Oscar 2011 - Adapted Screenplay

I was thinking to jump completely over this section. Usually I'm not very accurate with the predictions here (but this year is easy :-p). The reason for that it's quite simple. I don't read the scripts because I don't have enough time (by the way, generally these are surprisingly short ... but even so ..). And from the script to the final screen version there is a (sometimes long) way, and things are lost along it. Even if the main impression is given by the aspect of the story you see on screen, what matters for the script is also what's on paper and how much does add the directing to that. This year I managed to take a quick look on the written material last weekend = not more than one page from every screenplay, so I'm gonna take my chances and try writing a few lines :) It will be probably the most boring entry because considering the "literature oriented" topic I chose to give script quotes instead of clips today :-p ...

"127 Hours" - is the script that's probably the most descriptive of all. And I also think that it's the most original from the adaptations although I didn't read the book that tells the guy's story. However I really doubt that's composed more than 50% from describing what you should see in front of your eyes. And I'm telling it again ... it's enough variation for 127 hours about a guy being stuck under a rock to be watchable enough. And due to that, I prefer this title among the rest although I have to admit that's probably not the best script.

INT. CANYON. C/U BOTTLE NECK
The bottle neck stares at Aron.

INT. CANYON. C/U ARON.
Aron’s eyes stare at the bottle neck.

INT. CANYON. NIGHT.
Aron shakes the bottle. Water splashes inside. Not much water. Puts the bottle back down. Moves to pop a contact lens out of his eye and into his mouth.

INT. ROPE BAG. PRE-DAWN.
In big close-up, an ant crawls across Aron’s face. His muscles twitch in response.

INT. ROPE BAG. PRE-DAWN.
Aron’s eyes, open a slit. That’s as much asleep as he gets. Targets some puffs of breath at the ant. Doesn’t work. Flicks the ant away with a finger. Eyes close again.

"The Social Network" - at least at this category is probably one of the safest Oscar bets. I would really like to see a surprise although it's hard to believe it will be so. It's the longest and most dialogue rich script among all. I have no idea how much does matter the quantity, but it seems it does considering the amount of awards received so far. I have to be fair and say that it is a good script, but as a story (with the title above counting as one of the few exception) I never was very impressed by the movies with real basis. Anyway, I don't think that for the origins of Facebook you can get something much better than we have here. It's dense and has enough tension to get close to a thriller feeling at some points, and for the spoken lines it's probably the best this year at the same level with one title below.

ERICA
I have to go study.

MARK
You don't have to study.

ERICA
How do you know I don't have to study?!

MARK
Because you go to B.U.!

Erica stares at him...

MARK (CONT'D)
(beat)
Do you want to get some food?

ERICA
I'm sorry you're not sufficiently impressed with my education.

MARK
And I'm sorry I don't have a rowboat.

ERICA
I think we should just be friends.

MARK
I don't need friends.

ERICA
I was being polite, I had no intention of being friends with you.

"Toy Story 3" - I have no idea what's with this movie that deserves to be here. I'll continue my small boycott and I won't comment too much. It won't take the Oscar - that's the essential part. The script is ok on the comic side for an animation, although there were better titles for this, and for the drama side is the tearlake direction - trademark Pixar. As a sample I prefer the first side:

Rex sticks a finger in Buzz’s re-set hole.

WOODY
Okay, now what?

HAMM
All right, let’s see... “Caution: Do not hold button for more than five
seconds.”

Abruptly, Buzz BEEPS loudly, falls limp, face plants. The others all look at Rex. Rex lifts his finger.

REX
It’s not my fault!

Suddenly, Buzz leaps up, knocking the Toys off him. He strides forward, flips his wrist radio.

SPANISH BUZZ
Bitácora Espacial -- Me he despertado de hipersueno en un planeta extrano.
(Star Log -- I’ve awakened from hypersleep on a strange planet.)

The Toys are speechless. Hamm glares at Rex.

"True Grit" - it's as good if not even better than "The Social Network" for the witty lines. Thing that's actually specific for Coen Brothers. The problem is that doesn't have so much dialogue, and for the descriptive parts it's not the most complex scenario, at least from a quick look on it + what you see on the screen + what you get from make-of clips. It seems that the directing had more to do with the final result than the script, changing here & there what didn't look right enough when shooting the movie. Besides that it's a script that after all tells a wild west revenge story, which was already adapted one time, and even if they say that's an original view on the book I really doubt that the first script written didn't count at all. The idea is that for a good screenwriter I think to be much easier to get something of good quality based on an already done movie that got a bit lost in time (just look at Tarantino with "Inglorious Basterds").

MR. GOUDY
Thank you, Mr. Barlow. In your four years as U.S. marshal, Mr. Cogburn, how many men have you shot?

MR. BARLOW
Objection.

MR. GOUDY
There is more to this shooting than meets the eye, Judge Parker. I will establish the bias of this witness.

JUDGE
Objection is overruled.

MR. GOUDY
How many, Mr. Cogburn?

COGBURN
I never shot nobody I didn’t have to.

MR. GOUDY
That was not the question. How many?

COGBURN
. . . Shot or killed?

MR. GOUDY
Let us restrict it to “killed” so that we may have a manageable figure.

"Winter's Bone" - it's probably the most balanced script as quality = it's quite good at the descriptive level and pretty much the same for the dialogues. From my point of view it is the best script from the ones here, although I'm for "127 Hours" :). Unfortunately the movie is too much of an outsider in front of "The Social Network". I didn't see for a long time something so well done considering the tension level, although for this the directing has also a big part. But if you take a look on the script you can see clear enough in what detail is a scene described and that the script's feeling it's what it gets finally on the screen also. On the other hand, the director - Debra Granik - is also the screenwriter in this case :) so, she didn't do anything else than to prepare a detailed plan for the next step.

Baskin and Ree register Teardrop’s accusation. Baskin, apprehensive, makes eye contact with Ree and draws his pistol from the holster. Attempting to regain control, he taps the side of the truck with his gun.

SHERIFF BASKIN
I know you. I know your family. Get out of the car now.

Teardrop raises his rifle and rests it on the open window, staring Baskin down in the side mirror. Baskin shifts uneasily, again looking to Ree.

TEARDROP
Is this gonna be our time?

Teardrop and Baskin hold each other’s eyes in the mirror as Baskin slowly backs away, still brandishing his flashlight.

One more step until best movie - next time: directing