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Boyle and Simon Beaufoy
- The film, based on Ralston's memoir Between a Rock and a Hard Place (2004), was written by Boyle and Simon Beaufoy, co-produced by Christian Colson and John Smithson, and scored by A. R. Rahman.
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The film, based on Ralston's memoir Between a Rock and a Hard Place (2004), was written by Boyle and Simon Beaufoy, co-produced by Christian Colson and John Smithson, and scored by A. R. Rahman.
Sep 23, 2015 · Ralston’s harrowing ordeal is the subject of 127 Hours, the film from the Academy Award®- winning director and screenwriter of Slumdog Millionaire, Danny Boyle and Simon Beaufoy. Once he was free, Ralston rappelled 65 feet down the sheer canyon wall and began an eight-mile hike out of the canyon.
- RIGHT SCREEN
- Thanks, Blue John.
- Aron? Where are you?
- ON ALL THREE SCREENS:
- ARON:
- MIDDLE SCREEN
- ARON:
- ARON:
- ON ALL THREE SCREENS:
- RIGHT SCREEN
- Why don’t you come with us? Kick back and have a beer?
- ON ALL THREE SCREENS:
- MIDDLE SCREEN
- I’m holding on here, but time’s going
- Glad you made it.
- ARON:
- RIGHT SCREEN
- ON ALL THREE SCREENS:
- This boulder’s been waiting for me all my life. And all its life. Isn’t that
- ON ALL THREE SCREENS:
- Beautiful.
- RIGHT SCREEN
- ON ALL THREE SCREENS:
- POW.
- “Aron continues to be a climber and canyoneer”
Big C/U of in the dagger of again, slow, slow digital numbers sunlight. Beyond it motion. we see someone, out of focus, carrying 2 huge office water dispensers by their necks. The man seems to be in cowboy gear. He comes up to Aron and puts them down.
Aron chipping away at the rock... Chip, chip, chip.
Smeary footage of Aron hammering at the top of the knife with a shot-putt sized boulder.
MOM V/O: Just Mom here... hope you’re having a good time.... VIDEO MESSAGE: Digital shadows of what was on the tape originally -Aron ski-ing in dazzling sunlight - scar across screen and disappear. ARON: Rana, I’ve been thinking about you girl. Beat.
One of the things I’m learning here is that I didn’t enjoy people’s company that I was with enough. Or as much as I could have. A shaft of sunlight hits the canyon. Moves from left to right, crossing all three screens with pink, suffused, light. LEFT SCREEN
Four hands on A small fire the piano. Sonja crackling and and Aron playing burning. a duet: ‘Heart Superimposed on
I wanted him... Rob... to respect me for my accomplishments... not for how I treat others... Aron’s parents’ sofa, which is sitting in the middle of the canyon right in the Aron watches shaft of light. They them, giving sit on the sofa, each one a stand behind it, spacey smile of perch on the arms. recognition. Smile at him.
Erik, Jon, hi Erik .. Brandon, howya doing? Mark, long time man... Chip, Norm.. What’s happenin’?
Aron’s huge eyes blink in slow motion, changing the screens to: LEFT SCREEN MIDDLE SCREEN
The inflatable The disembodied A table groaning Scooby Doo waves camera wanders the with liquids. eerily in the dark. party, searching Beers, Margaritas
The shot of Aron’s Dad again, the glass of soda raised to his lips. into faces who juice.... Huge smile politely but C/U of a bottle- turn away. opener cracking the top of a beer - the sharp little hiss of pleasure. It repeats again and again. Hiss, hiss, hiss. We zoom in and in on the glass until it is just pixels.
Aron drinks from the Camelbak, retching, swearing, gulping. INT. CANYON A Margarita hovering in the canyon. LEFT SCREEN
VIDEO MESSAGE: For the first time, inside the rope bag. It’s night, but he’s monstrously lit and deteriorating fast.
Aron’s video of Megan and Kristi jumping into the pool runs really slow. My backwards, backwards. heart’s beating like crazy. I swear it’s three times what it should be. A shot of Rana at the roof-top party, lit by God. The slow, stop-frame movement allows us to examine every inch of her throat, her mouth, her eye...
Aron continues his VIDEO MESSAGE to camera. Slurry, but bright-eyed.
Been doing a lot of thinking. Something amazing. Really. Amazing. This boulder.
Stills of Aron’s many summits flash by. Stills of him as a child with glasses, at school with even bigger glasses and at home as a baby. Huge, molten rocks tumble towards us out of the dark. Were one to hit us we would be obliterated in an instant.
A comet streaks fast across the screens, trailing an arc of impossibly beautiful fire and sparks. LEFT SCREEN MIDDLE SCREEN
The boulder. First as a photograph, then a computer generated 3D representation, The comet powers on. rotating and awesome? Since it was some bit of a meteorite a million MOM V/O: billion years ago. (Casual) Up there in space. Its been waiting. To Where is he? land here. Right here. And me, I’ve been moving towards it all my life. spinning to sh...
Aron continuing the video message. He leans in, earnestly trying to convey this idea. ARON My DNA brought me right here. From the minute I was born. Every breath I’ve taken, every act has been leading to this. To this little crack in the earth’s surface. To this boulder. LEFT SCREEN MIDDLE SCREEN RIGHT SCREEN
On all three screens, he smiles. LEFT SCREEN MIDDLE SCREEN
On all three panels, we see different images of Mom, Dad, Sonja and Rana, mixing and merging places on the screen. Aron is oblivious to the voices. He is chipping away at the rock. RANA V/O There he is! MOM V/O He’s over here! SONJA (sing song) Found you!
Aron shivering in the rope bag: INT. ROPE BAG. NIGHT. Electronic static for a moment. The screen comes back to life again, focussed on Aron again. He is struggling to communicate through his slow death. ARON (CONT’D) All of this. It all makes sense. Everything comes together. Me, I chose it. Chose to turn away from everyone. Chose... this. Sort of ...
Like a gunshot in the canyon, the bone breaks. The sound echoes. He looks at the bone pushing down against the skin. He touches the jagged edge. No sound. Amazingly, he smiles. ARON (CONT’D) Well, you’re in it now. He humps his body down and under the chockstone, smearing with his feet against the wall. He pushes his body further and further round ...
Mixed into the split screen, a wintry scene of Aron on a mountain ridge struggling through deep snow away from camera. The thin rope snakes from us to him. The screen fades to black. CARD 4. “He always leaves a note to say where he has gone”. END CREDITS
Jul 3, 2014 · Boyle co-wrote the screenplay for 127 Hours with Simon Beaufoy (The Full Monty, Slumdog Millionaire), and they craftily use this scene to sneak in some necessary exposition. Ralston occasionally...
Feb 27, 2011 · This piece was originally printed in the Fall 2010 issue. 127 Hours is nominated for Best Picture, Best Actor (James Franco), Best Adapted Screenplay (Danny Boyle & Simon Beaufoy), Best Editing (Jon Harris), Best Original Score (A.R. Rahman) and Best Original Song.
Who wrote the screenplay for "Schindler’s List"? Read, review and discuss the entire 127 Hours movie script by Danny Boyle on Scripts.com.
Jan 4, 2011 · Yet, in the hands of director Danny Boyle and screenwriter Simon Beaufoy, 127 Hours is as much about hope and triumph as it is about the grim details of against-all-odds survival. As the...
