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	<title>Comments on: I Heard Things</title>
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	<description>a steady diet of obsessive cinema and screenwriting in the dark</description>
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		<title>By: William</title>
		<link>http://www.thissavageart.com/2005/12/27/i-heard-things/comment-page-1/#comment-955</link>
		<dc:creator>William</dc:creator>
		<pubDate>Wed, 28 Dec 2005 17:12:46 +0000</pubDate>
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		<description>OSM,&lt;br/&gt;&lt;br/&gt;Profane words can definitely be drained of their power when overused in a screenplay. That&#039;s a cool example of it being powerful though. In &lt;i&gt;Braveheart&lt;/i&gt; the word has power for the reasons you described, it was effective because of it&#039;s context. It takes you off guard and there is a comedic element to it. Where I find the language in &lt;i&gt;Raging Bull&lt;/i&gt; is more a reflection of socio-economic characterization. This is who LaMotta is. This is a man who makes a living pummeling other men. He is speaking the only way he knows how. Sometimes hostile, like a caged animal. Do I think it takes away from the film? Not at all.  &lt;br/&gt;&lt;br/&gt;At the end of the day there is one author of the film, the director. I think that Paul Schrader is a very talented screenwriter but Scorsese made the film his own as he did with their other collaboration, &lt;i&gt;Taxi Driver&lt;/i&gt;.&lt;br/&gt;&lt;br/&gt;A little sidenote: in the original screenplay, Schrader had a scene where LaMotta was locked up in a Florida jail cell. That scene is in the film but what Schrader originally envisioned was LaMotta trying to masturbate to the thought of his wife. He can&#039;t because he is so filled with rage. DeNiro and Scorsese weren&#039;t having it and had Schrader rewrite it. It would have been a very different scene to say the least.</description>
		<content:encoded><![CDATA[<p>OSM,</p>
<p>Profane words can definitely be drained of their power when overused in a screenplay. That&#8217;s a cool example of it being powerful though. In <i>Braveheart</i> the word has power for the reasons you described, it was effective because of it&#8217;s context. It takes you off guard and there is a comedic element to it. Where I find the language in <i>Raging Bull</i> is more a reflection of socio-economic characterization. This is who LaMotta is. This is a man who makes a living pummeling other men. He is speaking the only way he knows how. Sometimes hostile, like a caged animal. Do I think it takes away from the film? Not at all.  </p>
<p>At the end of the day there is one author of the film, the director. I think that Paul Schrader is a very talented screenwriter but Scorsese made the film his own as he did with their other collaboration, <i>Taxi Driver</i>.</p>
<p>A little sidenote: in the original screenplay, Schrader had a scene where LaMotta was locked up in a Florida jail cell. That scene is in the film but what Schrader originally envisioned was LaMotta trying to masturbate to the thought of his wife. He can&#8217;t because he is so filled with rage. DeNiro and Scorsese weren&#8217;t having it and had Schrader rewrite it. It would have been a very different scene to say the least.</p>
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		<title>By: oneslackmartian</title>
		<link>http://www.thissavageart.com/2005/12/27/i-heard-things/comment-page-1/#comment-954</link>
		<dc:creator>oneslackmartian</dc:creator>
		<pubDate>Wed, 28 Dec 2005 14:46:31 +0000</pubDate>
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		<description>Much better put than my post.  &lt;br/&gt;&lt;br/&gt;Writers can certainly make “fuck” a dead word.  After a few thousand “fucks,” it has no power.  As a writer, why would you want to lose this power?  A lot of people seem to develop a case of Tourette’s when they start to write.  &lt;br/&gt;&lt;br/&gt;I like its use, though, when it’s used in a movie by a character or in a moment that you would not expect it.  For instance, in this battle scene from Braveheart:&lt;br/&gt;&lt;br/&gt;As arrows fly from the English bows, the Scots crouch behind their&lt;br/&gt;shields.)&lt;br/&gt;&lt;br/&gt;Stephen: (To Wallace) &lt;br/&gt;The Lord says He can get me out &lt;br/&gt;of this mess, but He&#039;s pretty &lt;br/&gt;sure you&#039;re fucked.  Ah!&lt;br/&gt;&lt;br/&gt;I wasn’t expecting to hear it in 13-century Scottish dialogue.  Couple that with the idea that He would think anyone is “fucked,” it’s a moment of dialogue that’s stuck with me.&lt;br/&gt;&lt;br/&gt;Anyhow, thanks for the shout out!  And good luck on your script there.</description>
		<content:encoded><![CDATA[<p>Much better put than my post.  </p>
<p>Writers can certainly make “fuck” a dead word.  After a few thousand “fucks,” it has no power.  As a writer, why would you want to lose this power?  A lot of people seem to develop a case of Tourette’s when they start to write.  </p>
<p>I like its use, though, when it’s used in a movie by a character or in a moment that you would not expect it.  For instance, in this battle scene from Braveheart:</p>
<p>As arrows fly from the English bows, the Scots crouch behind their<br />shields.)</p>
<p>Stephen: (To Wallace) <br />The Lord says He can get me out <br />of this mess, but He&#8217;s pretty <br />sure you&#8217;re fucked.  Ah!</p>
<p>I wasn’t expecting to hear it in 13-century Scottish dialogue.  Couple that with the idea that He would think anyone is “fucked,” it’s a moment of dialogue that’s stuck with me.</p>
<p>Anyhow, thanks for the shout out!  And good luck on your script there.</p>
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