Unless you’ve read the original novel, you won’t know until late in the film that Under The Skin is the story of an alien in human form. Still, the filmmakers reveal in interviews: “part road movie, part science fiction, part real, it’s a film about seeing our world through alien eyes.”

Spoilers Would Have Helped

In fairness, I would have enjoyed the film a whole lot better if I knew this before watching. Perhaps this confusion about what to reveal and what not lies at the basis of director Jonathan Glazer’s mixed success at the box office.

Glazer is what you would call a cult director. He has a smallish, dedicated following. His debut Sexy Beast grossed only about $10m worldwide, but it established him as a force in the indie world. For Birth, his next, he had $20m to play with (most of which I suspect went to Nicole Kidman’s fee).

That movie barely made its money back, and it took Glazer nine years before getting another picture into the theatres. With a production budget of $13m and a reported worldwide gross of just over $5m for Under The Skin, one wonders if he’ll be helming again any time soon.

Under Your Skin

Still, I’ll always be interested in Glazer’s movies. They are eerie, unnerving. They linger in your memory, and get under your skin. To me, this is a sign of relevant cinema.

In this picture, Scarlett Johansson plays a woman who roams Scotland seducing men, then killing them. This ritual repeats itself over and over, until she too meets a harrowing end. The scenes of seduction and sex are disorienting and alienating, to an extent that we can’t really tell what is going on, how and why.

Scarlett Johansson’s Skin

It is one of those stories I kept watching out of intrigue (contrary, of course, to those who confessed to keep watching for the substantial amount of Scarlett in the flesh). Where could this all possibly lead?

When any answer is ultimately lacking, you are left with the choice to accept this as art – or dismiss it as nonsense. I’m divided. In my view, great cinema doesn’t leave the viewers in the dark, with an attitude of “Didn’t you get it?”

Or was this film intended for readers of the original novel only? Not a convincing business model, if you ask me.

Glazer’s Idea Of Beach Fun

That said, Under The Skin has one scene that represents Glazer’s style of filmmaking.

If you haven’t seen the movie, I’m not sure whether it will draw you in, or turn you off completely (I guess this may also depend on your appetite for Scarlett Johansson). But it may haunt you forever… if you’re a human.

The scene sits about twenty-five minutes in, and is set at the beach during wild weather. Our heroine watches the drowning of a couple in the waves while their infant child is left alone, crying. As a parent, I found this the most heart-wrenching scene ever.

But it’s not over yet.

This is only the setup – being a long one – for what is to come. Unmoved, the woman observes how a swimmer in wetsuit fails to rescue the couple, and washes up on the beach, exhausted.

What happens next, is profoundly disturbing, and if you’re in need of something to cheer you up, perhaps leave this one for later.

Or pour yourself something strong.

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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by Karel Segers

Rarely does a memorable movie scene lack the main character; this one does. And Blade Runner lacks a lot more… like a plot that works. Despite all the hype before and after the release, the movie was a commercial disaster, grossing only $14m in 1982.
There is absolutely no shame in loving a movie failure, and Blade Runner is still one of my all-time favourites. As a young boy I was obsessed with sci-fi and Vangelis’ music was prominent in my vinyl collection. No matter how much I love the music though, it has always had a soporific effect on me (Kathryn Bigelow’s brilliant Strange Days is an other one that always puts me to sleep) and as a result I would always struggle with the plot. But when I screen a film with my students, I do it early in the day – and I have an incentive to stay sharp.

I THINK THEREFORE I AM

I have written before about what I believe to be some of the key story flaws, namely the shallow character setup and the resulting 8-mins Act One. The film has a monumental second act with minimal stakes for the main character – and very little empathy; it is more an intellectual discourse on humanity. Some of my students watched the film for the first time and others taught me a few things I didn’t know or had not picked up. Did you realize ‘Deckard’ (Harrison Ford) is a reference to French philosopher René Descartes ? I couldn’t believe I had never figured that one out, as I once hosted a radio show with the tag line “Audio ergo sum” (“I listen therefore I am”). To me, Blade Runner has always been a meditation on free will, one of my favourite mindf***s: the droids are limited in the way they were programmed by their Maker… and perhaps so are we

FUTURE NOIR

Watching the film’s ‘Final Cut’ again on BluRay, it struck me how dark this sci-fi film noir really is. The one scene that stood out above all others was Roy Batty’s scene with Tyrrell, his creator. We are approaching the end of Act Two after a late mid point, in which Deckard and Rachel engage in a long, awkward semi-love scene. In the following ‘threshold sequence,’ Roy Batty (Rutger Hauer) schemes his way into the Tyrrell tower using a game of chess. By the way, skilled screenwriters often introduce important scenes by showing the effort characters make to reach the location. It sharpens our attention and primes us for the scene the come.

THE MOMENT: I WANT MORE LIFE

The scene is about Roy asking Tyrrell to extend his life beyond the programmed 4 years. I find this scene interesting for countless reasons, one being the human kind’s obsession with extending our lives. However, screenwriter Hampton Fancher put the 4-year lifespan in the script simply as a reference to the way car manufacturers keep commerce running by using built-in obsolescence. Interesting to know is that the writer’s intention with Roy’s kiss was no more than a “Good-bye, Pa”. Much has been written about how Roy is in some way more human than Deckard and perhaps this is the very scene where his human side takes over. Ultimately, killing its maker is a bizarre action for a machine – one that perhaps only a human would contemplate…

THE UNICORN

Nope. I’m not talking about the unicorn. You watch it (again) and figure that one out for yourself.

– Karel Segers

Blade Runner screenplay(1981.05.15 draft)
Script Excerpt: I Want More Life

(first published for ScripTips)

Karel Segers is a producer and script consultant who started in movies as a rights buyer for Europe’s largest pay TV group Canal+. Back then it was handy to speak 5 languages. Less so today in Australia.

Karel teaches, consults and lectures on screenwriting and the principles of storytelling to his 7-year old son Baxter and anyone else who listens.
He is also the boss of this blog.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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You may argue that Blomkamp hasn’t changed the world with his film but I disagree. By watching the story through the POV of Wikus, we go through the liberating experience of seeing our hero transform. At the beginning of the movie, Wikus is racist or at best an ignorant fool. From the mid point he will gradually transform and show empathy for the aliens as he slowly becomes one.

Another reason to be awe-inspired by this movie is the fact that it was adapted from a short film.Writer-director Neill Blomkamp remade his short film Alive in Joburg and started a trend of filmmakers launching a concept via a short film, hoping to do a deal in Hollywood. So far, not many have pulled it off. As a matter of fact, I don’t know of any film in the two years since District 9.

When you adapt a short film into a feature, you pretty much have to make up the entire story from scratch. The only other instance of a successful feature based on a short film I know of is Twelve Monkeys. Do you know of others, please let us know in the comments.

Fun Trivia:
IMDb lists Sharlto Copley (Wikus) as playing an alien in the upcoming Men In Black III.
David James (Koobus) had a part in the South-African series Binnelanders.

So how did District 9 writers Blomkamp and Teri Tatchell structure their story? Let’s have a look.

spoilers galore

PROLOGUE – Wikus: archive footage & Interviews with entourage (10mins)

00:00 Tristar and QED International Leaders
01:00 Introduction by Wikus van de Merwe, at the MNU Alien Affairs head office.
01:30 Report on the arrival of the aliens and setting up of District 9.
06:00 Controversial plans by MNU to relocate the aliens to a new settlement.
07:00 Wikus appointed Field Officer to take command of the operation.
07:30 Tania, Wikus’ wife, tells of investigation launched against him.
08:00 Interviewees speak about Wikus in past tense. What happened? Is he dead?
09:00 Wikus challenges ‘the cowboys’ over too much ammunition.

This prologue immediately gives the film a fresh, quirky tone. Blomkamp uses hyper-realistic news footage and shows the space ship and aliens in a completely matter-of-fact way, much like the original short film. This works very effectively in suspending disbelief and setting up the world of the story.
It also creates tremendous mystery around the figure of Wikus. Is he dead or alive? He’s clearly racist, yet naive and well-meaning. Is he going to be our hero? Towards the end of the sequence, our empathy grows when Wikus finds himself in conflict with the war-mongering Koobus.
Why would we call this a prologue? Because we haven’t fully settled for any particular hero yet and all exposition refers to events in the past or events that are to be shown later. There is no story ‘happening in the now’.

ACT ONE

Sequence A: Violent relocation of aliens for weapons. (10mins)

10:00 Start of operation. Eviction notices to be served, backed up by military.
13:00 Wikus and military convoy enter District 9.
15:00 Wikus displays knowledge about the aliens and negotiating skills. Tries to avoid use of arms.
16:30 Nigerian gangs in District 9
18:00 Alien eggs found and destroyed. Wikus has little concern for the alien life.
19:30 (pov) MNU is into weapons research and aliens have superior weapons.
20:00 Alien executed from the air, “had a spade”.

Confusion about our hero continues: his ethics are debatable and he doesn’t look very smart. More antagonism arises with the introduction of the Nigerian gangs. Key strengths why we are interested in Wikus: he is excited, energetic and totally committed to his task, even though it may be dangerous (and stupid). Film audiences will always prefer a not-so-smart but gung-ho character (see how many comedic characters you can come up with) over a genius who doesn’t act.
Note that this entire first sequence is told from Wikus’ point of view (POV), except the brief interview segment about MNU’s motivations. The story doesn’t go into any other POV during the dramatic scenes.

Sequence B: The Fluid. (10mins)

20:30 (pov aliens) Aliens looking for fluid.
21:30 (pov aliens) 20 Years of work collecting the fluid, finally plan is ready.
22:00 (pov aliens) Cylinder must be protected, kept from MNU.
22:30 Wikus searches their shack.
23:30 Chemical lab found. Wikus finds cylinder.
24:00 Fluid in cylinder sprays on Wikus’ face. He takes cylinder in for inspection.
25:00 Weapons found, Wikus calls for reinforcement.
26:00 Wikus gloats at alien. The alien attacks Wikus, is being shot from chopper.
27:30 Wikus refuses medical treatment.
28:00 Christopher. Sharper. Refuses to sign paper.
30:00 Wikus threatens to take son away.
30:30 Wikus sick. Bleeds black liquid.

For the first time we move into the POV of the aliens Christopher and his son. See how this happens right at the beginning of a new sequence, after a climax. This way it interferes minimally with the building of tension. Look at other successful movies and you’ll often find that a first shift of POV happens at the beginning of a sequence, where the tension is relatively low. This shift of POV is essential to show us the aliens’ secret, setting up a strong conflict between their aliens’ goal (to hide the fluid in the cylinder) and that of Wikus’ (to turn everything upside down to find weapons).
Note how during the remainder of this sequence we stay in the POV of Wikus, yet meanwhile we do feel empathy for the aliens. The sequence climaxes with Christopher refusing to sign and Wikus being infected by the black fluid.
Structurally, this end of Act One is interesting: some people may empathize more with the aliens than with Wikus, because their goal is clearer, harder to achieve and at the same time simpler, more primal. The aliens want to return home and they have invested a lot in it. Wikus still only wants to finish his job, although the elements have been set up to make this harder and harder.

ACT TWO

Sequence C: Wikus’ deterioration, capture and escape. (12mins)

33:00 (pov aliens) Christopher can’t find the cylinder.
34:00 (pov) Nigerians kill and eat aliens to cure diseases.
35:00 Surprise party for Wikus at home.
35:30 Piet not happy: too many aliens died today. Wikus throws up again.
36:30 Wikus to hospital. He has grown an alien arm.
38:00 Wikus taken to MNU bio-labs: alien DNA, now subject of experiments.
39:00 “What are they doing to these prawns?” Confused and shocked.
39:30 Wikus used in weapons testing, able to shoot the alien weapons.
41:30 Wikus forced to shoot a captured alien.
42:00 (pov MNU) Body is to be harvested, worth billions.
43:00 (pov Tania) Piet lies to wife Tania and tries to convince her to forget about him.
44:00 They try to cut open his chest but Wikus escapes from the building.

Wikus, previously the hero of the relocation operation, now becomes a fugitive. He will increasingly empathize with the aliens as he has started his transformation to become one. In terms of character goals, the aliens’ objective is still clearer than Wikus’. They must find the fluid in order to return to their planet. Wikus doesn’t quite understand what’s going on with him. Only at the end of this sequence does he have a clear, strong goal: to survive.
This sequence, too, opens with a shift in POV: very briefly we go back to Christopher. Immediately after that, we shift POV again, to the Nigerians. The climax of this sequence feels like an early mid point as it acts as a massive reversal, with the world suddenly turned against our Hero. After this, the movie’s tone will be a lot darker.

Sequence D: A Fugitive, going back to the alien slums. (10 mins)

44:30 (pov) Piet informed of escape, Koobus leading the manhunt for Wikus.
46:00 Calling friends; they let him down. Hassled at takeaway, shot at.
46:30 (pov) “He became the most valuable business artifact on earth.”
48:00 (pov) The entire world’s attention and focus is on Wikus.
49:00 Wikus seeks refuge in District 9, the only place he can go to.
49:30 Queuing with other aliens for food from the Nigerians. Eating cat food.
51:00 Call from Tania: “I don’t want you to hold me again.”
52:00 Wikus attempts to cut his alien arm off.
53:00 Koobus and fleet of helicopters arrive in District 9.

This sequence offers little more than an extended chase, starting with Wikus’ escape from MNU and ending with his arrival at Christopher’s shack. The story doesn’t really progress much but the tension is kept high in a way that is utterly cinematic. It is significant that Wikus’ wife has given up on him when she says “I don’t want you to hold me again,” which is the start of her ‘shape-shifting’. The sequence ends on great tension, with Koobus and his men close on Wikus’ heels. This marks the story’s real Mid Point as from this point onwards Wikus will be working with the aliens rather than against them. Remember another blockbuster movie with aliens that had a similar reversal around the mid point?

Sequence E: Becoming an alien and teaming up with Christopher. (10mins)

54:00 Wikus hides out in Christopher’s shack. Begs him to help him.
54:30 Christopher sees Wikus’ alien arm and decides to hide him.
56:00 Secret bunker under the shack with ship to get back to the mothership.
56:30 Christopher can fix Wikus’ condition if they can get to the mothership.
57:00 They have to break into MNU headquarters and get the fluid.
58:00 Wikus’ transformation is accelerating.
58:30 Tania wants Wikus back. He is determined now to carry out the plan.
59.30 (pov Koobus & Piet) They’re locating Wikus to get him.
60:00 (pov aliens) Aliens compare their planet to Earth, looking forward to going home.

Wikus is at first selfish when he works with Christopher to get the fluid back: he only wants to get himself fixed. This first sequence after the Mid Point also sets up something that is typical for many successful stories: the Approach To The Inmost Cave. Wikus will have to return to the place that is most dangerous to him: the headquarters of MNU. This place will also become the Inmost Cave for Christopher when he sees the dead body of his friend.

Sequence F: Going into MNU. (10mins)

61:00 Wikus goes to the Nigerians to get weapons. They want his arm.
63:30 Wikus fights his way out, using alien weapons.
64:30 Wikus and Christopher storm into MNU headquarters.
67:00 Wikus finds the fluid. Christopher distracted by alien bodies.
68:00 Military come in. Shootout.
69:00 “think of your boy for fuck’s sake” Christopher wakes up and they escape together.

In the Approach sequence, the hero has to show how far he is willing to go in order to achieve his goal. Wikus has to shoot and kill humans in order to get the fluid, which underscores his further transformation to alien. In this Inmost Cave, where Wikus had faced death before, they find the fluid (a first Reward in Wikus Hero’s Journey).
In the climax of the sequence we see Wikus no longer just thinking about fixing himself when he encourages Christopher “Think of your boy…”.

Sequence G: Betrayed by Christopher. Tortured by Obesanjo. (10mins)

71:00 Christopher wans to save aliens first. Will be back in 3 years.
72:00 Wikus feels betrayed. Attempts to go to mothership on his own.
73:00 Koobus enters the shack.
73:30 Wikus fires up the ship and takes off.
75:30 Ship is shot down by missile.
76:00 Ship crashes down. Alien and Wikus captured by Koobus.
78:00 Convoy ambushed by Nigerians, Wikus taken.
79:30 (pov) Christopher’s son, still in the ship, is able to activate it.
80:00 Obesanjo tortures Wikus, wants to eat his arm to get his powers.
82:00 (pov) Son activates mothership, alien devices re-activate everywhere.

District 9 has three sequences between the Mid Point and the end of Act Two. I wonder if this is typical for darker films. In any case it seems like the Ordeal (or Crisis) is extended to an entire sequence of 12 minutes. When Christopher tells Wikus that he wants to help his alien people first, it feels to Wikus as if all is lost. Later – in a typical ‘Cave‘ moment – he is being tortured and nearly killed by Obesanjo. Christopher’s son manages to re-activate the mother ship, which opens the doors to Act Three (in the Hero’s Journey this moment is a second Reward, aka the Seizing of the Sword).

ACT THREE

Sequence G: Protecting Christopher – Wikus vs. Koobus. (10mins)

83:00 Wikus escapes with the aid of a robot.
84:00 (pov) Koobus interrogates Christopher.
85:00 Wikus steps into exoskeleton. Hears that Koobus wants to kill Christopher.
86:00 Wikus decides to rescue him and help him to the dropship.
89:30 Wikus covers for Christopher but snipers injure him. Christopher runs.
90:00 Wikus fights against the military.
92:00 Alien makes it to dropship and gets lifted up to mothership.
93:00 Wikus vs. Koobus
94:00 Wikus falls out of exoskeleton. Koobus approaches.
95:00 Wikus left at the mercy of Koobus.
96:00 Koobus about to execute Wikus when other aliens move in and kill Koobus.
97:00 Mothership begins journey back home. Leaves earth.

The climax brings all the forces of good and evil together in one explosive climactic battle – and a setup for the sequel. One could argue that Obesanjo should have survived Act Two as he could have further complicated the climactic battle. Then again, Koobus is strong enough as the ultimate villain as he was set up from the Prologue and it keeps things simple to have only one major Shadow character.

Sequence H: Wikus gone. Waiting for three years. (3mins)

98:00 Wikus left to await his fate.
99:00 (pov) Theories about Wikus’ whereabouts. Setup of District 10.
100:0 Tania receives a flower. Evidence that Wikus is still alive?
101:0 Wikus completely transformed into an alien.

Do you have any thoughts about District 9 and how it is structurally different or similar to other movies? Let us know in the comments!

Structural Analysis: Adrian Kok
Notes: Karel Segers

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With thanks to Sol. Enjoy!

Karel

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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The scene in this clip is a trademark Cameron setup.

Remember the unobtainium – ‘floating rock’ scene in Avatar? That is a case of exposition that some love and others loathe.

This scene from The Abyss sits around about the same time into this movie and sets up an equally important concept, which will be crucial in the movie’s climax.

The scene is in my view one of the most supreme examples of exposition. It combines character and tension with essential story information.

It shows how James Cameron has always been a tremendously gifted screenwriter.

Enjoy!

In fact – and contrary to the unobtainium scene – Ron Cobb confirmed to me that the fluid breathing system is not sci-fi but fact.  Hippy’s rat is submerged in actual fluid breathing system liquid and in this scene it is really breathing underwater. Apparently, Beany the rat survived for quite a while afterwards and died of natural causes.

(On the contrary – as you might have guessed – in the movie’s climax Ed Harris did not breathe liquid. The glass of his suit was tinted amber to suggest it was filled with the liquid.)

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Karel

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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