Great Scene: “As Good As It Gets”
October is Great Scene month at Go Into The Story whereby we put a spotlight on notable movie scenes, then analyze and discuss them. Their structure, themes, character dynamics. Why do they work? What are their narrative elements that elevate them to greatness? Let’s face it: In a fundamental way, screenwriting is scene-writing, so the more we learn about this aspect of the craft, the better.
Today: The 1997 movie As Good As It Gets, screenplay by Mark Andrus and James L. Brooks, story by Mark Andrus. IMDB plot summary: A single mother/waitress, a misanthropic author, and a gay artist form an unlikely friendship after the artist is in an accident.
Simon (Greg Kinnear), who was savagely beaten in a home burglary and is wearing a cast, is spending the night in a hotel suite with Carol (Helen Hunt) on a trip to Baltimore with Melvin (Jack Nicholson). Helen prepares to take a bath…
Several people requested As Good As It Gets and it would be easy to select almost any of the scenes featuring Jack Nicholson. However I chose this one because it is one of those scenes James L. Brooks excels at: A shift in a character’s perspective in the tiniest of moments.
Since his assault, Simon’s life has spiraled downward, depositing him in a dark funk, both personally and creatively. The trip to Baltimore, ostensibly to visit his estranged parents to borrow money, is as it turns out precisely what Simon needs — and not his parents’ financial help. He bonds with Carol and she with him. Because he is gay, she feels safe leaving the door open preparing for her bath… and that sets the table.
Beginning: Simon lies in bed, watching Carol seated on the edge of the bath tub.
Turn: He becomes enlivened and gathers his sketch pad and pencil.
“I have to draw you.”
Middle: Carol thinks he’s crazy, but as he describes her fine features, she softens.
Turn: She doesn’t close the door or resist.
“You’re why cavemen chiseled on walls.”
End: Carol actually lowers the towel to reveal her back all the way down to her buttocks.
A short scene, a little over 2 minutes long, but it propels Simon out of his creative funk. Indeed the excerpt above ends before we see Simon, enthused about what he’s drawing, rip off his cast, both literally and symbolically breaking free from the ‘prison’ in which he’s been living since the violence perpetrated against him.
A tiny moment. A big shift in a character’s perspective.
Takeaway: Look for moments around which to wrap scenes. Sometimes the most important steps in a character’s metamorphosis happen there.
How about you? What’s your take on this scene? Why does it work so well? What takeaways are there for us?
To read all of the entries in the Great Scene archive, go here.If you have an idea for this Great Scene series, check out the responses people have made so far here. If you have a different scene in mind you think would be worthy of analysis, please post it there or in comments for this post. Thanks!