In my last post I shared a discovery. Screenplays are out on the internet with just a click. “How can this be?” I have wondered and still wonder in an age when there are an array of book sites and Amazon is eager to download any title to your kindle or nook for your card number. I took this as an opportunity to investigate an interesting fact I had learned about screen play writing. An important page the author must finesse is p. 17 – translated as minute 17 of a movie. Here are five more p. 17’s I’d like to share with you.
1. Another favorite chick flick of mine is Sleepless in Seattle. On p. 17 we see a bubbly Annie and handsome Walter loaded down with Christmas presents headed to a Christmas Eve family reunion. What’s not to love about seeing this handsome couple together on Christmas Eve bound to spend time with the fiancé’s family? However, something is not quite right with these two. Already we know the two are engaged, however Annie’s only meeting so far of each family member is through his description of them. She seems a bit too studied, very high strung and intent on pleasing him. Clearly she is not happy, at least not genuinely happy. Screenwriters: Nora Ephron, David S. Ward, Jeff Arch
2. In the movie Little Miss Sunshine Olive has just learned on p. 17 that Uncle Frank almost committed suicide. Now that’s a lot for a little girl to take in. Over the same conversation Richard explains to Olive that Uncle Frank had given up on himself which he adds “is something that winners never do.” There is the theme of the film, winners vs. losers in life. Screenwriter: Michael Arndt
3. In Toy Story 3written by the same screenwriter as LMS, p. 17 occurs on “garbage day”. It’s the scene when Andy’s mother plants a box in his room, labels it “college” and tells Andy he must choose the things he’s going to take with him. That is the moment Andy realizes he will soon be leaving his room and all things familiar behind. Decisions need to be made concerning what must be cleared out and what stays. The audience understands he will not be taking the toys with him. Screenwriter: Michael Arndt
4. A brilliant p. 17 lies in the script of The King’s Speech. Lionel
auditions for a play. The stinging words of the director hold no hope for his getting a part or any future part for that matter. The audience has to be thrilled with the very next scene. Still remembering the stinging rejection, we see the King of England no less, and his wife arrive to Lionel’s flat to make a business proposal. Clearly Lionel will be walking onto a very different kind of stage and with no audition. The contrast is brilliant. Screenwriter: David Seidler
5. On p. 17 another one of my favorite chick flicks, Serendipitywe read words like “serendipiocity” and “serendipaciousness” snow down to warm the chill Sara radiates while Jonathan, clearly interested in her makes it a quest to at least get her phone number. On the same page she reveals she has a boyfriend. The chemistry of the quick dialog convinces the audience they must match up. Screenwriter: Marc Klein
Since I shared this with you, have you found your own favorites?
Confession to your confession. I’m a teacher, and I haven’t read a new novel in forever. And I started the neighborhood book club! Writing has been eating up so much of my time. But I think this Minute 17 (or p. 17) thing is really interesting. It’s like, you’d better have us hooked by then, or else people gonna be walking out of the theaters.
It’s important to remember a lot of those films were books first, so dissecting them like you would a book is just as important as if you were actually reading. I think you are using your same skills and applying them to a different venue.
And you get to eat popcorn! 😉
Thanks for stopping by the other day! Great comment! 😉
Nope, not getting a dog. Rick just has to fix that doorbell. (wink)
In addition to Spanish language and culture, I teach Spanish literature. One novel I absolutely loved for its cinematographic techniques was La Casa Verde, The Green House, by Mario Vargas Llosa, Nobel Literature Prize laureate, 2010. Although he just recently was awarded the prize, he wrote this early in his writing career. Since then, I’m convinced that the techniques of writing a novel and writing a screenplay are merging.
haha–funny you mention the popcorn. I commented on TGG’s site the other day a perfect date might be reading a screenplay and eating popcorn.
I would’ve never thought to have done such an inquiry! I do love the movies you mentioned & find their p. 17s very interesting indeed – thank you for this insight! Hugs for you, Master Blogger!
Thank you for the hugs. Yours are always so warm.♥ Have a great weekend.
This whole thing is intriguing. Does the page 17 rule always happen?
One has to go the script to find out. But, I think from what I have read, it plays out in these ten. Check it out and weigh back in.
i find it fascinating that page 17 so often delivers the crux or the theme. 🙂
I don’t think I’m finished yet searching, reading and analyzing. But this will do right now for posting. I agree, it is fascinating. 🙂 Those screenwriters do know their craft.
I don’t see many movies, but Sleepless in Seattle is a favorite!
I do love that one and have watched it several times around the holidays. 🙂
Jonah Baldwin: Talk to her, dad. She’s a doctor.
Sam Baldwin: Of what? Her first name could be Doctor.
an all time favorite of mine, too : ) MJ
I love this scene. Wonder what minute of the movie this is? Is this 17?…I have to go back and recalculate perhaps.
You were serious about that popcorn and screenplay on the Internet idea. I had no idea they were only a click away. Can you also find television scripts?
Yes, they are. Key in the movie script Iron Woman screenplay for example, and voilá. Most are out there, just a click away without asking for your card number. Yes, TV scripts are out there too. Just google the series, X screenplay. They take a bit more time, but yes, they are out there, too.
Is there a trick to finding page 17? Do you have to download it?
I wish it were that easy, but the fun is googling the script, for example, The King’s Speech screenplay. Scroll to p. 17, read it, and if you know the story from viewing the film, you analyze what’s there and realize there is the springboard for the rest of the action. It takes a bit of sleuthing and then some quick analysis.
You’re really taken with this, aren’t you? It’s fun to see someone discover something new, something that gives pleasure. The only movie you mention that I’ve seen is “The King’s Speech”, and I absolutely loved that one. But movies to me are only for watching – I just am not that interested in the “hows” of doing it.
In some ways, I approach movies like a child approaches a magician with a few tricks up his sleeve. I’ll become completely rapt, all attention, just watching the magic unfold. But don’t tell me the trick!
(smile) I guess I am. Back in the 70’s I read La Casa Verde, The Green House by Mario Vargas Llosa (Peru). I couldn’t put it down. I had just started earning an M.A. in Spanish Literature. It was long…but fast moving with its cinematographic techniques and several plot lines. Then, I read Carlos Fuentes (Mexico), Gabriel García Márquez (Colombia), Jorge Luis Borges (Argentina), Julio Cortázar (Argentina) and Ricardo Talesnik (playwright-Argentina). All of them wrote screen plays, too. I knew at that point both the techniques of novel writing and screenplay writing were merging. They had to have merit for these novelists/short story writers to take it up. Márquez and Vargas Llosa both were awarded Nobel Prizes for Literature, 1982 and 2010 respectively. If all of them had taken up this genre, I knew it was for literary purposes, to develop their craft. They are giants in Spanish Literature.
I am wondering why screen plays don’t sell for reading, much like we read plays? Is this genre not deemed literary? It does give me pleasure to mine these films/works, albeit American, for their literary merit not only for their popular appeal.
Charles Nelson Reilly (died in 2007), known for his comedic roles and directing, became an acting and directing teacher. I will never forget an interview he gave on a popular talk show. He scorned young people who entered acting/directing with no knowledge base of literature. His clear message that day was to read. Get to know all genres, prose, poetry, drama–the structure of a play and the characters.
One more thing. The last screenplay “Serendipity” has Sarah finally agree to write her phone number in a random? book. To Jonathan’s frustration, she takes the book and tells him she will sell the book in a NY used book store. If they are meant to meet again he will run across the book, her phone number and then, only then does she give him permission to call. Imagine my delight, when I saw that the book she wrote her phone # in was Love in the Time of Cholera by G. G. Márquez!
Page 17 is very formulaic. Is that why screenwriting isn’t taken as seriously? So I will keep reading all genres to see what else I find if for no other reason but to enjoy the read.
Love this … you’ve cracked the secret code … again 🙂
MJ
haha…No, I didn’t crack the code, just followed up on some reading! Glad you’re having fun with it. Good screenplays aren’t a mindless accident. They are carefully crafted. 🙂
So very cool. Serendipity was a wonderful choice, too. Very good movie..
I LOVE that movie. And when Sarah writes her phone number in Love in the Time of Cholera by G. G. Marquez.. that was brilliant!
You and I are definitely on the same page. These movies are pretty much among my faves too. Actually, they all are. Thanks for sharing page 17, something else we’re on the same page about. 😉
Aren’t these great?! They have to be among my favorites, besides musicals. No, I’m not even going to check the p. 17 of a musical…the music is enough for me. I have a feeling you may enjoy musicals, too. 🙂
I love musicals! 🙂
I’m so grateful that you’re sharing your page 17 adventures with us. It’s fascinating and enlightening. I I’ve only seen 3 of the movies you shared. (I loved Sleepless, and the King’s Speech! Thought both were brilliant and well written. I’m going to check out their page 17’s!
My congrats on getting your MA in Spanish Lit.
I’m glad you have enjoyed these. I just couldn’t resist another post of what I had found. It would be fun to read other finds.
So glad you did another post, Georgette! I decided to look one up too. The Shawshank Redemption — which is one of my all-time favorite movies. I found the screenplay here: http://www.dailyscript.com/scripts/shawshank.html but wasn’t sure if you were referring to the number 17 in with the other numbers in the left-hand margin? You’d mentioned something about possibly putting the text into Word to find page 17… which one should I do? I’d like to see how your reference pans out in this great film.
I just looked at it. I’m pretty sure the numbers on the left are scene #’s. I copied and pasted into word, but I’m not so sure that p. 17 marks the spot. Believe it or not, I have not seen the movie, so at this point wouldn’t be qualified to comment. I will have to yield to my husband who has, loves it and may better pinpoint the 17th-ish minute. We will look at 16 – 18 as I’m not convinced 17 does it for TSR. hmmmm…more research 🙂