manchester by the sea script
We're not all having the same experience all the time. I miss huge swaths of experience, but (LAUGHS) of little pieces that I remember, I remember pretty well. In the PAST, CASEY is with a hospitalized KYLE. What happened? ALTSCHUL: Do you love being given a problem? ALTSCHUL: I mean that's what it is about, right? But it also is sort of the idea of an attempt to do a play in some kind of documentary theatricalization, 'cause it's very literal, and the events are not written in any way as to try to compress or bend the reality to make it more like a story. CASEY’S HOME has just BURNED TO THE GROUND. (LAUGHTER) So you can kind of write whatever you want. And then they bought the script outright, which is unusual. But anyway, my father read something that I had written and he said, "Your dialogue is very good." ALTSCHUL: Yeah. And she'd know when you weren't quite doing it the way it wanted to be done. You know, kind of the rug's pulled out from under you before you're ready, and before it needs to be. So we should probably jump back into the flashbacks quick smart. LONERGAN: Director really has to, you can't do anything else for at least a year. That honestly appears to be my main overriding concern, that I not leave the BOAT! It tries to be a human story about people going through something very difficult and doing their best. LONERGAN: It does. (CHUCKLES) Or get anything right in life, 'cause everyone else is pursuing their own agenda, with perfect reason. ALTSCHUL: Oh my gosh. And mainly you wanna get a great person in the lead role, and that's where Elaine May comes in. If it was dirge it would be terrible. This would go nicely in a book, but no one would say this and no one can act it." People don't quite have to be as separated from the company of others as sometimes we separate them, in this culture anyway. Leo's character was sort of all over the place. Copyright © 2020 CBS Interactive Inc.All rights reserved. And I'm interested in people who don't think the way I do. And so that's who you're dealing with, and they have to be treated with that respect at the same time you have to take care of them. And my girlfriend! (LAUGHTER). He's very undogmatic. And I knew I had a good arc for a full story. LUCAS goes to visit his mother, GRETCHEN MOL. But I also worked with some wonderful directors. Just you feel you do want it to stand on its own and not require your descriptions of it. Lee Chandler is a brooding, irritable loner who works as a handyman for a Boston apartment block. We performed it. Or if you combined people, it's very easy to pull details. You? Forget about the boat, Lucas. We need help now"? 'Cause he didn't wanna get involved. They don't come with material presented. That would come a couple of years later. But I was there a lot. Well, I mean most of it's casting. And this was a big deal for me. It's really hard to take care of someone all day long. ALTSCHUL: Yeah, the ties within the family were beautiful in the short hand. It's not a memoir. And you know, I think a lot of her impressiveness is there, and her zest for being alive and involved and all of her unique qualities are on display, I suppose. Just because half the people here hate you and this whole town is nothing but PSTD triggers, I don’t see why I should be the one who moves. But even those depend somewhat on their verisimilitude to be compelling. Most of the stuff with Daniel Day-Lewis' character was really good, so I barely touched that. It’s a weirdly abrupt reversal, I know, but we’re at the end of the movie and we need to cram in a note of hope, to limit how many audience members deliberately drive off a bridge on the way home. It also takes place on the Upper West Side, where I grew up. Seriously, why are all the grumpy, tired-looking males in our family so irresistible to women? Manchester by the Sea is not merely about life after death--it's about life after tragedy. I'll visit once a week or I'll--" but often you have to do that, because there's no other practical way. One part is that that's the convention for screenplays in this country. Er, all I really need is a place to stay for the next couple of years, adoption seems like massive overkill. My overhead was very low. This is a heart disease which will one day cause you to drop dead. Or this six characters? ALTSCHUL: And at its core, what is it about? I lived off that one script for three years. I'm gonna put this on paper and then I can grapple with it better—"? You know, it's not just awful. I think this happens a lot. And everyone else in it is just as interested in their life as she is in her own. LONERGAN: Yeah. It doesn't make it okay when things go badly, but it is something that is beautiful that's brought out when these very difficult things happen. LONERGAN: You know, you can turn the lights on and off, (LAUGHTER) if someone walks in or out. Yeah, he had congestive heart failure and it killed him. And it just sounds like a fascinating thing to do all day long. Hmmm?) I don't know why. Full-scene flashback examples in films: • In Eternal Sunshine of the Spotless Mind , Joel’s flashback to Clem not recognizing him in the bookstore lasts around forty seconds and takes up half a … And if they're anywhere near www you want them to do, it's really a good idea not to say too much. In that case I kind of knew what the main relationship was, what the ending would be, and what the structure of the events was going to be. In a funny way, your memories of something you're using directly, if you're pulling actual memories or experiences into the material, and pulling invented people and events into the material, in a funny way it's the same function. ALTSCHUL: Is it your most autobiographical work? Even if initially they were making a mistake. LONERGAN: You might be interested for five or ten minutes, but then the bottom drops out and you're just like, "What's gonna happen next? Like a spy novel. LONERGAN: I'm sure she'd love something that was about her in her heyday, but I don't think she would enjoy this at all. LONERGAN: It's a little hard to say what it's about. LONERGAN: Peripherally. Yeah, smart (LAUGH) and smart-alecky [kids]! It's not tryin' to make you miserable and it's not tryin' to shove your face into misery. LONERGAN: I think so. The details are all very much drawn from my experience and from my family. And then eventually he wasn't. I was going for a play on words. When I watch the play, I'm watching these actors in this story and this theatricalization of it, but I think of the actual events that it mirrors just as often, which is not quite the case with my other work, which is a little bit less literally transcribed from my life. ATTRACTIVE TENANT (batting eyelashes) I mean it seems like that’s gonna happen eventually, because otherwise it’s like, what is he in this movie for. Well of course not, I don’t deal in ship parts, only basic supplies like rope and whatnot! Wow, it would seem that nothing draws the ladies like suicidal depression. And I immediately thought of the whole film in a way in my head, when I was watching that play. It was a long way getting to the film that I wanted to make in the editing, so by the time I got there I wasn't able to completely execute everything I wanted to. So I actually think a lot happens to those characters. The Abridged Script. So Kyle finally succumbed to his heart condition. And it can be really fun to try to do that. ALTSCHUL: So the constraints of the facts kind of give you freedom to explore the little details? LONERGAN: I don't know that, nobody does that anymore. Or a film. LONERGAN: Yeah. ALTSCHUL: And that was what you wanted to make. BOSTON APARTMENT BUILDING. But I don't know whether this is grandiosity or what, or just a desire for the material to stay alive, but I try not to worry about that too much. (LAUGHS) Terrible ideas, terribly executed by me. ALTSCHUL: Right. Wait wait wait, that’s the plot of this highly acclaimed, award-winning drama? This one person's father was a professor and his mother came from Ireland. I mean, there are some directors, great directors, who aren't particularly oriented towards the acting. He's very interested in people. And not in a fun Mel Gibson-style let’s-go-get-revenge way, they were killed by your drunken mistake and this is all your fault. Or is it still all blended together? I was just sitting there typing. Most people don't like being in those facilities. Do you really think screen legend Denzel Washington is going to lose an Academy Award to The Spare Affleck? LONERGAN: That was unusual, 'cause that was an assignment at first, that became my own project. I mean that's a pretty broad – half the human race is a very broad topic! LONERGAN: "Waverly Gallery" is about the last couple functioning years in the life of a Greenwich Village gallery owner. ALTSCHUL: Well, there was a lot of beautiful things in that film to look at. And there's an opposite falseness on the other end of the scale to when things are just too heavy, too miserable, too relentless, too bleak. What does that mean, add some depth to the characters and the script? You try to put that person into scenes. Like, one would be censorship and the other would be faith and the other would be women. CASEY AFFLECK. But that's actually the most complicated thing to do, is to have people simply talking. LONERGAN: Mistakes. *FREE* shipping on qualifying offers. There are places where there's this uncanny resonance that's both Elaine, the character she's playing, and my grandmother. LONERGAN: I would have tried to. ALTSCHUL: What was your experience with that process? And as much so as being a playwright, I'd say. I'd say it's much more work in a funny way, 'cause as a playwright you can do the writing and pass it on to others, and hang around nervously to see if it turns out the way you wanted it to.
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