When he was still an infant, his family moved to the United States, settling in Chicago. When Darabont was five the family moved to Los Angeles. He claims he got his writing skills from "endless hours" of writing at a desk on a typewriter in his free time, and from his childhood friend Cody Hills. Although Darabont was not happy with how the short turned out, it led to a close association with King, who granted him the "handshake deal" rights to another one of his shorter works, Rita Hayworth and Shawshank Redemption from the collection Different Seasons.
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Darabont, like many who took on this role I think writers in total worked on the project expressed dissatisfaction with how unfocused Spielberg and Lucas were, and the impossibility of satisfying both. The situations, characters, and plot may change significantly by the time the film is released.
This is not a definitive statement about the project, but rather an analysis of this unique draft as it pertains to the craft of screenwriting. More Indiana Jones debate! The plan here is to do the usual break down and analysis. The reason to review this script is to figure out which is better, City of Gods or Crystal Skull. Did our crime-fighting beard-donning duo drop the ball by spending another four years to come up with Crystal Skull when they had a great script right under their noses?
Night gave at the peak of his powers, when he was recruited to write a draft of Indy 4. He said that Spielberg and Lucas had all these story elements they absolutely had to have in the script, and M.
The irony, of course, is that Night would give up his youngest child to get an Indy writing assignment from Lucas and Spielberg these days. But I digress. Hey, what do you know, Gods starts out with cars racing in the desert. Kind of like Crystal Skull. And just like Skull, none of our main characters are in those cars. Why would they be? That would be exciting. I agree that introducing Indiana Jones in any sort of passive or reactive manner is a risky proposition. Indy is retired.
I liked that. It made sense in the context of where Indy was in his life. And at the helm of this tomfoolery? Indiana decides to follow them, taking them and him into that AREA 51 warehouse that Skull starts with. We then, of course, get the whole atomic bomb sequence because Spielberg just had to have it in there. And afterwards, just like Skulls, Indy gets fired from his job. The Crystal Skull lives! My guess is that Lucas is responsible for this choice, as he used the same painful plot device in Attack Of The Clones, when Obi-Wan was conveniently mistaken for an evil jedi at the Clone Farm.
Why Marion of course! Finally, around page 50, the plot to City Of Gods is revealed. Which script for Indy was better? Gods or Crystal Skull? City of Gods was more focused. Things made more sense. Whereas in Crystal Skull, I was constantly confused about where we were going and why we were going there. However, Crystal Skull was just more…fun. In other words, a big fat fake. I mean, this was just ripe for comedic conflict-packed banter.
City of Gods also suffers from a lack of interesting bad guys. She never killed anyone. Never did anything that bad. In retrospect, I agree. So the lame villain streak continues. The thing is, the scariest character in both movies, a tall pale Harry Potter-like villain named The Thin Man, is killed off before we even start our adventure. It was the only scene in both Gods and Crystal Skull that brought something new to the Indiana Jones franchise, and yet felt like it was steeped in what made the original movie so fun.
You have our characters walking along the wings of bi-planes, moving from one plane to the other, all while fighting off baddies. It was quite clever, and my favorite part of the script. A giant snake eats Indy in this one The power of the Lost City has affected the growth of animals in the area so all the animals are bigger — I seriously doubt Darabont had anything to do with this idea.
You actually feel like their exploration of the city is structured. In Crystal Skull, I had no idea why we were in that cave at any point. So let me ask you, if you were to write Indiana Jones 5, what would your plot be? Script link: This script is out there in several places via a google search. But over time, screenplays change. They take on a new direction, and many of the elements in that original version you conceived no longer apply.
If you try and hold onto those elements even your favorite ones , they may prevent your story from reaching its potential. I find that, sometimes, getting rid of that scene you love so much from the original draft can open the door to a million new story possibilities. The Conjuring.
Frank Darabont’s Rejected ‘Indiana Jones 4’ Script Shows What May Have Been
Edit The story opens in Nevada around , where a semi-retired Indiana Jones and his Russian emigre workmate Yuri Makovsky are working in a Zuni site. One night, Indiana lends his truck to Yuri to travel to a nearby village but he sees Yuri meeting with other men and heading for a different direction, so Indy decides to follow the convoy and discover their intentions. After entering a secret US Army base in the desert, Indy discovers that Yuri is actually a Soviet agent and foils his plans to purchase an amount of uranium and a mysterious package from two corrupt American scientists. Indy escapes using a refrigerator as shelter and is rescued by the US Army. New York Edit After a long interrogation, Indy is released by the US government but an FBI agent is assigned to watch him anyway, as the government still suspects him of having communist sympathies. He also loses his job at Barnett College and decides to forget the shock by drinking.
Well, the wait is over: That very version popped up online late Wednesday. At least we think it did. Calls to Paramount and Lucasfilm were unreturned at press time. And, make no mistake about it, there are moments of real beauty in this thing. But the four biggest differences in this draft also double as the four best: No Mutt Williams; no Mac; a tougher, more "Raiders"-esque Marion; and a climax that not only gives Indy something to do how in the world did David Koepp think to give Indy nothing? So how good is Marion, really? The first time we see her onscreen, she literally punches Indy in the face.