The PSYCHO Protagonist?

Who becomes the protagonist of PSYCHO after Marion Crane is killed?

Robert McKee in STORY states that there's a joint protagonist of the sister (Lila Crane played by Vera Miles) and Detective Arbogast (played by Martin Balsam).

I, however, believe that the protagonist becomes... Norman Bates.

Marion's death is a shock as we'd never seen the protagonist killed in a film.  The shocking murder was all the more shocking as the leading lady was killed before our eyes.   Following that, Norman discovers what "Mother" has done and he's forced to clean up the mess.  We sympathize with Norman and even root for Marion's car to completely submerge as he covers up the crime.

As the Detective/sister team investigates and closes in on the mystery of Marion's disappearance, our sympathy is with Norman.  He's a good son with a crazy Mother doing what can to stop her while protecting her.  Look, for example, at the scene where Detective Arbogast finds Marion's signature and points it out with Norman.  Are we rooting for the Detective in that scene?  I'd say, "No."

This makes the Mother skeleton scene all the more shocking.  Lila Crane tries to warn Mrs. Bates and we see that she's been long dead.  Then Norman/Mother attacks and we add it all up.  The protagonist we'd been rooting for is, in fact, the killer -- the Pyscho.   That's TWO amazing reversals in one film.

The regrettable denouement psychiatrist exposition scene wasn't needed.   It did, however, give us that final Norman smile/skeleton shot.  A great film.  

Look also for the 2015 documentary on the impact of the Hitchcock/Truffaut interview book with the filmmakers it influenced.



 

The Casting of Blazing Saddles Waco Kid

https://en.wikipedia.org/wiki/Gig_Young

https://youtu.be/D5tZJ6IQj6E?t=232

Check out the posts above and then come back to read this blog...

These claims Young was only up for the role. However, in a bio of Young, his agent claimed that casting Young was part of the deal with Warners and Brooks was forced to accept him. He was definitely cast in the role, as photos exist of him on the set in costume. They are impossible to find online -- I saw them in an E channel tabloid show about Hollywood scandals. But I can't find the Young episode on the net.

Then, old-time star Dan Dailey was offered the part (some claim Dailey was pre-Young, but I think that's wrong). DD accepted, then dropped out the next day. (Like Young, he was a serious drunk). Then Wilder.

I can't understand why people don't see Wilder was miscast. Why not cast Don Rickles in the Slim Pickens role? (actually, that sounds like a much funnier idea than Wilder as the Waco Kid). There were dozens if not hundreds of better fits for the role. All the old western actors: Neville Brand, Richard Boone, Chuck Connors, Clint Walker (who actually showed some comic ability in a few roles), Ben Johnson (then enjoying a career revival thanks to Last Picture Show), etc... Or maybe even my dream choice:

Roy Rogers.

He was willing to spoof himself (Son on Paleface) but of course, BS was far too raunchy for his public image. (He turned down the offer to close out Woodstock by singing "Happy Trails" after Hendrix. No, I am not kidding. He was worried how being associated with the counterculture would affect public perception, as well as fearing that the hippies might even boo him. He didn't realize how beloved he was with baby boomers).  He even refused to do a guest shot on 'Wonder Woman' unless Lynda Carter wore a less revealing costume. So she was forced to wear a solid blouse for that one episode only.  (See the above pic.)

All this is in stark contrast to Roy's offstage rep as having banged half the women in the country music biz (there's a 'WW' publicity photo where he does the ol' sneaky wraparound w/Lynda).  In fact, bringing us full circle from Gig Young, one of his sidepieces would lead to murder:

https://en.wikipedia.org/wiki/Spade_Cooley

Wilder was contacted by Brooks who was panicking and agreed to take the part. Brooks may also have felt that playing the role completely straight (like ZAZ would later do) might be too subtle for audiences. Blazing Saddle remains a classic and it's fun to consider the casting alternatives, including Richard Pryor as the Sheriff. Brooks' original intent is understandable and far riskier than the eventual film.

Groucho Marx Intervewed by David Steinberg

Rare American TV show (posted by a German fan).   The musical appearances were removed and cut down to all Groucho.   Worth a watch.  Pre-stroke Groucho was still quickwitted.

From here:

https://www.youtube.com/watch?v=gby5cQuC5Wk&feature=youtu.be

MasterClass Full Pass!

Re-posting this to update.  Last year, I became an affiliate for MasterClass.   The "Full Pass" allows access to a dozen classes on screenwriting, novel writing, filmmaking, film scoring, etc. etc.

Now's the time to sign up and learn as you stay home in the weeks ahead.   Stay safe!

About a month or so ago I purchased an all-access pass to MasterClass. I'd taken the James Paterson (best-selling thriller novelist) course last year. It was $90 and informative.

When I found out I could take a dozen classes on my wish list for one fee, I signed up.

Steve Martin's course on comedy discusses creating a stand-up act ... Ron Howard discusses filmmaking and breaks down shooting a scene ... Marin Scorsese discusses filmmaking with stories from his great films ... Werner Herzog (filmmaking) ... Hans Zimmer (film scoring) ... Oh, Oscar-winner Aaron Sorkin has a series on screenwriting. Emmy-winning Shonda Rhimes discusses creating a TV series, breaking down a TV episode, show running.

Judd Apatow has an upcoming course on comedy writing. Spike Lee has one coming soon on filmmaking.

The annual pass is the way to go.

You get EVERYTHING (even series on cooking, chess, tennis, and basketball) from top pros in each field. Great way to learn.

DISCLOSURE: I liked it so much I became a paid affiliate for MasterClass and I can support this blog if a few sales result from the following link. Thanks for looking:

MasterClass All-Access Pass

YOU DON’T START AT ZERO

Script readers go through stacks of scripts and they’re expecting your script to be terrible.  You don’t start at zero.  You start with a -10 on the Script-O-Meter.  You have to prove quickly that you can write.  You have to work your way off the -10 start to a zero.  “Pretty good but… meh.”   Then make your way to the' consider' and finally 'recommend' heights.   That’s 1-2% of scripts that are executed at that level.

How long before a reader decides if they’ve got a good script?  Does that take ten pages?   Sadly, no.  Some readers say they know a page or two in if the script is pro level.  Beyond basic script format, newer writers struggle to handle exposition.  Establishing who the characters are quickly is difficult.   William Goldman suggests putting the characters in conflict and used the exposition as ammunition.  Instead of reciting facts the characters already know about each other the information is relayed as the characters argue.   

When are you starting your story?   I’ve seen major feature films that begin with backstory.  Backstory is what happens before the actual story starts.  Some warning flags are scripts that have large time jumps in the first ten to twenty pages.   

Why are we starting the story on this day?   Why this day?  “Well, we needed to know that about her childhood because…”. Work it into the story at the moment we need to see it.  For example, look at the flashback to Paris in Casablanca.  The film doesn’t open with it.  Rather, it’s used at that time in the story where the audience’s curiosity is at its peak and is needed to advance the narrative.

An overused method to hook readers/viewers early is the major action event followed by “48 hours earlier” chyron and then the story starts.   This was used by J.J. Abrams often in his projects and even the great series Breaking Bad opened with the device.  Unfortunately, it’s been overused to the point of cliché’.  It’s also a likely sign that rather having a clearly compelling opening, the writer has to create a hook from another point of the script.  Because of overuse, I’d avoid it but ... your script and your call.

Avoiding “sit and talk” scenes can also be challenging.   Our minds process visual information quickly and two characters sitting and talking is dull to see.  Aaron Sorkin uses “walk and talk” scenes, used extensively in The West Wing.  Characters are moving, interacting with others, and it gives scenes a sense of momentum.   Game of Thrones employed “sexposition” where characters relay important story information during and after sex scenes.   Story momentum maintained.  

Look through the first ten pages of your script.  It’s difficult asking anyone to take the time to read anything.   People just don’t have the time or attention span.  Ask people to read only your first ten.  This is easier for them to do and if they aren’t prompted to read more go back and rewrite.  Were they hooked to continue reading or not?   If not, chances are the production company reader will have tuned out as well.

Robert McKee says that a writer is at top form perhaps ten percent of the time.  More to the point, Ernest Hemingway said, “The first draft of anything is shit.”  Hemingway wrote forty- seven endings to A Farewell to Arms.  Writing is rewriting.  It may take ten, twenty, or thirty drafts to get your script in shape.  Pros go the distance.   Keep at it!