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- 30 Days of Screenplays — Day 7: “Thelma & Louise”
- Thelma and Louise
- 30 Days of Screenplays — Day 7: “Thelma & Louise”
- Screenplay-Thelma and Louise
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30 Days of Screenplays — Day 7: “Thelma & Louise”
A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. Welcome to Switchblade Sisters , where women get together to slice and dice our favorite action and genre films. Every week, I invite a new female filmmaker on. A writer, director, actor, or producer, and we talk—in depth—about one of their fave genre films. Hello, hello.
Rachel is an Emmy award winning producer, director,and writer. She began her career directing B-movies for a Roger Corman-esque company called The Asylum—which our listeners are probably more familiar with than any other places—um, where she was able to delve into many different genres and earn her ten thousand hours, which is very important. Her directing work at Funny or Die includes Snackpocalypse starring Michelle Obama, Mary Poppins Quits with Kristen Bell, promoting minimum wage increases, and Modern Office starring Christina Hendricks advocating for workplace equality for women, to name just a few.
It tells the story of a teenage girl who needs to get across state lines for an abortion, and the only one she can turn to for help is her weird ex-best friend. Can you give us a little explanation on why this is one of your fave genre films? Uh, I just—the performances, the plotting, the cinematography is beautiful. On the way, they stop at a bar, where Thelma dances with a man who then attempts to rape her in the parking lot. Louise breaks it up with a gun, threatening to shoot him.
He relents, but then hurls insults at them and says he should have raped Thelma. Louise then turns around and shoots him out of anger. The women return to the car knowing something has irrevocably changed their lives.
The women assess the situation. If they go to the police, the attempted rape might not be believed. Their only choice is to flee to Mexico, so they head west. Louise: God damn it, Thelma, every time we get in trouble you just get blank or—or plead insanity or some such shit. Not this time. I mean this time, things have changed. Everything's changed. But I'm going to Mexico.
I'm going. On the way they meet JD, played by Brad Pitt, who hitches a ride with the women. JD: Trying to get back to school. So I was thinking that, uh, you're going my way or I'm going your way Louise calls her boyfriend and has him wire her life savings to her, but he shows up in person instead, with cash in hand, and asks her to marry him. Meanwhile, Thelma is sleeping with JD, who is discovered to, uh, be a thief, which makes it not surprising that he has taken off with the cash the next morning.
That son of a bitch burgled me, I don't believe it. Sir, would you do the honors? Take all cash out of that girl and put it in a paper bag. Man: Yes, ma'am. Thelma: You're going to have an amazing story to tell all your friends. You decide. Unfortunately, the FBI is closing in on them. So, this only kind of flashes them on their radar a little more. He gets it.
Louise: Would you believe me if I told you this whole thing was an accident? Hal: I do believe you. I need your help here. Hal: You want to come on in? The damage has been done. The two women get in deeper and deeper, locking an officer in the trunk of his car when he pulls them over. Truck Driver: [Screaming] Ahhh, you bitches from hell! God damn it! Louise has a painful history not worth quite bringing up completely. Hal tries to take control of the situation, but the FBI shoos him away.
Louise: What do you mean? Thelma: Go. Louise: You sure? Thelma: Yeah. They kiss, and accelerate over the cliff, and we freeze frame on their glorious moment. Um, but the idea came to Callie Khouri, who wrote it, one day late in Um, it was when she was a producer on pop music videos.
They kill a guy, rob a store, get hooked up with a young guy. I mean, what an idea! If you have that idea, run with it. I know how to tell a story. It just feels so um, so untethered by the rule—the laws of society. You know, just to—it sort of—just being able to think that big. Um, but I think that one of the things that really struck me about Callie Khouri talking about this film in particular is how so many people did not accept these very messy, human female characters.
There's so much talk about whether it's a feminist screenplay, whether it's a male-bashing movie. It's none of those things. I am a feminist, so clearly it is going to have my point of view. But this is a movie about outlaws, and it's not fair to judge it in terms of feminism.
Well, they were never intended as role models, for God's sake. I don't want anybody doing anything they saw in this movie. They are outlaws who should be punished and are. I do not justify their actions. Watch this. Um, so trying to bring out depth and life to the characters. You know, and speaking about like, bringing out depth and life to the characters.
Sometimes people like, write whole backgrounds about their characters. But the way that Geena Davis was talking about, in terms of working with Callie Khouri on this, it was a very, very detailed um, uh, process that she had with Callie Khouri, of like, figuring out down to like, the smallest, smallest thing this character does, what brand of a product that they buy. I first saw it about a year before we began shooting, and just loved both the parts.
I knew that if I needed to find out the color of the toothpaste Thelma used, I could call Callie and she would know. And so having people bring more elements and be able to talk through those and change it is really—is beneficial. Um, and we did end up doing it, but—and I love Haley and will work with her again, uh, as soon as—as soon as I can.
Music: Three bouncy beats. Graham Clark: Hi! My name's Graham Clark, and I'm one half of the podcast Stop Podcasting Yourself , a show that we've recorded for many, many years. And, uh, at the moment, instead of being in person, we're recording remotely. And, uh, you wouldn't even notice. You don't even notice the lag. And, uh, the great thing about this— Graham: Uh— Dave: Go ahead. Graham: No, you go ahead. Dave: Okay, and— Graham: Okay, go ahead.
Graham: Or wherever you get your podcasts. Dave: Your podcasts. Welcome back to Switchblade Sisters. Um, now this movie came after both of those films, and so um, when, you know, I was looking through the interviews of how his process had changed, it had changed quite a bit.
Back then, he was still doing like, almost solely his own storyboarding. I storyboard everything. I start out with a blank page and simply begin to draw. I now do thumbnails and hand them in to a real storyboard artist, because they become a blueprint. The storyboards are xeroxed, handed to the first AD, cameraman, prop department, who look at it and figure out where they come in.
Thelma and Louise
You girls are kind of. I still have to ask. That don't carry much. He already thinks. No, I'm calling from.
A jaunty, jazzy tune reminiscent of the opening theme of a movie. Music continues at a lower volume as April introduces herself and her guest, and then it fades out. Welcome to Switchblade Sisters , where women get together to slice and dice our favorite action and genre films. Every week, I invite a new female filmmaker on. A writer, director, actor, or producer, and we talk—in depth—about one of their fave genre films. Hello, hello. Rachel is an Emmy award winning producer, director,and writer.
It stars Geena Davis as Thelma and Susan Sarandon as Louise, two friends who embark on a road trip which ends up in unforeseen circumstances. Despite some controversy at the time of its release, accusing the movie of portraying a negative view of men, the film became a critical and commercial success, receiving six Academy Award nominations and winning for Best Original Screenplay. To date, this is the most recent film to have two actors nominated in the same category for either Best Actor or Best Actress. At the intersection of several genres, it is now considered a classic [ citation needed ] [ by whom? It influenced other films and artistic works and became a landmark of feminist film [ citation needed ]. In , the United States Library of Congress selected the film for preservation in the National Film Registry , finding it "culturally, historically, or aesthetically significant". Best friends Thelma Dickinson Geena Davis and Louise Sawyer Susan Sarandon set out for a weekend vacation at a fishing cabin in the mountains to take a break from their dreary lives in Arkansas.
30 Days of Screenplays — Day 7: “Thelma & Louise”
Why 30 screenplays in 30 days? Because whether you are a novice just starting to learn the craft of screenwriting or someone who has been writing for many years, you should be reading scripts. There is a certain type of knowledge and understanding about screenwriting you can only get from reading scripts, giving you an innate sense of pace, feel, tone, style, how to approach writing scenes, how create flow, and so forth. So each day this month, I will provide background on and access to a notable movie script. You may a PDF of the script here.
Please note that these scripts are quite varied, final drafts, early drafts, shooting scripts, readings script, most of them not formatted as we will format our scripts. Please don't use them as guides to formatting. American History X.
The screenplays below are the only ones that are available online. If you find any of his missing screenplays please leave the link in the comment section. Screenplay by William Hjortsberg — Read the screenplay! Screenplay by Calle Khouri — Read the screenplay!
How to use this book: If this is your first time using a Screentakes screenbook, you'll find some navigation tips here.
Screenplay-Thelma and Louise
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Мы служба сопровождения, нас нечего стесняться. Красивые девушки, спутницы для обеда и приемов и все такое прочее. Кто дал вам наш номер. Уверен, наш постоянный клиент. Мы можем обслужить вас по особому тарифу. - Ну… вообще-то никто не давал мне ваш номер специально. - В голосе мужчины чувствовалось какая-то озабоченность.
Я сам попытался отправить твой маячок, но ты использовала для него один из новейших гибридных языков, и мне не удалось привести его в действие. Он посылал какую-то тарабарщину. В конце концов пришлось смирить гордыню и вызвать тебя. Сьюзан это позабавило. Стратмор был блестящими программистом-криптографом, но его диапазон был ограничен работой с алгоритмами и тонкости этой не столь уж изощренной и устаревшей технологии программирования часто от него ускользали.
Ему оставалось только стоять на коленях на холодном каменном полу огромного собора. Старик утратил к нему всякий интерес, прихожане встали и запели гимн. Ноги у него свело судорогой.