Script of the Week: Moonrise Kingdom

So the new thing we are going to start doing here at Waddy Film Reviews is a “Script of the Week” review. Each week we will take a look at a particular script and do a review of it. Unfortunately after this first one there will not be any for 2 weeks as we will not be in office due to traveling. But, it will be picked right back up beginning on the week of April 22nd. Without further ado-

Script of the Week: Moonrise Kingdom
Writers: Wes Anderson and Roman Coppola

What better way to kick off Script of the Week than by checking out the master of style himself, Wes Anderson, and his summer 2012 hit Moonrise Kingdom. For those who have not seen it, Moonrise Kingdom is the tale of two young children, Sam (Jared Gilman) and Suzy (Kara Hayward), who escape the control of parents and scout masters to go on an adventure across the island of New Penzance to a remote and secretive spot where they set up camp and their own lives together. Sam is an orphan who recently filed his letter of resignation to Scout Master Ward (Edward Norton). Sam struggles with friends but is a sponge when it comes to knowledge of the outdoors and wilderness, always spitting out survival facts to Suzy. Suzy is a troubled young girl living in a house with parents in a strained marriage, but finds escape in her books of fantasy and adventure. The story follows the two children on their journey of love and consoling in one another as the island’s sole police officer Captain Sharp (Bruce Willis), Suzy’s parents (Bill Murray and Frances McDormand), Scout Master Ward, and the rest of the Khaki Scouts search for them and try to prevent the two young lovers from being together. It is a tale of childhood, young love, and adventure.

As stylish as the film is aesthetically the script is eloquently. Not only does Wes Anderson have a visual style, but he also has a style contained within his writing. His descriptions are very detailed and create a pretty clear image in the reader’s mind about how it will translate to the screen. One great example of this is in the beginning when Scout Master Ward is doing his morning routine checking on the Khaki Scouts to make sure they are doing their assigned tasks. Anderson’s descriptions of Scout Master Ward, the children’s appearances, and explanations of their tasks are all vivid and easy to picture. His entire script is very much like this (and I do not think that is because I’ve seen the film already). Anderson’s writing is also quite humorous, especially his short double sentences, i.e. “Sam smiles. Suzy smiles.” It makes the reader chuckle at the amusement of the short and quick descriptions. The dialogue of the script is also extremely strong, with unique character voices and smart, humorous discussions. It is quite an enjoyable script to read. The version I read was especially enjoyable as it contained images of how the scene ended up looking in the film, behind the scenes pictures of Wes Anderson directing, and drawings of the planning that went into setting up and filming the scenes.

One thing I noticed throughout the script is how well Anderson tells the story. He definitely used a three-act structure, but used his own style within the structure. Like, for instance, his use of montage to develop the relationship of Sam and Suzy through their letters back and forth. It is one of the most humorous parts of the script, yet it is so creative. Within two pages we learn of the children’s plan to meet, Suzy’s conflicts and issues with her family, Sam’s issues making friends and with his foster family, and their support and encouragement of one another. It is the major moment when their relationship is established. Anderson is also very good with story elements, planting information that returns later on in a more significant role. Three examples stand out here. The first occurs within the first piece of dialogue heard apart from the record player. The narrator introduces the island of New Penzance but information of a storm occurring in three days time is casually and ever so slyly placed in right at the end. The average reader and viewer will soon forget about the impending storm as more information is delivered to them, yet that storm plays a major role in the climax of the film. Anderson slipped the end within the beginning. Secondly, the character of the young boy Redford. Suzy stabs him with her left-handed scissors and we think that is the last we will see of him in the film. Yet, as Sam and Suzy seek to escape after their marriage and Sam runs back to fetch Suzy’s forgotten magical binoculars, who is the obstacle? A revenge seeking Redford. Third, when Sam and Suzy are falling in love with each other in their secret spot at “3.25 Tidal Inlet” they both decide they do not like the name. Sam asks Suzy what she wants to call it. She ponders and the story moves on without an answer. This subconsciously lingers within the readers’ minds as they desire an answer to the question. Wes Anderson does not fail to provide the answer, he just wants to wait until the last shot of the film when Sam’s painting of the secret spot shows “Moonrise Kingdom” written across the shore. It’s a big time payoff. These three examples are a few of many ways that Anderson shows his great understanding of using story elements and directing the reader’s mind in whatever direction he chooses. Wes Anderson’s script for Moonrise Kingdom is as much a joy to read as the film is to watch.

If you are interested in reading the interactive Moonrise Kingdom script, the link is below:
http://focusguilds2012.com/mrkscript/