by Dave Trendall (structure breakdown) and Karel Segers (notes).

Boy is a funny and moving drama about young Alamein who learns to see his father for who he really is. It was nominated for the Audience Award at Sundance and won the same award at the Sydney and Melbourne film festival. The film made more than $9m in its domestic market, which is great for a local indie.

But Boy never got big. Why not? The film is well-directed, brilliantly acted and beautifully shot.

Let’s have a look at the story and see if this tells us something.

ACT ONE

Sequence A – Boy’s Ordinary World, without dad. (15 mins)

00:00 “You could be happy here… we could grow up together.” -E.T.
01:00 In class, Boy introduces his friends, family and Michael Jackson.
02:00 Nan leaves for a funeral, leaving Boy in charge.
02:30 Favourite subjects and some “after-school gardening work”.
03:00 The amazing dad… Boy shows his ideal image of his dad to class.
04:00 While in class Kenny, a bully, taunts him about his dad.
05:00 Boy is rejected by Chardonnay, even after his MJ moves.
06:30 Boy lashes out at Kenny and is dragged to the principal.
07:30 The principal gives him advice… but what does the word ‘potential’ mean?
08:30 Kenny’s brother Holden threatens Boy.
09:30 Boy gets Rocky from their mum’s grave.
10:30 Boy wants Rocky to stop hanging around the grave.
11:00 Crayfish again. Mealtime! The kids are living by themselves.
11:30 Storm’s coming…
12:30 ‘Who are you?’… the kids meet Dad, Juju and Chopper.

In the first sequence of the film, we learn that our hero may have a somewhat idealistic image of his father. Is this is flaw? He also fancies the girl Chardonnay, whom he tries to impress with Michael Jackson moves. Around the 12min mark – Hollywood timing – the inciting incident occurs: father returns. This is going to change Boy’s life….

Sequence B – First impressions of Dad (14 mins)

15:00 Dad is in the house. Tries to bond with the kids.
16:30 Presents and sparklers for the children.
17:30 Dad offers to cut Boy’s hair.
19:00 Rocky and Boy remember the day mum died at Rocky’s birth.
19:30 Boy throws stones at ‘mental fella’ but Rocky refuses to.
20:30 Dad gives Boy advice on how to do the carving… Boy hasn’t done the eyes.
22:00 Rocky shows his suspicion of his dad.
22:30 Dad drops Boy off and disappears, much to Boy’s disappointment.
24:00 Auntie gets angry at Dad for not visiting his wife’s grave.
24:30 The love story: Boy gives a sparkler only to Chardonnay.
25:00 Boy and kids pick bunches of weed to help Dynasty – it’s her job.
26:00 Rocky befriends the ‘mental fella’.
27:30 Dad, Juju and Chopper dig for the stolen treasure.

Boy’s response to the return of his father is more enthusiastic than Rocky’s, who doesn’t trust his dad. Boy doesn’t trust the ‘mental fella,’ though, while Rocky befriends him. Rocky seems to be more in touch with reality than our hero. At the end of the sequence, Boy adopts the same main goal as his father: to find the stolen treasure. Meanwhile, he is also pursuing Chardonnay further.

ACT TWO

Sequence C – Digging for the dream (11 mins)

28:30 Boy starts digging for the money.
29:00 Boy gives Dad weed he took from Dynasty’s patch in the field.
30:00 ‘I’ll spend more time with the kids.’ Dad promises Nan.
30:30 Dad cuts Boy’s hair.
31:30 Dad teaches Kenny and Holden a lesson.
32:00 Dad and Boy pick Rocky up… quality time.
33:30 Boy wants to be in the Crazy Horses but Dad rejects him.
34:30 Beach fun! Rocky knocks Dad over with his mind – his powers work?
35:00 Rocky disagrees with Boy’s idea of what to do with the money.
36:00 Don’t call me dad… call me Shogun.
37:30 Dad gives Kenny and Holden beer and welcomes them… Boy is put out.
38:00 Dad alienates Juju and Chopper.
39:30 Michael Jackson lives!

Boy looks at his dad as a role model, without realizing (yet) how immature the man really is. In fact, his dad is not really a man; he is just as much a ‘boy’ as he is. Rather than taking his role as a father seriously, Alamein Sr. escapes into the fantasy of being Shogun.

Sequence D: From Boy to Man (10 mins)

40:00 Boy tries everything to get Chardonnay but she’s interested in Holden.
41:30 Wanting to impress his dad, Boy gives himself a hickey and shows dad.
42:00 Boy gives some weed to his dad and neglects family duties.
43:30 Dynasty gets into the car and updates him on what he’s been missing.
44:30 Rocky and ‘mental fella’ at mums grave, Rocky starts to doubt his powers.
45:30 Dad leaves. **midpoint**
47:00 Boy, rejecting Rocky as helper, digs… and finds the money.
48:30 He counts the money and shares the news with Leaf, the goat.
49:00 He checks the dictionary for ‘potential’ but doesn’t understand.

Once Boy finds the money, everything will change. The outer goal is fulfilled and Boy sets himself a new goal: to enjoy the found money without revealing the secret to his dad, while continuing to court Chardonnay.

The new goal creates some tension but there’s a problem: it is open-ended. Boy can potentially keep the secret forever if he plays it smart. (The director has visually foreshadowed what will happen with the money by showing Leaf, the goat, immediately after the discovery.)

Boy’s perception of his dad is gradually changing. The fact that he doesn’t tell his dad about the money illustrates this. His dad is more concerned about himself than about his sons, therefore Boy realises he’ll have to look after himself.

Sequence E: From Boy to Man (10 mins)

49:30 Boy buys ice-creams for his friends at Auntie’s shop.
50:00 ‘Don’t call me Boy anymore’, he threatens Holden.
51:30 Dad confronts Boy: Where did the money for the ice-creams come from?
53:00 Back to responsibility: cooking dinner and making food for the family.
54:00 Dad goes to window and apologises.
55:30 Mum’s grave: Dad contemplates outside the fence, Rocky watches.
57:00 Leaf has eaten the money!
57:30 Boy watches the microwave melting down doorknobs.
58:00 “There is no more time”, Dad says.
59:00 Dad rips the hidden weed batch up but Boy is seen by Dynasty.

He doesn’t want to be called ‘Boy’ any longer and he cooks for the family again. Boy’s maturation is well underway. Slowly, he is growing up to reality and showing responsibility, yet he still doesn’t confess about finding the money…

Sequence F: Confessing hard truths(11 mins)

1:00:00 Dad goes to bar.
1:02:00 A fight breaks out as Dad is rumbled. Boy watches from the car.
1:03:00 Coming back from the bar, they run over Leaf, the goat.
1:04:00 “It was just a dog” – Boy no longer buys his dads promises.
1:05:30 The goat is dead. Boy and Rocky drag it back home.
1:06:30 Rocky helps dig Leaf’s grave with Boy.
1:07:00 Boy drinks and smokes by his mum’s grave.
1:07:30 The gang members, packing the car, drive off leaving Dad with nothing.
1:08:30 Dad trashes the house.
1:09:00 Remembering his mum, Boy falls off the bridge.
1:09:30 Dad desperately digs, searching for money.
1:10:00 Boy sees mother… but it’s not, it’s ‘mental fella’. Boy has to get home.

Dad is involved in a brawl and comes out the loser. For the first time Boy sees the truth and his world slowly collapses.

As if it were Leaf’s punishment for eating the money, on the way back home they drive over the goat. With his pet friend dead and his father not the idol he adored, Boy lets himself fall off the bridge, into the river – literally reaching the story’s lowest point. But now he reaps the reward: he sees the world as it is, including the ‘mental fella’ who saves his life. Boy’s journey of maturation is complete.

ACT THREE

Sequence G: Boy faces his father (4 mins)

1:11:00 Rocky apologises for what he did to his mum.
1:12:00 Boy gives Dad the chewed up notes and lets loose his anger on his dad.
1:14:00 Boy, and family, rebuild the house.
1:15:00 The carving is left, his dad has added the eyes.

With his inner journey fully complete, Boy has the strength to face his father in honesty. He takes responsibility for finding and losing the money but he also challenges his dad to be responsible and admit he is a thief. Once they see each other for who they really are, they can live together again.

Sequence H: Rebuilding and reconciliation (3 mins)

1:15:30 Nan comes back.
1:16:00 Reconnecting with mates, and Dynasty.
1:17:00 Boy and Rocky meet their dad at mum’s grave.
1:18:30 Thriller done Haka style.

With the return of Nan, the circle is complete. The family is reunited and in the few days while Nan was away, Boy has grown up a little.

The film sees Boy go through a significant inner journey but his external goals are weak. His first goal (finding the money) is not really his own objective as he simply takes on his dad’s objective.

The stakes are never really high in this film, either. Even past the mid point, when Boy tries to keep his secret, there is never much for him to lose.

As to the love plot, apart from doing some Michael Jackson moves and offering Chardonnay sparklers, Boy never really fights very hard to get his love.

In conclusion, the story issues described above make what could have been a more deeply emotional maturation film feel fairly light-on.

Structural Analysis: Dave Trendall
Notes: Karel Segers

by Dave Trendall

Does sexy equal practical?

The number of word processors out there is countless. With most doing similar things, why should we even consider getting something different; or even crazier… pay for it?

One piece of software that has mountains of users who often describe it as ‘sexy’, is Scrivener. I was interested to see why, and if, it was good for writing. Sexy is one thing but does it actually stand up to a long term relationship… and is it really worth paying for?

Pros of the Processor

Getting inside a writer’s mind can be a treacherous minefield, a forest of ideas where trees are mangled and roads lead nowhere. When starting out on a project there are avenues to explore, ideas to grapple with. Where to start?

Scrivener really understands the writers mind as it is logically laid out but doesn’t tie you down to any format like most other software does – what it does do is encourage flexibility.

Scrivener really understands the writers mind

Research and organisation are key in writing your magnus opus and to have access to the mind maps and scribblings in a click can make this process easier. Most processors or text editors will have you open 3… 4… 5… different windows as you begin minimising, maximising, moving and closing windows, trying to access those hard-to-find character bios and scene ideas.

All the ideas you put on your scratch pad and other documents can be a daunting and complicated excercise in organisational dilligence but on Scrivener you have everything you need on show with easy access.

Organisation

On the right of the interface you have the inspector, on the left you have the binder which has all your files and character notes displayed just one click away. On the right, the inspector which shows the synopsis, step outline, ideas or comments. In the centre is a clear writing part.

You can also build collections for each project which is a great help. Despite the neatness of it all and the ability to minimize these collections, there’s a lot of info on display and it can look a little busy, so what if you just want to write?

The full screen function allows you to have the page, a photo of that lovely deserted island in the background and nothing else, which helps you focus on the task in hand and not on toolbars, configurations and statistics. It’s a nice touch and the simplicity is refreshing.

What if you just want to write?

The program comes with a plethora of options so you can adapt it to your liking. F or example you may want the blank page to fade down, change the paper width or change the paper position. It’s all about adapting to your needs.

The final stage!

Something that Scrivener has, is the ability to export your script/novel onto an ebook for kindle, epub, Word or even Final Draft among others. This motivational and inspirational tool brings you one step closer to self-publishing or selling and getting it out there. It is mostly geared toward novel or non-fiction/research writers however the impetus and injection of ‘reality’ and coming face to face with a realistic ‘published’ finish piece is quite the motivation!

It is also possible to sync the scribblings from write room, index card and simpletext for iphone/itouch or Ipad. This is for the Mac only, however the windows beta version is soon to catch up in this respect.

This motivational and inspirational tool brings you
one step closer to self-publishing or selling

Index card features

An excellent interface that really is second to none in terms of pure chic: the corkboard interface has clear index card features for you to design your plots and characters in a great, organised and colourful fashion.

It’s not just the je-ne-sais-quoi, but the ease of use and detail you can put into it is a great attribute. It allows you to brainstorm in order for you to really nut out the structure and outline before going to work on the screenplay.

An excellent interface that really is second to none

You can also use the cards as scene ideas, change the font and change the colour to indicate theme or concept. It is gorgeous and makes the writing thoroughly enjoyable – it’s nice to have a different view with the corkboard that really makes you feel you’re in the planning room.

I am a lover of index cards – this is so close to the real thing that you can almost smell the paper and feel the cork. The other processors look and feel like a computer – this doesn’t.

This is so close to the real thing
that you can almost smell the paper
and feel the cork.

Feedback/forums/support

It’s options are a burden and a blessing. Really, it’s like a brain… complicated yet fascinating, or a complicated enigmatic character: hard to decipher. There are numerous options and drop down menus to explore and you sometimes feel like you just don’t get it, but then, suddenly, it all makes perfect sense and you feel quite enamoured with yourself for doing so darn well.

What is important in such software is the technical support, and it is excellent. I’ve never really had the support in terms of software like this before. On the website there are video tutorials, that are simple and easy to understand, as well as a fully detailed manual that could provide a few nights of scintillating bedtime reading… If that’s your thing. The forum is also full of hints, tips and tricks.

I’ve never really had the support
in terms of software like this before.

So many options, but are they all useful? There are numerous configurations to behold and wonder at and it’s well worth trying to get to know them all to make it exactly to your liking.

Cons

What I found problematic however, was in transferring documents onto scrivener, particularly screenplays. When I tried to import scripts from two different screenwriting programmes the alignment, fonts and formatting were all over the place and it took time to get it back to normal.

Although you may find ways around this problem – a ‘how to’ video tutorial and extensive information on exporting and importing will help – it was a time-consuming process and an extensive lesson in jargon. Other users have noted it is difficult to use with blogs and can be a lavishly laborious process to export certain documents onto, or out of, Scrivener.

it is difficult to use with blogs and can be
a lavishly laborious process
to export certain documents

The corkboard is lovely, sexy even, though it’s not the most important thing for writing. There are feasts of different views and colours to change this to that and put that in a drop down menu while you tweak this and paste this into that folder… I confused myself when operating it and getting to know it.

It’s nice to have a software that is as complex as it is interesting. And that’s interesting in a good way but is it too much for what is essentially a virtual binder, paper with pen?

Added to this, index cards themselves are available on other programme, such as Celtx, for a smidgeon of the price.

A fast car is good driving

You will get what you paid for with Scrivener and understanding just what it can do will take an enjoyable or frustrating amount of time, depending on whether you like getting to know the options or just want to get writing.

No doubt this is a great piece of software. It’s a neat looking, intuitive programme which has everything you need right in front of you, for you to use at your disposal. It’s perfect for writing and particularly organising thoughts ideas and structuring them into a coherent order.

Then, after having sussed out this little gem, you can start the marriage with a day of getting to know each other, to start afresh and forget what had gone before. Word? Who was that flash in the pan?

Some may argue If you need to go from A to B do you really need a Dodge viper with extra torque, whatever you decide, it certainly looks nice in your garage and feels great when you’re in the driving seat.

-Dave Trendall

My name is David Trendall and I am from the land of Braveheart. I studied Film and Television in Wales and it was there I found a love and passion for writing scripts. Since then I have written four screenplays and many short films. I hope to reach 10 within the next 5 years and am continuing to write and hone my skills in screenwriting and story structure. And yes I do like Braveheart.

by Dave Trendall (structure breakdown) and Karel Segers (notes).

I’m still a big Spielberg fan, although War Of The Worlds made a small dent in this and – being Belgian – I’m a bit nervous about Tintin.

Story Origins of E.T.

The script for E.T. was written by Melissa Mathison but the original story Night Skies (that went on to become E.T.) was pitched to Spielberg in a Paris hotel by concept artist Ron Cobb. (Wikipedia):

“Steven Spielberg offered him the opportunity to direct this scarier sequel to Close Encounters of the Third Kind until problems arose over special effects that required a major rewrite.”

A few years ago Ron, who lives here in Sydney, replicated to me the pitch for Night Skies and, believe me, it sent shivers down my spine…

But we were going to talk story and structure.

Structure and POV

E.T. looks far more traditional than Close Encounters, which seems to have a never-ending first act (and threshold sequence), a non-existing second act and a downright odd ending – which I still loved. Obviously this didn’t keep it from being ridiculously successful.

In addition to what I’ve already said and written about Point Of View , it is worth noting how POV is handled in this film.

Let’s have a look at the first sequence:

ACT ONE

Sequence A: A scary first meeting (12:30mins)

00:00 E.T. lands on earth and leaves the spaceship.
03:00 E.T. walks around and sees the city. Homing signals glow.
05:00 The bad guys arrive in trucks. They begin searching.
06:00 E.T.’s homing signal glows alerting the bad guys and the chase is on!
07:00 E.T. misses the boat – the spaceship leaves without him.
07:30 E.T. ventures down to the city as the bad guys continue searching.
08:00 Elliot wants to play but all he’s good for is getting the pizza.
09:00 He gets the pizza… and hears something in the garage.
09:30 Back garden: Elliot throws a ball into the shed, and it’s thrown back.
10:30 Elliot runs into the house screaming with shock – they all go hunting.
11:00 ‘It’s just a coyote.’ Nobody believes Elliot.
12:30 Elliot checks again and sees him. E.T. freaks and runs to the forest.

The movie opens with a great hook in which we see the Extraterrestrial for the first time, albeit briefly and mostly indirectly. Can you see the parallel with Jaws? Next we’re introduced to Elliot (and we stay with him until the end of Act One). The sequence ends on his Call To Adventure, when Elliot sees E.T. for the first time.

Sequence B: Becoming friends (9:30mins)

14:30 Elliot cycles up to the forest with lollies.
15:30 A suspicious man looks around and Elliot pedals quickly away.
16:00 Nobody believes me! He takes his frustration out on his mum.
19:00 Elliot waits in the garden at night, snuggled in a blanket.
20:00 E.T. reaches out to Elliot by giving him back the lollies.
20:30 Leaving a trail of lollies, Elliot gets E.T. into his room.
22:00 E.T. mimics his actions

The second sequence shows Elliot’s response to the Inciting Incident (or Call To Adventure). He is not really refusing his call: he wants to see E.T. again, contrary to those around him, who don’t believe him. You could argue that they are also more flawed than Elliot because of their lack of imagination.

The end of the second sequence usually sets up the hero’s goal. What is it here? Not so simple… Elliot wants to keep E.T. as a friend, while hiding him from the adults, because he doesn’t trust them. Elliot’s goal has an indefinite timeline: until when will he need to hide E.T.? Typically this wouldn’t work very well but here this doesn’t seem to be a problem. Note that this entire sequence is told from Elliot’s POV.

ACT TWO

Sequence C: Keeping the secret while having fun (12:30mins)

24:00 The bad guys close in… they find the lollies.
25:00 Elliot skips school. He dims the shades and the fun and games begin!
26:30 While the cat’s away… Elliot gives E.T. an education.
27:30 It’s too much excitement! Time for milk and cookies.
30:30 Over the phone, Elliot convinces mum that he’s ill.
33:00 Allies, Michael and Gertie, meet E.T. … and freak.
34:30 ‘This isn’t a room, this is an accident’: Mum comes home.
36:00 Sister Gertie makes a pact to say nothing – this is their secret.

Act Two opens with a brief scene from the POV of the antagonist, building an underlying tension for the entire next sequence. In many movies, this is the only function of a shift of POV. What follows now is a typical Allies & Enemies / Fun & Games sequence.

Sequence D: E.T. & Elliot apart, share experiences.  (12:30 mins)

37:30 Bad guys are taking photographs of the house.
38:00 Gertie takes a dead flower to Elliot’s room.
39:00 Elliot, Mike and Gertie watch in wonder as E.T. does magic.
41:00 Elliot hears the bad guys outside… edging ever closer.
42:00 E.T. makes the flower grow.
42:30 Elliot goes to school.
43:30 Mum hears noises and checks it out but nothing.
44:00 E.T. goes to the fridge and opens some beers.
45:00 Elliot starts feeling the effects from the beer – in class.
46:00 Both are drunk.
47:30 ‘I gotta save him…’ Elliot releases the frogs in science class.
48:30 Reading a comic book gives E.T. an idea.
50:00 E.T. makes a machine from a toy while watching a movie.
50:30 Elliot recreates a romantic kissing scene from the T.V.

A second sequence of fun & games strengthens the bond between the boy and alien. Again, this sequence opens with a brief scene from the POV of the antagonists, showing they are gradually closing in on E.T. and Elliot. As a result, the tension rises.
E.T. is the story of the friendship between earthling Elliot and the Extraterrestrial and its structure shows elements of the buddy movie and even the romance, with a kiss around the mid point of the movie.
When Elliot goes to school, the POV is split between the boy and the alien. However, in terms of the story we really stay in Elliot’s POV’s, whose experience of getting drunk is more dramatic than E.T.’s.

Mid Sequence: E.T. phone home! (14:00 mins)

51:30 Gertie tries to get mum to meet E.T.
52:30 Mum gets the call to pick up a drunken Elliot.
53:00 E.T. speaks!
54:00 Gertie understands him. E.T…. Phone… home MID POINT
56:00 Bad guys listen in to Elliot and Mike.
58:00 Elliot cuts his finger and E.T. heals it.
1:00:00 Halloween… ghost E.T., Elliot and Mike leave to trick or treat.
1:03:00 Gertie waits at the top of a hill.
1:03:30 Trick or treat. The three guisers walk down the street.
1:04:00 E.T. and Gertie swap costumes. Elliot takes off on his bike with E.T.
1:04:30 The bike takes off with E.T. in the basket and goes higher still!
1:05:30 Mum doesn’t know where they are and blows the candles out.

This is a mid sequence in the purest sense: the tone changes from upbeat & fun to serious & suspenseful. The moment we see the scientists listen in to Mike and Elliot, we know it will be a matter of minutes before the fun is over.
The objective changes, too. First Elliot wanted to keep E.T. as a friend but after the mid point he helps E.T. to return home, which is a clear reversal as he will have to let go of his friend.
Where many films show a leap off a cliff at the mid, Elliot rides his bike with E.T. off a cliff to realize they can fly. But the flight ends with a crash, symbolizing the crash that is about to following immediately after every mid point high. Can you see other typical aspects of a mid point reversal?

Sequence E: I think we’re dying (11:30 mins)

1:06:00 They get to work on making the machine.
1:07:00 Mum is angry and leaves the house…
1:07:30 … bad guys break into the house.
1:08:00 Mum picks Mike and Gertie up… but where is Elliot?
1:09:00 The machine is working!
1:11:00 The bad guys continue ransacking the house.
1:12:00 Elliot wakes up but where is ET?
1:13:00 Missing person… Elliot arrives back.
1:13:30 He pleads to Michael to find E.T.
1:14:00 Mike is being followed and tries to lose the bad guys.
1:15:00 He finds the blanket and a half-dead ET. Helicopter circles.
1:16:00 ‘I think we’re dying.’ Mum is aghast and sees E.T. as the problem.
1:17:30 The bad guys… the scientists… invade their home.

With the last half of the second act we have entered darker territory. Elliot knows that he will lose E.T. if the alien returns home but … it looks like E.T. may not even make it home when Elliot finds him half-dead. Elliot meets with the antagonists when the scientist crew enters the house. This is an ironic ‘approaching of the inmost cave’ because it is effectively the antagonist entering the cave (Elliot’s home) in the literal sense. For Elliot and E.T., the approach is symbolic as they are preparing to face their worst fear: to lose each other.

Sequence F: Approach to the inmost cave (12:00 mins)

1:18:30 The scientists enter the house with equipment.
1:19:00 The alien is misunderstood.
1:21:00 ‘He’s calling his people… he needs to go home.’
1:22:00 The Scientist tells Elliot he was happy the alien met him first.
1:23:30 ‘The boy’s coming back… we’re losing E.T.’
1:26:00 The flower wilts… E.T. is dying.
1:28:00 E.T. dies… the Doctors stop trying.
1:30:30 ‘You must be dead because I don’t know how to feel’

The Ordeal sequence usually has ‘the image of death’ and here we see E.T.’s death literally on the screen. When Elliot says “You must be dead because I don’t know how to feel,” it shows how he now has to learn to stand on his own feet. This very realisation signals Elliot’s transformation and thus we have the end of Act 2. At this point a story ALWAYS turns from hopeless to hopeful. In a way this story is a coming of age for Elliot; he has to cope with the abandonment of a friend. Would it be a coincidence that this theme is equally present in the Toy Story movies?

ACT THREE

Sequence G: This is reality… (08:00 mins)

1:33:30 ‘He’s alive!!!’ As Elliot leaves… the flowers perk up.
1:34:00 Opening the casket door, Elliot sees E.T. is alive.
1:35:30 Uh oh. Gertie gives mum a note from the boys a bit too early.
1:36:00 Mike drives away from the uniforms. His mum follows.
1:38:30 Mike’s friends on the bike meet E.T. at the playground.
1:40:00 ‘This is reality Greg…’ The chase is on!
1:41:30 A dead end? They fly over the roadblock with E.T.’s magic powers.

Once Elliot’s transformation (or growth) is complete, we’re ready to move into Act 3 and immediately the energy turns to positive, the pace picks up and the kids leave “the cave”. Note that like in every successful film, there is a ‘threshold sequence’ because at this point in the movie, for a variety of reasons we need movement.

Sequence G: I’ll be right here… (5:30 mins)

1:42:30 They arrive at the forest. E.T.’s Spaceship touches down at the forest.
1:44:00 Sister and Mike say their goodbyes.
1:44:30 ‘I’ll be right here’, E.T. reassures.
1:47:30 E.T. goes back to his ship and the ship leaves.
1:48:30 They wave goodbye.
1:49:30 END

The kids have shed the antagonists (the adults), the main tension is now resolved and despite the fact that the friends have to say goodbye, the atmosphere is somewhat lighter. Elliot is now strong enough to say goodbye to E.T.

Structural Analysis: Dave Trendall
Notes: Karel Segers

by Dave Trendall

There are many on the market with equal prices so it’s good to trial them before unzipping your wallet and dipping in. Script it! does have limitations but on the flip-side, its extreme ease of use will have you bashing on the keys within 10 minutes.

Its extreme ease of use will have you
bashing on the keys within 10 minutes.

It’s a good enough piece of software for those setting out on the adventure of writing a screenplay for the first time, great for organizing your story into a clear and coherent ball of motivations and goals and focusing on the bare minimum, the step outline.

The package is complimented with some nice touches and if you want a simple and easy to use word processor to organize your thoughts and ramblings into a structured story, with numbered steps and notes, this is a worthy shot. With it’s decent price tag it’s more affordable than a more complex competitor or its sister, Movie Outline .

Why use outlining software?

I often find it difficult to structure a decent step outline on Celtx or Word and am continually scrolling up and down the 25 page document trying to find a particular scene. This software makes viewing and organizing the outline steps exceptionally easy. Also, the many notes, ideas and flashes of genius you have are stored away in easy to access folders. It’s also thoroughly easy to convert into a pdf file and there is an added option of submitting and registering your script.

This software makes viewing
and organizing the outline steps
exceptionally easy.

For those of you who barely have a grasp of what an outline is, Script it! gives a glossary of words and useful terms. There are also 3 feature film examples of how you can use the program which is handy to see the capabilities of the software.

Tip of the day

Tip of the day is another nice touch and you can choose to turn on a ‘show on add step’ function. After having finished writing a step, a tip pops up which you can use in your writing as you keep the ball rolling. Some of them are a little obvious but for some writers, more so beginners, this is easier and more interactive and indeed more useful than reading a book with lots of hints to store somewhere in the cobwebs of your brain; you can really use what it tells you in the next step of your writing.

Character names

The character names wizard works well, detailing the meanings of (innumerable) first names which are interesting to read, however it doesn’t go too far in helping you with surnames. It’s fun to just peruse.

A nice facet is the ability to write the script as per each step. With the complete overview shown in the sidebar, you are only a click away to the script formatting page that relates directly to the step. A simple idea but one which keeps you on track, preventing you from ambling around aimlessly. It’s great to be able to see the outline list on the sidebar, clearly visible and easy to interpret it displays the contents and it’s easy to navigate.

It’s great to be able to see the outline list on the sidebar.

Its limitations are abundant, but it’s not the aim to bowl you over and you won’t be crying a merciful ‘please! I can’t handle all these graphs, graphics and options you’re throwing at me!’. The function is outline and structure… that said however, everything it does do, it does with simplicity, speed and organization. It’s almost too easy to work all the options out – it’ll save you time fiddling around with settings and playing with menu options and tabbing on that old-hat word processor.

This really is what Script it! does well. It’s great for beginning writers who want the structure and organization that most other packages don’t have. Ok, great for beginners, sure, excellent… but what about for so-called experts; have you tried 407 different types of screenwriting software? If so, this might not be for you. Script it! won’t fan-dazzle you into an altered state of options and drop-down menus but it will focus you on organising notes and structuring scenes in a logical way.

Script it! won’t fan-dazzle you into
an altered state of options and drop-down menus.

Character notes?

What is lacking is a full and detailed character biography template. I found myself going into other programmes and retrieving my notes which was mildly irritating but it didn’t make me throw my computer at the wall or ask to be refunded in time and money. There also doesn’t seem to be much in the way of forums to connect with other writers, there are links to excellent resources online (and always to the big sister, movie outline) which can help a lot if you’re just starting out or need some pointers to help you out of the hole you’ve dug.

No visual splendor

Pictorially there is little to talk about and I like to have the pictorial element. There are no index cards, nor are there icons, however generally speaking, there is little not to like about this little package. It is limited, but for the price it’s not low on detail. It doesn’t have charts or any stimulus to mill around when you’re bored of writing but it does have everything you need.

Pictorially there is little to talk about and
I like to have the pictorial element.

This is probably not the software I would use to write a screenplay on, though it is certainly possible to write your opus on it. It lacks detail and graphics and it’s clear its focus is on structuring but it’s a perfect tool for beginners with its wealth of tips and tricks and worthy of note for experts who don’t want to fork out the wholesome penny.

Conclusion

It’s a neatly structured piece of software anyone can use, easily. There is a wealth of information to learn from and also extra tips to find out and discover. It’s a good deal regarding the price and can focus you on fine-tuning the structure which is so easy to gloss over and misfire on before you hit the scripting stage. If what you need is structure with a no-frills approach, then this is a good piece of software to have in your armory.

-Dave Trendall