Jul
17
Structure: Iron Man
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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 pieces of cinema entertainment, executed with a daring cast and grounded in a solid foundation of character.
ACT ONE
SEQUENCE A
- Tony Stark visits soldiers on duty in the Middle East.
- The convoy is attacked, the soldiers are quickly killed.
- Stark flees when a bomb explodes, severely wounding Tony’s chest.
- Tony is captured and recorded by a group of terrorists.
FLASHBACK
- Tony’s history as a child prodigy, taking over his father’s company at 21.
- Colonel Rhodes presents Tony with an award in his absence.
- Stane accepts the award in Tony’s honor.
- Rhody finds Tony partying in a casino.
- Reporter Christine approaches Stark with questions regarding ethics.Stane
- The two end up spending the night together.
- Christine is greeted by Tony’s assistant, “Pepper” as she leaves the house.
- Pepper helps Tony with some business before he heads out to the airport.
- In flight, Tony talks with Rhody, who is unhappy about Tony’s attitude.
- Tony gets Rhody to relax, they get drunk and have an in-flight party.
- At a military outpost, Tony demonstrates the Jericho, a missile system.
- Tony goes off with the convoy that is soon attacked by terrorists.
SEQUENCE B
- Tony regains consciousness, his chest is hooked up to a strange device.
- His cellmate Yinsen explains the device keeps shrapnel out of Tony’s heart.
- The captors tell Tony to build a Jericho. Tony refuses and they torture him.
- The terrorists show off a huge weapons stockpile and Tony starts building.
- With Yinsen’s help, Tony constructs a super power generator.
- Tony designs a powered weapon suit to defeat the terrorists.
- Terrorist Raza, attempts to torture Yinsen and gives them one more day.
- Yinsen and Tony set off a bomb as distraction as Tony powers up his suit.
- Yinsen grabs a gun and runs off to distract the surviving guards.
- Tony muscles his way through the cave, his suit deflects weapon fire.
- A dying Yinsen encourages Tony to not waste his life as he escapes.
- Tony destroys their weapons, the armor is ruined, but he is alive.
- US helicopters fly overhead, a group of soldiers led by Rhody, find Tony.
ACT TWO
SEQUENCE C
- Back home Tony announces to shut down Stark Industries’ Weapons.
- Agent Coulson tells Pepper he wants to talk to Tony about his capture.
- Stane confronts Tony about his actions, furious.
- Tony wants Stark Industries to move forward with Ark Reactor technology.
- Stane tells Tony to lay low for a while so the company can sort things out.
- During the upgrade of the Ark Reactor, Tony verges on cardiac arrest.
- Pepper helps in the process, she’s told to get rid of the old model.
- Rhodes says Stark is suffering from post-traumatic stress disorder.
- Tony starts upgrading his armored suit to “Mark 2,”.
- The terrorists gather all fragments of the original armor in the desert.
- Tony perfects the armor’s flight system.
- Pepper comes in and leaves a box on Tony’s desk.
- Stane and the board filed an injunction to gain control of Stark Ind.
- Tony completes the upgrade of his flight system.
- A test flight shows Tony the power supply shuts down at great heights.
- After a near-crash, Tony crashes through three floors of the house.
SEQUENCE D
- Tony finds Pepper’s box with “Proof That Tony Stark Has A Heart.”
- Tony rebuilds the suit to solve the icing problem, to code name Mark 3.
- Tony leaves to attend his benefit dinner while the suit is being painted.
MID POINT:
- At the charity event Agent Coulson wants to learn about the incident.
- Tony and Pepper share a moment together in the moonlight.
- Christine challenges him on his weapons being used in the Middle East.
- Stane reveals he filed the injunction against Tony.
- Tony is furious, transforms into Iron Man for the first time.
SEQUENCE E
- In the Middle East, Iron Man defeats the terrorists, destroys their weapons.
- Two F-22 jets spot him.
- Col. Rhodes contacts Tony, who plays ignorant.
- The jets are too much and Tony reveals to Rhodes he is responsible.
- Iron Man is hit by one fighter jet but saves a pilot’s life.
- Tony convinces Rhody to pass it all off as a “training exercise.”
- Back at home, Pepper catches him removing the Iron Man armor.
SEQUENCE F
- The terrorists are visited by none other than Stane.
- He paid them to kill Stark, but they demanded a much higher price.
- Stane takes the remnants of the Mark 1 armor they have gathered.
- Pepper agrees to help Tony.
- In Stane’s office she finds evidence he was behind Tony’s capture.
- Stane realizes what she was up to.
- Agent Coulson agrees to help stop Stane with his fellow agents.
- Stane cannot figure out how to create a power source for the suit.
- Stane arrives at Tony’s house and paralyzes him with a sonic weapon.
- Stane yanks out the power source from Tony’s heart.
- Tony gets the Ark Reactor that Pepper gave him.
- Tony gets the power source installed just as Rhody arrives.
ACT THREE
SEQUENCE G
- Pepper and Coulson spot the Mark 1 Armor, Stane attacks them.
- Iron Man fights Iron Monger, with half power in the suit.
- Tony grabs Iron Monger and climbs higher, then loses him.
- Iron Man is now almost completely powerless.
- Tony instructs Pepper to overload the building’s Ark Reactor.
- Pepper is hesitant, believing that Tony could also be killed.
- Tony manages to keep fighting while she builds up power to the Reactor.
- The Ark explodes, killing Stane, injuring Tony but saving him from death.
SEQUENCE H
- At a press conference Tony adopts the name “Iron Man”.
- Coulson: cover stories about Stane and the “truth” about Iron Man.
- Tony goes before the reporters once more, and declares “I am Iron Man.”
EPILOGUE
Back home, Nick Fury of S.H.I.E.L.D. talks about “The Avenger Initiative.”
Thank you to IMDb for the full synopsis.
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Jul
2
Checklist: Active Protagonist
Filed Under Story Basics | 2 Comments
Are you struggling with a passive protagonist? Let’s look into what causes a character to be passive.
A hero is not ‘active’ because he is constantly running, fighting, arguing etc. A hero is not ‘passive’ because he is never running, fighting, arguing etc.
Here is a list of points that in my view will have a positive impact on the protagonist’s ‘activity’ level.
Like any other principle, there will be numerous examples of successful films that stray from these. It doesn’t mean you can just ignore them.
1. The hero must have strong will power.
2. The hero should have a clear goal.
3. The hero should state the goal explicitly (on or before p.25 for feature films).
4. The hero must not be forced, but chooses to pursue the goal.
5. Once the goal is known, the hero should stay on the case.
6. The hero can only be distracted because of a new, stronger goal.
7. Keep showing us the Hheroero really wants to achieve the goal.
8. Make sure the obstacles in the way are significant.
9. Stay in the
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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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Mar
25
Structure: Michael Clayton
Filed Under Premium Content, Structural Analysis | 5 Comments
A structural overview of Michael Clayton (Tony Gilroy, 2007) in 8 Sequences.
When I watched this film during its theatrical release, I thoroughly enjoyed it. Because of the relatively low budget (an estimated USD$25m) for its production values, Tony Gilroy was able to make some brave non-commercial decisions with his screen story.
This didn’t go entirely unpunished, as the Variety review points out:
Gilroy’s fidelity to his script comes at the expense of the pacing, which initially lumbers forward so assiduously as to feel like a throwback to an earlier era.
and:
Some of the peripheral threads — especially Michael’s relationship with his family, both as an irritated brother and a single dad — occupy time at the outset but really don’t lead anywhere.
-Brian Lowry
Looking at the story structure in the first act, we’ll find some obvious causes for the problems addressed above.
The Inciting Incident doesn’t happen until 25mins into the film and I yet have to find a clear 1st Act Turning Point. The scene with Marty (Sydney Pollack) at 51mins feels like one but at that stage Michael is already on his journey. The monumental 25mins of ‘Ordinary World’ make the story drag on to a point the audience will get very fidgety.
Then, in sequence two – and even before the end of the act – we find an abundance of scenes and characters that are not dealing with the main plot: Michael’s son, his debt, the merger and the scenes from Karen’s POV. These are simply things you cannot do without having clearly set up the main story.
I won’t go into any further story issues, but here is how I would structure the film in terms of plot points and sequences:
ACT ONE
SEQUENCE A: Prologue, Ordinary World
00.00 Arthur’s VO: This is not a relapse.
03.00 POV(*) Bach is settling, at office late at night
04.30 POV Karen in bathroom, tormented
05.00 Michael is gambling, phone rings
07.00 Urgent job: accident, go see client at home
08.30 At client’s: What are you? Miracle worker?
12.00 Phone rings: Michael gives details to referee.
12.30 Driving, GPS flickers.
13.30 Gets out at field with horses
15.00 Car explodes
SEQUENCE B: Subplot and Call to Adventure
15.30 – 4 DAYS EARLIER
16.00 Subplot: Michael drives son Henry to school
18.30 Subplot: Michael needs $75k to repay debts
20.30 At work, assistant asks: Are we merging?
23.00 POV Karen (intercut) rehearsing + interview
25.30 I.I.: Arthur stripped in deposition room
26.00 Arthur’s VO (cont.). Did you meet Anna?
29.00 Arthur: I have blood on my hands.
ACT TWO
SEQUENCE C: To get Arthur back on the case
29.30 POV Arthur tape, U-North people learn about Michael
32.30 Michael will get Arthur back in 3-4 days; find briefcase
33.30 POV Arthur calls Henry: Realm & Conquest.
35.30 Michael & Karen: defends Arthur. She’ll call Marty
37.30 Michael & Arthur as Mentor: “We’ve been summoned.”
39.30 POV Karen calls Mr. Verne
41.00 Arthur has escaped
SEQUENCE D: Allies and Enemies, Midpoint
43.00 POV Karen shows Marty the memo.
43.30 Searching Arthur’s office; psychiatric commitment?
45.00 Arthur followed, Michael leaves msg: janitor to janitor
48.00 POV Arthur calls Anna, call bugged.
50.00 With creditor: one week
51.00 Marty: He’s calling the plaintiffs; Michael asks loan
54.00 Looking for Arthur; with son, sees him
56.00 Mid: Arthur changed. Not the enemy.”Then who?”
SEQUENCE E: Subplot and Ordeal Plot Point
59.30 POV Arthur reads report on voicemail
63.30 POV Karen orders murder
65.00 Asks brother for support; hang for an hour.
67.30 POV Arthur killed
69.30 Brother shows up, off alcohol, in front of Henry
71.00 To son: you’re not like this. You’ve got it.
72.30 Ordeal: phone call, Arthur’s dead
75.00 In pub w/ Marty. Why?? No note. U-North settling.
SEQUENCE F: Ordeal Sequence Approach / and Reward
77.30 Calls Anna, in NY right now.
78.30 Goes to see Anna in motel, being watched
79.00 Anna: “something that would win the case”
81.00 Approach: Gets seal, to Arthur’s place
82.00 Followed, watched; searches flat
83.00 Finds Realm & Conquest; Police come in
84.00 Released from cell, “Who called 911?”
87.30 Reward: 3,000 copies of memo
88.00 POV Karen finds out about memo: ’situation’.
88.30 Marty ready for announcement;
89.00 Subplot Reward: cheque $80k
91.00 Pays off debt.
ACT THREE
SEQUENCE G: To get out, by bringing U-North down
92.30 Gambling // car bomb planted // phone rings, leaves.
95.30 Driving, miracle worker, fixer
96.00 Driving
99.00 Horses // Gimme cell // Explosion
99.30 Throws valuables in, runs off
100.0 Brother picks him up
101.0 POV Karen addressing board w/ settlement proposal
103.3 Climax: Confronts Karen: $10m
106.0 Resolution: Everything on record: NYPD
SEQUENCE H: Return with the Elixir – Finally Out
107.0 Taxi
(*): Scenes marked “POV” are not from the protagonist’s POV.
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Feb
5
First, Break All the Rules
Filed Under Free Content, Newsletters | Leave a Comment
When I asked this student which one thing she remembered above anything else, she replied: “That you can break the rules, and get away with it.” She was not my student. In itself there’s nothing wrong with trying, but it saddens me that Heath Ledger’s last Australian film, Candy, was an example of a film that broke the rules. And failed.
I am not sure which film this student had in mind as a successful example of non-conventional structure, but I bet you it was PULP FICTION. Ever since 1994, filmmakers have been hoping to get away with it in the same way Tarantino did. In my view PF has done far more damage to the craft of screenwriting than its success will ever justify. The irony is that PULP FICTION is relatively conventional in its structure, just not linear. Check Linda Aronson’s book SCREENWRITING UPDATED.
But all that is completely beside the point. The point is that writers often have this immature attitude. “But my script is different.” Another one that keeps coming back: “Hollywood only makes crap, audiences really don’t want to see that stuff anymore.” This one I only heard today: “It all works in my head, the film experience will be very different from the script!”
Call me conservative but the more I learn about film, the more I am convinced audiences are conditioned by an increasingly structured type of filmmaking. Time and time again I hear people rejecting structure one minute, and raving about highly structured films the next.
Ever since the story of a boy and a princess in space 30 years ago, audiences – whether you like it or not – have been conditioned by a more sophisticated version of the 3-act structure, i.e. the Hero’s Journey. And this process has only been reinforced since that paradigm was written down by Christopher Vogler. (I almost called The Hero’s Journey ‘a structure’ but it was never really intended to be. Yet it can often be elegantly blended with the three act structure.)
LEARN THE RULES, THEN BREAK THE RULES
Despite my endless complaints about Australian writers, I have had the pleasure and honour of meeting and working with dozens of writers who are dedicated to learning the craft. They read, study, analyse, attend seminars etc.
Most of them learn with the intention of later applying what they have learned. Others take the basics on board and explore ways of being original and creative within the boundaries. Yet others fully intend to knowingly break the rules with their first screenplay.
Now that may be unwise.
The statement above reading “Learn the Rules, then Break the Rules” is in my view a dangerous one. I would rather replace it with something like:
“Master the Rules, then Bend Them.”
It often happens that screenwriters only get their first screenplay made after years of learning the craft. When the film finally hits the screen, they realises that although they believed they had learned the skills, they hadn’t. An audience is a funny thing. You want them to feel this way, but they respond that way.
As a writer you won’t know if you actually master the craft until the film goes out and is successful. Believing that you can learn the rules and break them with your first script, is a dangerous illusion.
Of course every year there will be at least one success story of a breakthrough screenplay that didn’t apply the principles. Everybody will write and talk about that one person. Bottomline: if you are in this game for the long term, it pays to look at the statistics and then review your chances.
THE ONE THAT GOT AWAY
I am currently working with a client on a screenplay that reminded me in some peripheral way of the French rural drama Jean de Florette, starring Gerard Depardieu and the late Yves Montand*. I watched the film again with my wife and paid attention to its structure.
Although I had seen the film at least twice before, what I found out this time, literally blew me away.
The screenplay was adapted by director Claude Berri and veteran scribe Gerard Brach, from a hugely successful original French classic by Marcel Pagnol. The film had been a breakout arthouse hit across the world, with major prizes in its home country but also in England and the U.S. where it was nominated for a Golden Globe.
My wife and I had seen this film last about ten years ago, yet neither of us remembered much of the plot. We did remember the characters and even individual scenes. Not the plot.
Why??
Because the structure is quite extraordinary.
The whole film is structured following a text-book three-act structure. Inciting incident, first act turning point, second act are all ‘tres formulaic’. But what seemed unusual to me, and the primary reason why I think this film still looked so fresh to us: the story is structured around the antagonist’s journey.
My advise: don’t try this at home. As a beginning screenwriter, make sure you try your hand at convential material before you venture into this type of territory. The screenwriters of Jean de Florette were both highly experienced, with many successes to their names. Unfortunately, although the follow-up to Jean de Florette (Manon des Sources) may have brought a more upbeat closing to the rural saga, the writing was less inspiring.
When you have the chance, do watch both films, analyse these structural exceptions and asks yourself what is different, why this one works and the other doesn’t (so well).
It is always fascinating.
*Nice coincidence: when I was out the following night my wife randomly picked the Marilyn Monroe classic “Let’s make Love” from our DVD shelf and watched it, only to find it had – again – Yves Montand in a major role.
THE WORKSHOPS WORK
More than one week to go until 10 February and the Sydney story workshop is sold out. This weekend I’ll be teaching for the first time in Queensland, at the International Film College. My next Sydney Workshop will be on Sunday 13 April and bookings are open now.
The emphasis of the workshops has shifted slightly. The first sessions were heavily theoretical, focusing on aspects of the 3-act structure. Lately I have shifted towards more practical examples from a wider diversity of films, both old and recent, across completely different genres: from action movie to comedy, from Touch of Evil (1958) and Die Hard (1988) to The Incredibles (2004) and The Lives of Others (2006).
Some people find that the material taught in these classes is advanced. Let me tell you this: it is not. It represents the bare essentials. It is the absolute minimum you need to know if you want to even consider breaking into the scene. That doesn’t mean that it will sink in the first time around. You will still need to watch films, analyse them and apply what you have learned to your own work.
Next, you will need to call in the assistance from a professional. But you will be so much better prepared to enter into a dialogue about your work if you have laid the foundations by learning the terminology. Not only will it speed up your development, it will potentially save you hundreds or thousands of dollars as your script editor will talk to you about your script on your level.
THE PREMIUM EDITION
The Premium Edition has had visitors from New York to the country of Jean de Florette (Provence, South of France), from Australia’s East and West Coasts to the City Library of Amsterdam. Meanwhile, the first paying subscribers have signed up, from Australia and overseas!
Eight users are online while I am writing this, of which no less than seven guests and a few search engine spiders. Check it out for yourself by subscribing for a year at only the cost of one cappuccino a fortnight.
Among the newly added content, Premium Members now have also access to a list of mistakes I have come across in screenplays lately, as well as a few suggestions on how to avoid them.
In the coming days and weeks new articles will be added and I will be conducting an interview with Michael Hauge (who is coming to Australia this May) and will talk about the dangers of mystery.
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Jan
7
The Secret
Filed Under Free Content, Newsletters | Leave a Comment
While you were out celebrating New Year’s Eve, I was watching David Cronenberg’s eXistenZ on DVD. Not that I’m such a pathetic hermit; it was just my wife’s fun idea of closing the Old Year. She admitted afterwards she might have been wrong. Missing the Sydney Fireworks and all that.
Meanwhile, the Story Dept. has entered its third calendar year, offering workshops, one-on-one consultancy PLUS a Premium Version of this blog, exclusive to clients and
subscribers. The Hero’s Journey continues, the obsession grows.
THE HERO’S SECRET
eXistenZ, named after a fictitious virtual reality video game, was released around the same time as THE MATRIX; the timing having been an excuse for its poor performance. I was surprised to see Roger Ebert’s review not really giving us any critical assessment of the film; all he says is:“eXistenZ’ is likely to appeal especially to computer game players”. He probably means: “It sucked but I don’t know why.”
The film remains original and entertaining but I believe the end holds a crucial mistake as it turns out our heroes have been keeping a secret from us. This goes directly against a key principle of writing for the screen: a protagonist must share with us their knowledge and emotions.
In the Premium Edition (see also below) I will look at a few more examples of heroes who are ruining box office prospects by withholding information or being unreliable for other reasons.
THE WRITER’S SECRET
When I asked one of my most loyal clients for a testimonial, he refused. I was baffled. “Karel,” he said, “if you knew where the gold was buried, would you go and tell everyone?” At first I thought that was a lame excuse, but then I had no reason NOT to believe him. He is a film industry professional who always puts his money where his mouth is. He is continuing our collaboration throughout 2008. But I’m not allowed to tell anybody.
My Unknown Client says about the story theory I’m teaching and applying during my consultancies “it’s the film industry’s best kept secret.” In many ways, he is right. Despite the title of Robert McKee’s bestselling screenwriting manual ‘STORY’, he only dedicates a relatively brief section to the principles of story structure. Many screenwriting manuals do mention the three-act structure but forget to explain why it works and why it is successful. Without a proper foundation, the 3-act structure remains dead theory.
Some people say Australian film schools are gravely deficient in the area of structure and if I am to believe my clients, many AWG script assessors tend to barely brush over it, too. In an article in The Australian last week, Joan Sauers, Billy Stoneking and Duncan Thompson blamed Australian scripts. Again. And again they forgot to mention what William Goldman said: “Story is structure”
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