Daily Archives: September 20, 2012

Repost: Anatomy of a M*A*S*H Script

Two years ago I put this feature together for MASH4077TV.com and thought I would share it with my readers. I have been a fan of M*A*S*H since I was a kid, and I own some original scripts. I was asked to put this together for the creator of the M*A*S*H website, and I agreed. The following is what is published on MASH4077TV.com, although I have modified the text in some places.

Introduction

“Death Takes A Holiday”
Season 9 – Episode 5
Written by Mike Farrell
Directed by Mike Farrell

Not all episode scripts are created equal. Each script is unique. The script of an actor, director and those used by Albert H. Frankel, the men’s costume director, are all different. The script of an actor contains only the title page, cast list, set list and the text of the episode. In addition, many actors highlighted or underlined their lines. The director’s copy is much more interesting, not complete, but interesting. This script often contains math equations on the back of pages determining the length of the episode and seating arraignments for the cast members (Mess Tent tables). There area also camera angles noted throughout. The script of an actor and director tell two different stories, but not the whole story. For the whole story, we can explore the script of the costume director.

The Cover

Behind the bright cover of the script lies more then just the lines from a great episode, but the directions required to ensure a successful production in just three short days.

The Call Sheet

The first pages are the call sheets for each day of filming. Each call sheet displays the day of shooting, the date, the scenes being filmed and their location, the actors on call, and other information. This single sheet is the key to filming for the day. If everything on the sheet was not competed, the filming process would be off schedule.

The Production Requirements

On the reverse side of the Call Sheet are the Production Requirements. This includes everything needed for the day from cameramen to donuts and coffee!

The Shooting Schedule

After the Call Sheets is the full Shooting Schedule for the episode. Most episodes were filmed in three days and the schedule breaks down which scenes will be filmed each day, the location of filming, and which cast members were required.

Cast List and Set List

Following the Title Page (not pictured), are the Cast List and Set List. These simply list the characters and sets which will be featured in the episode. (Note: The Cast List has a check mark next to male cast members because Albert was responsible for providing their costumes.)

Script Pages

The pages of the script are great to read! Most of the time they follow the final episode exactly, but from time to time, the actor has modified the line. There are three different pictures of pages to illustrate how changes were given to the cast and crew. As lines changed, they would print new pages and give them to cast and crew. These revisions would be printed on different colored paper. The original pages were the standard creme color, but, in the case of this episode, revisions made on 11/11/1980 were printed on green paper and revisions made on 11/12 were printed on yellow. Scripts will have these multicolored pages (this is a good way to confirm authenticity!). Sadly, the pages replaced by the colored pages were not saved so we have no idea what lines were changed. Also note the production number at the bottom left corner of each page (Z-463). This number was the unique number assigned to this episode. The letter indicates the season and number indicates the number of the episode.

The Wardrobe Sheet

Since Albert was the Men’s Costume director, the final pages of the script list the costumes that were required for each male character of the cast (principles and extras). Each costume is numbered and it is indicated in which scenes it will be worn. In addition, each piece of the costume is listed, including the infamous dog tags and boots!

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Repost: My Favorite Episode of M*A*S*H

Allan Arbus as Dr. Sidney Freedman

For the last few months, a poll on MASH4077TV.com  has asked site visitors to choose their favorite episode of M*A*S*H. I found this to be very difficult as the show changed over time.

M*A*S*H has been considered to be a comedy by some and a drama by others. As a compromise, it has been dubbed a “dramedy.” The first three seasons of M*A*S*H were largely comedic, but this changed following the death of Col. Henry Blake at the end of season three. There was a balance between drama and comedy, but the show changed often. Cast changes in seasons four and six also make it difficult to choose a favorite episode because each cast had its own merits. I enjoy the original cast just as much as the show’s final cast. At first, I thought it was unfair for the website to ask me to pick only one episode. Only one episode from 251. One episode from two very different casts. After some thought, I think I have made my decision.

To me, a great episode of M*A*S*H has to have the best combination of comedy and drama. The episode also needs to feature its characters the best way possible. Again, there are a number of episodes that qualify, so to narrow it down again, I had to focus on the story and, in this case, the episode’s guest star. The episode I chose is “Dear Sigmund.”

Before I explain why, let me first give a brief synopsis of the episode. The episode aired during the series’ fifth season and featured Allan Arbus and Dr. Sidney Freedman (my favorite character). Dr. Freedman came to the 4077th for a poker game, but stayed for two weeks. The doctors of the Swamp find this odd and learn that Dr. Freedman has been writing a letter to Dr. Sigmund Freud,who had been dead for over a decade. In his letter to Freud, Dr. Freedman describes each of the characters at the 4077th while relaying the events that had taken place during his stay at the 4077th. There is the death of a ambulance driver, a fighter pilot who had never considered the consequences of his actions, yet another Section 8 attempt by Klinger, and a mysterious ring of practical jokes. Dr. Freedman writes the letter to combat his own depression having recently lost a patient. He says to Hawkeye and BJ, “You give life here. I am running a little low on that right now.”

The joker strikes again!

The Emmy award winning episode was written and directed by Alan Alda. He describes the episode as one of his favorites largely because of the talent of Allan Arbus. In  2009, Alda described this episode in a short interview:

For me, “Dear Sigmund” is the obvious choice as my favorite episode, but I like nearly every episode of M*A*S*H. There are two seasons (two and nine) that I can watch every episode. I believe with regard to the MASH4077TV.com poll, the winner will likely be “Goodbye, Farewell and Amen,” the series finale. I agree that it is a great finale, and possible one of the best TV finales in history, but I do not believe it is an episode. It was a two and a half hour movie that is still the highest rated (percentage of audience) program of all time. It was not an average episode. It was meant to be an event. “Dear Sigmund” is just a 22 minute episode. No fanfare, just an average stint at the 4077th. That is what makes it my favorite episode.

BONUS: I have included the full text of Dr. Freedman’s letter to Sigmund Freud.

Dear Sigmund,

I have been feeling somewhat frustrated lately and so I came to a kind-of spa. The waters are pretty good here. And the inmates have a pretty interesting defense against carnage. Insanity in the service of health. One of them is particularly good at it, name of Hawkeye. A coupe of weeks ago he made rounds in post-op with a personality that had split two for one. Klinger is an interesting case Sigmund. He’s found more ways to go crazy then you ever dreamt of. I guess what draws me to these people is that faced with aggression in its most brutal form, they have regressed to a state of antic of not lunatic pleasure. There has been a rash of practical jokes lately. Who ever the perpetrator is, he or she is becoming a folk hero. Rank makes no difference. No one is safe from the mad joker. As you pointed out Sigmund, there is a link between anger and wit. Anger turned inward is depression. Anger turned sideways is Hawkeye. If there is a way to preserve your sanity in wartime they have found it. The slide their patched up patients into the evac ambulance like loaves into a bread truck, and yet they never forget those packages are people. Father Mulcahy fascinates me Sigmund. He’s shy and studious and yet he’s got a left hook that could stop a truck. And with absolutely no training he seems to be a natural as a therapist. Margaret’s an interesting woman. On the outside all discipline and strength, and on the inside six kinds of passion looking for an exit. Some people will not accept pain. They just refuse delivery. That’s pretty difficult here because pain is such a basic ingredient at a M*A*S*H unit. Actually Sigmund, it’s a wonder more people do not take a vacation from reality. Some people even manage to grow. Radar for instance. In many ways he is still as innocent and naïve as the local orphans he plays with, and yet this boy keeps this unit, this state of chaos, running smoothly. The one person I cannot figure out, even with all you’ve taught me Sigmund is BJ Honeycutt. He’s an enigma with size 13 shoes. In the midst of the most horrific enterprise ever devised to separate a person’s brains from his buns, BJ goes calmly on. I envy his serenity. Although there must be a volcano under there somewhere. They look every day into the face of death. On the surface they may seem like other doctors and nurses, but underneath, Sigmund, underneath.

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