William Goldman, Peter Falk, William Golden discussed on Scriptnotes Podcast


William Goldman was just telling stories to his daughters, his young daughters, and these were kind of the stories he was telling them, he invented a Princess named buttercup, and this young farmland that she was mean to a farm boy named Wesley and the invented the RO US's and the idea of six fingered man, all these giant in swordsman, these airy broad youngin archetypes very much fairytale thing. And when I love about the way, he talks about the creation of this is that when he decided to make it into a book, he was really struggling I imagine because he's willing Goldman. And he's sitting there thinking, I know how a book should go. There's all this stuff that have to do to make sense of this. And and he said the thing that broke it open for him was coming up at the idea that he's not writing it at all that somebody named s Morgenstern is written it and that s Morgenstern book is out of print, and no one can find it. And so what he's done is essentially put together an abridged version this. Story is only the best parts, and I love that. Because I think that ties in ultima to what I love most about this movie, which is that it is a movie about storytelling itself as an act of love as part of the conceit is that he heard the story as a kid, and that he really went back and found actual book realize it was actually like, you know, a big political tract and was completely different than Harry members who was using his childhood memory of the way, he wished the story actually really went. I actually had that that real experience when my kids were young. I was like, you know, what I'm going to read you a book tonight, and it's one of my favorite books from childhood. You're gonna love this. It's called a wrinkle in time. Yeah. It started reading wrinkled time. And I'm like. Yeah. So I worked it's just a teen romance. When does the yeah. All the cool stuff in the last twelve pages. Yeah. And I forgot. Yeah. And you realize that many things that the MRs do so much of the work for the protagonist. And it's frustrating. How to patient was a hard movie to adopt. I tried it our. So let's talk about the frame story because this is actually part of the conceit. So William golden had been tons story to his daughters and conceit in the book is that, you know, his father had told it to him in this movie version, and I don't know if it was always this way in the scripts, but we have the Peter fall. The grandfather cares. You're telling the story to his grandson who sick. It's a pretty simple setup. But we come back to it a lot. And so the frame story gets us a lot. Let's talk about why you do it and sort of what's helpful about it. Well, they're letting you know right off the bat that the story that you're seeing the story usually when we tell a story on screen we want people to forget that it's a story pretty quickly. Here. They never let you forget. And in doing so they immediately excuse a lot of things that I think had they not done. You would have said this is very true love it's over the top. It's over the top for a reason, everything if you think about it every emotion has pushed beyond to the edge. So the true love is the truest of love right in the villains in the most. Hateful villains. The kiss at the end of all the top five kisses of all time and this one puts to shame. So everything is taken to its extreme. Because it's meant to be a fairytale. And the actual story is the story of a grandfather and his son. Even though there's these little tiny bits with Peter Falk, and Fred savage to me, that's the movie. So I was the frame story. Let's jump forward. Let's contextualized things. It lets us. Fill in details. He wouldn't have otherwise known on sort of skip past the boring parts. Let's talk about this frame storage is really quickly in terms of regression of relationship between Peter Falk and the Fred savage character because it's very. Simple. That's really well sketched. And every time we come back those things there needs to be progress..

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