE
It’s late, Clara. Sorry, but I wasn’t
able to let you know I wouldn’t be
corning…
(He fondles her, but he is
tired, feels like
sleeping.)
Go to sleep now. Sleep.
He turns over on the other side. CLARA shuts her eyes, is about to drop off,
but whispers.
CLARA
Your mother phoned. She took me for
somebody else…
SALVATORE
(Surprised)
And what’d you tell her?
CLARA
I played dumb, so as not to
disappoint her. We had a nice little
talk. She says you never go see her,
and when she wants to see you she has
to come to Rome…Is it true?
SALVATORE doesn’t answer. God only knows how often he’s heard that question
before.
SALVATORE
She phoned just to say that?
She reaches out to switch of the light, buries her head into the pillow.
CLARA
She said a certain Alfredo had died.
And the funeral’s taking place
tomorrow afternoon…
(A strange look suddenly
comes into SALVATORE’S
eyes. The idea of going to
sleep has clearly left
him. It’s a piece of news
he didn’t expect. That’s
taken him off-guard. CLARA
would like to carry on the
conversation, but
sleepiness makes
it almost impossible. An
she can manage is one last
question in a faint little
voice:)
Who is it? A relative of yours?
SALVATORE
No. Sleep. Go to sleep.
She falls asleep in the dead silence of the night. SALVATORE is seized by a
sort of chill a deep, troubled feeling. He gazes through the window al the city,
with its shimmering lights still moving in the darkness, suddenly shrouded in a
heavy curtain of rain. But he gazes off, beyond the row of houses, beyond the
dark sky; the shadow of a wind chime plays across his face summoning up endless
memories, drawing forth from the infinite depths of oblivion a past that he
thought had vanished, been wiped out, and instead now re-emerges, comes back to
life, takes on light, superimposing itself on the mellow middle-aged features of
his face, in the shadow of the city shaken by the storm, until another image is
formed, an ancient, remote image…

[Anita Daher]

Hello, everyone! Sorry, had other deadlines this week and so am very late with this. I am trying to cut and paste, but it isn’t working. Will try another operating system.

[Christi Falk]

I wouldn’t worry! It’s absolutely work at your own pace. I discovered yesterday the script I chose to work on is completely wrong! I’m doing massive edits as I prepare for the lesson 2 assignment. 😊

[Anita Daher]

Assignment 1

Anita Daher Finds the Essence

What I learned is that determining the essence of a scene helps you see how it feeds the through line of the entire story.

Script I chose:

Away From Her by Sarah Polley

Based on the short story “The Bear Came Over The Mountain” by Alice Munro

1.

Location (Scene 6): INT ANDERSSON’S KITCHEN – 6 JANUARY 2003 -NIGHT

Logline: Instead of confronting Fiona’s odd behavior, which may be an early sign of dementia, Grant covers up the behavior as if nothing happened.

Essence: Loved one conflicted and in denial. We ask ourselves how we would deal with the same or similar situation. We feel his pain and confusion.

2.

Location (Scene 47): 47 INT CAR – DECEMBER 2003-NIGHT

Logline: As Grant drives Fiona home after she became lost, Fiona brings up the subject of her entering a care home. Grant becomes irritated and says they aren’t yet at that stage.

Essence: Fiona is accepting of her deteriorating mental state, while Grant is still in denial.

3.

Location (Scene): 68: 68 INT MEADOWLAKE CHECK IN AREA -JANUARY 2004- MORNING

Logline: They arrive at the care home for Fiona to take up residence, and Fiona brushes off a long goodbye.

Essence: The sacrifice of great love. Fiona is being strong because Grant can’t be.

4.

Location (Scene 108): INT FIONA’S ROOM – MARCH 108 2004 -AFTERNOON

Logline: Despite signs of Fiona’s growing relationship with fellow resident Audrey, Grant tries unsuccessfully to anchor her in their marriage through past memories, and learns she prefers time with Aubrey because he doesn’t confuse her.

Essence: The life Grant and Fiona had together is finished, and he must accept that this new relationship, whatever it is, is the only one that is real to Fiona in this moment. We understand because he is in the same place mentally as her, a place Grant can’t fully understand because he isn’t experiencing this with her.

5.

My selection for most profound essence:

Location (Scene 113): INT MARIAN’S KITCHEN -FEBRUARY 2005 – MORNING

Logline: Grant asks Aubey’s wife to bring him back to the care home

Essence: This is the moment we see Grant has finally accepted Fiona’s Alzheimer’s, their the lives they had together are aver, and he must sacrifice his own happiness and ego for her.

Scene:

Grant sits nervously at Marian’s table. He is gearing up to say something. Not sure how to begin. He stirs his coffee, thinking. Marian watches him closely.

MARIAN

You’re not doing too well are you? No big surprise. What we’re dealing with here isn’t so easy. I thought I’d married someone who’d be there with me to the final stretch. And

I’m betting you thought the same. It didn’t work out that way. So. I think you came here for a reason. I’m the kind you can just say things flat out to. So shoot.

Grant takes a breath and then takes the plunge

GRANT

I’m wondering if you could consider taking Aubrey back to Meadowlake.

Maybe just one day a week for a visit? It’s only a drive of a few miles, it wouldn’t be too difficult would it?

He has an idea.

GRANT

Or…if you’d like to take the time off – I suppose I could take Aubrey out there myself. I wouldn’t mind at all.

This wasn’t part of what he had planned to say, and he’s rather dismayed to hear himself suggest it.

GRANT

I’m sure I could manage it. And I’m sure you could use a break.

While he talks she moves her closed lips and her hidden tongue as if she is trying to identify some dubious flavour. She gets up and gets some milk. Pours it into his coffee.

Goes back to the counter and grabs a plate of ginger cookies. They are perfectly round. She sets the plate down in front of him.

MARIAN

Homemade.

GRANT picks one up. Marvels at its perfect roundness.

GRANT

Really.

She pours milk into her coffee.Stirs it. GRANT waits in the interminable, awkward silence. Glances at AUBREY’s feet, visible through the door.

MARIAN

No. No I can’t do that. And the reason is, I’m not going to upset him.

GRANT

(earnest) Would it upset him?

MARIAN

Yes, it would. It would. Bringing him home and taking him back.

Bringing him home and taking him back, that’s just confusing him.

GRANT

But wouldn’t he understand that it was just a visit? Wouldn’t he get into the pattern of it?

MARIAN

He understands everything all right.

She says this as though he has just insulted AUBREY.

MARIAN

If I go to all that trouble I’d prefer to take him someplace that was more fun.It’d make more sense to take him to the mall where he could see kids and whatnot. If it didn’t make him sore about his own two grandsons he never gets to see. I’ve got to get him all ready and pack up his chair and maneuver him into the car, and he’s a big man, he’s not so easy to manage as you might think. All that and what for?

GRANT

But even if I agreed to do it? It’s true, you shouldn’t have the trouble.

MARIAN

(flat)

You couldn’t. You don’t know him. You couldn’t handle him. He wouldn’t stand for you doing for him. All that bother and what would he get out of it?

Grant considers saying something about Fiona. Decides not to. She gets up and fetches her cigarettes and lighter from the window above the sink.

MARIAN

You smoke?

GRANT

No, thanks.

MARIAN

Did you never? Or did you quit?

GRANT

Quit.

MARIAN

How long ago was that?

He thinks about it.

GRANT

Thirty years. No – more.

Grant’s mind wanders momentarily, remembering the circumstances in which he quit.

MARIAN

I’ve quit quitting.

She lights up.

MARIAN

Just made a resolution to quit quitting, that’s all.

She looks at him, sizing him up.

MARIAN

So your wife’s depressed? What’s your wife’s name? I forget.

GRANT

It’s Fiona.

[Danielle Dillard]

What I’ve learned about this assignment is discovering the essence.

Movie: A Bronx Tale

Scene: Calogero, a nine year old boy, sees Sonny, the neighborhood mob boss, shoot a man.

Essence: Calogero’s admiration of Sonny either becomes fear or more enticed intrigue. Sonny is no longer the guy he studies and mimics during charades, but now fears in an enticing way.

Scene: Sonny and his crew are in a lineup with the police and Calogero must identify the shooter.

Essence: Calogero knows Sonny killed a man and when he’s faced with identifying him he’s unsure about telling the truth. Sonny did a bad thing but Calogero doesn’t want to rat him out. This is the start of either friendship or revenge.

Scene: Sonny offers Calogero’s father a job.

Essence: This could mean one of two things, one, if he takes the job he can become a wise guy and get paid more than his blue collar city job. Two, if he screws up Sonny could kill him or hurt Calogero.

Scene: Calogero sees Jane on the bus for the first time.

Essence: Calogero is older now and he sees a beautiful girl while on the bus, but she’s of a different race which is not favorable in his neighborhood or hers. But to him she’s so beautiful and she’s enticed by him too, they’ve connected at worlds apart.

Scene: Sonny teaches Calogero about the door test.

Essence: The door test reveals the true character of a potential love interest. If she unlocks the door for the guy while sitting in the passenger seat, she’s a keeper. If she doesn’t she’s a selfish narcissistic person. Colageo hopes Jane will unlock the door.