L 6 :
C O N C L U S I O N S
Claus Tieber
Music in Screenplays
• Two column format
• Film musical
• Musical numbers
• Diegetic songs
• Extra-diegetic music
Claus Tieber
.HS
b e g l e i t e t .
Karolinens
L i e d .
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aischt noch e i n e halbe
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die Türe öffnet sich,
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Schubert kommt ins B i l d ,
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s a g t ' l e i s e :
TWO COLUMN
SCREENPLAY
We settle on the CAR from which this new tune is playing
The driver is a YOUNG WOMAN. She hums along to the r i f f
her radio — then starts SINGING.
FADE IN.. .
A sun-blasted sky. We HEAR radios — one piece of music after
another...
We're —
EXT. 101 FREEWAY - DAY
Cars are at a s t a n d s t i l l . It's a h o r r i f i c t r a f f i c jam.
Morning rush hour. Sun beating down, asphalt shimmering i n the
heat. The blown-out downtown L.A. skyline hovers i n the
distance.
We DRIFT past more CAES. Hear one snippet of audio after
another...
One driver taps his steering wheel to PROG ROCK. Another
sings to OPERA. A third raps along to a HIP-HOP track. We
move from a RADIO INTERVIEW to a FRENCH BALLAD to TECHNO,
u n t i l f i n a l l y we begin to hear...
...a new, original piece of music. . [ANOTHER DAY OF SUN]
Then — she EXITS her car. Then — she start3 MOVING dow
lane.
One by one, more DRIVERS join her — SINGING and DANCING
along. Without a single cut, we've found ourselves in a
FLEDGED MUSICAL NUMBER
Drivers leap on car-tops, dance Jerome Robbins-style, ma
use of the road and the hot gleam of the automobiles. Ar.
swaying, feet banging, dancers darting, as the MUSIC bla
We WEAVE and SWIRL and DART between and around the cars,
taking the magic in...
Finally — all the drivers swing back into their vehicle
and the song comes to a dramatic stop.
F l a s h t i t l e card:
WINTER
La La Land
(USA 2016)
Director & Screenwriter:
Damien Chazelle
Claus Tieber
THE C A S E
OF
NOTORIO
US
Notorious (1946)
Producer: David O.Selznick
Screenwriter: Ben Hecht
Director: Alfred Hitchcock
Mo+ortous Woman of many Desires!
Fateful Fascination!
^ J o l d Intrigue!
CARY
GRANT
ALFRED HITCHCOCK'S
CLAUDE RAINS}
[Ullis CM.HEIN • MUMME KONSTANTIN
KwM b) ALFRED rafe <>
1
1
r
We've arranged f o r her t o meet S e b a s t i a n
at the P r e s i d e n t ' s palace tomorrow a t
three o'clock. Mr. B e a r d s l e y i s h a n d l i n g
t h a t . T h e r e a f t e r , y o u ' l l be h e r c o n t a c t ,
D e v l i n .
Second Treatment
Feb. 10th, 1945
Dialogue Treatment, April 16t h
, 1945
• PICRA
• This i s more l i k e opera than p o l i t i c s , gentlemen.
( . . . )
• PICRA
• But what i f t h i s Sebastian ignores her?
• BEARDSLEY
• He won't ignore Miss Huberman-I guarantee that.
Claus Tieber
Temporary Screenplay, May 9th, 1945
BEARDSLEY
I can assure you, Dr. P i c r a , t h a t the g i r l we have brought down i s
p e r f e c t f o r the j o b - from every p o i n t of view.
PICRA
But i t i s so t h e a t r i c a l an e n t e r p r i s e . Sending out a young l a d y t o
win the l o v e of a N a z i underground l e a d e r - t o become h i s sweetheart
- and b e t r a y e r . That i s more l i k e opera than p o l i t i c s , gentlemen.
BEARDSLEY
Granted, i t ' s t h e a t r i c a l . But so i s the t h i n g we're up a g a i n s t .
There's no b e t t e r way of g e t t i n g a t i t q u i c k l y and thoroughly than
sending a woman a f t e r t h i s f e l l o w S e b a s t i a n . He's the head of the
whole N a z i business down t h e r e and d i r e c t i n g t h e i r work.
PICRA
(quietly)
I know - I know. Despite a l l t h i s - i t s t i l l does not sound e n t i r e l y
reasonable t o me. A young lady f l i n g i n g h e r s e l f a t a Nazi underground
l e a d e r . S u r e l y t h i s man Sebastian has enough sense i n h i s e v i l head t o
become a l i t t l e s u s p i c i o u s a t t h i s l o v e l y stranger a s s a u l t i n g him.
PRESCOTT
You are q u i t e r i g h t , E x c e l l e n c y . We s e l e c t e d Miss Huberman, however,
because she i s not a stranger t o Sebastian. Our i n f o r m a t i o n i s t h a t he was
very much i n love w i t h her four years ago. He saw a l o t of her - and her
f a t h e r a t the time.
(. . .)
PICRA
This i s very i n t e r e s t i n g - and makes the e n t e r p r i s e a l i t t l e more
reasonable."
Temporary Screenplay, June 11th, 1945
• DR. PICRA
• But i t i s so t h e a t r i c a l an e n t e r p r i s e . Sending
out a young l a d y t o win the love o f a German
propaganda c h i e f - t o become h i s sweetheart and
b e t r a y him. That i s more l i k e opera than
p o l i t i c s , gentlemen. Why not s i m p l y take him
i n t o custody?
Claus Tieber
Final Script, Sept. 18th, 1945
PICRA
I do not q u e s t i o n the g i r l . Such i s not my
o b j e c t i o n . I simply q u e s t i o n why you don't take
the German c h i e f i n t o custody.
Claus Tieber
PRESCOTT
That's the beauty of the s i t u a t i o n , E x c e l l e n c y .
Miss Huberman, a c c o r d i n g to our i n f o r m a t i o n ,
knew Sebastian four years ago.
• PRESCOTT
• S e b a s t i a n was very much i n l o v e w i t h her then
- he saw her very o f t e n .
• PICRA
• I see, I see, t h i s i n f o r m a t i o n makes the
e n t e r p r i s e more p l a u s i b l e .
Claus Tieber
Film (Aug. 15th, 1946)
PRESCOTT
M i s s Huberman was c h o s e n n o t o n l y b e c a u s e h e r f a t h e r g i v e s h e r
an i d e a l b a c k g r o u n d , b u t b e c a u s e S e b a s t i a n knows h e r .
This is news for Devlin.
PRESCOTT
Oh y e s , he was once i n l o v e w i t h h e r
DEVLIN
Oh, I d i d n ' t know t h a t .
Claus Tieber
cont.
PRESCOTT
I d o n ' t s e e why we're a r g u i n g a b o u t p e t t y t h i n g s l i k e t h i s
We've g o t i m p o r t a n t work t o do.
Claus Tieber
Problems - Solution
• Alicia's character: she is more or less a prostitute
• the relationship between Alicia and Devlin: he loves her, but must
convince her to sleep with another man
• the Nazi conspiracy is never specified
Claus Tieber
Claus Tieber
Linda Williams
• Melodrama is the fundamental mode of popular American moving pictures. It is
not a specific genre like the western or horror film; it is not a ..deviation" of the
classical realist narrative; it cannot be located primarily in woman's films,
„weepies", or family melodramas - though it includes them. Rather melodrama
is a peculiar democratic and American form that seeks dramatic revelation of
moral and emotional truths through a dialectic of pathos and action. It is the
foundation of the classical Holly- wood movie. 101
Claus Tieber
Peter Brooks
• Melodramatic structure moves from the presentation of virtue-as-inno-cence to
the introduction of menace or obstacle, which places virtue in a situation of
extreme peril. For the greater part of the play, evil appears to reign triumphant,
controlling the structure of events, dictating the moral coordinates of reality. 115
Claus Tieber
Characteristics of Melodrama
• Manichaean Worldview
• Good and bad
• Characters as representants: types, not individuals
• Passive protagonists, trying to keep their virtue
• Dual Focus Narrations
Claus Tieber
• Coincidence, Deus ex machina
• Action, spectacle and pathos
• Self-conscious and self-reflexive mode of representation
• Explicit moral(istic) message
Claus Tieber
Models and Films
• Devdas
m Little Miss Sunshine
m Die Hard
• Equilibrium
• Fairytale
• Semantic fields/dualism
• Hero's Journey
• 3 Act Structure, Plot
Points, goal-driven
• Melodrama
Claus Tieber
Changes and Challenges Today
• Globalization
• Streaming
• Digitalization
• Transmedia storytelling
• storyboarding
Claus Tieber
Open points
Topics • Questions
Claus Tieber