Great Scene: “The Player”
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’s suggestion by Jon: The 1992 movie The Player, screenplay by Michael Tolkin, based on his novel. IMDB plot summary:
A Hollywood studio executive is being sent death threats by a writer whose script he rejected — but which one?
Jon actually suggested the long one-take scene introduction to the movie, but I couldn’t find it anywhere online. However toward the end of the opening credit sequence, there is a great scene in two parts where writers pitch potential movie projects to the Protagonist Griffin Mill (Tim Robbins).
Background:
* During the sessions where movies are pitched, one will always suggest certain actors for certain roles. For the female lead Julia Roberts is always mentioned, as well as Bruce Willis for the male lead. In the final scene of the in-movie movie you actually see Bruce Willis saving Julia Roberts.
* There is actually another scene featuring a movie pitch to Griffin Mill: The Graduate: Part II, a cameo by Buck Henry (as himself). Buck Henry co-wrote the screenplay for The Graduate.
* Writer Michael Tolkin actually had a film company ring him up and try to option Habeus Corpus, the blatantly ludicrous film that is pitched within the movie by Richard E. Grant’s character.
Why is this a great scene? Because anyone who has worked in the movie business can relate to the whole vibe in the room. Here are a few choice lines.
Pitch #1
Writer 1: Goldie [Hawn] goes to Africa. She’s found by this tribe.
Write 2: Of small people.
Writer 1: She’s found and they worship her.
Griffin: It’s like The Gods Must Be Crazy except the coke bottle is an actress.
Write 1: Right. It’s Out of Africa meets Pretty Woman.
Pitch #2
Griffin: So it’s a psychic, political, thriller comedy with a heart.
Writer: With a heart, not unlike Ghost meets Manchurian Candidate.
Yes, since the movie is rather a satire of Hollywood, both of these pitches are ‘pushed out’ in terms of reality, however conversations in studio and producer offices can get this absurd. In this sense, the scenes work, not only because they’re funny, they also pass the verisimilitude sniff test.
As to the This Movie meet That Movie schtick. That may have been really popular in the 80s and 90s, but nowadays it’s not something a writer would lead with, instead have it in your back pocket for subsequent discussions.
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.
Thanks for the suggestion, Bretton! 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!