You shoot off a guy’s head with his pants down, believe me, Texas ain’t the place you want to get caught.Ĭallie Khouri won the Oscar for Best Original Screenplay for this story of women’s lib, diagramming a world where two best friends go on the run after killing a man and the audience roots for them the entire time. See also 'Marceline Gone Adrift' needs mooring 48.
Carruth’s ability to navigate the dangerous waters of heavily dialogue without including much exposition seems like it should be crutch, but it creates a veil of mystery in this paradoxical indie. After accidentally discovering time travel, friends Aaron (Carruth) and Abe (David Sullivan) find themselves slowly developing a mistrust of each other when they begin to abuse the power it brings. More importantly, he wants the language to define the characters in a way that hovers above the words. Unlike sci-fi films written for the average viewer, Carruth has no interest in making sure you understand what his characters are talking about. In Primer, instead of the special effects, Carruth piles on scientific jargon, moving at the speed of light through obtuse concepts.
The first film from writer/director/actor Shane Carruth is a mind-bending trip down one of science fiction’s most played-out themes: time travel. All I know is I spent six hours in there and I’m still alive… You still want to do it?įrom a film with very limited dialogue to one that may push the limit for 77 minutes of screen time. Primer (2004)Īaron, I can imagine no way in which this thing could be considered anywhere remotely close to safe. Most scripts are bent on helping you understand the film. What results is a film so dependent on the screenplay’s divisive style that, without it, the film is nothing even less of something than it already is, which is difficult to decipher. Robbe-Grillet was never on set, but felt he and Resnais had a very clear vision of what this place would be and how this film would work. Further than that, Robbe-Grillet’s extremely detailed script included everything from the limited dialogue to defining the architecture and space relations of this epic château. The film floats through time and space, never clearly identifying where or when anything is happening. In 1961, he collaborated with novelist Alain Robbe-Grillet to create a film so vague and mysterious that none of the characters have names: a woman called “A,” a man called “X,” and another man called “M,” who may be the woman’s husband. Might as well start as complicated as we can get, right? Alain Resnais was never a conventional director, as seen in his previous film (and most celebrated work) Hiroshima Mon Amour. A glass that falls, three, two, one, zero. Glass objects, objects still intact, empty glasses. Empty chairs, deep armchairs, thick carpets. Last Year at Marienbad (1961)Įmpty salons.
Most importantly, these are the scripts that demonstrate how “screenwriting from scratch” is done. So, what is the most important piece of film writing ever written directly for the screen? This list will shift from American to international, conventional to unconventional. What makes a brilliant script? Is it quotable lines? Is it nuanced dialogue? Or is it just the ability to move the story along and not get in the way? When looking back through the history of screenwriting, there are plenty of iconic films based on previous work the Writer’s Guild of America voted Casablanca the greatest screenplay of all time, but it’s adapted.
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