Watch Nick Cannon Presents Wild 'N Out Scroll down and click to choose episode/server you want to watch.- We apologize to all users; due to technical issues, several links on the website are not working at the moments, and re - work at some hours late. We will fix the issue in 2 days; in the mean time, we ask for your understanding and you can find other backup links on the website to watch those. Thank you! - Our player supported Chromecast & Airplay. You can use it to streaming on your TV. If you don't hear the sounds, please try another server or use Desktop browsers to watch. CRAFT: Tips for Writing Movie Sex Scenes. Bob Verini is the Los Angeles- based theater critic for Daily Variety, for whom he also contributes features on film, theater and television. Since 2. 00. 0 he has been a senior writer for Script.
![]() ![]() ![]() Follow Bob on Twitter: @Bob. Verini. Click to tweet this article to your friends and followers! Diane Lane as Constance “Connie” Sumner and Olivier Martinez as Paul Martel in Unfaithful, written by Claude Chabrol (film, La Femme infidèle), Alvin Sargent (screenplay) and William Broyles Jr. It took me three hours … but, you see, when it was over, I had really done something—something worthwhile— something only I could have done. Who else would have cared enough to do it right?”There’s a true artist speaking, by golly! You can imagine Cole Porter uttering these words upon finishing the lyrics for “You’re The Top,” or Richard Avedon after printing his Marilyn Monroe portrait. Actually it’s American Gigolo’s Julian Kaye explaining how he was able to give an older woman, “somebody’s mother,” her first orgasm in 1. ![]() But, hey! Artistry is where you find it.)In any event, it’s difficult, if not impossible, to imagine anyone’s expressing this kind of pride of craftsmanship about the writing of a movie sex scene. Far from “something worthwhile,” it may be the most thankless and least- respected screenwriting chore of them all, with a variety of reasons why this is so. For one thing, the specifics of a sex scene are often little more than a road map: Make a left at that fork, spin around the cul- de- sac and then take the straight route up the highway. And no matter how you approach it, there’s a nagging sense that you, or someone, has been there before. How different can sex be, anyway? Some writers are probably held back by a puritanical streak while others may be frustrated because the full orgasmic experience can’t be depicted outside of XXX video. Journalist Neil Fulwood observes that hardcore- porn stories like Boogie Nights and Body Double always see to it that their characters climax while still coupling so as to avoid what, in all reality, would be the very visible “money shot.”)The real problem is that the writer is surely the least important part of the sex scene as it will appear in the finished film since the principals—the director, the actors and the D. P.—will be all too ready to throw out the blueprint and just see what happens on the set. One of the most famous of all sex scenes, that of Julie Christieand Donald Sutherland in Don’t Look Now, never appeared in the script. Total improvisation. Larry Kramer never scripted the Alan Bates/Oliver Reed nude wrestling in Women in Love, either. Instead, he inserted D. Watch American Gigg-olo online. Stream Family Guy season 15, episode 3 instantly. Watch Family Guy (1999) episodes online free (NO SIGN UP) only at TVZion. 283 available out of 292 aired episodes. Largest online tv series database. Updated everyday. H. Lawrence’s original text both to appease censors and to reassure Reed, already nervous about how in the staging he would, um, stack up against his co- star. Evidently Bates won that battle as well as the wrestling.)Small wonder that writers tend to be embarrassed about their sex sequences and rarely discuss them in interviews. Script Magazine approached three screenwriters to talk sex; and all declined; one was quoted by a representative as saying, “I just don’t want to talk about those scenes.” Yet, there may be more potential for ownership here than at first glance. A clever screenwriter can influence the tone, length, rhythm and shape of an explicit sequence and even bring some artistry to it. The first step is to decide why to include a sex scene in the first place. After all, you could just fade out on the characters’ kissing and fade in on the next morning; they would have come together—you should pardon the expression—and the plot can now move along. So, establishing a solid rationale for seeing the characters couple would seem to be a must. At the very least, it allows you to argue on the grounds of artistic integrity when an actress’ manager wonders why you’re insisting that she take off her top.) Among the valid reasons for dramatizing the sex act have been: • The effort of two partners to protect a disintegrating relationship (Don’t Look Now).• The effort of two partners to protest a nihilistic universe (Last Tango in Paris).• The healing of one innocent by another (Stealing Beauty).• The struggle of interracial lovers to combat cultural bigotry (My Beautiful Laundrette).• The daring of youth to flaunt society’s taboos (The Dreamers). There are many more examples; but in each, what’s being played out is a process— the characters’ working, whether with or against each other, to make things happen in the face of great obstacles. Of course, that’s the definition of all drama, period. The writer must find the drama in the sex. Only if something related to character is being accomplished or worked on during the intimacy is there a reason to show it to (inflict it on?) an audience, beyond sheer prurience. That three in the above list are by Bernardo Bertolucci is no surprise because sex is his longtime cinematic preoccupation; and he brings a characteristically European style to its writing. An early scene in the Last Tango in Paris script emphasizes sensory impressions without dialogue: Jeanne (Maria Schneider) is drenched and shivering in an elevator as thunder and lightning act as an aural introduction to the Marlon Brando character, Paul, who steps in and notices that “she is wearing no bra.” The metaphor kicks off right away: Panoramic shot, ascending, like the elevator, from low to high, to follow the edge of Jeanne’s skirt and then, little by little, the length of her legs, discovering her knees, her thighs, her naked pubis, up to her belly button, which is the belly button of a little girl. Higher, her face begs forgiveness. Then the hand of the woman moves forward, searching for Paul’s pants, and crosses Paul’s hand in mid- air as he reaches for her vagina. Their arms graze each other forming a kind of cross. Many directors would balk at a writer’s submitting such detailed shot descriptions; but, of course, Bertolucci is writing as a director. His long, rapturous, grammatically complete and correct sentences inspire (and probably mimic) his sensuously gliding camera, with a mood toned up through phrases like “begs forgiveness” and “a kind of cross.” Bertolucci doesn’t always write quite so rapturously, incidentally. His description of Paul’s famous application of a stick of butter to make Jeanne’s acquaintance from the rear couldn’t be more—you should pardon the expression—cut and dried.)If instead of alienated, continental languor, you want some good ol’ American heat, Paul Attanasio in Disclosure offers a heady example for study. If Bertolucci’s weapon is the languid complete sentence, Attanasio’s main tool is the ellipsis. He employs it consistently as a way of suggesting thoughts unexpressed and desires close to fulfillment. In Michael Douglas and Demi Moore’s fateful office encounter: He rubs her shoulders …SANDERSDo you understand the controller chip is what positions the split optics? Let me show you the schematic —Sanders moves to get the diagrams …MEREDITHRub. Sanders goes back to rubbing her shoulders … Sanders continues to murmur “no” and “oh, God” as Meredith calls the shots in the foreplay when suddenly he gets exceptionally angry at being pushed around. To convey the turnabout, Attanasio’s ellipses start coming fast and furious: He grabs her … by the hair, lifts her off …MEREDITHNo! He grabs her by the blouse, tearing it as he lifts her, shoves her down hard … wrestling with each other in the confined space of the alcove …SANDERSIs this what you want? Huh? He pulls her skirt up. He tears away her panties … His fingers inside her … He kneels to pull his shorts down …Besides the attempt to turn the tables of power, the writer is using language to indicate exactly which action is to follow which and is carefully implying to the director that the order of the actions matters to the scene. Moreover, Attanasio knows that a few well- chosen words or phrases can effectively convey nuance. That reference to “the confined space of the alcove” is hardly necessary as a reminder of the location; but it’s a useful and subtle hint to the director, actors, and D. P. as to how the tussle ought to be staged: tight of space, short of air, intense. Notice, too, the wise absence of such lazy, adverbial directions as (Violently) or (Threateningly). Actors will always respond better to well- crafted description and dialogue, meaning that they’ll be more likely to play the scene the way you want it played.)Anyway, when we left Meredith’s office a moment ago, Sanders’ fingers were busy, his descending shorts making it possible for him to position the split optics, as it were. At this point Attanasio abruptly drops his use of run- on sentences. Note how he switches to fragments and line spaces to convey how he wants the rhythm to change: She coughs … Breaking the moment. Sanders looks. Seesh himself, reflected in the windows …The family pictures …Susan and the kids, smiling up at him. The finished film follows these hints exactly, shots held much longer than earlier; and, though we continue to hear Moore panting, we see and feel Douglas’ second thoughts as the text indicates. His flip- flop infuriates Meredith, who screams one of the more campily memorable lines: “You put your d**k in my mouth, and then you get an attack of morality?” Whether or not Meredith means this rhetorically, she doesn’t wait for a reply; she’s out for blood, and Attanasio uses language to blend sex and violence: He covers up as she hits him. He grabs her by the wrists. She rips a hand free, scratches him across his chest. He shoves her … She sprawls down against the cartons and a wine GLASS BREAKS. He gathers his folders, his pictures … finds his cellular phone on the window sill. The ultimate juxtaposer of violence and extreme sex, of course, is Joe Eszterhas; and the opening scene of the unforgettable Basic Instinct is classic Eszterhas.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. Archives
November 2017
Categories |