We ran into a problem while rehearsing for the table read of Ladies and Gentlemen, Miss Ida Walker: The read-through ran longer than the block of studio time we had reserved for the recording.
The traditional rule estimates that one screenplay page equals one minute of screen time. Whether or not you believe that measurement, you can chuck the ratio out the window when someone needs to read the action and description lines out loud.
I needed to make cuts, and there was one more restriction. These had to be straight cuts: No additions or substitutions.
(I was trying to be mindful of school resources since I’d already printed copies of the scripts for the actors once.)
As I sat down with a pencil and a copy of the script, I lost some of my nerve. The revision I did before handing the script over to actors already cut a number of pages. How was I supposed to know what else to trim?
That’s when my daughter’s obsession with The Muppets helped me get over my uncertainty.
Nearly every time we get into the car, she asks “Can we listen to the Muppet music?” I grew up on the Muppets, and all things Jim Henson, so I’m totally fine indulging her obsession.
The film’s soundtrack includes an extended cut of the villainous Tex Richman’s rap “Let’s Talk About Me,” where he explains how rich, powerful, and awesome he is to the Muppets.
It’s great. Academy Award Winner Chris Cooper chews the scenery so hard, you want to offer him a Tums. You should listen to it.
The difference with the film version? The soundtrack cut features an operatic bridge:
I recall a heartbreaking story
About my own tenth birthday party
Should’ve been a glorious day for me
I’d have been happy as can be
But the Muppets were there
To put on a show
They started to dance
They were telling their jokes
I didn’t laugh
I didn’t know how
Then my friends
They all turned around
And they laughed at me
They laughed at me
I hate you, Muppets so
It provides an explanation for why the character needs to say “Maniacal laugh” to his henchmen instead of laughing himself. It gives a motivation for why he buys the Muppet Studio. It informs why he’s so cruel to the Muppets. And it sets up the joke at the end of the movie where Gonzo hits him with a bowling ball and he learns how to laugh.
Seems necessary, right?
But without that verse, we can still understand why he buys the studio (he wants to drill for oil), and why he’s cruel to the Muppets (he’s an evil oil barron that wants to drill for oil).
The inability to laugh is funny even without an explanation, and the repeated action itself sets up the joke for when a comical concussion knocks some laughter into him.
Everything doesn’t need to be explained in full.
Humans are narrative-making creatures. We try to fill in the gaps and find sense in events. Allowing for small omissions understands this feature of human thinking and respects the audience.
Everybody writes Tex Bridges.
You don’t trust that people will understand a strange choice you made. You worry that something will cause your reader or audience to bump, so you try to solve a problem that hasn’t happened yet. You love the backstory you’ve come up with for a character and think everybody else will love it, too.
There’s nothing wrong with writing a Tex Bridge, but there’s also nothing wrong with cutting it and trusting your narrative momentum.
So I thought about Tex Richman, and looked for the places in my script that felt like that bridge: Places that might be entertaining, but over-explained something that the audience could infer from everything else.
This Builds Character 