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Killing Them Softly: How A Screenwriter Murdered His Own Protagonist
Character Analysis by Jamie Wynen
The script including the title page. If the name is on the title page only, the script won’t be disqualified. Include a title page with no name(s) of the writer or writing team. Be submitted in PDF form and must fit all standard screenplay format guidelines. Personal formatting conventions will be accepted but must not intentionally. Torrent Download Graphpad Prism Mac Free Virtual Dj Le Crack killing them softly script pdf marathi natak Yonichya Maneechya Gujgoshti. To download YONICHYA MANEECHYA GUJGOSHTI PDF, click on the Download button. Haven't gone through all of them yet, but the ones I checked are real scripts. Many are shooting scripts with the usual indicators. Lots of common ones, so if you already collect, then you probably have a lot of them. Killing Them Softly is a 2012 American neo-noir crime film directed by Andrew Dominik and starring Brad Pitt, based on George V. Higgins' novel Cogan's Trade (1974). On May 22, 2012, the film premiered in competition for the Palme d'Or at the 2012 Cannes Film Festival and received positive early reviews.
Andrew Dominik’s (The Assassination of Jesse James, Chopper) latest film is an adaptation of the novel 1973 crime novel Cogan’s Trade, starring Brad Pitt as the excitingly dangerous Jackie Cogan, Animal Kingdom veteran Ben Mendelsohn, and the implausibly named Scoot McNairy. No really, that’s his actual name. It sounds like the punch line in a dirty limerick, but you’ll recognize him from TV land (Bones, The Shield). Unfortunately, despite a variety of strong characters, the story has more cogs missing than a clock tossed into a minefield.
If you’ve got a powerful, flawed, empathetic protagonist, why would you introduce him well into the second act?
After two junkies stage a daring heist on the local crime syndicate, the crime lords decide to fix everything by the expedient method of wholesale murder. Pitt, looking as though he stepped off the set of Fight Club by way of a boutique leather fetish store, plays a professional hitman with an aversion to people begging for their lives, which is about as blatantly ironic as you can get. Yet Pitt creates a compelling, mysterious, and ultimately empathetic character that I wanted to see more of.
Which is the first problem with this script. If you’ve got a powerful, flawed, empathetic protagonist, why would you introduce him well into the second act? I spent the first thirty minutes thinking it was the trainwreck junkie Mendelsohn’s story, which is just bad writing when you’ve got Brad Pitt tearing through the city firing off twelve-gauge shotgun rounds and pithy one-liners like a homicidal Jerry Seinfeld. This is an extreme case of failing to enter the scene as late as possible – we’ve entered the entire film far too early, at the expense of a well fleshed-out third act.
But this amazing protagonist is still further mistreated – by which I mean he is indulged. Cogan has got everything under control, identifying problems and avoiding all conflict with smooth, masterful manipulation. When he does choose to step in and get his hands dirty, his strikes are surgical and precise, as calm and routine as a day at the office photocopying contracts. Sure, there’s more blood and teeth lying around afterwards, but Cogan is never challenged, never given the stimulus to grow. He never leaves his ordinary world. Not once did I feel like Cogan was in danger. The character would’ve been so strongly improved by the addition of just one powerful confrontation at the climax. Instead, he gets his way, almost every time.
The strongest major conflict in the film never comes to a head, and is resolved offscreen.
Obstacles, instead of being presented through powerful visual metaphor, are delivered via dialogue. A spokesperson for the crime syndicate blandly mumbles his way through exchanges that should have been burning with tension. The strongest major conflict in the film – a potential challenge from another assassin – never comes to a head, and is resolved offscreen. We only find out through dialogue. This is the kind of epic, tense clash of titans that cinema was meant for! Instead we’re watching characters sit in cars and tell us about it. Cinema is a visual medium, with dialogue functioning best when giving action contrast, context and reinforcement. When vital conflicts are occurring in quiet, bloodless conversation, your audience is going to drift off and miss it.
But how can obstacles be important if there’s no reason to overcome them? Cogan doesn’t seem to want anything, except to kill a bunch of guys for money. That’s not compelling, because there are no stakes. The only people with stakes are his prey, the soon-to-be-corpses who exhibit the understandable but ultimately futile wish to keep their blood inside their bodies. By contrast, what has Cogan got to lose? What has he got to gain? What makes us side with him? All he has to gain is money, which is fine as an intermediate goal but is pretty dull and uninteresting as a long-term desire.
Even the most realistic film is still a story being told…
Desire and need drives a film, and Cogan can’t supply those things because he doesn’t have a character arc. He’s not going anywhere except murder town. Though Cogan shows flashes of a human soul beneath the calculating murder-robot façade, it’s never expanded on, and that’s garment-rendingly frustrating.
Having said all that, I actually loved Killing Them Softly. The world is rich, devastated, and tragically beautiful. The characters are nuanced and well-directed, the fighting shockingly visceral to behold. This is a dark film, with aspirations of grittiness, realism, and the experience of living with despair. But even the most realistic film is still a story being told, and whatever cinema magic is to be found in this film didn’t come from the script.
Killing Them Softly is out 11 Oct 2011.
[box] Jamie is a Communications graduate who has been writing since he was nine years old, and writes at this same high standard today.He is generally to be found working on short films and webseries (webserieses?), and writes and shoots for The Story Department.[/box]
America...
I say to the people of America...
This moment is our chance to...
Enough-
To make of our own lives
what we will. It is...
That pushes us forward.
The Americanpromise alive.
It is that promise that's
always set this country apart.
It's a promise
that says each of us has the freedom...
to make of our own lives what we will.
You're late!
You're fucking 3 hours late!
Don't start on me.
You couldn't
have gotten me somebody else?
This item looks like shit,
and he's got no fucking manners.
I'm not gonna
put up with shit like this.
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All right, look, you asked me
to get somebody that was all right.
You know, Russell here,
he's kind of a wise ass,
but he's all right if you can stand him.
Yeah, and a guy like you,
you want a job done...
you don't
have the balls to do it yourself,
I think you ought to try pretty hard to.
I don't like this guy.
He's too fuckingfresh for my blood.
Russell, will you shut the f*ck up
and stop jerking the guy's chain?
He's trying to do us a favor here.
He's trying to do us a fucking favor?
Yeah, he's trying to do us a favor.
I thought
he wanted us to do him a favor.
Is that the straight shit, Squirrel?
You trying to do me a favor?
Get the f*ck out!
Man, what are you
talking to me like that? Come on.
You sell people dry cleaning
and you talk to them like that?
You know something,
the two guys I get to do this...
they're gonna cut up about 30,
I figure 30K.
And Australians like him. Frankie...
Australians like him
I can buy for 80 cents a dozen.
They throwanother one in for free.
So you know what you do, Frankie?
You get me another guy...
cause I'm not gonna
put up with this kind of shit.
Look, John,
it'll be all right, okay? Trust me.
Hey, my friend, you picked
the wrong guy for a thing once.
You remember that?
You remember the doctor?
And I knew, I just knew
that this was the wrong guy.
What do I do? I take him anyway.
John, I need the dough.
Don't f*ck around with me like that.
And after 7 years in the can
and my kids are growing up...
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what it should be, you know,
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I can't get that back.
So from now on, I'm taking
my time and that's all there is to it.
I had my last f*ck-up.
Call me Thursday. Thursday I'll know.
I've got to give
a new direction to this economy.
Come on. That a girl. Good girl. Look.
All right, you're here.
So we going out there or what?
That depends.
Don't depend on me.
It's Thursday.
You coming with me or not'?
Man. F*ck that guy. He's a dick.
Doesn't know if he wants me or not.
Well, I don't need him, mate.
I got my own thinggoing on, mate.
Me and Kenny, you know,
we're snatchingthese dogs...
purebreds,
and selling 'em down in Florida.
I got 5 grand in the kit, mate.
When I get 7, I'm gonna go
and buy an ounce of smack...
and I'm gonnabecome a dealer.
Plus this afternoon...
I got a girl I can go and f*ck.
Right?
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So I'm thinking it's a choice,
you know. Oh, tough one.
Am I gonna go and f*ck a girl
or am I gonna go to a meeting
with the Squirrel?
Oh, f*ck a girl, meeting with Squirrel.
F*ck Squirrel.
I think I'll go f*ck the girl.
I'd like to see this girl.
The kind of girl you can
screw off an ad in the paper?
Beautiful. Probably got a couple
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of handfuls of brokenglass in there.
Well, yeah, these girls, you see 'em...
you probably wouldn't want to rape them,
but all the plumbingworks just fine.
So I guess you're not coming then.
Look, go ahead, see if you can
get him to tell you anythingabout it.
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If you still like it then, then I'm in.