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When adapting a trilogy, each movie must work on its own as well as when binge-watched back-to-back. Writing a screenplay from a novel is akin to writing fanfiction one original inspires another. With the next film comes Christian's conversion to vanilla ( yum) and a tabletop romp ( there isn't enough cranberry juice in the world.). Just like Christian, use your imagination. Get the picture? Now it's your turn to play. The word "no" would enforce Ana's power and show that Christian, despite the BDSM rules, can honor it, preserving our empathy for both of them, while saving the impact of the other words for the sequels. It's also visually evocative of the room she's come to equate with desire, but now must give up. To have Ana invoke her safeword mid-belt is almost irresistibly ironic she finally masters the game only to end it. When Ana cries "red" during an erotic wand revenge scene, the painful memory it recalls of her leaving him could raise the bar on Christian's panic. (Remember the ground rules: no repetitions.) In Fifty Shades Darker, during a risqué billiards bet, Christian tells Ana to say "stop" because "lovers don't need safewords." If that point's been enacted here, it becomes moot later. ( Double spoiler alert.) Reportedly, there was a debate: Should Ana say "stop" or "red"? Either word would carry the baggage of the belt with it into the next two films, potentially undercutting future scenes.
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As she stirs, bits and pieces of the rest of the Red Room's scene flash back.Her realization and his knowing smile as he binds her wrists with the cable ties.her hands clasping the bedpost.her braid wrapped around his hand.his other hand grasping her hip.All intercut with Ana, a sleepy afterglow smile on her face as she revels in the memories.Her giggle as Christian cuts the cable ties with "I declare this Ana open"."Open" echoing as Christian coaxes Ana to "open your eyes," softly kissing her awake.īut how to do it. With a shift in music, we suddenly see Ana, asleep in the white room. As his back blocks the view of her body, we see her legs wrapped around him, her upper arms on his shoulders. After all the tight teasing, a final long shot has the same impact as a climactic close-up. Tight shots of Ana's cuffed hands.Christian's mouth at her neck.the crop kissing skin.her trepidatious-turned-rapturous responses.Then pulling back as Christian suddenly lifts a blissed-out Ana, her shackled wrists riding the iron rail above, as he whisks her from one end of the room to the other, the music building with their movement as he brings her to rest against the large wooden X. ( Spoiler Alert: If you don't wish plot points blown, save this article for laters, baby.) In that sense, the filmmakers are the Dominant, and we the audience their submissive: Our pleasure is in their hands. (Some men women date these days can't even pick the restaurant.) As the object of the game is to make the sex scenes cinematic, both screenwriter and director must harness Christian's creativity. From the top of his toys to the tips of his fingers, he's a master of attentive invention, planning each encounter in delicious detail. If variety is the sentient spice of sex, Christian's a banquet. For my money, Christian's sexiest attribute is his imagination. With a devoted fan base, it helps to know what's fired their obsession. Each tryst must advance the story, define character, avoid repetition (even for our quick-recovering hero) or twist the plot. Concessions to time and budget necessitate hard choices. Also, while Ana and Christian may have all day to play, a movie lasts only two hours.
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If the sex is gratuitous, the relationship at its core will seem superfluous as well. Wanna play?įirst, some ground rules: Each scene must be consequential.
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It's a game writers instinctively indulge in when reading any book, but it can be especially titillating when it comes to erotica. As a screenwriter, I could not help imagining how I would adapt Fifty Shades for film. Screenwriters must tease out the best parts, luring characters to confess their secret selves on paper so a director can breathe celluloid life into them for an audience's consummation. Within the craft of adaptation lies the art of seduction.
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The film's challenge is to fit the steamy sex into the framework of an R rating. James, the BDSM sexploits of its lead characters are essential to their evolution, as Dominant, Christian Grey (Jamie Dornan), reveals his vulnerability, and submissive Anastasia Steele (Dakota Johnson) finds her strength.
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As Fifty Shades of Grey makes the leap from page to screen, the biggest question has been "how will they do the sex scenes?" In the three-book series by E. It sells books and films, and this Valentine's Day it'll sell both.