June 25, 2020

The Producers of Frank Darabont’s FAHRENHEIT Answer Some But while he’s confident about the script, his partner Neil seems to. This particular script, Farenheit , has been in development for something Writer: Frank Darabont (based on the novel by Ray Bradbury). After that, I sat down to read Frank Darabont’s September, , screenplay adaptation. A FIERY BOOK ON BOOK-BURNING There are many.

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Screenwriting news and in-depth analysis from a devoted, yet mysterious, student of the craft. Posted by Mystery Man at Sounds like a good read. I have loved the book for years and am curious if there is a place to find the darabong online?

Keep up the good work. Anon – I should’ve mentioned this, but the script is not available online. Thanks so much for your kind words.

Read this script and I have two thoughts on it Darabont uses “Priming the house like a bomb A moment of “we’ve been here before” and then the match comes out and it pulls the carpet out from under you. Nice little gut punch.

The other thing is something that I found myself wanting, but not really getting is that I really liked Beatty, but his end was a little shallow and mechanical. Now, I get that and it works because, okay sure, he’s part of the machine, but I was hoping the big confrontation was going to be paced a little differently.

I think it goes along with the point you made about Millie’s betrayal– Beatty’s such a contradiction, spouting dahrenheit quotes throughout — that he just defaults to his robotic profession, kinda undercut that moment for me.

SCRIPT Fahrenheit 451 by Frank Darabont.pdf

Acript not stretch out the tension? Montag’s betraying his old life, friends, etc and whether Beatty and Millie are in the right or wrong by toeing the line, I want a glimpse that the emotion on their parts is real. These characters are brainwashed into this mechanical existence, but they’re still human, they’ve got emotions.

Even if they’re just in the giant plasmas That whole scene is pretty tight on the action from Montag and his confusion, but I want to see some hint from Beatty. I get why it isn’t there, but I still want it.

ScriptShadow: Screenwriting and Screenplay reviews: Titan Week – “Fahrenheit “

Having done so well on this story, Frank will never be doubted again. I mean, it’s fucking impeccable. It plainly shows vrank still is a fantastic writer and Indy 4 wasn’t his fault. His Indy script and this script are like fucking night and day. Hope they get the right actors for this one.

Hey Mystery, Just found your site via a friend. Love how in-depth you get. I’ve been meaning to read this script forever and I just haven’t been able to make the plunge. After your in-depth analysis, I may reconsider.

Nic – “I get why it isn’t there, but I still want it. Bwaaah ha ha ha! I completely agree with your thoughts on Beatty, and I had a fourth suggestion that I cut about punctuating his own desparation and self-destructiveness. David – “Mist” was not a great success. I still haven’t seen it yet. But the assumption has always been that we’re only as good as our last script. Of course, we know better. Carson – Thanks, man!


It’s perhaps my favorite Bradbury book Give to have you back Darsbont, great review that has me itching to read it — and I think I may have just worked out where to get it Glad you’re back blogging, MM. I saw “Fahrenheit ” many, many years ago. About all I remember is Julie Christie watching soapies darabnot wall-size TV screens, and the fireman spraying kerosene on a pile of books. It was also emotionally quite cool and distant, as I recall.

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It’s definitely time for a remake, and judging from the script snippet, Darabont’s giving us a good one. Just read the book myself and absolutely loved it. Scrilt heard his voice loud and clear in those malevolent monologues. JJ – I have not. Anon — just send me an e-mail. Hehehe… Martin — Yes, it was emotional cool.

Tim — Brian Cox is a great choice. Hey, Mystery Man, Don’t miss “Mist”. Fahrebheit also like his Indy 4 draft. It’s a shame so little of it end up in the final movie. This is the first time I’ve seen your blog, but I’m very glad I found it.

Your discussion of F is excellent. I too would love to read Darabont’s screenplay – I will email you in the hope that you might help me find it somewhere.

I’m a Bradbury buff – checkout my website at www. I’ve been hearing about this remake for years, and I can’t wait to read Darabont’s script. Your analysis of the film’s many weaknesses is very shrewd. I think Bernard Herrmann’s beautiful score, which provides most of the emotional content and lifts the book people finale into the cloudsis the only reason the Truffaut film is remembered at all.

Rafael – You’ve sold me! Phil – Thanks for that link! Steven – Ya know, I love Bernard Herrmann! I was listening to his music often as I wrote those Unproduced Hitch articles. But ya know, his music is so evocative of Hitchcock’s films, I was half expecting some suspense, which I never got. But you’re right, though, what he composed was fabulous. Phil shared this link that has a photo of Darabont with Bradbury holding a copy of his script.

I’ve got the Ambrosia vinyl with that song on it. I hadn’t thought of that water as the antithesis of fire as I read it. Excellent article, oh mysterious one. MM Read this script in April on a flight out to California, and did not want the script to end. When we landed, I ended up going to a bookstore and picking up the Bradbury’s book which I hadn’t read since 4th grade and barely remembered Darabont is to me what William Goldman is for other writers.

Something about Darabont’s scripts just hook me — they’re easy to follow and totally engage me in the world he creates.

Reading his scripts has actually taught me more about writing than any of the books I’ve picked up on the subject have. And your site is a tremendous help as well — just don’t keep us hanging for an update like that again. If you do, I may have to call my attorney. Databont think Tom Hanks would actually make a great Beatty.


Be kind of a different role for him and he certainly has the charisma that character displays in the script. Montag should be someone that is somewhat recognizable. Just finished reading it, if that’s the right word, it was such a visceral experience it almost felt like something that was happening to me rather than something I was studying.

Thanks so much for putting me on to such a terrific script. You rightly identify the weakest part as Millie’s betrayal, and, like nic, I also thought that for such a powerful adversary Beatty was slightly short-changed. What I would like to see with the current version is for the physical gesture of Montag flipping off the safety to exactly mirror the old lady sparking up the match with her thumb.

Maybe it would be too melodramatic, but were Beatty to snatch Millie to shield himself it would make Montag’s choice pretty interesting. As it stands at the moment, the purported depth of his feeling for her seems pretty unrealistic, for who she was, yes, but she’s been lost to him a long time. When on the mountain he looks at the city and says ‘Millie’, that was the one moment which took me out of the story as it just didn’t seem right.

Actually, it was the second time. Sccript flow away from mountains toward the sea. So, my head is still buzzing, and I think maybe I like the idea of his grabbing Millie, and – just before he torches her and Beatty both – he reminds Millie of where scirpt how it was they met, something suitably thematic.

OK, calm down terraling. Reading through that scene one more time, what I specifically don’t like about Beatty’s end is that he acts fahrenyeit if he believes there is no way that Montag would kill him even though Montag has lost everything and is backed into a corner. Beatty is too well read not darabonf see the likelihood of his own demise, and there should be some way of showing that. So, what I would like to see is, as Montag thumbs the safety on the flamethrower, Beatty grabs at Millie to shield himself.

There is a stand-off. Montag reminds Millie of how and when they first met, something she has forgotten, and what he says or the way he says it is enough to tip-off Beatty that he is going to torch them both, that the Millie he loved is not there anymore. And Beatty reacts by.? By letting her go and presenting himself as a lone target. As someone who has lived by the flame he prepares to die by the flame, and conflicted character that he is, welcomes the release. He delivers one last poetic darabonnt to that effect.

Montag quizzes him as to who said that.

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