Oct 10, The Script Lab's Travis Maiuro breaks down the first ten pages of Darren Aronofsky's Black Swan, written by Mark Heyman, Andres Heinz and. Jan 31, INT. STAGE - NIGHT. Titles roll over a pair of women's feet dancing the final scene as the White Swan in SWAN LAKE. The woman climbs. Jan 28, Black Swan – October 5, shooting draft script by Mark Heyman, John McLaughlin and Andres Heinz – hosted by: Raindance – in pdf.
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Black Swan by. Mark Heyman. Andres Heinz. John McLaughlin. Story by. Andres Heinz. White Shooting Draft - November 3, Blue Revisions - November. Black Swan by. Mark Heyman. John McLaughlin and. Andres Heinz. Protozoa Pictures. SHOOTING DRAFT. 10/5/ Read the Black Swan script, written by Andres Heinz, John J. McLaughlin, and Mark Heyman.
But as this is more than just a straightforward ballet movie set in NYC, the opening dream scene clues us into the other side of this story world — the much darker and surreal side. I was using large headphones when I watched this, so I really felt like something was crawling up my spine. New York Times [Manohla Dargis]. Oneiric Theory on Black Swan. She is so engrossed and trapped in the world of Swan Lake that she forgets about the real world. Lily simply walking into the room throws Nina off and hurts her chances; a rivalry is born.
Some still shots from the finale, where Nina dances the Black Swan. Notice how in Image 2, a reverse Black and White symbolism is achieved. Instead of Nina wearing white while everyone is in black like in most of the film, the opposite is done.
She is now a little scared, feeling that something is following her yet she cannot see it. The music now becomes more violent and rushed.
She starts dancing with the dark figure and soon enough, it transforms into a monster that tries to engulf her in its maddening dance. At around 2: Somebody opens her door and light comes in probably her mother. There are footsteps in the background probably her mother too. She then sits up and stretches her neck and feet.
Her feet are seen in close-up, emphasizing their importance to Nina and dancers, in general and bringing us closer to her personal space. An interesting thing that we can observe in 3: The dark figure from earlier happened to be her mother, who was preparing food.
This is established by 3: This is how she sees the small slice of grapefruit.
In one scene, Nina throws up after eating the slice of cake that her mom feeds her. At around 4: Mirrors and glass seem to be a recurring theme in the film. They appear a lot in the ballet studio, Nina has a lot of hallucinations when looking at mirrors or anything that can reflect things. This happens a lot throughout the film.
This shot shows a mirror with Nina in various angles. Again, this illustrates her consciousness about body image and her obsession with perfection.
This shot shows Nina with red eyes, as she is transformed into the Black Swan. This is after the scene where she hallucinates about smashing Lily into the mirror and stabbing her with a shard. I was using large headphones when I watched this, so I really felt like something was crawling up my spine.
After this, however, her mother became her sweet self again.
From here on, we notice the tension in their relationship. The entry of the next scene at 4: Most online reviewers and critics of Aronofsky would say that he is not known for following the classic Continuity method of editing.
He is anything but conformist and it shows in his films. The scene enters with the blaring sound of the train, with Nina staring at her reflection in the glass.
Brooding piano music starts playing at around 4: Everyone in the train seems to be wearing black, except for Nina who is dressed in white. As she walks into daylight, we see her face again and the things and people behind her are black.
There is a big black poster and people walking in black coats all over. While she is walking to the building, the people in front of her are in black. Later on, we realize that this is Beth, her idol. Kenny, Or maybe we are reading into it too much, and this is simply to establish where Nina is going.
Another example of Black and White Symbolism in the film: Nina in white, and her darker, evil half in black walking past her. The next scene is of Nina in the dressing room with other dancers.
They are talking about Beth, the woman in the poster. Again, we see the dominance of black except in Nina and the mirrors that surround her and the other dancers. Nina defends her, but is interrupted by the arrival of another girl.
This girl appears to be new, since nobody in the room knows her. Nina could not stop staring at her, and later on realizes that this was the woman from the subway.
Our protagonist is Nina and we meet her immediately after this opening scene. Beginning a script with the protagonist waking can be a tired trope and typically one to avoid.
They are the feet of a dancer. So much happens in this single exchange: On page 6, we meet Thomas Leroy, the intense ballet director.
Based on the reaction of the dancers alone, we understand that Thomas has a hold on the room. As Nina is struggling to pull off the dance….
The competition between the two is subtle and natural and not overt at all. Lily simply walking into the room throws Nina off and hurts her chances; a rivalry is born.
The script makes it very clear that we are in the world of ballet in New York City. Nina riding the subway and walking the sidewalks toward landmarks like Lincoln Center tells us all we need to know.
And I have this question for you: What genres would consider Black Swan to be? Monday, October General comments Tuesday, October Structure Wednesday, October Characters Thursday, October Themes Friday, October Everybody lines up a DVD, Netflix, or whatever of the movie, then hits play at precisely the top of the hour.
While the movie plays, we comment on it real time on Twitter.