Media Inspiration - The Tudors

I am a big fan of the series THE TUDORS.

This costume drama features England's splendid Renaissance dynasty under King Henry VIII. Beginning in Season 1 when Henry VIII was growing desperate for an heir and growing distant from his first wife, the series moves quickly to the period when Anne Boelyn became his obsession. During this time Cardinal Wolsey rose to become the power behind his throne, ruling ruthlessly and nearly absolutely while Henry (played by Johnathon Rhyes Meyers) for the most part followed the Cardinal's advice, maneuvering through a series of betrayals and plots against him. When Anne Boelyn plays much harder to get than any woman ever has, Henry begins to search for a way out of his marriage to Katherine of Aragon, so that he can make Anne his wife. Needing a divorce, Henry turns to Wolsey, who promises to help him create waves of backlash from the church, as well as the Spanish Habsburg dynasty and its overseas empire..





Here are the trailers to all 4 seasons:










Here are some scenes that I inspired to during wriring my screenplay:







Most of the screenplay inspired from THE TUDORS is from the finale episode, DEATH OF A MONARCHY.

Melusine - 2nd Draft

Feature Film Melusine by Lauren Lonergan Lauren Lonergan candidate number: 1548 East Norfolk Sixth Form College Centre number: 18212 A2 Film Studies FM3 Creative Project May 2012

01.    EXT. FOREST. LUXEMBOURG, FRANCE. 1300. NIGHT

The camera travels from the image of the full moon to the forest. On screen the titles “Luxembourg, FRANCE. 1300” appear.

(V/O) NARRATOR; A GIRL, 15/16

Her name is so familiar, known to all in Christendom as far away as the isles of Greece. She can be found running through forests and bathing in sacred springs.

Those in the northern countries know her by another name where from the glazed ice she rises.

She is a mystery. Is she a witch, a disciple of Satan? Or an angel, sent from god to deliver us from evil?

This is her tale.

02.    EXT. FOREST. NIGHT.

A DEER is grazing on the grass under an oak tree only to be startled by the sound of a HORSE. As a reaction to this it sprints off only to chased by A MAN (RAYMOND, 20) on a WHITE HORSE.

The DEER runs deeper into the forest for its safety; jumping over any obstacles in its way.

The pace of the chase in increased; tension is growing.

A river blocks the DEER’S way; around twenty one meters deep.

The DEERS leaps over the river with all of its might and energy. The DEER makes it to safety and runs off in to the distance.

RAYMOND gets of his HORSE having seen the DEER’S escape and has a annoyed expression on his face on the notion the a DEER has escaped him.

He is the startled by a nearby sound of splashing coming from the nearby fountain.

He grabs the reins of his HORSE and ties it to the branch of a tree. He then heads towards the sound.

The sound gets louder with every step he takes and soon we can hear a bunch of MADIENS playing.

 

03.    EXT. FOREST. FOUNTAIN. NIGHT.

There large pool of water with a waterfall pouring down from the cliffs above. The glimmer of the moonlight reflects on the still surface of the water.

It is a deserted place. No one is there. No MADIENS playing.

RAYMOND looks confused but he is thirsty so he goes over to the fountain to take a fresh drink.

Over the water he sees a something dark, moving deep in the water.

There is greenish shadow in the depths; is it a great fish or a drowned body?

RAYMOND moves closer.

There is a great splash. He is pulled in.

 

04.    EXT. UNDER THE WATER OF FOUNTAIN. NIGHT.

RAYMOND is struggling to keep his breath.

The strange ‘something’ that he saw before swims closer. IT looks at him; swimming around.

We see what IT is. IT is a WOMAN. Her features are blurred.

RAYMOND blinks.

 

05.    INT. RAYMOND’S ROOM. NIGHT.

RAYMOND is in his bed. His eyes wide open. Was it a dream? Was it a warning of what is to come? Was it a memory? It is unclear.

Fade to:

06.    EXT. JOUSTING GROUND. DAY.

A tournament ground filled with MEN, WOMEN and CHILDREN in bright stalls; cheering with all of their might.

The NOBLITY (DUKES, COUNTS, LORDS along with their WIFES) of the country sit in a high standing stalls; sitting on golden chairs watching the entertainment.

Flags are flying. Coats of arms of the KNIGHTS taking place are placed onto a large wooden board.

The crowd is so excited. Their cheering can be heard from miles away.

TWO KNIGHTS in shiny armor enter the jousting ground; their identity’s a secret. A metal pole divides the ground.

The TWO KNIGHTS then charge at each other, their jousting lances out ready.

As they get closer the crowd gets louder.

Finally, ONE KNIGHT knocks the OTHER KNIGHT almost of his horse.

Victorious, the succeeding knight takes of his helmet off to reveal it is RAYMOND.

A WOMAN (MELUSINE, 18), the same woman from the dream, stands out from the crowd.

RAYMOND sees her and jumps off his horse.

MELUSINE then starts to walk out of the stall she is in and leaves the ground.

RAYMOND hurries after her.

07.       EXT. MARKET PLACE. DAY.

PEASANTS are in the market place buying from stalls selling cloth, vegetables, eggs etc.

The market place is dirty and muddy. There are farm animals in their pens.

A MAN is in the stocks. PEOPLE are throwing rotten vegetables at him.

CHILDREN are playing in large groups; making large groups. MARKET SELLERS are shouting trying to grab attention.

RAYMOND finally enters the market place searching for MELUSINE. But she is nowhere to be seen even though she ran this way.

A cart pulled by a horse arrives in the market place.

The PEOPLE run towards it. RAYMOND is swept into this tidal wave of people.

A WOMAN (25) is forced out of the back by TWO MEN in black. As she is forced through the crowd; her hands tied in front of her, PEOPLE start shouting “WITCH!” while others make the sign of the cross.

She is forced to a high platform with a stake rising from it.

The PEOPLE start to circle around it.

WOMAN

Please, have mercy.

She looks terrified as she is tied to the stake.

RAYMOND is watching this. He looks like he is going to be sick at the thought of what is going to take place.

Hay and wood are laid against the stake.

An OFFICAL (41) and a PRIEST (58) arrive.

The WOMAN is terrified; screaming in the hope that this is not happening.

The OFFICAL clears his throat and everyone quiets down.

OFFICAL

You have been found guilty of witchcraft which the penalty is death. May God mercy on your soul, which will surely burn in hell.

RAYMOND is very comfortable at being there to watch this WOMAN die.

PRIEST

(In LATIN)

In nomine Patris, et Fillii, et Spiritus Sancti. Amen.

As the PRIEST says this EVERYBODY in the crowd make the sign of the cross.

The wood and hay are then set on fire.

The WOMAN screams in agony.

RAYMOND is sickened by this that he leaves.

The flames have grown high and the smoke clouds the sky.

NARRATOR

Witchcraft. Work of the devil. Feared throughout the land.

This is a time where innocent young women are accused and burnt at the stake by men of high birth for the crime of witchcraft.

A terrible fate awaits them, so the church tells us.

When we compare the present life of men on Earth with their time of which we have no knowledge; it seems like the swift flight of a single sparrow through a banqueting hall on a winter’s day.

After a few moments of comfort, he vanishes from sight into the world which he came.

Even so, man appears on Earth for a little while but what went before this or what will follow we know nothing.

A WHITE DOVE flies out from the smoke and out over the town walls; soaring as high as it can get.

We follow it. Over the country land. PEASANTS are working in the fields; trying to earn a living.

Time soon passes by. The sun sets and the moon rises.

08.       EXT. FOREST. FOUNTAIN OF FAYS. NIGHT.

The camera pans down from the dove still flying to the fountain that was seen before.

MELUSINE, ALONG WITH TWO WOMEN (MELILOT, 18) and (PALATINE, 18) are wearing white dresses, are playing in the water; swimming, splashing one another etc.

They stop suddenly at the sound of a twig breaking. They then take cover under the water.

RAYMOND comes out of the shadows; amazed at what he has witnessed.

RAYMOND comes forward and stands at the edge.

RAYMOND

(Whispering)

Melusine.

MELUSINE rises from the water.

He smiles at her and she smiles back.

Fade to:

 

09.       INT. CHAPEL. DAY.

It is implied that time has passed.

The chapel is small. There are flowers and religious symbols.

The PRIEST, from the burning, is standing at the font with his best robes on.

NOBLES are sitting on the benches facing the front; gossiping among themselves.

RAYMOND stands anxiously waiting in a golden silk outfit.

MELUSINE enters; dressed entirely in white.

A CHOIR OF BOYS start to sing.

When MELUSINE makes it up the alter, the PRIEST begins the service.

PRIEST

(IN LATIN)

Congregatique sunt in conspectu Dei: coniungere allmighty hunc et hanc mulierem in sacro matromony.

MELUSINE and RAYMOND kneel and take each other’s hand.

Fade to:

10.       INT. BANQUETING HALL. DAY.

MINSTERALS and TRUOBUDOURS, MAGICANS, JUGGLERS, JESTERS, MUMMERS and ACTORS act as entertainment for the celebration.

PEOPLE all over the land have come; FARMERS, LAND OWNERS, SEA MEN, OTHER NOBLITY etc.

There is a happy atmosphere.

MELUSINE is dancing with both MEN and WOMEN.

After the music finishes there is a thunder of applause for the minsterals.

RAYMOND is at a long table at the top end of the hall seated with other NOBLITY.

He rises from his seat. Everybody becomes quiet.

RAYMOND

I wish to make a toast to my beautiful new bride. To the Lady Melusine.

EVERYONE

To the Lady Melusine.

Close up of MELUSINE.

The music then starts and the celebration continues.

Melusine - 1st Draft

Feature Film Melusine by Lauren Lonergan Lauren Lonergan candidate number: 1548 East Norfolk Sixth Form College Centre number: 18212 A2 Film Studies FM3 Creative Project May 2012

01.    EXT. FOREST. POITOU, FRANCE. 1100. NIGHT

The camera travels from the image of the full moon to the forest. On screen the titles “POITOU, FRANCE. 1100” appear.

(V/O) NARRATOR; A GIRL, 15/16

Her name is so familiar, known to all in Christendom as far away as the isles of Greece. She can be found running through forests and bathing in sacred springs.

Those in the northern countries know her by another name where from the glazed ice she rises.

She is a mystery. Is she a witch, a disciple of Satan? Or an angel, sent from god to deliver us from evil?

This is her tale.

02. EXT. FOREST. FOUNTAIN OF FAYS. NIGHT.

A large pool of water with a waterfall pouring down from the cliffs above. THREE WOMEN (MELUSINE, 18), (MELILOT, 18) and (PALATINE, 18) wearing white dresses, are playing in the water; swimming, splashing one another etc.

MELUSINE is the eldest, with hazel hair and blue eyes. MELILOT is the middle-child, with brunette hair and brown eyes. PA0LATINE is the youngest with blond hair and blue eyes. Each girl is middle sized with a slender figure.

A MAN (RAYMOND, 21) is watching in the bushes. The sound of a twig breaking startles the girls who hide under the water.

-   Page 1-

RAYMOND comes forward and stands at the edge.

RAYMOND(Whispering)

Melusine.

MELUSINE rises from the water.

He smiles at her and she smiles back.

The title MELUSINE appears on screen.

04.  EXT. RAYMOND’S MANOR HOUSE. DAY.

The manor house is of an 11th century style. There are large glass windows. A flag with RAYMOND’s coat of arms is flying from the highest point.

AMERIC,57 (V/O)

It is high time that boy married.

05. INT. AMERIC’S CHAMBER. DAY.

A bed is situated in room with red curtains surrounding it. A table is situated by the window has stacks of paperwork. There is a bookcase.

A MAN (THOMAS, 35) is sitting at the table with a quill in his hand and writing on a piece of paper.

AMERIC is in the room with MEMBER OF COUNCIL (LOUIS, 46).

LOUIS

I agree sir. But what would be a good enough match for him?

AMERIC

We have the whole of Christendom to choose from? What of the new king of England’s daughter…..Matilda FitzRoy?

-   Page 2 -

LOUIS

An bastard child from one of his mistresses. She is betrothed anyway to… The Count of Perche, I think. What of The Count of Anjou’s daughter?

AMERIC

Too old. What we need is girl who is both legitimate and tamable.

THOMAS, who has been writing, puts down his quill.

THOMAS

May I make a suggestion? Agnes of Aquitaine. Her family is very powerful and wealthy. A very good choice for our young Count.

LOUIS

I agree.

AMERIC

Very well, the Aquitaine girl it is then. Thomas, write to her father the duke proposing marriage between our two great families.

THOMAS gets up with his papers, bows to AMERIC and LOUIS then leaves.

There is noise of horses coming from outside. LOUIS goes to the window and looks out.

LOUIS

Raymond is back. And he is not alone.

06. EXT. RAYMOND’S MANOR HOUSE. DAY.

RAYMOND enters through the gates on a horse with MELUSINE seated behind him; holding onto his waist. Behind them are MELILOT and PALATINE, who are on separate horses.

-   Page 3 -

TWO STABLE BOYS(GUSTAVE, 16) and (AUGUSTE, 15), both help the ladies off the horses.

MELUSINE takes a good look at the manor; while taking of her gloves.

07. INT. OUTSIDE THE DOWAGER COUNTESS’ CHAMBERS. DAY.

MELUSINE is outside the door of the chamber; twiddling her thumbs, anxious at entering. RAYMOND comes out.

RAYMOND

She wants to see you.

MELUSINE

Now? What if she doesn’t like me?

RAYMOND

She will. Her bark is worse than her bite, trust me. She is a real softy underneath.

RAYMOND leaves.

MELILOT and PALATINE hurry down the hallway; running to their sister.

MELILOT

Sorry we are late. Somebody wanted to visit the kitchen.

PALATINE

I was hungry. I haven’t eaten since we left the fountain last night.

MELUSINE

She wants to see me. Now.

The three girls enter through the door.

- Page 4 -

08. INT. THE DOWAGER COUNTESS’ CHAMBERS. DAY.

The room is covered in paintings and tapestries; filled with art. There is a door leading to another doom.

A WOMAN (MARGUERITE, 64) is sitting on a red chair, while another WOMAN (NICOLE, 17) is standing behind her.

MELUSINE, MELILOT and PALATINE curtsies to them.

MARGUERITE

Don’t just stand there child. Come closer so I can take a look at you.

MELUSINE steps forward. MARGUERITE gives her a gesture to turn around in a full circle. She does this slowly while MARGUERITE looks; examining her.

Well you are a pretty thing, aren’t you? Where do you come from?

There is silence.

Well speak up. Girls don’t just fall out of the sky.

NICOLE giggles. Her MOTHER then looks at her.

 Tell me, where do you come from?

MELUSINE (stuttering)

We were raised on an island called Avalon. It is off the coast of Wales. We left many moons ago.

MARGUERTE

And who are these two young ladies?

MELUSINE

These are my sisters, Palatine and Melilot.

As the girls are introduced they curtsy.

-   Page 5 -

MARGUERTE

Well welcome to each of you. Raymond is my only surviving son. You will be a good and dutiful wife to him. Won’t you?

MELUSINE

Of course I will, my lady.

MARGUERITE

Mother. You must call me mother from now on. For that is what I am now.

MELUSINE, MELILOT and PALATINE make a final curtsies and leave with MELUSINE in front.

That went very well, I think.

NICOLE

It did indeed mother. If you would excuse me.

NICOLE hastily runs to door and exits.

07. INT. AMERIC’S CHAMBER. DAY.

AMERIC (to LOUIS)

How dare he do this? To me, his own uncle? To his family? To his people? To marry a common whore from god knows where.

LOUIS opens his mouth ready to speak but AMERIC stops him.

Well we have to get rid of this girl. We can say it was a simple accident. Or we can have it done quickly. Smother her with a pillow in her sleep. Anyway she needs to go.

-   Page 6 -

Media Inspiration - Camelot

Morgan – the beautiful and ruthlessly ambitious daughter of King Uther. She wishes to claim her right to her father's throne, but she does not count on Merlin's plans or the existence of Arthur, her newly revealed half-brother. In her pursuit of power, Morgan gives herself over to dark forces that allow her to threaten the court of Camelot from within. She functions as the main antagonist of the series.

Guinevere – an ambitious and strong willed woman, making her a source of great support and strength to Arthur as he grows into his role as king. Although she is married to Leontes, one of Arthur's most loyal knights, she cannot deny the attraction she and Arthur feel for each other.

Igraine – Arthur's biological mother and second wife of King Uther. She is estranged from her son and despised by her step-daughter Morgan. She has lived a life of deep pain and agony, but has never lost her faith or her heart. Igraine quickly becomes an ally and figure of strength for Arthur and the entire court of Camelot.





Sybil – a nun who has raised Morgan and comes to live with her. She is a motherly figure for Morgan, acting as her advisor in matters both political and supernatural. She takes the blame for Morgan's treason, and is beheaded by Gawain.

By Luke Bonanno "Camelot" seems to have been Starz's attempt to do for Arthurian legend what its "Spartacus" series have done for ancient Roman gladiators, to tell the true story with violence and language beyond what network and basic cable could allow. If you're wondering whether they were able to repeat the success of "Spartacus", know that though branded The Complete First Season, this week's DVD and Blu-ray releases of "Camelot" in fact represent the complete series. There is no denying the impact and appeal of the source lore. So much of King Arthur's story has seeped into the cultural conscience that even almost a thousand years removed from the legend's popularization, the names Merlin, Guinevere, and Lancelot and phrases like Excalibur and the Knights of the Round Table are used without explanation or any need for it. The believed fictional British king of the 5th and 6th centuries A.D. warrants little in the way of synopsis. But whether you've gleaned your information from family films, Lerner and Loewe, Geoffrey of Monmouth, Jerry Bruckheimer, or Monty Python, "Camelot" is sure not to simply retell the story as you remember it. After all, could you fill ten 50-minute episodes with what you know about the subject? Besides, it's not like one definitive version of the tale exists. "Camelot" is much less bawdy than the first two "Spartacus" shows, but it still features more violence, more nudity, and more uses of the f-word and the c-word than the vast majority of American television ever has. This isn't actually an American series and though you'd suspect an English production from the cast and subject matter, Wikipedia and the end credits classify it Irish/Canadian (to which IMDb adds US and UK designation). Certainly, the series was made with a global audience in mind, the only way such a relatively high-budgeted show can succeed on a subscription movie channel. Unfortunately, "Camelot" is lacking. Though its story would seem to rank as one of the most compelling ever told, the way we get it in soapy, serialized episodes drains it of power and the execution leaves much to be desired. Acting, dialogue, and characterization all fail to do this dramatic, fantastic royal adventure any justice. No one aspect is glaringly problematic, but neither are any of them competent enough to satisfy. Any joy the series provides emerges mainly from reacquainting yourself with the legend and seeing how elements of it are interpreted. The more familiar you are with the lore, the more likely you are to be disappointed. Of chief interest to "Camelot" in its first and only season is the succession of power. The show opens with the fatal poisoning of King Uther by his banished daughter Morgan Pendragon (Casino Royale Bond girl Eva Green). Bad girl Morgan expects to inherit the throne, but instead the bald, ageless sorcerer Merlin (Shakespeare in Love's Joseph Fiennes) tracks down the illegitimate son of Uther and Queen Igraine (Claire Forlani, back in action), a young man who has been living as a peasant. Merlin's claim that stringy-haired, lightly goateed Arthur Pendragon (Sweeney Todd's Jamie Campbell Bower) is the true heir to the throne is contested by Morgan, resulting in stern words, sword-clanging, and the murder of a foster mother. Arthur's entirely unexpected rise to power requires repeated show of might. Even when Morgan silences her army and concedes to Arthur, her campaign for the crown presses on, merely moving from physical to psychological tactics, with help from her shady advisor nun Sybil (Sinéad Cusack). Arthur's feelings for Guinevere (Tamsin Egerton) linger after she marries his loyal champion soldier Leontes (Philip Winchester) and become the target of Morgan's insatiable ambitions, which she serves with magical powers that take a toll on her as the mostly abstinent Merlin's do on him. Speaking of Merlin, one thing that especially does not work about "Camelot" is Joseph Fiennes. I long thought it curious that Fiennes could hold the title role in a Best Picture Oscar winner and then essentially disappear while his older brother Ralph remained respected and in demand. Then I finally saw Joseph in something else, playing the lead role in ABC's initially promising, soon disappointing single season casualty "FlashForward." He was a weak spot there, unable to draw sympathy in the easiest of opportunities. His shortcomings in "Camelot" are far more pronounced. Given the opportunity to reinvent one of the richest parts in history, Fiennes never emotes in an identifiable way and never stops annoying with his hammy, exaggerated mannerisms. Did he overthink it? Did he underthink it? Did he proudly boast at last Christmas' Fiennes family gathering, "Now, I'm a bald wizard too"? Almost every second he's onscreen serves to take you out of this world. Perhaps someone should have a talk with the younger Fiennes, because as his professional freefall strongly suggests, he might not have chosen the right career for himself. With top billing going to Fiennes, that sets the bar pretty low and none of his cast mates is determined to raise it. They are commonly hindered by the material and the standard historical drama tone and speech patterns, but must accept some blame for the frequent nonsensicality. A touch of intrigue still emerges in spite of the failings, but they are a lot to overlook in order to reach enjoyment. Though much less raunchy and gory than the two "Spartacus" series, Starz's "Camelot" still takes a graphic approach to its material that will inspire some blushing. The lurid approach makes sense for barbaric ancient Rome and those shows at least have strong storylines and well-utilized casts to fall back on. "Camelot" does less with a more celebrated tradition, determined to draw out the material with inessential detours and rarely imaginative twists. Had the show's makers known they would have just ten episodes, the series would have wound up considerably better. As is, there's not much to take from this. Those who always welcome a new interpretation of King Arthur folklore will want to check "Camelot" out, but I doubt they'll be really pleased by it. Everyone else not sold on scattered swordplay and sex can take a pass. Anchor Bay's DVD is adequate. Though it might partially be me getting used to Blu-ray, the feature presentation feel a little lacking. The extras are no doubt more lightweight than fans would like. In short, disappointment surrounds "Camelot."