A structural overview of Jaws (Peter Benchley, Carl Gottlieb, Novel by Peter Benchley 1975) Steven Spielberg first drew me into movies with Close Encounters of the Third Kind, back in 1977. Because I was too young for Jaws in 1975, it wasn’t until later when I discovered
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A structural overview of Iron Man (Mark Fergus, Hawk Ostby, Art Marcum, Matt Holloway 2008). Not just a great comic book adaptation and an exciting action flick, but also an elegantly written piece of cinema entertainment, executed with a daring cast and grounded in a solid foundation
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A structural overview of A Room with a View (Ruth Prawer Jhabvala, 1985). Without any doubt, this is one of the finest literary adaptations and a timeless romantic movie. The film launched the careers of actors Daniel Day Lewis and Helena Bonham Carter, while it was a
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Struggling with a passive protagonist? Let’s look into what causes this passivity. Remember, a hero is not ‘active’ because he is always running, fighting, arguing etc. A hero is not ‘passive’ because he is never doing any of those, either. by Karel Segers Here is a list
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Because the first shift of POV in a film may jolt the audience’s experience, it works best where this brief ‘disconnection’ doesn’t hurt the story: after a climax. The start of Act Two is a good place to move to the antagonist’s POV. We have just seen
Read more →Should you write a happy ending? Commercial common sense will tell you: yes, you should. Robert McKee says: “Tell the truth.” (see the previous post) McKee means: your story needs to reflect your worldview. If you contradict whatever you believe in for the sake of commerce, you
Read more →The finest writing not only reveals true character, but arcs or changes to that inner nature, for better or worse. In 1998 McKee signed my first edition hardback of STORY. He wrote: “To Karel: Tell the TRUTH!” Ironically with the quote at the top of this article,
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A structural overview of The Shawshank Redemption (Frank Darabont, 1994). It was nominated for seven Academy Awards: 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
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