Apr
25
Structural Overviews: Why?
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Right after learning the principles of structure, it will be hard to apply them to your own work immediately. Better is to consolidate your understanding by applying it to films you know, by watching them and identifying the key turning points. A breakdown in scenes or plot points is an excellent start. To help you with this, I will regularly publish examples from different genres.
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Apr
24
Structure: The Shawshank Redemption
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A structural overview of
The Shawshank Redemption
(Frank Darabont, 1994).
It was nominated for seven Academy Awards, including Best Picture, Best Actor (Morgan Freeman), Best Adapted Screenplay, Best Cinematography, Best Editing, Best Original Score, and Best Sound – but it failed to win a single Oscar.
This film has an interesting structure because of its unusual treatment of the protagonist. The POV character Red is not the character with the clearest objective. Andy drives most of the story, although he is not entirely ‘honest’ to the audience. Only at the end of the story we find out about his real agenda.
One might argue that prisoners by definition have a strong desire for freedom. This is not the case for Red. Red considers himself ‘an institutional man’ without hope of ever getting out. Despite the lack of a strong outer objective, Red is the character with the strongest transformation.
While the theme of the film is about ‘hope’ and Red’s arc is just about that, there is some sort of a weaker arc for Andy, too. After the death of Tommy and Andy’s two months in the ‘hole’ (a text book example of an Ordeal sequence), Andy has a redemptive moment when he says about his wife “She died. Because of me, the way I am.”
Because of the lack of a clear ‘outer objective’ for either character, the end of Act One is not really signposted. The end of Act Two however is very clear.
Have a look and see how you see the story structure of The Shawshank Redemption. Of course, there is no ‘right way’ of doing this. Depending on which criteria you use, you may have a completely different outcome and I would be very keen to hear about it.
ACT ONE
Sequence A: “Fresh Fish”: New arrivals at Shawshank.
00.00 Andy Dufresne in car with gun.
02.00 D.A. quotes: “See you in hell before I see you in Reno.”
04.30 Eight bullets, two victims. He reloaded.
06.00 Verdict: Two life sentences for Andy.
06.30 Shawshank: Red’s parole hearing: rejected.
07.30 Red: I’m the man who can get anything for you.
09.00 1949: Andy Dufresne arrives. Inmates look on.
10.00 Red bets on Andy, he will crack tonight.
12.00 Norton: Your ass belongs to me. Welcome to SS.
13.30 Shower, clothes, bible. Red has his bet on Andy.
15.30 Lights out. “Fat ass by a nose.” Andy holds up.
Sequence B: Andy takes initiative.
19.00 Lunch: fat man dead. Andy: “What was his name?”
22.30 Shower: Andy taken by The Sisters.
23.30 Andy orders rock hammer. Red: “Grow eyes on back.”
27.30 Rock hammer comes in. “Book delivery for Dufresne.”
28.30 Sisters take him again. “He always fought.”
31.30 Roofing. Andy’s offer Hadley: taxes for three beers each.
ACT TWO
Sequence C: Andy fights to improve conditions
37.00 Playing checkers. Getting to be friends.
38.30 Andy asks for Rita Hayworth. Red: I’ll get her.
40.30 Sisters take Andy in projection room.
43.00 Hadley beats up Bogs. To min. security hospital.
43.30 Rita Hayworth poster for Andy. No charge.
46.00 Norton sizes Andy up; cell checked, bible found.
49.00 Andy library assistant; wants funding.
52.00 Report over lunch; asks for pool table, organise funds.
Sequence D: Brooks and being Institutionalised
53.00 Sends a letter a week for funding; no answers.
54.00 Andy does all tax returns; Red assists.
55.30 Brooks goes crazy; 50ys in jail. Institutionalised.
57.30 Brooks lets Jake free; in halfway house. Bagging job.
61.00 Thinks of going back. Shoot boss? Suicide letter.
62.30 Andy reads letter. Red: “He should’a died in here.”
Sequence D: Hope and how Andy’s efforts start to pay off
63.00 Response to letters: $200 and lots of books donated.
64.30 Andy plays Norton’s record for inmates: 2 weeks in the hole.
68.00 Andy: “a place called hope.” Red: dangerous thing: Brooks.
70.00 Red: 30 years anniversary and parole rejected.
71.00 Andy’s parole rejection present to Red: harmonica.
71.30 Red’s ten years Shawshank present to Andy: Monroe.
73.00 $500 annual payment to library. Extension and music.
75.00 Inside – Out program and shady deals bringing in money.
77.30 Paper leaves a trail. No: Randall Stevens. A phantom.
Sequence E: Tommy offers a sparkle of hope.
80.00 New young Boy Tommy. Andy teaches him.
82.00 Tommy is sick of learning, loses interest and hope.
85.30 Red tells Tommy about Andy, Tommy realises who he is.
86.00 Tommy tells Andy and Red about Andy’s wife’s real killer
88.00 Norton wouldn’t let him go. Andy 1 month in the hole.
90.00 Red: Andy is innocent. 19 years.
90.30 Tommy passed his test: news brought to the hole.
91.30 Norton wants to see Tommy; Hadley shoots him.
Sequence F: Every man’s got a breaking point.
94.00 Norton lies: Tommy shot escaping. Andy refuses further work.
96.00 Another month in the hole.
97.30 “I killed her, Red. Because of me, the way I am.”
98.30 Andy about Mexico. Red: I’m an institutional man now.
101.0 Andy: get busy living or get busy dying.
102.0 Andy: go to Buxton. Something I want you to have.
103.0 Andy asked for a piece of rope for Andy. Breaking point?
103.3 Andy gives Norton three deposits. Norton wants shoes shined.
105.0 In cell: lights out.
ACT THREE
Sequence G: Andy’s Resurrection
105.3 Red: That was the longest night of my life.
106.0 Man missing: Dufresne.
108.3 Red called into cell, questioned by Norton.
109.3 Hole in cell behind Racquel Welch: escaped.
110.0 Andy tunneled through wall in less than 20ys.
111.3 FB of night: shoes, climbing out, 500yds sewers.
115.0 Out. Bank, cashing in. Posts envelope from bank.
116.0 Press: “Corruption and Murder at Shawshank.”
118.3 Police raid on Shawshank. Norton suicides
119.0 Andy driving in convertible.
120.3 Parole board for Red. “I don’t give a shit.” Approved.
Sequence H: Living with Hope
123.0 Out
123.3 In halfway house: “Brooks was here.”
124.0 Bagging. Asking “permission to piss.”
125.0 What to do? Break parole? Go back? Live in fear.
125.3 Fulfill the promise: Red goes to Buxton.
127.0 Finds box with letter: I’ll keep an eye out for you.
132.0 Red travels to Andy. “I hope”.
The Shawshank Redemption – Screenplay (Early draft by Frank Darabont)
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Apr
23
Structure: Terminator 2
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A structural overview of
Terminator 2: Judgment Day
(James Cameron, 1991).
Terminator 2 offers amazing entertainment, with groundbreaking visual effects and unexpected character layers. Just like he did five years earlier with Aliens, co-writer/directorJames Cameron delivered an exceptionally satisfying sequel.
ACT ONE
Sequence A: Two Terminators
00.00 Girl on swings, idyllic ’silence before the storm’
01.00 2029, war against the machines. Humans lose.
02.30 Narrator: 2 terminators, which one will arrive first?
05.30 First Terminator (T1) arrives, familiar face.
06.30 Enters bar, asks for clothes, boots, bike. -”Please!”
08.30 Fight, T1 takes what he needs, doesn’t shoot man.
09.00 Bar owner tries to stop him. T1 takes glasses & gun.
10.00 Terminator Two (T2) arrives, takes police car.
11.30 T2 searches for John Connor: juvenile delinquent.
12.00 John about foster mum: “She’s not my mother!”
Sequence B: Sarah Connor needs to get out
13.00 Sarah in asylum, forced to take pills.
16.00 Foster parents tell T2 about biker, give T2 photo.
17.00 John robs teller with friend, “Mum’s a total loser”.
18.00 Sarah has vision of Kyle: “Protect him, soldier!”
21.00 Sarah’s vision: Nuclear blast.
21.30 Review: Sarah now denies everything, to get out.
25.00 D.I. Dyson: parts of Terminator kept and studied.
26.30 Review verdict : 6 more months! Sarah explodes.
Sequence C: John in more trouble than ever
27.30 John in game gallery, T2 sees him.
28.30 Both Terminators are approaching John.
30.30 T1: “Get down!”, gunfight, T2 turns into liquid metal.
32.30 Terminators follow John, chase.
33.00 T2 takes truck.
34.00 Chase in aqueduct.
36.00 T1 picks up John, truck explodes.
37.00 John: “Time out!”-T1: “You sent me to protect you.”
ACT TWO
Sequence D: John realises and takes control
39.00 T2 takes cop car.
39.30 T1 explains mission and advantages of T2.
40.00 Calling Janelle. T1: “Your foster parents are dead”.
42.00 T2 sees dogs tag, knows John is with T1.
43.00 Sarah interviewed, prepares escape.
44.00 John realises his mum was right about future.
45.30 John manipulates T1 to help and protect mum.
46.00 John tells T1 not to kill, tests on two punks.
Sequence E: Sarah finally getting out
47.30 Sarah tied to bed, has pin, nurse abuses her.
49.00 Sarah escapes, T2 arrives at asylum.
50.00 T2 kills guard, copies him (takes his form).
53.00 Sarah knocks nurse down and escapes.
53.30 T2 back to normal, looking for her.
54.00 John makes T1 swear not to kill anyone.
55.00 Sarah uses syringe as threat and escapes.
57.00 T2 hears alarm.
58.00 Sarah sees T1, freaks out. John: OK, here to help.
59.30 T1 shoots at T2, liquid sword duel in elevator.
61.00 Heroes escape in cop car, leave T2 behind.
63.30 Sarah: “John, that was stupid.” John hurt.
Sequence F: Regrouping for a new objective
65.30 Repairing T1.
66.00 T1 explains to John; life expectancy: 120ys.
67.00 John stops Sarah from killing T1.
70.00 T1 stands guard all night.
70.30 Heading South; John teaches T1 slang. “Smile!”
73.30 T1 tells about Dyson and Skynet, military comp.
75.00 Going after Dyson. “I have detailed files.”
Sequence G: Dyson must be stopped.
75.30 Dyson at home at work, on a roll.
78.00 Enrique: provides weapons and truck to heroes.
81.00 John & T1, Sarah watches.
87.00 Sarah has a vision of the blast.
89.00 Sarah rides off alone, to stop the future.
90.00 John realises Sarah’s plan: Let’s go!
Sequence H: Dyson becomes an ally
91.30 Sarah shoots at Dyson, misses.
94.30 Sarah spares Dyson.
95.00 John and T1 arrive.
96.00 T1 assists Dyson medically
97.00 T1 explains future, shows cyber-arm.
99.00 Dyson accepts to destroy everything.
99.30 All go to Cyberdyne.
Sequence I: Destruction of a fatal future
100.0 A black highway at night. Entering Cyberdyne.
102.0 Guard finds colleague tied up, for calls backup.
104.0 T2 arrives at Dysons’, hears police message.
104.3 Our heroes destroy files & items at Cyberdyne.
105.3 Police arrives Cyberdyne.
107.3 T1 shoots at police cars, without killing.
109.0 John & Dyson destroy chip.
110.3 Police shoot Dyson.
112.0 Police find Dyson w/ detonators: explosion.
ACT THREE
113.0 T2 arrives.
114.0 T1 immobilizes police.
115.3 T1 gets van, John & Sarah get in, T2 takes heli.
117.0 Chase, gun fight between heli and van.
119.3 Heli crashes, T2 takes truck with liquid nitrogen.
120.3 T2 in truck chases heroes in ute. Road duel.
123.3 Truck crash. T1 shoots frozen T2: “Hasta la vista!”
125.0 Steel ovens, heat melts T2 together again.
Sequence K: Final Confrontation
126.0 T2 chases heroes inside steel mill.
128.0 T1 leaves heroes to confront T2, gets stuck.
129.0 T2 goes for John and Sarah.
130.0 Sarah tells John to run. Sarah vs. T2.
131.3 T1 comes to help, finished off by T2.
134.0 T1 goes to alternate power.
134.3 John hears mother call for help, real one appears.
135.0 Mother pumps shotgun empty, T2 regenerates.
136.0 T1 appears with grenade.
136.3 T2 falls in hot liquid metal bath.
139.0 T1 asks to be terminated. John cries.
142.0 T2 terminated.
142.3 TITLES
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Apr
20
Structure: Ghost World
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A structural overview of
Ghost World
(Daniel Clowes, Terry Zwigoff, 2001).
A cult comic, two charismatic teen actresses, an inspired director and a sparse score. Only six pages of still pictures were turned into one of the coolest movies of the decade.
Because the plot points are often quite subtle, structurally this film seems a bit fluid and the protagonist’s objective is never explicitly stated. Yet there is a clear Hero’s Journey, with Enid Crossing the Threshold to enter and discover the Special World of Seymour. But where does this happen, at the end of Sequence B or C?
Enid is a reluctant character, and although she decides to enter the Special World, it is under a pretext. She will be resisting her attraction to Seymour (the Call to Adventure) until the second half of Act Two, when she explicitly suggests to Seymour she could move in (an Approach to the Inmost Cave).
At the end of Act Two, Enid goes through the crisis of losing both Becky and Seymour. The truth about her cruel joke on Seymour has to come out (an Ordeal, both for Enid and Seymour) before she is ready to move on.
I’m not sure if Enid’s visit to the hospital should be seen as the end of Act Two or the first scene of Act Three. Because the scene can be experienced as Enid’s redemption (the victim of her joke she calls now her hero) and she is finally honest about her feelings, I decided to put it in Act Two.
The scenes printed in blue represent the comic book source material that is – almost verbatim – included in the film. It shows how this is more than just an adaptation. It is almost entirely an original story, inspired by the characters created in the comic.
ACT ONE
SEQUENCE A: Life after Graduation
00.00 Panning across rear windows, against 50’s music.
02.30 Eccentric Enid, in her room, is dancing to the music.
03.00 Student graduation speeches; Enid &Rebecca roll eyes.
04.00 Gossiping outside school.
05.00 Enid & Rebecca in bar, making fun of un-cool girl.
06.00 Todd, making fun of the two girls.
07.30 Dennis, dork – not seeing him again: depressing.
08.00 Enid at breakfast with dad: an icon of boredom.
09.00 Enid & Becky at diner making fun, follow old ’satanists’.
10.30 Wowsville, 50’s diner; Weird Al serves.
11.30 Personals ’striking blonde’: plan for joke.
SEQUENCE B: A Cruel Joke
12.00 At Enid’s: calling the number, date at Wowsville.
14.00 Annoying Josh at the store, Doug interferes.
15.30 Please, Josh, give us a ride.
16.00 Driving with Josh.
16.30 Rebecca about Al “I want to make love to him.”
17.00 Seymour walks in, has vanilla milkshake.
18.00 Seymour leaves, cruel joke
18.30 Seymour’s near-accident; following; E. feels sympathy.
SEQUENCE C: Getting closer to Seymour
19.30 Art class;teacher announces community show.
21.00 Looking for flat, stalking Seymour, check his mail.
21.30 Garage sale; Seymour sells record. E.’s impressed.
24.00 Diner, E.: he’s almost cool. Un-cool friend: “funky”.
26.00 Enid dyes hair green, father enters. Rebecca watching.
26.30 Let’s go hassle Josh. Old man Norman at bus stop.
27.30 Josh is not home; Enid’s note: “You are gay.”
28.30 Johnny (magazine shop) provokes “punk rock is over!”
30.00 Enid plays Seymour’s record on repeat.
32.00 Seymour shows her the original 78.
ACT TWO
SEQUENCE D: A Challenge for Enid
33.00 Art Class: politically correct art in ‘higher category’.
35.30 Jamie @ Masterpiece Video, 8 1/2, go to surprise party.
36.30 Seymour’s Record Party: loser cracks on to Rebecca.
39.30 Enid in his record room, to Seymour: “You’re cool.”
40.30 I am your personal Dating Service.
42.00 Seymour’s type? Introduce him to Josh; he is shocked.
42.30 Taking S. to Anthony’s Adult: having fun, cat mask.
44.00 Becca’s at work, sick of losers; E.’s job? working on it.
45.30 Dad & Maxine: to bed early – art class for retards.
SEQUENCE E: Enid and Seymour have things in common
46.30 Art class – controversial imagery!
48.00 At diner, invited to band performance, Enid jealous
49.30 In car w/ Seymour; about music, misanthrope
50.30 Bands perform; Enid pushes S. to date; ruins it
53.30 Driving back; can’t relate to 99% of humanity
54.00 At Seymour’s, the story of Coon. Can I borrow?
SEQUENCE F: Things change when Seymour has a date
56.30 Takes Coon to class
58.30 Candy counter, turning customers away
60.00 Fired after one day? Some ideas for money.
61.30 Yard sale. Not selling. Forgot birthday cake.
62.00 Birthday, tells S. about Josh obsession.
63.30 Voice mail from redhead, Enid pushes to call.
64.30 Shopping w/ Becky, who’s sick of Seymour.
66.00 Dana visits Seymour; Enid reads.
67.00 D. & S. dancing; D. wants to see art movie.
68.30 Enid jealous, calls Becky, doesn’t want to see her.
70.00 Seymour; “Dana works out”. Dana arrives.
71.30 Enid almost ruins it, claims she hooked them up.
SEQUENCE G: Lots of offers but no friends.
72.30 Art Class: scholarship offered.
73.30 Dad has job for Enid, she is not interested.
74.30 Art Exhibition: critics hate Coon.
75.30 Seymour doesn’t show because of Dana.
77.30 With Norman on bench. Leaving town.
78.30 Fighting with Becky over flat, they split.
79.30 Dad says Maxine will move in.
SEQUENCE H: Enid wants to move in. With anybody.
80.30 Art Academy: no passing grade, no scholarship.
81.30 To Seymour: move in with you. Don’t you like me?
85.00 Post-coital; Seymour about moving in. Sleeping.
86.00 Seymour wakes up, Enid is gone.
86.30 Seymour goes to break up with Dana.
87.30 Maxine acts like mother; Seymour msg: moving in.
88.30 to Becky: I really want to move in with you.
SEQUENCE I: Losing it all. A confession
89.30 Seymour alone, calls Enid, no answer.
90.00 Boss calls Seymour: Coon art in newspaper.
90.30 Becky’s new place.
91.30 Enid is packing.
93.00 Becky tells Seymour about Enid’s blind date joke.
94.30 Seymour threatens Josh, Doug: citizen’s arrest.
95.30 Enid visits Seymour in hospital: You’re my hero.
ACT THREE
SEQUENCE J: Different paths
97.30 Enid & Becky on bench, reconciling.
99.00 Norman’s bus arrives.
100.0 Seymour with shrink, mother waits outside.
101.0 Enid on bench.
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Apr
14
Inciting Incident: Planting the Bomb
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Keeping the audience interested throughout the ’setup’ is a major challenge as professional readers won’t last until the Inciting Incident if the first ten or twelve pages don’t deliver.
The ’setup’ is often a complete sequence in which we see the ‘Ordinary World’, the protagonist’s ‘normal life’, an area of the story that by its name and nature risks to be a dull stretch. We see the life of the main character before the overwhelming event that marks the real start of story.
For the solution, we go back to a lesson from Alfred Hitchcock.
Remember the difference between surprise and suspense? Surprise is when a bomb suddenly explodes. Suspense is when we know there is a bomb, and it can explode any moment.
The Inciting Incident is our first story explosion.
How do we make our audience hang in there until it explodes? By foreshadowing the Inciting Incident. By creating anticipation.
Create strong anticipation during the story setup by foreshadowing the Inciting Incident.
DIE HARD: While John McClane argues with his ex, we see bad guy Gruber et al. preparing their actions. Worse is yet to come for John.
JAWS: Swimmer Chrissie is crab meat by the time we meet with hero Chief Brody. We know the reported ‘missing person’ won’t be seen again.
TOUCH OF EVIL: In the classic opening shot we see a bomb planted on a car, it ends on the explosion. This marks Vargas’ (Heston) call to action.
OMAGH: Terrorists from the Real IRA plant the bomb that will later cause carnage in the Northern Irish town, and kill the hero’s son.
E.T.: In the opening scene, an alien is left behind on earth, 12mins later it will disturb the life of little Elliott.
THE UNTOUCHABLES: Capone’s hitmen bomb a pub and kill a girl. In the I.I., her mother calls on Eliot Ness to stop the violence.
BLADE RUNNER: At the end of the Voigt-Kampf test and before we meet with Deckard, we see replicant Leon shoot his interviewer.
Note that these examples show the foreshadowing of an Inciting Incident of such a magnitude that it would not just disturb the hero’s life, but anyone’s under the circumstances. In other words, we don’t really need a lot of exposition or setup to understand that this Inciting Incident will stir the pot.
This approach may not work with just any story.
Most stories will still need you to first set up the protagonist’s character before introducing the Inciting Incident, just because the impact of the Inciting Incident is specific to that particular character.
First we are fully immersed in the life and world of Truman Burbank in The Truman Show before the appearance of his father on the street will be seen as a major event.
We need to know the character – and flaw – of Stu Sheppard in Phonebooth before we fully get how important it is when some stranger seems to know all those secrets he has been carefully hiding.
Even in most of the seven examples above, between the foreshadowing near the opening of the movie and the actual Inciting Incident, the screenwriters make sure they build on the gravity of the I.I.’s impact:
- in Jaws, Chief Brody is relatively new in Amity so he may only have limited authority when he asks to close the beaches.
- in Touch of Evil we learn that Mr. and Mrs. Vargas are still honeymooning, so Mike is not really prepared to take on a case.
- in Omagh we see how close father and son Gallagher really are, before the son dies in the bomb attack.
- In The Untouchables, the domestic scene at the Ness home shows a dedicated father Eliot, so he is the right person to respond to the distraught mother later on.
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