Ennis, Cassie and the Twists (revised title)

[TJ]

I plan to buy the Story to Screenplay book, but, from the looks of things, it might be as early as September before I can afford it.

Just how close to the actual movie timeline, movie scenes and movie dialog is the official published "Screenplay?"

[serious crayons]

I understand what you're saying about not destroying the illusion of reality. For me, I'm glad to have every piece of "evidence" relating to this masterpiece that I can get my hands on, including what is known as the 2003 screenplay.

But this is the way I "build" my interpretations and understandings. I look to the story, the screenplay, and the film.

I was that way at first, looking for every piece of info. But then I realized I felt disturbed whenever I heard or read someone involved in making the movie say something that jarred my own understanding of it. I don't feel that way here, because here belief is optional; if someone else's interpretation doesn't sound right to me, I can freely reject it. Not that my opinion never budges -- I've read many things here that changed my mind. For instance, I've gone from being agnostic about Jack's death -- we aren't meant to know -- to being tentatively sure he was murdered, based on arguments made here. And don't get me started on sorry/s'alright (though now that we're on the subject, it seemed to me when I watched today that NOBODY'S lips move during the sorrys!).

But when Larry or Diana or Ang or Heath or Jake or Linda Cardellini or Randy Quaid or whoever makes some statement about the movie, I feel obliged to accept it because they are the "experts." I'm not free to reject it. Yet, ultimately I don't think they should have absolute authority. It's a work of art and fiction that doesn't exist outside of anyone's head, creators or audience. Imaginations on both sides collaborate to bring it to life, and we all build our own individual visions. So who's to say the Brokeback in my head -- which seems plenty beautiful to me -- is any less valid than the one in Larry McMurtry's? (For that matter, I'd be willing to bet that no two of the filmmakers have EXACTLY the same vision.)

That said, if anyone directly involved ever addresses the sorry/s'alright controversy, THAT I would want to know. Because there actually IS a right and wrong answer there, which viewers will otherwise never know for sure.

[Jeff Wrangler]

I plan to buy the Story to Screenplay book, but, from the looks of things, it might be as early as September before I can afford it.

Just how close to the actual movie timeline, movie scenes and movie dialog is the official published "Screenplay?"

To the best of my recollection, there is no difference in the order of scenes or the timeline. Most of the dialogue is the same, too, as far as I can tell, but there are noticeable differences. For example, when Alma asks Ennis if he knows somebody named Jack, the screenplay has a little addition to her line: "From Texas?"

And my one single most favorite Ennis line is not in the screenplay: When Ennis goes out on the landing outside the apartment and looks down at Jack in the parking lot, he says, "Jack fuckin' Twist!" The line is logical and, to me, makes perfect sense in the context of the scene, but it isn't in the published screenplay.

[Jeff Wrangler]

That said, if anyone directly involved ever addresses the sorry/s'alright controversy, THAT I would want to know. Because there actually IS a right and wrong answer there, which viewers will otherwise never know for sure.

Oi, that one got beaten to death at IMDb! I have a vague but possibly faulty memory that someone found a statement from Jake himself on this one. Maybe somebody has some information on this saved somewhere, so if you're really interested in this question, I suggest starting a thread on it. It's kind of lost on this one.

Incidentally, the screenplay has the following:

JACK, gentle, reassuring, takes ENNIS'S face in his hands.

JACK

It's all right ... It's all right.

It's on page 21 of Story to Screenplay.

[serious crayons]

Oi, that one got beaten to death at IMDb! I have a vague but possibly faulty memory that someone found a statement from Jake himself on this one.

I know. I'm joking. It's been beaten to death about a dozen times, there AND here. Last time I mentioned it, jokingly then too, I started a whole new debate.

The concensus, last I heard, was that Ennis says nothing and Jack says it all and that there are no sorrys, just all rights. I lean toward that myself. But that's partly based on the observation that Ennis' lips don't move during the sorrys. The thing is, I can't see Jack's move, either, until the "s'all rights" start, at which point you can see his lips move and he nods.

But I really don't mean to dredge up the debate. We'll never know the answer for sure unless someone directly involved tells us.

[Jeff Wrangler]

The concensus, last I heard, was that Ennis says nothing and Jack says it all and that there are no sorrys, just all rights. I lean toward that myself. But that's partly based on the observation that Ennis' lips don't move during the sorrys. The thing is, I can't see Jack's move, either, until the "s'all rights" start, at which point you can see his lips move and he nods.

But I really don't mean to dredge up the debate. We'll never know the answer for sure unless someone directly involved tells us.

That's my understanding, too--Ennis says nothing, Jack says it all. Trouble is, now you've got my curiosity aroused as to whether someone directly involved has said something. Maybe I'll start a thread on it? Maybe "Jake on the 'S'alrights'?"

But not just now. ... 

[TJ]

IMO, according to the excerpt from the Time Mag Interview (which I posted whole in another section), McMurtry used his artistic license and created a "Cassie" for his version of the story.

One of the main things you added to the story was women. In a lot of your work, women turn out to have far richer interior lives than men.

(Larry McMurtry) I have always argued that if you want to learn something about emotion, you have to ask women. That's why I've had three women characters who've won Oscars--[for] Patricia Neal, Cloris Leachman and Shirley MacLaine. I've always thought that for my interests, emotionally, I have to seek women to talk about. Men don't talk about emotion. They don't understand it.

If McMurtry thinks men don't talk about or understand emotion, what is he then?

[Front-Ranger]

Some more interesting thoughts on the gun symbology, using "The Devil's Right Hand" as a launching point.

http://www.imdb.com/title/tt0388795/board/nest/41977484

[serious crayons]

Thanks, Front! You keep good tabs on imdb. Please keep posting the interesting ones as you find them. I thought the previous gun one was great, as you know. And I think we should consider luring some of those good posters over here.

[Brown Eyes]

Maybe I'll start a thread on it? Maybe "Jake on the 'S'alrights'?"

But not just now. ... 

It sounds like a good idea for a thread to me... but I bet Jake/ Heath wouldn't remember.  I wonder if they know there's so much controversy about the "I'm sorry" idea.  I'm still firmly in the camp of people who believe that they hear it.  It never even crossed my mind to question it during my theatre viewings.  Heath seems to have mastered the art of ambiguous soft-speech while breathing/exhaling for this film.  The "I'm sorry" problem reminds me of the new controversy over whether he says "I love you" into the double shirts.  I, unfortunately, think this this second idea is just wishful thinking.  Heath looked completely distressed on Oprah when she asked him what Ennis's last line was.  I mean if you miss that, it's almost like missing the movie.