Transcript of Moonrise Kingdom — Where Story Meets Style
Lessons from the Screenplay
0:00Hi.0:01I'm Michael.0:02This is Lessons from the Screenplay.0:08Some people consider Wes Anderson a genius,
subverting conventional film language while0:12creating his own dialect.0:14Others consider his films artfulness mistaken
for art, devoid of meaning.0:20While I am a fan of most Wes Anderson films,
I think Moonrise Kingdom is the best example0:24of story matching style.0:27The color palette and storybook-like presentation
create a world similar to the fantasy novels0:32Suzy carries with her.0:34But today I want to glimpse past his visual
style and look at other elements.0:39To examine how the screenplay sets the stage
for the story,0:42And how it uses details to create the fantastical
and dangerous world of Moonrise Kingdom.0:54We all know what a Wes Anderson movie looks
like, but what does a Wes Anderson screenplay0:58look like?0:59Here are a few things I thought were
noteworthy.1:01In the scene headers, Anderson and co-writer
Roman Coppola chose to use a second period1:06instead of the traditional dash.1:08When there is information relevant to the
story world, but not inherently obvious in1:11the screenplay, it is noted in parentheses.1:14There are very few specific mentions of the
camera.1:18The narrator directly address it.1:20Insert shots are noted.1:22Split-screen is described.1:24Any other camera visuals are implied by the
mention of elements in the foreground or background.1:29Lastly, many of the visual details Anderson
is known for can be found in the screenplay1:34as well.1:35The action lines note specific decorations,
placements of objects, and costume details.1:41But besides painting a picture for the reader,
what do these details actually add to the narrative?1:49From the lining of the tent, to the color
of the paper on the bulletin board, the screenplay1:54is full of detailed descriptions of the world.1:57But what I found most interesting were the
details describing the lives of the characters.2:02Each character is doing something else when
we meet them, going about their normal routines2:07before getting roped-in to the story.2:10This is true not only of the main characters,
but of the smaller ones, like Becky the2:14switchboard operator.2:16“A young woman with her hair in a bun sits
at an operator's switchboard eating a sandwich2:21wrapped in wax-paper.”2:22“She is Becky.”2:25So why is Becky eating a sandwich?2:27I have no idea.2:29Other than it sets up an association with
her and food, which comes in to play again2:33in a later scene:2:34“Becky opens a tin of home-made lemon bars.2:37Captain Sharp declines one.”2:39“Scout Master Ward tries one."2:41"He looks completely enchanted.”2:43Becky could have simply been a generic switchboard
operator.2:46But instead she's given these tiny moments
that hint at her life outside her function2:51in the story.2:52These cookie-sharing moments even begin a
love story between her and Scout Master Ward2:57that happens in the very, very background
of the movie.3:00—"You?"
—"Are you alright?"3:02"Of course I am."3:04This is a small, quirky thing.3:06But the accumulation of all these tiny details
helps fill out the world and make it feel3:11believable.3:13Lived-in.3:14Like it existed before the movie began and
will persist after it ends.3:18And this is important because it makes the
audience feel like the characters’ actions3:22will have repercussions on the world.3:25That their choices matter.3:27These details also help the audience become
familiar with the setting of the film.3:32As Screenwriter William Goldman wrote in his
book, “Adventures in the Screen Trade”:3:36"Every movie sets it's own special reality."3:39"And once those limits are established, they
may not be broken without the risk of fragmenting..."3:44"...the entire picture."3:46This is why it's necessary to set the stage
for your story.3:56The first fifteen pages of the film are dedicated
to setting the stage.4:00The narrator gives us a tour of the island,
and foreshadows the coming storm, establishing4:05the time frame of the story.4:07“We are on the far edge of Black Beacon
Sound…”4:09“…famous for the ferocious and well-documented
storm which will strike from the east…”4:14“…on the fifth of September — in three
day’s time.”4:19We meet the Khaki scouts and see their potential
for violence as they search for Sam while4:23carrying very large, very dangerous weapons.4:26“What if he resists?”4:27“Who?”4:28“Shakusky.4:29Are we allowed to use force on him?”4:30“No, you’re not.4:31This is a non-violent rescue operation.”4:33By the time Suzy and Sam meet in the field
on page seventeen, we know the cast of characters,4:39the scope of the world, and the threats that
are coming their way.4:43These threats are realized in my favorite
example of establishing the rules of the world,4:48when Suzy and Sam encounter the Khaki Scouts.4:51“You’re doomed, Shakusky.”4:53Their fight is not without casualties.4:57One of the scouts is stabbed by Suzy...4:59"Oh no!"5:01...and the dog is killed.5:03Obviously, I'm sad the dog dies, but
it raises the stakes for the world.5:08If the film is willing to kill the dog, it
removes a layer of safety.5:13This is an attribute of Moonrise Kingdom that
Wes Anderson is very conscious of.5:17"Owen and I used to always discuss whether or not—
'can anyone die in our movies?'"5:22"Is it conceivable that someone can die?”5:25“I think this movie, I think, is one of the ones
where they could die."5:30This especially serves the final act of the
film when the storm hits.5:34In the last moments when Suzy and Sam climb
to the roof to try to escape, there is a real5:38sense of danger.5:40This is important because their willingness
to die for their love is only impactful if5:45you think they could actually die.5:47This demonstrates the importance of establishing
the boundaries of what can and can't happen5:52in your story.5:54The last thing I want to talk about is how
the world of Moonrise Kingdom is presented5:58to the audience.5:59In short, the style.6:04In their book “Notes on Directing,” Frank
Hauser and Russell Reich write:6:08“Elements of style are best applied with
intention, purpose, and meaning..."6:13"...not as ends in themselves.”6:16The elements of Wes Anderson's style are well-documented, but what is their purpose?6:21Most films want you to disappear into the
narrative and forget that you're watching6:25a movie.6:26They use conventional cinematic language that
doesn't draw attention to itself.6:30Wes Anderson is the complete opposite.6:33From a narrator who addresses the audience
and interacts with the camera...6:37...to Suzy's books updating the audience on where they are in the story...6:41"Part Two"6:42...the style of Moonrise Kingdom is a constant
reminder you are watching a movie.6:47Perhaps the most distancing element of the
style is the dialogue.6:51The characters are very direct, sometimes
to the point of being harsh.6:56“I have to do better."6:58"For everybody.”6:59“Except me.”7:01“Except you.”7:03They almost never lie, instead speaking aloud
precisely what they’re thinking or feeling.7:08“I hope the roof flies off and I get sucked
up into space.”7:12“You’ll be better off without me.”7:14So the dialogue of Moonrise Kingdom shirks
realism in pursuit of something else.7:19But what?7:21On one hand, the dialogue provides the audience
with direct access to the thoughts and feelings7:26of the characters.7:28A connection.7:29But on the other hand, the lines are so plain
and performed with such little affect, that7:34hardly any emotional meaning is conveyed in
the delivery.7:38A distance.7:39This creates a dissonance, where the audience
is exposed to intense emotions but also held7:45at arm's length, unable to be fully immersed in the experience.7:49Rather than having the meaning delivered to
us, we the audience have to actively engage7:54and discern the emotional life of the characters
ourselves.7:58“I’ll be out back.”8:01“I’m going to find a tree to chop down.”8:05This Brechtian approach to storytelling can
make Wes Anderson's films more of an intellectual8:11exercise than escapist entertainment.8:13But it's also why I think his style supports the theme and story of Moonrise Kingdom particularly well.8:19Because Suzy and Sam are trying understand
their world too.8:22They’re both troubled children who have
finally found a person and a place that makes8:27them happy,8:28but all the adults are trying to keep them
apart.8:31“We’re in love."8:33"We just want to be together."8:35"What’s wrong with that?”8:38The presentation of the story mimics the innocent
earnestness of childhood clashing with the8:42emotional barriers we construct in adulthood.8:46All while telling the story of two kids who
are undergoing the frustrating transition8:51from one to the other.8:54In Moonrise Kingdom, the beach that Suzy and
Sam claim as their own is wiped off the map8:59during the storm.9:01For me, this is a metaphor for the end of
childhood.9:04A time of intense emotion and innocence that
must be destroyed in order to grow up.9:10But this film, both because of the content
of the story and the way it's told,9:15briefly recreates this bittersweet period of transition.9:19It’s a piece of art that lets me return
to Moonrise Kingdom whenever I want.9:34Let me show you my end-card graphic.9:41This is the subscribe button.9:42You click this if you want more videos on
great screenplays.9:46Here’s a link to my Patreon.9:48This is if you want to support the channel
and help me make more videos.9:52Here you can watch my previous videos.9:54There are several.9:56Finally, down here is social media information.9:59This is if you want to say “hi.”10:01I hope you enjoyed my video on Moonrise Kingdom.10:04Which of Wes Anderson’s films is your favorite?10:07Let me know in the comments below.10:08And thank you for watching.
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