Analysis of 'Bronson' Script

Analysis of 'Bronson' script

In my film Ashley is confused about her identity and worries about being accepted in society. After thinking of different ways that I could show this visually, I decided that I'd show this to tthe audience by her having a conflicted argument. This conflicted argument was inspired from the feature film 'Bronson.' In my film the argument would be between who Ashley is at the present moment and who she thinks society wants her to be. The film 'Bronson' has a similar scene with a strong script, so I thought it would be useful to analyse the script so I could take elements to put into my own scene. This scene isn't terribly long, but the language that's used and the way it's portrayed creates an impact on the audience. It also allows the audience to understand how the protagonist is feeling. For my scene to work I need to get this across to the audience as well.

'Bronson' script

BRONSON:
(OFFSTAGE) I will now re-enact, what I like to call, what happens when murder goes wrong.

WALKS ONTO THE STAGE AND STANDS SIDEWAYS, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
(ON STAGE) When do I go back?

PIVOTS AROUND REVEALING THAT THE OTHER SIDE OF HIS FACE IS PAINTED ALLOWING HIM TO BE ANOTHER CHARACTER, NURSERY MUSIC IN THE BACKGORUND

PAROLE OFFICER:
Now, now, Mr. Peterson, we aren't going to start all that silliness again, are we?

PIVOTS BACK TO THE UNPAINTED SIDE, SINSITER MUSIC IN THE BACKGROUND

BRONSON:
Listen, nursey. I just want to know when I head back to the slammer. Right.

PIVOTS AROUND TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFFICER:
Wrong! Mr. Peterson. Now, lets not play any silly buggars, eh. I'll just have to pop you back into the potty with one of my special potions, mmm.

PIVOTS TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
(SHOUTS) When's my trial!

PIVOTS TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
Ah, ah, (TUTS.) No Mr. Whiteman, come on dear, there's no trial. Isn't that wonderful? (CLAPS HANDS JOYFULLY TOGETHER) (MUSIC CHNAGES TO A SINSITER TONE) However, you are being moved.

PIVOTS ROUND TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
Where?

PIVOTS ROUNDS TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
Yes Mr. Peterson. Broadmoor asylum for the criminally insane!

PIVOTS AROUND TO UNPAINTED SIDE, SINISTER MUSIC IN THE BACKGROUND

BRONSON:
I deserve to go to prison for what I did. I want my hotel room back!

PIVOTS AROUND TO PAINTED SIDE, NURSERY MUSIC IN THE BACKGROUND

PAROLE OFFICER:
I'm sure you'll find yourself some solitary.

MUSIC STOPS AFTER LAST WORD, TURNS AROUND WITH HIS BACK TO THE CAMERA. BOWS AND AT THE SAME TIME AS HIS HEAD GOES DOWN, SO DO THE LIGHTS

What I found from analysing the 'Bronson' script

Throughout the scene the sentences between the two characters, aren't terribly long. This allows the audience to understand how the protagonist is feeling in a concise and clear way. Also it's a contrast to previous scenes, which might allow them to understand the core of his character more. He's telling us how he feels about the situation and how's he's being treated by those who have more control, such as his parole officer.

What I got from analysing the script

• I found that giving the scene a title - "What happens when murder goes wrong" - instantly gets the audience's attention and makes them feel included in the scene and that they're seeing this at the same time as it's being performed.


• Having short sentences it means the relevant information is told straight to the point so the scene is concise but still effective.


• I found the script interesting as Bronson asked all the questions, whilst the Parole Officer taunted him before giving him the information he wanted. This showed who had the power throughout the scene, which was clever as it gets the viewer engaged with the scene and start thinking about what the Parole Officer might say back to Bronson.


• It showed the clear contrast of the two characters. Bronson always got straight to the point, when asking his questions. The Parole Officer takes more time and when he eventually gave it to Bronson they were always said in a sarcastic tone, showing the sinister side to the character.

How I plan to incoporate some of these ideas into my script

• /unlike this scene which isn't very long, mine will be the opposite as I plan for this scene to be the main one. However, I still like the idea of asking a simple question at the beginning, allowing the alter-ego to respond. By having this reaction it allows the scene to properly start and develop.


• I liked how you saw the contrast between the two characters and I think it would work well for my scene. I thought it was interesting and clever, to have the protagonist getting more frustrated with the alter-ego as the scene progresses. Whereas the alter-ego remains perfectly calm throughout.


• In the 'Bronson' scene it's only at the end when the audience gets a true understanding of how he feels - understandably he'd rather be in prison than in Broadmoor asylum. I think it's good to show the true feelings for my character early on as it's my main scene and will allow the audience to understand her more.


• The clear conflict between the two characters in the 'Bronson' scene, allowed the conversation to evolve as they were having a small argument. I think this would be a good tecnnique to use as it would show the contrast betwen the two different characters and would allow the scene to develop from the dialogue as they're trying to win their side of the argument. This would also allow the audience to understand the protagonist more, giving her more depth and creating a small relationship between her and the audience.
  

I have found analysing this script very useful as it has given me lots of ideas of how to create my script to make it memorable for the audience, like this one. The 'Bronson' script works because of the language that shows a clear conflict between the two characters which allows the scene to develop.