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	Comments on: Structure: Heat	</title>
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	<description>Story. Screenplay. Sale.</description>
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		<title>
		By: Steve		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-370168</link>

		<dc:creator><![CDATA[Steve]]></dc:creator>
		<pubDate>Sat, 01 Jan 2022 21:42:26 +0000</pubDate>
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					<description><![CDATA[In reply to &lt;a href=&quot;https://www.thestorydepartment.com/structure-heat/#comment-348842&quot;&gt;James&lt;/a&gt;.

Surely the inciting incident for Ne Diro&#039;s character is when he meets Eady and for Pacino it&#039;s when he takes on the case. These are the worst possible scenarios for both of them.]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://www.thestorydepartment.com/structure-heat/#comment-348842">James</a>.</p>
<p>Surely the inciting incident for Ne Diro&#8217;s character is when he meets Eady and for Pacino it&#8217;s when he takes on the case. These are the worst possible scenarios for both of them.</p>
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		<title>
		By: Karel Segers		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-360383</link>

		<dc:creator><![CDATA[Karel Segers]]></dc:creator>
		<pubDate>Fri, 15 Mar 2019 03:20:49 +0000</pubDate>
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					<description><![CDATA[In reply to &lt;a href=&quot;https://www.thestorydepartment.com/structure-heat/#comment-360262&quot;&gt;Rune Bennicke&lt;/a&gt;.

Thanks, Rune. By coincidence, I had just put the film on my watch list again when I saw your comment!]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://www.thestorydepartment.com/structure-heat/#comment-360262">Rune Bennicke</a>.</p>
<p>Thanks, Rune. By coincidence, I had just put the film on my watch list again when I saw your comment!</p>
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		<title>
		By: Rune Bennicke		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-360262</link>

		<dc:creator><![CDATA[Rune Bennicke]]></dc:creator>
		<pubDate>Thu, 14 Mar 2019 09:55:23 +0000</pubDate>
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					<description><![CDATA[116.3 is Charlene calling Marciano not Chris calling her.  She’s seen the news and wants out.]]></description>
			<content:encoded><![CDATA[<p>116.3 is Charlene calling Marciano not Chris calling her.  She’s seen the news and wants out.</p>
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		<title>
		By: Alex		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-351544</link>

		<dc:creator><![CDATA[Alex]]></dc:creator>
		<pubDate>Wed, 28 Nov 2018 15:07:32 +0000</pubDate>
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					<description><![CDATA[Look up the meaning of drowning in a dream. It&#039;s not death. Well, it&#039;s a different kind of death - the orgasm.]]></description>
			<content:encoded><![CDATA[<p>Look up the meaning of drowning in a dream. It&#8217;s not death. Well, it&#8217;s a different kind of death &#8211; the orgasm.</p>
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		<title>
		By: James		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-348842</link>

		<dc:creator><![CDATA[James]]></dc:creator>
		<pubDate>Thu, 13 Sep 2018 02:29:36 +0000</pubDate>
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					<description><![CDATA[I don’t believe Wayngro is the inciting incident.

The inciting incident is simply the armored car robbery at the start. The Act 1 threshhold for the main character, Vincent, comes shortly after - when a cop asks Vincent if he is taking this case himself or letting division take it, and Vincent says he will take it (since he knows this crew must be experts, and therefore he is the expert cop to track them down). Vinceent enters the story then (end of Act 1)

All the main characters have been introduced by this point (even though the details of their own stories and subplots come after this point).

Other films have their inciting incident and Act 1 turning point close together - Rocky for example - Apollo Creed and his crew are tking about giving the Italian Stalion a chance at the title (inciting incident) and not too long after when Rocky is asked if he will accept that invitation, he does, and thus Rocky enters the story (Act 1 turning point)]]></description>
			<content:encoded><![CDATA[<p>I don’t believe Wayngro is the inciting incident.</p>
<p>The inciting incident is simply the armored car robbery at the start. The Act 1 threshhold for the main character, Vincent, comes shortly after &#8211; when a cop asks Vincent if he is taking this case himself or letting division take it, and Vincent says he will take it (since he knows this crew must be experts, and therefore he is the expert cop to track them down). Vinceent enters the story then (end of Act 1)</p>
<p>All the main characters have been introduced by this point (even though the details of their own stories and subplots come after this point).</p>
<p>Other films have their inciting incident and Act 1 turning point close together &#8211; Rocky for example &#8211; Apollo Creed and his crew are tking about giving the Italian Stalion a chance at the title (inciting incident) and not too long after when Rocky is asked if he will accept that invitation, he does, and thus Rocky enters the story (Act 1 turning point)</p>
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		<title>
		By: Joel Schumacher And The Anti-Hero In Falling Down &#124; On Scriptwriting		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-341608</link>

		<dc:creator><![CDATA[Joel Schumacher And The Anti-Hero In Falling Down &#124; On Scriptwriting]]></dc:creator>
		<pubDate>Tue, 25 Jul 2017 19:48:08 +0000</pubDate>
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					<description><![CDATA[[&#8230;] In Falling Down (1993), recently retrenched defence worker William “D-Fens” (Michael Douglas) goes out of control on a sweltering day in L.A. It shows Schumacher just as comfortable shooting on the streets of New York in Phone Booth, as in the suburban sprawl of Los Angeles, where our anti-hero&#8217;s tragedy plays out. In fact this is one of my favourite nineties movies when it comes to portraying the city of angels, often using gorgeous long lens shots, against an ominous soundtrack. Only Michael Mann would top this two years later with Heat. [&#8230;]]]></description>
			<content:encoded><![CDATA[<p>[&#8230;] In Falling Down (1993), recently retrenched defence worker William “D-Fens” (Michael Douglas) goes out of control on a sweltering day in L.A. It shows Schumacher just as comfortable shooting on the streets of New York in Phone Booth, as in the suburban sprawl of Los Angeles, where our anti-hero&#8217;s tragedy plays out. In fact this is one of my favourite nineties movies when it comes to portraying the city of angels, often using gorgeous long lens shots, against an ominous soundtrack. Only Michael Mann would top this two years later with Heat. [&#8230;]</p>
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		<title>
		By: Karel Segers		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-338164</link>

		<dc:creator><![CDATA[Karel Segers]]></dc:creator>
		<pubDate>Thu, 02 Feb 2017 07:16:23 +0000</pubDate>
		<guid isPermaLink="false">https://thestorydepartment.com/?p=22601#comment-338164</guid>

					<description><![CDATA[In reply to &lt;a href=&quot;https://www.thestorydepartment.com/structure-heat/#comment-338163&quot;&gt;j9harris&lt;/a&gt;.

I agree with you. The theme is set up in the first few scenes as &#039;not having enough time&#039;.

His mantra is about dropping everything, including unfinished business.]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://www.thestorydepartment.com/structure-heat/#comment-338163">j9harris</a>.</p>
<p>I agree with you. The theme is set up in the first few scenes as &#8216;not having enough time&#8217;.</p>
<p>His mantra is about dropping everything, including unfinished business.</p>
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		<item>
		<title>
		By: j9harris		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-338163</link>

		<dc:creator><![CDATA[j9harris]]></dc:creator>
		<pubDate>Thu, 02 Feb 2017 06:57:30 +0000</pubDate>
		<guid isPermaLink="false">https://thestorydepartment.com/?p=22601#comment-338163</guid>

					<description><![CDATA[In reply to &lt;a href=&quot;https://www.thestorydepartment.com/structure-heat/#comment-335557&quot;&gt;Simon&lt;/a&gt;.

Neil&#039;s undoing, according to the analysis above, has to do with returning to kill Waingro despite the fact the &quot;heat is around the corner&quot;. Neil is meticulous and views Wayngro as a loose end that must be addressed. His meticulous nature, in this scenario, trumps his mantra of remaining unattached to anything or any idea that could result in his demise. His demise however has nothing to do with Eady. In fact, the movie suggests that had Neil fled with Eady while en route to the airport instead of returning for Wayngro, Neil likely would have escaped.]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://www.thestorydepartment.com/structure-heat/#comment-335557">Simon</a>.</p>
<p>Neil&#8217;s undoing, according to the analysis above, has to do with returning to kill Waingro despite the fact the &#8220;heat is around the corner&#8221;. Neil is meticulous and views Wayngro as a loose end that must be addressed. His meticulous nature, in this scenario, trumps his mantra of remaining unattached to anything or any idea that could result in his demise. His demise however has nothing to do with Eady. In fact, the movie suggests that had Neil fled with Eady while en route to the airport instead of returning for Wayngro, Neil likely would have escaped.</p>
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		<item>
		<title>
		By: Simon		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-335557</link>

		<dc:creator><![CDATA[Simon]]></dc:creator>
		<pubDate>Thu, 04 Aug 2016 04:55:57 +0000</pubDate>
		<guid isPermaLink="false">https://thestorydepartment.com/?p=22601#comment-335557</guid>

					<description><![CDATA[In reply to &lt;a href=&quot;https://www.thestorydepartment.com/structure-heat/#comment-1590&quot;&gt;Stephane&lt;/a&gt;.

Yup, agree. The message of the movie is that &quot;for a man to be really great at his job, he can&#039;t afford to have attachments.&quot; Vincent always puts work first. (He&#039;s been through three marriages and the current one doesn&#039;t look too rosy). He wins. Neil develops an attachment for Eady and this proves to be his undoing - Vincent spots the girlfriend alone in the car, which tells him that Neil is nearby, and enables him to kill him. The Chris sub-plot mirrors the above. He survives, but only when he and Charlene realise they can&#039;t maintain their relationship, and she waves him away.]]></description>
			<content:encoded><![CDATA[<p>In reply to <a href="https://www.thestorydepartment.com/structure-heat/#comment-1590">Stephane</a>.</p>
<p>Yup, agree. The message of the movie is that &#8220;for a man to be really great at his job, he can&#8217;t afford to have attachments.&#8221; Vincent always puts work first. (He&#8217;s been through three marriages and the current one doesn&#8217;t look too rosy). He wins. Neil develops an attachment for Eady and this proves to be his undoing &#8211; Vincent spots the girlfriend alone in the car, which tells him that Neil is nearby, and enables him to kill him. The Chris sub-plot mirrors the above. He survives, but only when he and Charlene realise they can&#8217;t maintain their relationship, and she waves him away.</p>
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		<title>
		By: The Anti-Hero&#039;s Steep Decline in &#34;Falling Down&#34;The Story Department		</title>
		<link>https://www.thestorydepartment.com/structure-heat/#comment-332188</link>

		<dc:creator><![CDATA[The Anti-Hero&#039;s Steep Decline in &#34;Falling Down&#34;The Story Department]]></dc:creator>
		<pubDate>Fri, 20 Feb 2015 04:00:39 +0000</pubDate>
		<guid isPermaLink="false">https://thestorydepartment.com/?p=22601#comment-332188</guid>

					<description><![CDATA[[&#8230;] In Falling Down (1993), recently retrenched defence worker William “D-Fens” (Michael Douglas) goes out of control on a sweltering day in L.A. It shows Schumacher just as comfortable shooting on the streets of New York in Phone Booth, as in the suburban sprawl of Los Angeles, where our anti-hero&#8217;s tragedy plays out. In fact this is one of my favourite nineties movies when it comes to portraying the city of angels, often using gorgeous long lens shots, against an ominous soundtrack. Only Michael Mann would top this two years later with Heat. [&#8230;]]]></description>
			<content:encoded><![CDATA[<p>[&#8230;] In Falling Down (1993), recently retrenched defence worker William “D-Fens” (Michael Douglas) goes out of control on a sweltering day in L.A. It shows Schumacher just as comfortable shooting on the streets of New York in Phone Booth, as in the suburban sprawl of Los Angeles, where our anti-hero&#8217;s tragedy plays out. In fact this is one of my favourite nineties movies when it comes to portraying the city of angels, often using gorgeous long lens shots, against an ominous soundtrack. Only Michael Mann would top this two years later with Heat. [&#8230;]</p>
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