{"id":2801,"date":"2013-05-01T10:40:33","date_gmt":"2013-05-01T09:40:33","guid":{"rendered":"http:\/\/etbscreenwriting.com\/\/?p=2801"},"modified":"2013-05-01T10:40:33","modified_gmt":"2013-05-01T09:40:33","slug":"forgiveness-in-volver-and-casablanca","status":"publish","type":"post","link":"https:\/\/etbscreenwriting.com\/forgiveness-in-volver-and-casablanca\/","title":{"rendered":"Forgiveness in Volver and Casablanca"},"content":{"rendered":"
Volver & Casablanca<\/div>\n
The film Volver begins with a wonderful scene in which all the women of a small rural village scrub the tombstones of their dead. An unrelenting wind blows and threatens to overwhelm their efforts. But the women persist. What a stunning visual metaphor for the performance of the mundane tasks of life in the face of overwhelming grief.<\/div>\n
We are told that these winds also fan fires that burn out of control in the village. Raimunda and Sole\u2019s mother and father were consumed in such a fire. This is another powerful metaphor for rage and grief, the core of which is revealed in a stunning confession toward the end of the film.<\/div>\n
After Raimunda (Pen\u00e9lope Cruz) and Sole (Lola Due\u00f1as) clean their parent\u2019s tomb along with Rainmunda\u2019s teenage daughter, Paula (Yohana Cobo). The women then visit Aunt Paula (Chus Lampreave) and we learn Raimunda was estranged from her mother and Aunt Paula raised her.<\/div>\n
Aunt Paula is nearly blind, mentally confused and forgetful. It\u2019s a miracle she can still manage on her own. The old woman insists that she doesn\u2019t. The girls\u2019 dead mother, Irene (Carmen Maura) helps her out. When Aunt Paula dies, circumstances dictate that Sole attends the funeral alone. She returns with the ghost of their mother, Irene, in the trunk of her car.<\/div>\n
Volver is a powerful story about how loss and grief are, at last, resolved. This is a very specific process that is present in every layer of laughter, horror, sadness and love in the film. It opens the path to forgiveness for Rainmunda and her mother.<\/div>\n
We learn that Rainmunda\u2019s father was a philanderer and a sexual predator. He sexually abused Rainmunda when she was a teenager. Rainmunda got pregnant and had her daughter, Paula, as a result. Rainmunda has kept this a secret all these years.<\/div>\n
Rainmunda could never forgive her mother for not knowing what was happening and not protecting her. She turned her back on her mother and refused to have anything to do with her. In order to resolve her anger, grief and loss Rainmunda must revisit the past to:<\/div>\n
1. See the situation as a whole\u20282. See her relative place in the situation\u20283. Speak the unspoken emotional communication\u20284. Cherish the positive\u20285. Let go of the rest<\/div>\n
This process is key to resolving any loss and is outlined in great detail in The Grief Recovery Handbook by John W. James and Russell Friedman. It is an approach that is vital to any story about finding the courage to forgive.<\/div>\n
Let\u2019s look at how these steps are applied in Volver:<\/div>\n
1. See the situation as a whole.<\/div>\n
As the film opens, Rainmunda is an overburdened and overworked mother, just as perhaps her own mother was. In a repetition of the past, her own husband drunkenly attacks Rainmunda\u2019s daughter sexually. Rainmunda has no idea this sexual attack is coming; she could not prevent it and she could not stop it.<\/div>\n
In a stunning confession later in the film, Irene admits that she discovered Rainmunda\u2019s abuse by Raimunda\u2019s father\/Irene\u2019s husband. Irene killed her husband and set the building on fire. Her husband was with another woman and everyone assumed that the woman\u2019s body was Irene\u2019s. Irene was forced to become a \u201cghost,\u201d hiding in Aunt Paula\u2019s large rambling home and caring for the woman who took care of her daughter.<\/div>\n
Raimunda now sees the whole situation. Her mother loved her and was as fierce on her behalf as Rainmunda was on her daughter\u2019s behalf.<\/div>\n
2. See your relative place in the situation.<\/div>\n
Rainmunda couldn\u2019t possibly understand her mother until faced with the horror of such a situation herself. Irene could not forgive herself until she saw how powerless her daughter was to prevent the same situation. Rainmunda and Irene now see one another in each other\u2019s eyes. Each woman sees her relative place in the situation by seeing the relative place of the other.<\/div>\n
3. Speak the unspoken emotional communication.<\/div>\n
The unspoken communication is, of course: \u201cI love you. I have always loved you.\u201d As mother and daughter begin to understand each other, they rediscover the deep bonds of love and sacrifice that connect them. The power of love and the powerlessness of love bind them together. Their hearts open and they forgive each other.<\/div>\n
4. Cherish the positive.<\/div>\n
Rainmunda has a wonderful moment of cherishing the positive in a very funny scene about her mother\u2019s farts. This is a stellar example of Almodovar\u2019s quirky unsentimental portrait of these women. It is the kind of little memory that makes us love and cherish each other in all our weakness and human frailty.<\/div>\n
5. Let go of the rest.<\/div>\n
When Augustina, their Aunt Paula\u2019s long-time neighbor, becomes ill with cancer the women return again to the village. Irene slips into Augustina\u2019s house and is greeted as a welcome ghost by Augustina, who is near death herself. Another grief in the story is about to be resolved.<\/div>\n
The body that was found in the burned building was Augustina\u2019s mother. Irene will be able to reassure Augustina that her mother didn\u2019t disappear on a whim to leave her alone and unloved. Irene takes charge of Augustina\u2019s care and slips back into her purgatory world as a ghost. Her daughters let Irene go to do her penance with a quiet and simple grace.<\/div>\n
The movie\u2019s title song, a tango made famous by Carlos Gardel is sung by Rainmunda (Cruz), Estrella Morente provides the dubbed vocals.<\/div>\n
I am afraid of the encounter\u2028with the past that returns\u2028to confront my life.\u2028I am afraid of the nights\u2028that, filled with memories,\u2028shackle my dreams.\u2028But the traveler that flees\u2028sooner or later stops his walking.\u2028And although forgetfulness, which destroys all,\u2028has killed my old dream,\u2028I keep concealed a humble hope\u2028that is my heart\u2019s whole fortune.<\/div>\n
www.planet-tango.com\/lyrics\/volver.htm\u2028Lyrics translated by Walter Kane<\/div>\n
Volver is a profoundly hopeful film, despite being filled with rape, murder, incest and death. The hope that is the heart\u2019s whole fortune is the generosity that allows human beings to forgive. Forgiveness is our amazing power to reject the poison of the past, redeem our lives and reconstruct our bond with those whom we love. (For it is those we love who have the power to hurt us the most deeply.)<\/div>\n
This same process is also at work in Casablanca, another powerful film about resolving anger, grief and loss. When Ilsa Lund (Ingrid Bergman) walks back into Rick Blaine\u2019s life (Humphrey Bogart), Rick goes through the same five step process to resolve his anger, grief and loss.<\/div>\n
1. Rick must see the situation as a whole. Rick learns Ilsa had to send him away to save him from the Nazis. She had to keep her marriage to Victor Laszlo secret to protect him and others in the resistance. She had to go to Victor (Paul Henreid), who was deathly ill outside of Paris.<\/div>\n
2. Rick must see his relative place in the situation. Victor was the hope of the whole resistance movement. The resistance would die if Ilsa didn\u2019t go to Victor and save him. Ilsa made the only choice she could possibly make under the circumstances.<\/div>\n
3. Rick and Ilsa speak the crucial unsaid emotional communication. They love each other, they have always loved each other and their hearts will always belong to each other. Ilsa says: \u201cI said I would never leave you.\u201d Rick replies: \u201cAnd you never will.\u201d<\/div>\n
4. Rick and Ilsa are able to cherish the positive: Rick says: \u201cWe\u2019ll always have Paris. We didn\u2019t have it, we\u2019d lost it until you came to Casablanca. We got it back last night.\u201d By truly cherishing that time together they have rekindled and reclaimed their love for each other.<\/div>\n
5. Rick is able to let go of the rest: Rick says: \u201cThe problems of three little people don\u2019t amount to a hill of beans in this crazy world.\u201d He sends Ilsa away just as she sent him away. Rick says: \u201cIf you don\u2019t go with him, you\u2019ll regret it. Maybe not today, but soon, and for the rest of your life.\u201d \u201cWhere I\u2019m going you can\u2019t follow. What I\u2019m going to do you can\u2019t be any part of.\u201d<\/div>\n
Like Volver, Casablanca puts Rick in Ilsa\u2019s situation. He now fully understands her choice. He validates Ilsa\u2019s choice by making the same choice she did. Rick sends Ilsa away with Victor because Victor\u2019s work in the resistance cannot continue without her.<\/div>\n
Although they are not physically together Rick and Ilsa will live forever in each others\u2019 hearts. Their grief and loss are resolved and they are both free to go on with their work and their lives.<\/div>\n
Here\u2019s how to implement these steps in your film:<\/div>\n
1. See the situation as a whole. Have your character learn, discover or expose something that fills in a crucial missing piece in the story. Your character has made some assumption that was false, incomplete, misguided or ignorant. His or her bitterness and\/or anger is built on an assumption that isn\u2019t the whole truth. He or she doesn\u2019t fully understand what was in the other person\u2019s heart or what the full circumstances were. A revelation, discovery or realization fills in the gap.<\/div>\n
2. See your relative place in the situation. Your character\u2019s bitterness, anger, loss or grief stems from a single-minded and narrow personal perspective. His or her feelings or situation were just a part of what was going on at the time. Instead of seeing things just from a personal perspective, force your character to see the broader canvas. Put your character in the other person\u2019s situation or position. Make that person\u2019s choice more understandable by forcing your character to make a similar kind of choice. Force your character to \u201cwalk awhile in the other person\u2019s shoes.\u201d<\/div>\n
3. Speak the unsaid emotional communication. This is some form of: \u201cI love you. I have always loved you.\u201d Those we love have the power to hurt us most deeply. Remembering and reclaiming that love is crucial to forgiveness. Please note: This communication is not \u201cYou have hurt me deeply.\u201d It is a positive affirmation of the other person and how deeply the character feels about him or her.<\/div>\n
4. Cherish the positive. There is a reason nearly everyone in the world knows the line: \u201cWe\u2019ll always have Paris.\u201d It\u2019s because Rick\u2019s line speaks to the power of positive memories. No one can take those transcendent moments from us. They remind us of all that was good, true, funny and\/or wonderful about a person or time we loved. Force your character to embrace and cherish what was positive about the person or situation.<\/div>\n
5. Let go of the rest. Forgiveness is not an emotion. It is an action. Forgiveness is letting go of the hurt, bitterness and\/or disappointment of the past. Forgiveness demands that we let go of that which we cannot change. It requires us to be generous with ourselves and let go of the destructive bonds that bind and imprison us. Force your character to let go of bitterness and anger. Give your character an action that offers the gift of generosity.<\/div>\n
I often ask my students to think of someone they love who has hurt them deeply. I ask them to think about how hard it would be to take each of those five steps themselves. Then I ask them to make that process equally as hard for their characters. When you force your character to confront and resolve loss you give an amazing gift of generosity to your audience. Volver gives that gift now. Casablanca has given that gift for decades. It is your turn next.<\/div>\n

\"volver8\"

We are told that these winds also fan fires that burn out of control in the village. Raimunda and Sole\u2019s mother and father were consumed in such a fire. This is another powerful metaphor for rage and grief, the core of which is revealed in a stunning confession toward the end of the film.<\/p>\n

After Raimunda (Pen\u00e9lope Cruz) and Sole (Lola Due\u00f1as) clean their parent\u2019s tomb along with Rainmunda\u2019s teenage daughter, Paula (Yohana Cobo). The women then visit Aunt Paula (Chus Lampreave) and we learn Raimunda was estranged from her mother and Aunt Paula raised her.<\/p>\n

Aunt Paula is nearly blind, mentally confused and forgetful. It\u2019s a miracle she can still manage on her own. The old woman insists that she doesn\u2019t. The girls\u2019 dead mother, Irene (Carmen Maura) helps her out. When Aunt Paula dies, circumstances dictate that Sole attends the funeral alone. She returns with the ghost of their mother, Irene, in the trunk of her car.<\/p>\n

Volver<\/strong> is a powerful story about how loss and grief are, at last, resolved. This is a very specific process that is present in every layer of laughter, horror, sadness and love in the film. It opens the path to forgiveness for Rainmunda and her mother.<\/p>\n

We learn that Rainmunda\u2019s father was a philanderer and a sexual predator. He sexually abused Rainmunda when she was a teenager. Rainmunda got pregnant and had her daughter, Paula, as a result. Rainmunda has kept this a secret all these years.<\/p>\n

Rainmunda could never forgive her mother for not knowing what was happening and not protecting her. She turned her back on her mother and refused to have anything to do with her. In order to resolve her anger, grief and loss Rainmunda must revisit the past to:<\/p>\n

1. See the situation as a whole<\/p>\n

2. See her relative place in the situation<\/p>\n

3. Speak the unspoken emotional communication<\/p>\n

4. Cherish the positive<\/p>\n

5. Let go of the rest<\/p>\n

This process is key to resolving any loss and is outlined in great detail in The Grief Recovery Handbook<\/strong> by John W. James and Russell Friedman. It is an approach that is vital to any story about finding the courage to forgive.<\/p>\n

Let\u2019s look at how these steps are applied in Volver<\/strong>:<\/p>\n

1. See the situation as a whole. <\/strong>As the film opens, Rainmunda is an overburdened and overworked mother, just as perhaps her own mother was. In a repetition of the past, her own husband drunkenly attacks Rainmunda\u2019s daughter sexually. Rainmunda has no idea this sexual attack is coming; she could not prevent it and she could not stop it.<\/p>\n

In a stunning confession later in the film, Irene admits that she discovered Rainmunda\u2019s abuse by Raimunda\u2019s father\/Irene\u2019s husband. Irene killed her husband and set the building on fire. Her husband was with another woman and everyone assumed that the woman\u2019s body was Irene\u2019s. Irene was forced to become a \u201cghost,\u201d hiding in Aunt Paula\u2019s large rambling home and caring for the woman who took care of her daughter.<\/p>\n

Raimunda now sees the whole situation. Her mother loved her and was as fierce on her behalf as Rainmunda was on her daughter\u2019s behalf.<\/p>\n

2. See your relative place in the situation. <\/strong>Rainmunda couldn\u2019t possibly understand her mother until faced with the horror of such a situation herself. Irene could not forgive herself until she saw how powerless her daughter was to prevent the same situation. Rainmunda and Irene now see one another in each other\u2019s eyes. Each woman sees her relative place in the situation by seeing the relative place of the other.<\/p>\n

3. Speak the unspoken emotional communication. <\/strong>The unspoken communication is, of course: \u201cI love you. I have always loved you.\u201d As mother and daughter begin to understand each other, they rediscover the deep bonds of love and sacrifice that connect them. The power of love and the powerlessness of love bind them together. Their hearts open and they forgive each other.<\/p>\n

4. Cherish the positive. <\/strong>Rainmunda has a wonderful moment of cherishing the positive in a very funny scene about her mother\u2019s farts. This is a stellar example of Almodovar\u2019s quirky unsentimental portrait of these women. It is the kind of little memory that makes us love and cherish each other in all our weakness and human frailty.<\/p>\n

5. Let go of the rest. <\/strong>When Augustina, their Aunt Paula\u2019s long-time neighbor, becomes ill with cancer the women return again to the village. Irene slips into Augustina\u2019s house and is greeted as a welcome ghost by Augustina, who is near death herself. Another grief in the story is about to be resolved.<\/p>\n

The body that was found in the burned building was Augustina\u2019s mother. Irene will be able to reassure Augustina that her mother didn\u2019t disappear on a whim to leave her alone and unloved. Irene takes charge of Augustina\u2019s care and slips back into her purgatory world as a ghost. Her daughters let Irene go to do her penance with a quiet and simple grace.<\/p>\n

The movie\u2019s title song, a tango made famous by Carlos Gardel is sung by Rainmunda (Cruz), Estrella Morente provides the dubbed vocals.<\/p>\n

I am afraid of the encounter\u2028with the past that returns\u2028to confront my life.\u2028I am afraid of the nights\u2028that, filled with memories,\u2028shackle my dreams.\u2028But the traveler that flees\u2028sooner or later stops his walking.\u2028And although forgetfulness, which destroys all,\u2028has killed my old dream,\u2028I keep concealed a humble hope\u2028that is my heart\u2019s whole fortune.<\/p>\n

www.planet-tango.com\/lyrics\/volver<\/strong>.htm\u2028Lyrics translated by Walter Kane<\/p><\/blockquote>\n

Volver<\/strong> is a profoundly hopeful film, despite being filled with rape, murder, incest and death. The hope that is the heart\u2019s whole fortune is the generosity that allows human beings to forgive. Forgiveness is our amazing power to reject the poison of the past, redeem our lives and reconstruct our bond with those whom we love. (For it is those we love who have the power to hurt us the most deeply.)<\/p>\n

\"casablanca1\"

1. Rick must see the situation as a whole<\/strong>. Rick learns Ilsa had to send him away to save him from the Nazis. She had to keep her marriage to Victor Laszlo secret to protect him and others in the resistance. She had to go to Victor (Paul Henreid), who was deathly ill outside of Paris.<\/p>\n

2. Rick must see his relative place in the situation<\/strong>. Victor was the hope of the whole resistance movement. The resistance would die if Ilsa didn\u2019t go to Victor and save him. Ilsa made the only choice she could possibly make under the circumstances.<\/p>\n

3. Rick and Ilsa speak the crucial unsaid emotional communication.<\/strong> They love each other, they have always loved each other and their hearts will always belong to each other. Ilsa says: \u201cI said I would never leave you.\u201d Rick replies: \u201cAnd you never will.\u201d<\/p>\n

4. Rick and Ilsa are able to cherish the positive:<\/strong> Rick says: \u201cWe\u2019ll always have Paris. We didn\u2019t have it, we\u2019d lost it until you came to Casablanca<\/strong>. We got it back last night.\u201d By truly cherishing that time together they have rekindled and reclaimed their love for each other.<\/p>\n

5. Rick is able to let go of the rest<\/strong>: Rick says: \u201cThe problems of three little people don\u2019t amount to a hill of beans in this crazy world.\u201d He sends Ilsa away just as she sent him away. Rick says: \u201cIf you don\u2019t go with him, you\u2019ll regret it. Maybe not today, but soon, and for the rest of your life.\u201d \u201cWhere I\u2019m going you can\u2019t follow. What I\u2019m going to do you can\u2019t be any part of.\u201d<\/p>\n

Like Volver<\/strong>, Casablanca<\/strong> puts Rick in Ilsa\u2019s situation. He now fully understands her choice. He validates Ilsa\u2019s choice by making the same choice she did. Rick sends Ilsa away with Victor because Victor\u2019s work in the resistance cannot continue without her.<\/p>\n

Although they are not physically together Rick and Ilsa will live forever in each others\u2019 hearts. Their grief and loss are resolved and they are both free to go on with their work and their lives.<\/p>\n

Here\u2019s how to implement these steps in your film:<\/p>\n

1. See the situation as a whole.<\/strong> Have your character learn, discover or expose something that fills in a crucial missing piece in the story. Your character has made some assumption that was false, incomplete, misguided or ignorant. His or her bitterness and\/or anger is built on an assumption that isn\u2019t the whole truth. He or she doesn\u2019t fully understand what was in the other person\u2019s heart or what the full circumstances were. A revelation, discovery or realization fills in the gap.<\/p>\n

2. See your relative place in the situation<\/strong>. Your character\u2019s bitterness, anger, loss or grief stems from a single-minded and narrow personal perspective. His or her feelings or situation were just a part of what was going on at the time. Instead of seeing things just from a personal perspective, force your character to see the broader canvas. Put your character in the other person\u2019s situation or position. Make that person\u2019s choice more understandable by forcing your character to make a similar kind of choice. Force your character to \u201cwalk awhile in the other person\u2019s shoes.\u201d<\/p>\n

3. Speak the unsaid emotional communication<\/strong>. This is some form of: \u201cI love you. I have always loved you.\u201d Those we love have the power to hurt us most deeply. Remembering and reclaiming that love is crucial to forgiveness. Please note: This communication is not \u201cYou have hurt me deeply.\u201d It is a positive affirmation of the other person and how deeply the character feels about him or her.<\/p>\n

4. Cherish the positive.<\/strong> There is a reason nearly everyone in the world knows the line: \u201cWe\u2019ll always have Paris.\u201d It\u2019s because Rick\u2019s line speaks to the power of positive memories. No one can take those transcendent moments from us. They remind us of all that was good, true, funny and\/or wonderful about a person or time we loved. Force your character to embrace and cherish what was positive about the person or situation.<\/p>\n

5. Let go of the rest.<\/strong> Forgiveness is not an emotion. It is an action. Forgiveness is letting go of the hurt, bitterness and\/or disappointment of the past. Forgiveness demands that we let go of that which we cannot change. It requires us to be generous with ourselves and let go of the destructive bonds that bind and imprison us. Force your character to let go of bitterness and anger. Give your character an action that offers the gift of generosity.<\/p>\n

I often ask my students to think of someone they love who has hurt them deeply. I ask them to think about how hard it would be to take each of those five steps themselves. Then I ask them to make that process equally as hard for their characters. When you force your character to confront and resolve loss you give an amazing gift of generosity to your audience. Volver<\/strong> gives that gift now. Casablanca<\/strong> has given that gift for decades. It is your turn next.<\/p>\n","protected":false},"excerpt":{"rendered":"

Forgiveness is at the heart of two powerful movie experiences.<\/p>\n","protected":false},"author":2,"featured_media":11959,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"nf_dc_page":"","_uag_custom_page_level_css":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[48,57],"tags":[844,25,26,27,28,30,31,1267,32,33,34,35,36,37,38,39,40,41,1268,42],"class_list":["post-2801","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-movies-character-development-screenwriting-screenplay-script-blog","category-power-of-love","tag-casablanca","tag-character","tag-characters","tag-emotional-toolbox","tag-etb","tag-film","tag-films","tag-forgiveness","tag-laurie-hutzler","tag-movies","tag-nine-character-types","tag-screenplay","tag-screenplays","tag-screenwriting","tag-script","tag-scripts","tag-scriptwriting","tag-tv","tag-volver","tag-writing"],"acf":[],"uagb_featured_image_src":{"full":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",960,720,false],"thumbnail":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-150x150.jpg",150,150,true],"medium":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-300x225.jpg",300,225,true],"medium_large":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-768x576.jpg",768,576,true],"large":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",960,720,false],"ttshowcase_normal":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",125,94,false],"ttshowcase_small":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",75,56,false],"1536x1536":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",960,720,false],"2048x2048":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",960,720,false],"Image Size 500x500":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n.jpg",500,375,false],"woocommerce_thumbnail":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-300x400.jpg",300,400,true],"woocommerce_single":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-600x450.jpg",600,450,true],"woocommerce_gallery_thumbnail":["https:\/\/etbscreenwriting.com\/wp-content\/uploads\/2018\/04\/30710870_10211699141895539_4496568718662303744_n-100x100.jpg",100,100,true]},"uagb_author_info":{"display_name":"Laurie Hutzler","author_link":"https:\/\/etbscreenwriting.com\/author\/admin\/"},"uagb_comment_info":0,"uagb_excerpt":"Forgiveness is at the heart of two powerful movie experiences.","_links":{"self":[{"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/posts\/2801"}],"collection":[{"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/comments?post=2801"}],"version-history":[{"count":0,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/posts\/2801\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/media\/11959"}],"wp:attachment":[{"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/media?parent=2801"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/categories?post=2801"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/etbscreenwriting.com\/wp-json\/wp\/v2\/tags?post=2801"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}