JC, how will you write an opening to Beauty and the Beast using inspiration from
these Belle and Beasty adaptations? The opening scene is the first
impression someone has of your story. If done right it will hook the audience
into watching the rest of the movie. I've already explored some craft you can include
in your opening in this Cinderella video: But today I want to dive deep
into the use of narration. The adaptations I will focus on are: Disney's 2017 live action. The 2006 gender-swit
ch creation. And the 2014 French version. I will then apply what I learn to: The 2011 young adult adaptation. And the 1997 romcom spoof. The opening's narration can be done in a few ways. It can be told by a narrator; a character
we never actually see throughout the movie. Or by a character; one that we
do see throughout the movie. We can be addressed face to face or-- Narrator: Or we could be addressed via voice-over. Excuse me. I'm talking here. Narrator: Uh, sorry. How rude of me. The purpo
se of the opening's
narration is to give us the backstory; everything that has happened prior that the
audience needs to know to understand the story. Another purpose of the opening narration is to
establish the story scope and emotional tone. The story scope is clues mentioned to set up the
boundaries a writer has defined for their story. Emotional tone refers to the
emotional atmosphere of the opening and how the narration - what is said and how
it's delivered - adds clarity to the genre
. Now the most important aspect of narration
is how it is paired with the visual tone. Visual tone refers to film
making techniques such as: cinematography editing music colour etc etc. All these are what I like to
call the sensory experience that gives a movie its unique look. The weakest narrations are the ones
that describe what we can already see. Narrator: JC smiles at the camera. Like that. Boring. The strongest narrations are the ones that
give us three layers at the same time. Layer
one: what we see. Layer Two: what we hear. Narrator: JC was in trouble again. Layer Three: the meaning or subtext provided
when the narration and visuals are paired. Narration: JC was in trouble again. Let's watch some opening scenes
and I will explain what I mean. Ooh! The rose. I always forget about the rose. Narrator: Once Upon a Time in
the hidden heart of France... I love how the rose turns into the makeup. Narrator: A handsome young prince
lived in a beautiful castle... Immediately we
are given the genre. It's a fairy tale. Once Upon a Time. But we are also given the location. This is crucial because, right
now, this castle could be anywhere and there are more Frenchisms to
come so clarifying this is important. Oh, let's also mention that the
narration is delivered over voice-over. Oh, that smirk. We're learning
so much about his character. Narrator: Although he had everything his heart
desired the prince was selfish and unkind. This is key information about
one of the
central characters. It's snappy and straight to the point. But the reason it lands so well is
because the visuals elevate it. They demonstrate just how
extravagant and vain he is. So it's not showing us
exactly what we're being told, it's providing context to what we're being told. Like how his selfishness has manifested
into an obsession with beauty, which feeds into the theme of this movie. And we are given it so seamlessly
within the first minute of the film. Imagine if they had provide
d visuals
of the prince exercising or reading, instead of obsessing over his appearance? It would provide a different
nuance to the opening, right? Cogsworth: Master, it's time. Narrator: He taxed the village to fill his
castle with the most beautiful objects... and with the most beautiful people. What a great use of foreshadowing by the narrator! And the visual support this by
showing us the pocket watch, the candelabra, and the hand mirror. So cool. Can your narration include foreshadowing
? Narrator: ...and his parties
with the most beautiful people. That delivery on the word
'beautiful' is so brilliant. It adds to the sensory experience of the scene as the music swells and we get that
*click* that leads into the musical break. Look how he's lounging in that chair! Oh my god. Chandeliers. I'm
obsessed with chandeliers. It's important to remember that
your narrator does not have to talk to the audience non-stop during your opening. You can step away from them to
introduce ot
her elements of your story. Like in this movie, they give us a song. Why? Because it's a Musical. One full of spectacle. Oh, puppy. So they are giving a taste of it now so when more song and dance comes later it does not feel out of place. They are giving us the mood of the genre. *sings* Enhances chances! During the short interlude without the
narrator, we also meet some key players. And if you listen closely the song's lyrics are telling us things symbolically
about the story to come as well
. It makes sense the narration would pause at
this moment to let those ideas percolate. Singer: Every prince every dog has a day. What are they trying to say there? Stanley Tucci! I love how the knock went in time with the music. Narrator: Then one night an unexpected
intruder arrived at the castle seeking shelter from the bitter storm. Oh, the lighting change. If I had to pick my least favourite line in the
narration so far, it'd probably be this one. Narrator: Then one night an unexpected
Intruder arrived at the castle. Merely because what we are told
and shown are very similar. The only thing that saves it is how the visuals imply possible use of magic
to break down those doors. So, you know, if I had to be picky. Narrator: As a gift she offered
the prince a single rose... Narrator: Repulsed by her haggard appearance,
the prince turned the woman away. This section is an awesome example of
effectively using a voice-over narrator. She tells us the dialogue as the actors
use
their physicality to sell it. Imagine if the Beast said: "Leave, haggard woman" and then the narrator said: Narrator: Repulsed by her haggard
appearance, the prince turned the woman away. It would be redundant. Narrator: But she warned him not
to be deceived by appearances for beauty is found within. Okay, again. Imagine if she said: "Careful how you judge me, boy." And then the narrator said her line: Narrator: But she warned him not
to be deceived by appearances. Redundant. Anyway, I hope I
've made my point. Narrator: When he dismissed her again, the
old woman's outward appearance melted away... So good. Narrator: ...to reveal a beautiful enchantress. She is beautiful. What I love so much about the opening in this
version compared to Disney's 1991 animation, is how the narration is so meta. At first we don't know who the voice belongs to. Is it a character from the story's
universe or someone else entirely? But then, later on, we learn it is her the
enchantress - Agatha, who n
arrates the opening. It just makes the whole story feel
more unified from beginning to end, because she's from the story's world. Is your narrator from the stories universe or not? Narrator: The prince begged for
forgiveness but it was too late. And the fact that we see the entire ball room empty means that no one actually
gives a toss about the prince. Except, perhaps, who's this? Chip! And Mrs Potts. Does the narrator and the visuals create
an emotional connection for us? I think so! Narra
tor: As punishment she
transformed him... ...into a hideous Beast. This line works because they
do not show his beastly form. We only see this: Look how it stretches his nose. Narrator:...and placed a
powerful spell on the castle... Oh, I love that. Already the opening is
building mystery and intrigue. Now I'm asking what does the prince look like now? It makes me want to watch more! As it should. Narrator: The prince and his
servants were forgotten by the world for the enchantress had
era
sed all memory of them... This narration sounds like clunky exposition. But I guess they get away with it because the
visuals symbolically add to what we're being told. A dreary, isolated castle. Yes, it's
been forgotten by the rest of the world. Narrator: But the rose she had
offered was truly an enchant-- Truly an enchanted rose. Narrator: If he could learn to love
another by the time the last petal fell... There's the rose. Narrator: The spell would be broken... If not, he would be doomed
to remain a beast for all-- For all time. And just like that we are
given the stakes of the story. What could take 15 minutes to
set up without a narrator has been established in under four minutes. Narrator: He fell into despair and lost all hope. I'm a massive fan of this kind of narration, because it now means we can launch
into what the story is really about. Narrator: Who could ever learn to love a beast? To love a beast! Ah, that
delivery. I got goosebumps. It just gives us a flicker
of hope, you know. Compare the delivery of the
same line in the 1991 version. Narrator: For who could
ever learn to love a beast? Narrator: For who could
ever learn to love a beast? Narrator: For who could
ever learn to love a beast? They provide a different feeling, am I right? I'm right. So always appreciate the importance of
delivery when it comes to narration. And writers, remember, you have some control over
this with how you put everything on the page. So please, please, please, thi
nk about delivery. The tone of it, the musicality of it. Do it. Final notes as well: it's a decisive move to only
have narration in the beginning, mainly because we learned the narrator,
Agatha, is a character from the universe. So I'm not upset that the narration
doesn't come back, you know what I mean? You know what I mean. Does your story only require
narration in the opening? Or does it call for a bookend
closing like our next movie? Where are you going? I want to know. Look at these lo
cations. Narrator: My parents were
born into to the good life: old money, blue blooded, society sweethearts. Straight away we know who this
movie is going to be about: the narrator and their parents. And from this, and the surrounding visuals,
we are also given a clue to setting. These people have money and the parents
seem slightly eccentric in their wardrobe, so I suspect the rest of the
movie to embody these qualities. Oh, before I move on: the narration
is also done in voice-over. Narr
ator: They were used to gracing
the pages of the society columns. Were they? Narrator: So they welcomed the attention. Ah, this line is so clever because it seeds
one of the core conflicts of the movie: the role of the media and
how it can impact one's life, which makes sense because in the movie's
first half Penelope tries to avoid the media. Then, she embraces the media
and the media embraces her. Reporter: Penelope, is there anything
you like to say to the public? Penelope: Uh, hi. Yes,
so your narration should set up the conflict. Well done, Penelope. How can your narration hint at
the core conflict of your story? Narrator: So they welcomed
the attention on what they supposed would be the happiest day of their lives. Don't we just love irony in narration? I do because of foreshadowing. It won't be the happiest day
of these characters lives and we - the audience - are already wondering why? It's hooked us: 1 minute and
30 seconds in. Impressive. Oh. Where are we now? All r
ight, before we're given any
answers, we're taken back in time. Narrator: But local legend had it that
a curse was put on the Wilhurn family. A curse? Has the narrator
just clued us in on the genre? Some fantasy elements maybe? Narrator: When my great great
great grandfather Ralph... That one. Such personality in that. Narrator: ...had a fling with a lowly servant
girl, Clara, who was soon eating for two. Uh-oh. Narrator: When he told his family of his plans
to marry Clara, he realised how
silly he'd been. Okay, okay, so instead of the character
saying: "I am to marry Clara," followed by: Narrator: When he told his family
of his plans to marry Clara. The narrator summarizes the dialogue for
us, just like in Beauty and the Beast. Let's watch it again. Narrator: When he told his family of his plans
to marry Clara, he realized how silly he'd been. Look at how the family's laughter elevates
everything the narrator is saying. Also in this moment, I wonder... I wonder if we're get
ting an inkling of theme? If you've seen Penelope you will
know that it debates the influence and importance of family on our self-esteem. So isn't that what's happening
to this guy right here? Is he being influenced by his family? How can your narration hint
at the theme of your story? Narrator: Clara was, after all, just
a servant girl and prone to rashes. The comedy is shining through. Narrator: So Ralph married someone more suitable. Before I show the next bit I just want to
give a trig
ger warning for death by sue. Here's the time code you can go to: Narrator: And Clara fell off a cliff. She didn't fall. You know, this is one of the lines -- accompanied by the visuals -- that really
solidify the mood of the genre. This movie won't shy away from this
aspect of the human experience. And once this later scene rolls around: Penelope: Then I'll kill myself. It makes sense why the narrator
would set this up in the opening. The audience needs to know that this is a
real possibili
ty for Penelope as it was for Clara. It wants us to know this movie
has high stakes: life and death. Narrator: That night, Clara's mother, the
town witch, showed up on the Wilhurn lawn... The music's changed. Narrator: She scattered about
animal guts and commanded that the next Wilhurn daughter be
born with the face of a pig... Witch: And only when one of your own kind claims this daughter as their own
will the curse be broken. I love how the narration stops momentarily there, allowing this
crucial piece of
information to reach the audience. But not long enough that we can
overthink it and decide what it means. If you've seen Penelope,
you know what I'm on about. How can you use your narration to guide
the audience to remember key information? Narrator: Time passed. That's my least favourite line as we can
see the tree change through the seasons. However, for those who know that Penelope
is based on Beauty and the Beast, the tree could symbolise the rose. So it's like an Eas
ter Egg. Dude: Yeah, Penelope and the Beast. Narrator: The next five Wilhurn Brides... Oh, that's so clever. This
is such good film making. Narrator: ...who fathered all
sons, who fathered all sons. Back to the tree. I'm loving this motif. The accompanying visuals here are so unique. Already it gives this movie
a very stylized approach, preparing us for the overall sensory experience. Narrator: Which means that the
firstborn Wilhurn girl was me. *mother screams* Narrator: ...was me. The deli
very on that line is so intriguing. Compared to her mother's reaction, the
narrator just seems so calm about it. Why? I've got to watch it to find out more. Narrator: ...was me. Even the baby's cry is like a pig squeal. This line also works, just
like Beauty and the Beast, because they don't show us Penelope's pig face. We only see the little ears sticking out. What does she look like? It makes me want to watch more! Is there any more narration? Dude: Curse or no curse, if I am more than my na
me
and my face then surely you are more than yours. It's true. Penelope: Hi. Dude: She's a piiiiiiiig! She's a pig! First we dive into the movie and see
how this family responds to the curse and how they plan to break it. Remember, your narrator does not have to talk
to the audience non stop throughout the opening. You can step away and introduce other elements. Like in Penelope, this includes
showing us what Penelope looks like: Penelope: I'm not the one who ran mother. Mother: Of course th
ey run, dear, when
you spring yourself at them like that. Spring yourself! Oh, she's so good. Penelope: I showed him my face. Mother: You're not your nose. Penelope: It is my nose. Mother: No! It is her nose. Narrator: I had been reminded over the years
that I was not the only victim of the curse. Penelope's narration is returning now, adding further context to everything we see. Like how her parents tried
to have her nose removed: Mother: Franklin, what's he saying? Franklin? Father: She wou
ld die, sweetheart. How they faked her death. Narrator: She faked my death... ...and had me cremated. The delivery! It's like Penelope herself
is not quite sure on the cremation. Also this narration is made 10 times better
when they call back to it throughout the movie: Mother: The reporter who forced me to bury you. Penelope: You said I was cremated. Mother: That too. Can you call back to your narration in your story? Narrator: And occasionally she had
to protect me even from myself. All she
wants is to go outside
and play with the other children. See, they're not scared of
her. They're just curious. Oh, that is heartbreaking. Why would you do that to me? It's so powerful that they draw out
that beat after that beautiful delivery: Narrator: ...even from myself. This creates a true emotional connection
between Penelope and the audience. Again, the narrator's pauses are
guiding us on what to focus on. Genius. Narrator: Then upon my 18th birthday she
hired Wanda in hopes of find
ing the one... One of my own kind who would break
the curse by accepting me as I am. Right, the goal of this movie is crystal clear. And the witches line we heard earlier makes sense: Witch: And only when one of your own
kind claims this daughter as their own... It's also important to mention that the narration does a seamless job of introducing
some key players: Jake and Wanda. Why not give that a go in your opening? Penelope: Hello. Why do they react that way? Narrator: And so it went. Narr
ator: Before my mother recognised
the need for certain adjustments. Narrator: Shatterproof glass. Mhm Narrator: And sneakers for Jake. Mhm. Okay, we are currently 10 minutes into the film. If absolutely necessary I think you could
condense this narration into half the time. However, then it would most likely
be void of Penelope's personality and we - the audience - must be given
hints to how she feels about this situation as it influences many of her choices to come. An example of this is: N
arrator: So I did most of my playing
in my room where I made my own friends. So when we get to these scenes that I'm about
to play you, the ground work has been laid and we believe Penelope's point of view. Penelope: For seven years I've been watching them
run. Do you have any idea how that makes me feel? Mother: Why? Because you're
splattered all over the newspapers? Penelope: No, because I have friends. Mother: Those aren't friends,
dear. Those are fans. The opening narration leads us rig
ht up to the
inciting incident where one suitor escapes. Narrator: So you see today was
much like any other except... Jake: I couldn't catch him. Fantastic opening narration!
I'm in this, I'm invested. Again, this narration is needed to suspend our
disbelief so we buy into the fantasy elements. This story may be based on Beauty and the Beast. but it has its own rules and backstory that we need to understand to enjoy the
rest of the story without question. Unlike Beauty and the Beast, Penelo
pe's
narration returns throughout the movie. Trigger warning. If you want to
skip this bit, here's the time code: Penelope: Once the curse is broken
I'll be just like anybody else. Max: What if you're not? What if the curse isn't
broken? What if the curse can never be broken? Penelope: Then I'll kill
myself, I promise. I promise I will. Penelope: Marry me? Oh, he wants to. Max: I can't. Oh, but he can't. Cuz we know
why, but she doesn't know why. Penelope: Get out. He was about to tell her
. No! Around the midpoint this narration truly
elevates this emotional tipping point. I'll marry you. Narrator: I felt the rush
of a thousand heartbreaks. What a line. Mother: We can do it again. I will never
give up sweetheart. Never, Penelope. It's such a call back to the opening narration. It makes the movie feel really unified. Narrator: And I knew with
all my heart she meant it. It's only two lines that they use at the midpoint, but it just makes you feel so much for
Penelope and the s
ituation she's in. So good. And towards the end the narration
is used to bookend the movie, providing resolutions to all the
story threads set up in the beginning. Narrator: And while I missed the face that had
caused so much trouble, the world had moved on. As it does. Did that say gorilla boy? Narrator: And then Wanda couldn't
hold on to the secret any longer. Yes, Wanda. It makes the movie feel unified in style and
deepens the audience's connection to Penelope. Narration must increase ou
r emotional
connection and not just convey exposition. Does your story only require narration
in the opening, middle, and end? Or does it call for ongoing
use like in our next movie? So, this adaptation is stunning
and has some amazing flashbacks. However, the narration lacks luster. I'm watching it dubbed in English for this video, but I highly recommend that you go
watch it with the subtitles, instead, so that you can experience the the
original performances. So good. Let's go. This musi
c is so lovely. Ah, sneaky-sneaky. Narrator: Once Upon a Time... Immediately we are given the genre. It's a fairy tale. However, before this line
we see the story book open. So maybe we don't need that line. I mean, sure, it's a classic. Once Upon a Time. Narrator: Once Upon a Time. So I am glad that they kept it but hopefully it helps show the traps a
writer can fall into when using narration. Narrator: Once Upon a Time
there was a rich merchant. Alternatively, the narrator could have said:
"Once there was a rich merchant." Narrator: ...a brave and kind man. That must be the wife in the
background, as well, in that portrait. Narrator: ...who after losing his dear wife,
lived only for the good of his six children. We also learn from this line
who this movie will be about. The merchant and his children. Now their outfits and the fact that it's
a family portrait indicates a setting but the narration fails to
clarify exactly when or where. Narrator: ...three girls, three boys, who
filled
the house with their laughter and chatter. This line is repeating what we see in the visuals. We can see that there are
three boys and three girls. However, what saves this narration
from being just exposition is how the image moves in on the youngest daughter. It guides us to notice Belle's
position to her father. It foreshadows their relationship
and helps explain Belle's motivations later on when she trades places with her father. Foreshadowing. That's what we want. Narrator: We
have a little guest! Child: It wants to listen to the story. Lady Bird. What are you here for, little one? Narrator: Let's all make
a wish, but to yourselves, otherwise it will not come
true. Have you made your wish? Child: Yes! Hello, narrator. So this narration is voice-over and face to face, but we don't get to see who it is. We know she's from this story's
universe but who is she exactly? And who are those children? Does it spark interest in me to keep
watching to find out who she is? So
me, but not really. I already know the story of Beauty and the Beast. My bet is that it will be Belle. Narrator: Have you made your wish? Narrator: Would you like
to hear more of the story? Narrator: The merchant had a fleet of
three ships, which were his pride and joy. Mermaid, Triton, and, the largest ,Leviathan. I'm yawning because it's been a long day,
not cuz I'm bored of the story. But, maybe? I hope these ships come back into the story
otherwise why are you telling me their names? Nar
rator: Their halls stacked
with marvellous wares. They were sailing the long voyage to home
port when suddenly a violent storm broke. This is essential information for
us to understand for the story, but, again, the narration and the
visuals are giving us the same thing. She says there was a storm. We see the storm. She says the ships sink and we
go down into the ocean with them. Narrator: The armada sank to the bottom and
its treasures swallowed up, lost forever. It is a very beautiful sh
ot, but you've already
told us this. Why are you showing me it? Redundant. When it comes to craft reasons, though. I've
pinpointed why I'm not as interested as I could be as it's because she's reading from the book. It's not her words. Therefore, it's not showcasing her personality. Now if she were coming up with the
story on the spot I'd be more engaged. It would give the opening
more energy and momentum. Why this story now? Why today? That's an excellent question to ask. What compelled the
narrator to share
their story with us today? Today! I wonder if the narration is verbatim from
the original Beauty and the Beast story? If it is, cool, but give us another story
layer with the visuals, please. Narrator: Ruined within a month, the merchant
and his children had to depart their home, their friends, their routines, everything,
that until now, made them happy. Those children don't look very
engaged in the story, to be honest. Then the opening narration just stops. Looking back
, the narration and the accompanying visuals haven't given us any accurate
indication of the mood of the genre. Nor a true representation
of the sensory experience. Yes, coming in and out of the
story book is visually stunning but the rest of the movie does not look like that. It's darker, dreamier, more twisted. If we were to keep watching
the cinematography that first represents the overall sensory experience
happens after the opening narration: with this mirror shot and then this statue
shot. And the most important thing
this opening narration has failed to give us is an emotional connection. I don't care about the mystery narrator and I don't care about those kids. It makes me wonder if this narration was added
as an afterthought during the editing process, because the narration is not only used throughout
the opening but the rest of the story as well. But not in the best way, you know. I'll show you. Narrator: Their new life took
some time getting used to. Narrator: He pu
lled on the horse's reigns,
hoping to get home quickly. Narrator: Little creatures living in the castle
that were going to become her best friends. To me, it seems like the narration was added
later to improve the clarity of the story as it is often used to convey the passing
of time or connections between characters. Yes, narration can help convey these things,
but at the same time it should do more. Like deepen our connection to
the protagonist and or narrator. Narrator: She was ready to
die
with the first strike of the bell. As she looked around the beast's castle, a
noise echoed through her body. Her heartbeat. Again, because Belle is reading
from the book, it's not her words. Therefore, it does not show her personality nor
indicate how she reflects upon her own situation. Therefore, this is one of the
reasons I am not connecting to her. To be clear, I'm connecting to the Belle I
see on the screen, just not her narration. Maybe you do connect to the narrator. Maybe it's
a language
barrier/subtitled/dubbed issue for me so I do want to iterate,
overall, this movie is engaging. The narration, to me, is not. Narrator: Belle had waited a long time to leave her bedroom. She wanted to explore the
grounds to see the limits of her prison. I wish they told this story without
the narration. I wish it so much. Because then it would have given
us the audience more to do. We would have a more active
relationship to the story. Ah well. So using inspiration from the nar
ration
we've already seen let's mash: In Beastly they do not use narration. Instead they show us everything we
need to know through active action. The prince character is set
up. So is Belle and The Witch. Witch: Wow. Looks are important to you. Prince: They're important to
everyone. Except you, clearly. But because of this, Kyle, the
prince/Beast is not likeable. Kyle: Should you vote for me just
because I'm the rich, popular, good-looking guy with the famous news
anchor dad? And the ans
wer is, hell yeah! Hey, he's not even that relatable, despite
how hard the story tries to position him. Dad: Oh shoot. Hang on.
*answers phone* Rob Kingson. This isn't a problem in Beauty
and the Beast, so why is it here? Because in Beastly the likeable Belle is no
longer the protagonist. The Beast is. Kyle is. Kyle: You bought that I hook up with you? The self mutilated tatted Franken skank? But
hey, you can always buy a ticket. So to rectify this I'd like to
include some opening narratio
n and I'm going to take from
already existing story content. Well into the movie we learn
that Kyle's mother left. Kyle: He bought me all the toys
and candy I wanted and at the end of the day he told me my mother
had left. I haven't seen her since. I want to bring some of that
emotion into the opening and it may help the audience, not necessarily
like him, but at least not hate him. So when Linda (Lindy?), our Bell,
explains her fascination with him, it makes sense in a way that is less i
ck. Lindy: He disappeared. Rehab. The
addict's daughter falls for the addict. Cogsworth: I demand that you
stop right there. Oh no no no. Lindy: You know, that something underneath. It's catnip for sappy tools like me. Cogsworth: I'm not seeing
this. I am not seeing this. Lindy: ...to be the one who uncovers it. Cogsworth: I tried to stop
them. Would they listen to me? No-no. JC, how will you do the narration? Again I will take an idea
already found in the story. Lindy: What happened to
ro
mance? Sappy-soppy long hand love letters? During act two Kyle starts
writing a letter to Linda. Kyle: I've been thinking about letters
recently. The real kind, long hand. So for the narration I want
to hear some of this letter, simultaneously foreshadowing what's to come as well as glimpsing more of of Kyle's personality and some of his emotional
growth from later in the movie. We already know how this story will
end, so why not take advantage of that and give us a character we want
to ro
ot for from the beginning? Let's build that emotional connection
between Kyle and the audience and also hint more at the sensory experience, particularly how the letter is used throughout. Kyle: And I'm going to write to
you every day for a long, long, long time. I think I might be in
danger of falling in love with you. Also let's throw in this key line somewhere
to help bookend the beginning and end: Kyle: Can you imagine that love? Can you imagine that love? It's Beauty and the Beast
meet
s The Sound of Music. They do not use narration allowing
everything to unfold with active action. Joy: Listen, if I get this job I guarantee you,
honey, that you will never frizz, you'll never kink up. On Fridays I will give you a set so
stiff you won't have to touch it till Monday. Joy is struggling to advance in her career. Joy: They gave the job to a
cool, sophisticated European. Then she's mistaken for a science teacher. And is invited to teach some
president's kids in Europe. Dude: Wha
t exactly do you teach? Joy: Beauty culture. Dude: You teach Beauty School. Joy: Well I know that and you know that. Here she meets the kids. Joy: Oh my God. Rule number one,
kids. Never surprise a New Yorker. And she meets the dad, the Beast. Dad: I expect you to be prompt,
efficient and dressed. Is that clear? Dude: Oh no. If I were to add narration to
this movie, here's what I do: I'd strike Joy's parents from
the story as those scenes, particularly the ones of Joy and her mother give
us
exposition and backstory through dialogue. Mother: Is teaching night school so
terrible? Maybe one day you could own your own beauty parlor? Maybe
raise a family, God forbid, huh? Joy: I don't want to settle. Mother: I say this because I love you: Settle. Then Joy would need to be the
one to tell us all these things. Her quirky personality would shine and there would be more opportunity for comedy, particularly if you paired what she
was saying with an ironic visual. It would give us a stro
nger
sense of spoofiness, the genre, and elevate the sensory experience. When it comes to emotional connection, doing
this would also raise the stakes for Joy. She has no family but has found one in
these kids and this man. But will it last? Dad: It is not fear. It is respect. Joy: Excuse me. You instill
fear. You earn respect. Narrator: Well, that's enough
of JC and now more time with me. Don't forget to like and
subscribe and hit that bell icon. Until the next mash. Bye-bye! I've lost my
mojo. The rest of the moody-- the moody? The movie. Visual tone refers to filmna-- film naking? Film naked.
Comments
beauty and the beast is my absolute favourite classic story!! i’m so happy i was recommended this video, great insights!