good-will-hunting-screenplay-robin-williamsTối qua ba má con xem Good Will Hunting. Bộ phim này cũ lắm rồi. Matt Damon và Ben Afflect cùng chắp bút viết kịch bản. Đến đoạn độc thoại giữa Sean (Robbin Williams) và Will (Matt Damon) ở công viên, một trong những giây phút quyết định để “đánh gục” Will, hai anh em không chớp mắt. Xong, anh Hai nhận xét “Hay bằng thoại của 8 phim XMen Apocalypse. Viết quá giỏi.”

Mình chép lại nguyên xi từ một blog chuyên về viết kịch bản phim.

SEAN

I was thinking about what you said to me
the other day, about my painting. I
stayed up half the night thinking about
it, and then something occurred to me, and
I fell into a deep peaceful sleep and
haven’t thought about you since. You
know what occurred to me?

WILL

No.

SEAN

You’re just a boy. You don’t have the
faintest idea what you’re talking about.

WILL

Why thank you.

SEAN

You’ve never been out of Boston.

WILL

No.

SEAN

So if I asked you about art you could
give me the skinny on every art book
ever written…Michelangelo? You know a
lot about him I bet. Life’s work,
criticisms, political aspirations. But
you couldn’t tell me what it smells like
in the Sistine Chapel. You’ve never
stood there and looked up at that
beautiful ceiling. And if I asked you
about women, I’m sure you could give me a
syllabus of your personal favorites, and
maybe you’ve been laid a few times too.
But you couldn’t tell me how it feels to
wake up next to a woman and be truly
happy. If I asked you about war, you
could refer me to a bevy of fictional
and non-fictional material, but you’ve
never been in one. You’ve never held
your best friend’s head in your lap and
watched him draw his last breath,
looking to you for help. And if I asked
you about love, I’d get a sonnet, but
you’ve never looked at a woman and been
truly vulnerable. Known that someone
could kill you with a look. That someone
could rescue you from grief. That God
had put an angel on Earth just for you.
And you wouldn’t know how it felt to be
her angel. To have the love be there for
her forever. Through anything, through
cancer. You wouldn’t know about sleeping
sitting up in a hospital room for two
months holding her hand and not leaving
because the doctors could see in your
eyes that the term “visiting hours”
didn’t apply to you. And you wouldn’t
know about real loss, because that only
occurs when you lose something you love
more than yourself, and you’ve never
dared to love anything that much. I look
at you, and I don’t see an intelligent,
confident man, I don’t see a peer, and I
don’t see my equal. I see a boy. Nobody
could possibly understand you, right
Will? Yet you presume to know so much
about me because of a painting you saw.
You must know everything about me.
You’re an orphan, right?

          Will nods quietly.

SEAN (cont’d)

Do you think I would presume to know the
first thing about who you are because I
read “Oliver Twist?” And I don’t but the
argument that you don’t want to be here,
because I think you like all the
attention you’re getting. Personally, I
don’t care. There’s nothing you can tell
me that I can’t read somewhere else.
unless we talk about your life. But you
won’t do that. Maybe you’re afraid of
what you might say.

          Sean stands.

SEAN (cont’d)

It’s up to you.

         And walks away.

Now THAT’S a monologue.

But it works. And it works because that long speech is the only way Sean could accomplish what he was trying to do in that scene. This becomes even clearer when you go back through the script and look at it in context with Will’s dialogue. When he’s dealing with people in positions of authority, the majority of his dialogue blocks are over five lines long. He’s a talker. He uses his intelligence and his words to overpower people and get what he wants – usually to be left alone.

The only way for Sean to combat that, is the launch into this tirade where he not only debunks every defense Will has used against him, but does so in a fashion which doesn’t give Will a chance to respond. If he can’t get a word to the contrary, then he can’t take over and regain control.

And that’s the point. Sean’s monologue works so well not just because it’s well written – but also because it works structurally within this particular story.

Keep that in mind when you’re writing, and the monologue can be a powerful tool in your arsenal.

So, what do you think? What other film monologues can you think of that are essential to be there in that form?

http://www.scriptmag.com/features/specs-the-city-monologues-and-good-will-hunting

 

Advertisements