Syd Field was the first true screenwriting guru and his book Screenplay is still a standard, more than forty years after its initial publication. Syd visited Sydney only once in his life and during that occasion, he was very generous with his time and we interviewed him at the offices of Screen Australia. This interview was published in three parts, which we will republish this week.

Final Part, continued from Part 2
Interview: Karel Segers, David Trendall and Niels Abercrombie
With thanks to Screen Australia

Karel: When Avatar broke out so massively and the whole planet went to see it, still people were in denial about the craft of that screenplay. What didn’t they see?

Syd Field: They wanted some type of screenplay that was totally new and just so foreign to their normal state of consciousness like Inception. What people don’t see about James Cameron is that he does not create screenplays, he creates a cinematic experience, going to the movies is a cinematic experience.

If you don’t have them in the first 10 pages,
I’m outta there, there’s no reason I need to read more.

I talk about that in my book Going To The Movies: what is the nature of going to the movies? I mean what do we do when we sit down in a darkened theatre, and the curtains part and the screen becomes alive and we are all united in this community of emotion? At that moment we are all united and the film grabs us in the first 10 minutes. So I teach people that if you don’t have them in the first 10 pages, I’m outta there, there’s no reason I need to read more.

Karel: You pitted Inception against Avatar, how do you see it so different?

Syd Field: In Avatar I was emotionally engrossed, because of the choices the character had to make. In Inception I found this wonderful, inventive, intellectual state that I could really relate to but it was so hard-working to find out where I was.

Once I began to see that there was 3 levels of dream and he kept stating in dialogue “Well we’re in the second level and now we can get out of the dream” and so on, then it became very very interesting. I have to tell you I watched that film on the plane coming over and I was not touched, I was not moved. But Avatar I watched in 2D at home and I was moved and I was touched.

Avatar I watched in 2D at home and I was moved.

I think that is where the future is going to go, into that hidden state of consciousness which no one has explored yet. What Chris Nolan does is explore that and that becomes really exciting and new and so on. But as a film it’s pretty dull for me, a lot of great special effects, yeah a lot of interesting things once I think about them, but it was not a dynamic experience that Jim Cameron can create.

Karel: Apart from Jim Cameron, are there any other screenwriters today that are delving into–

Syd Field: I like a little film called 500 Days of Summer , that Scott Neustadter did, I like that very much. Benjamin Button was just brilliantly done. There’s a sequence I show in my workshops of the Brad Pitt character when he goes to the hospital and he sees his mother. She got her coat and she went back to get it when she opened the door and the phone rang and then she went to pick up her package, it wasn’t wrapped because the shop girl had a fight with her boyfriend. If she had gone back 5 minutes earlier that present wouldn’t have been ready and she would not have been hit by the car and her dancing career lost forever.

Karel: Like the butterfly effect.

Syd Field: Exactly. I mean that’s brilliant.

Karel: Why did Forrest Gump work and Benjamin Button didn’t?

Syd Field: Many people think Benjamin Button was too long. I would say it needed the extra length to set up the notion that as he ages he gets younger. You can’t just accept that notion with any degree of reality, you have to set that up. I don’t think it had enough moments of dynamic action or interaction between the two of them. It was more intellectual headgame whereas Forrest Gump was just there. Very emotional, very real, very authentic.

Karel: Benjamin Button needed a long setup, which becomes an issue for the screenplay’s proportions. Would you therefore say that some concepts aren’t right for film?

Syd Field: Never. I think if you want to do any kind of concept for film, you can do it. You just need to find out how. As a writer all you have to do is have the responsibility to go into your idea, because it’s probably a great one, and begin to find out various ways that you can best illustrate that dramatic premise.

I think if you want to do any kind of concept for film,
you can do it.

If you’re lazy and you don’t want to take the time and you want instant gratification like many of us do, then that’s too bad, go onto another story. Write a simple three guys hold up the Chase Manhattan bank and just do that kind of a story.

Karel: Karel: What do you think about Eric Roth’s process? Apparently he only ever writes one draft?

Syd Field: Eric lived right up the street and every night during the seventies when I was teaching he was just beginning his career, we’d get loaded, we’d talk and hang out maybe 3 or 4 times a week and he was experimenting.

Now, I can see that one draft and you change it a hundred thousand times because normally when you’re working on a draft like that I find there’s nothing I can change. It feels right so I’m not going to go in and change something that’s foreign to my sensibility so I will keep it there but will change the dialogue, change the voice, add a preceding scene, write a scene after or something like that so I will re-do that over and over.

I just kept rewriting those scenes because it worked for me…

It happened when I wrote for an Indian producer, which is now in pre-production in Mumbai. We talked about the storyline, we both agreed on the story form and unfolding of the structural dynamic and then I wrote a draft based on that structure and added 30% new scenes but after that point I just kept rewriting those scenes because it worked for me… and it worked for him as well. He did some doodling and then he sent it back to me and that was it.

Karel: How do you approach a culture like that to allow them to grow but at the same time stay true to their own.

Syd Field: It’s very difficult, cultural heritage in India, that is not easy to break through and I feel the only way I could relate to them is through their spiritual side. I’ve been a meditator for many years now, and I’ve been to India several times, and I go to an Ashram. I know some of the culture, a little bit of the culture. Even last night an indian girl said “I hate to bother you but in India we have this tradition in India where we honour the teacher where we honour them by giving a gift”, and I said “a dhakshana”, and she just was floored.

You have to blend into the dynamics of that culture, like going into a burocratic or governmental system, and find out how that system works, how you can get into that system as a flow rather than an obstacle. I had to do that when I was a single parent when I in LA many years ago. I was living with a woman, she had a nervous breakdown, she was institutionalised, the state was going to take her son away from me.

You have to blend into the dynamics of that culture,
like going into a burocratic or governmental system,
and find out how that system works.

The system went haywire but finally I worked through a number of social workers, found I had to get support and have to be able to defend your position and that’s what I did and I finally got the license to become a foster parent.

Karel: What was harder, be a single parent or surviving Hollywood?

Syd Field: I don’t think you ever survive Hollywood. I don’t know if you ever survive being a single parent! But, you know, there are great rewards and great drawbacks, but I knew it was a great teaching experience for me.

Karel: I would like to ask one final question about the craft side. Some people say ‘the more you know, the less you will achieve’ or ‘I don’t need all that formula stuff because I won’t be able to be think creatively’.

Syd Field: That’s an interesting question, I’ve learned over the years that life consists in options. We have choices to make so if you want to receive something you need to be open to receive it. Whether it’s right or wrong makes no difference. It’s just that you have to be open to receive and that was a hard thing for me to learn, how to receive.

Whether it’s right or wrong makes no difference.
It’s just that you have to be open to receive.

Through that choice of receiving everything is when my life started changing. I talk about it in my courses about the neuroplasticity of the brain: the brain is such a unique organ that it can adapt to any situation with practice and training. We have these Vets coming back from Iraq, the same in Australia and so on, they have to learn how to live again. But the brain is able, with the right practice to find a way to handle that situation.

Karel: It was a great pleasure talking to you. Thank you for sharing your wisdom with us in the Story department.

Syd Field: Thank you for meeting me, Thank you for your invitation. I have to thank Screen Australia for getting me here. I ‘ve wanted for years to come to Australia, I was never invited, so it’s a great pleasure to be here.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

Final Part, continued from Part 2
Interview: Karel Segers, David Trendall and Niels Abercrombie
With thanks to Screen Australia

Karel: When Avatar broke out so massively and the whole planet went to see it, still people were in denial about the craft of that screenplay. What didn’t they see?

Syd Field: They wanted some type of screenplay that was totally new and just so foreign to their normal state of consciousness like Inception. What people don’t see about James Cameron is that he does not create screenplays, he creates a cinematic experience, going to the movies is a cinematic experience.

If you don’t have them in the first 10 pages,
I’m outta there, there’s no reason I need to read more.

I talk about that in my book Going To The Movies: what is the nature of going to the movies? I mean what do we do when we sit down in a darkened theatre, and the curtains part and the screen becomes alive and we are all united in this community of emotion? At that moment we are all united and the film grabs us in the first 10 minutes. So I teach people that if you don’t have them in the first 10 pages, I’m outta there, there’s no reason I need to read more.

Karel: You pitted Inception against Avatar, how do you see it so different?

Syd Field: In Avatar I was emotionally engrossed, because of the choices the character had to make. In Inception I found this wonderful, inventive, intellectual state that I could really relate to but it was so hard-working to find out where I was.

Once I began to see that there was 3 levels of dream and he kept stating in dialogue “Well we’re in the second level and now we can get out of the dream” and so on, then it became very very interesting. I have to tell you I watched that film on the plane coming over and I was not touched, I was not moved. But Avatar I watched in 2D at home and I was moved and I was touched.

Avatar I watched in 2D at home and I was moved.

I think that is where the future is going to go, into that hidden state of consciousness which no one has explored yet. What Chris Nolan does is explore that and that becomes really exciting and new and so on. But as a film it’s pretty dull for me, a lot of great special effects, yeah a lot of interesting things once I think about them, but it was not a dynamic experience that Jim Cameron can create.

Karel: Apart from Jim Cameron, are there any other screenwriters today that are delving into–

Syd Field: I like a little film called 500 Days of Summer , that Scott Neustadter did, I like that very much. Benjamin Button was just brilliantly done. There’s a sequence I show in my workshops of the Brad Pitt character when he goes to the hospital and he sees his mother. She got her coat and she went back to get it when she opened the door and the phone rang and then she went to pick up her package, it wasn’t wrapped because the shop girl had a fight with her boyfriend. If she had gone back 5 minutes earlier that present wouldn’t have been ready and she would not have been hit by the car and her dancing career lost forever.

Karel: Like the butterfly effect.

Syd Field: Exactly. I mean that’s brilliant.

Karel: Why did Forrest Gump work and Benjamin Button didn’t?

Syd Field: Many people think Benjamin Button was too long. I would say it needed the extra length to set up the notion that as he ages he gets younger. You can’t just accept that notion with any degree of reality, you have to set that up. I don’t think it had enough moments of dynamic action or interaction between the two of them. It was more intellectual headgame whereas Forrest Gump was just there. Very emotional, very real, very authentic.

Karel: Benjamin Button needed a long setup, which becomes an issue for the screenplay’s proportions. Would you therefore say that some concepts aren’t right for film?

Syd Field: Never. I think if you want to do any kind of concept for film, you can do it. You just need to find out how. As a writer all you have to do is have the responsibility to go into your idea, because it’s probably a great one, and begin to find out various ways that you can best illustrate that dramatic premise.

I think if you want to do any kind of concept for film,
you can do it.

If you’re lazy and you don’t want to take the time and you want instant gratification like many of us do, then that’s too bad, go onto another story. Write a simple three guys hold up the Chase Manhattan bank and just do that kind of a story.

Karel: Karel: What do you think about Eric Roth’s process? Apparently he only ever writes one draft?

Syd Field: Eric lived right up the street and every night during the seventies when I was teaching he was just beginning his career, we’d get loaded, we’d talk and hang out maybe 3 or 4 times a week and he was experimenting.

Now, I can see that one draft and you change it a hundred thousand times because normally when you’re working on a draft like that I find there’s nothing I can change. It feels right so I’m not going to go in and change something that’s foreign to my sensibility so I will keep it there but will change the dialogue, change the voice, add a preceding scene, write a scene after or something like that so I will re-do that over and over.

I just kept rewriting those scenes because it worked for me…

It happened when I wrote for an Indian producer, which is now in pre-production in Mumbai. We talked about the storyline, we both agreed on the story form and unfolding of the structural dynamic and then I wrote a draft based on that structure and added 30% new scenes but after that point I just kept rewriting those scenes because it worked for me… and it worked for him as well. He did some doodling and then he sent it back to me and that was it.

Karel: How do you approach a culture like that to allow them to grow but at the same time stay true to their own.

Syd Field: It’s very difficult, cultural heritage in India, that is not easy to break through and I feel the only way I could relate to them is through their spiritual side. I’ve been a meditator for many years now, and I’ve been to India several times, and I go to an Ashram. I know some of the culture, a little bit of the culture. Even last night an indian girl said “I hate to bother you but in India we have this tradition in India where we honour the teacher where we honour them by giving a gift”, and I said “a dhakshana”, and she just was floored.

You have to blend into the dynamics of that culture, like going into a burocratic or governmental system, and find out how that system works, how you can get into that system as a flow rather than an obstacle. I had to do that when I was a single parent when I in LA many years ago. I was living with a woman, she had a nervous breakdown, she was institutionalised, the state was going to take her son away from me.

You have to blend into the dynamics of that culture,
like going into a burocratic or governmental system,
and find out how that system works.

The system went haywire but finally I worked through a number of social workers, found I had to get support and have to be able to defend your position and that’s what I did and I finally got the license to become a foster parent.

Karel: What was harder, be a single parent or surviving Hollywood?

Syd Field: I don’t think you ever survive Hollywood. I don’t know if you ever survive being a single parent! But, you know, there are great rewards and great drawbacks, but I knew it was a great teaching experience for me.

Karel: I would like to ask one final question about the craft side. Some people say ‘the more you know, the less you will achieve’ or ‘I don’t need all that formula stuff because I won’t be able to be think creatively’.

Syd Field: That’s an interesting question, I’ve learned over the years that life consists in options. We have choices to make so if you want to receive something you need to be open to receive it. Whether it’s right or wrong makes no difference. It’s just that you have to be open to receive and that was a hard thing for me to learn, how to receive.

Whether it’s right or wrong makes no difference.
It’s just that you have to be open to receive.

Through that choice of receiving everything is when my life started changing. I talk about it in my courses about the neuroplasticity of the brain: the brain is such a unique organ that it can adapt to any situation with practice and training. We have these Vets coming back from Iraq, the same in Australia and so on, they have to learn how to live again. But the brain is able, with the right practice to find a way to handle that situation.

Karel: It was a great pleasure talking to you. Thank you for sharing your wisdom with us in the Story department.

Syd Field: Thank you for meeting me, Thank you for your invitation. I have to thank Screen Australia for getting me here. I ‘ve wanted for years to come to Australia, I was never invited, so it’s a great pleasure to be here.

_______________________________

With thanks to Sol.

Enjoy!

Karel

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

My first viewing of Inception was at the world’s largest IMAX screen in Sydney’s Darling Harbour. The experience was sensational but not perfect, because the projection was marred by an error in the IMAX print’s aspect ratio, resulting in a picture of which the height was about 9% squeezed.

I loved the movie enough to see it again in the same week at a standard theater (where the projection was flawless).  I watched it a third time and took detailed notes with a view to publishing this breakdown.

If my life hadn’t suddenly hit the accelerator over the past few weeks, I would have easily posted a breakdown in the first week of release.  The only real problem I still have is getting the last act right. It moves so fast it is virtually impossible to get every beat down accurately. So many things are paid off, so quickly.

Have a look for yourself and see if I have left out any major moment. I’d be grateful if you could let me know in the comments. Thank you!

Now enjoy!

Karel.

spoilers galore

PROLOGUE (FLASH FORWARD)

00.00    Warner and Legendary logos.
00.30    Cobb wakes up on a beach, sees his kids, is taken away at gunpoint.
01.30    With old man (Saito), who says: “I knew a man, possessed of some radical notions.”

ACT ONE

Sequence A: Cobb at work. Extraction, dream w/in a dream. (15mins)

02.30    (Dream Level 2) Saito having dinner, Cobb explains extraction, sells services.
04.00    Arthur: He knows. The building shakes. “What’s going on up there?”
04.30    (DL1) Saito and Cobb’s team are asleep.
05.30    (DL2) Wife Mal shows up. Cobb climbs out of room, re-enters building.
07.00    (DL2) Kills a guard, goes in to take envelope out of the safe. Stopped by Saito & Mal.
08.00    (DL2) Saito knows they’re dreaming, they have Arthur, shoot his leg. Dream collapses.
09.30    (DL2) Saito has an empty envelope, Cobb has the documents from the safe.
10.00    (DL1) Cobb won’t wake up. Team decide to give him ‘the kick’ in bathtub.

11.00    (DL2) Cobb drowns in building, water shooting in through windows.

11.30    (DL1) Saito attacks Cobb, holds him at gunpoint. An audition. You failed.
12.30    (WAKE) Team sleeping in train, timer set, music plays, waking up.
13.00    (DL1) Cobb throws Saito on rug. Fake: still dreaming! I’m impressed!
14.30    (WAKE) Debrief in the train. Out in Kyoto. Every man for himself.
15.00    (WAKE) Saito wakes up and smiles.

The first sequence sets up Cobb’s thieving life (Ordinary World), as well as his character (the best dream extractor) and his flaw (Mal).

Rather than tagging an opening action sequence before the start of Cobb’s story (as we see in e.g. The Matrix), Nolan works the action hook into this story in a fascinating, intelligent and at the same time elegant way. After only fifteen minutes into the movie, we have learned a lot, without at any point having the feeling that we’re ticking off a list of expository items.

Sequence B: (all WAKE) Offered a job by Saito: Inception. (6mins)

15.30    Cobb at home, spins a top on the table. It topples. Phone call from his kids.
17.30    Arthur knocks: our ride is on the roof. Are you OK? Time we disappear. Buenos Aires.
18.30    Saito has offer: architect’s safety in return for a job.
19.00    Inception explained. Cobb: Do I have a choice? Yes. Then I choose to leave.
20.00    How would you like to go home? Can’t fix that. Just like inception.
20.30    Job brief. Arthur: we should walk away. Guarantee! Saito: Leap of faith or old man.
21.00    Assemble your team Mr. Cobb and choose your people more wisely.

This is a short Act One and some may argue that the Act doesn’t really end until the team is assembled, i.e. around 44:30, just before they actually enter the dream. Entering the dream is certainly a way of the crossing of the threshold into the ‘Special World’. However, Cobb had already mentally crossed the threshold by accepting Saito’s proposal, so the assembling of the team is part of the mission. In this respect, traveling to Paris is a first threshold scene and the ‘Ariadne’ sequence is an ‘Ally’ sequence, which typically belongs in the 2nd Act, even in the Hero’s Journey.

ACT TWO

Sequence C: Getting the architect – and losing her again.(13mins)

21.30    Cobb & Arthur on plane to Paris.
22.00    Meeting dad. Design yourself! -Mal won’t let me. Last job to get me home.
24.30    Testing Ariadne: draw maze that takes more than 2 minutes to solve.
25.30    The team briefed in workshop.
26.00    (DL1) Cobb & Ariadne: First lesson in shared dreaming: explosions.
28.00    Another 5 minutes gives you an hour in the dream.
29.00    (DL1) What happens if you start messing with physics? City folds.
31.00    Projections become aggressive – Ariadne does trick with mirror.
33.00    Mal appears. Ariadne: Wake me up! Mal attacks. She wakes up.
34.00    Cobb spins top. Ariadne: “Cobb has serious problems.” walks off.
34.30    I’m gonna go visit Eames. Mombasa! We need a forger.

Sequence D: Team complete. Ariadne learns. Gathering info. (15mins)

35.00   Briefing Eames in Mombasa.
36.00   Eames: work on the relationship with the father.
36.30   Eames recommends chemist. First getting rid of Cobb’s ‘tail’. Fight & Chase.
39.00   Saved by Saito, protecting his investment.
39.30   Arthur is showing Ariadne around. Infinite staircase. Hide from the projections.
40.30   Safer if Cobb doesn’t know the layout. Mal is dead. Just his projection.
41.30    Chemist: 3 levels is possible. Need powerful sedative. Six team members: Saito.
43.00   For the sleepers, the dream has become their reality.
44.30   Saito briefs Cobb: The world needs Robert Fisher to change his mind.
47.00   Eames gathers information on the Fishers and Browning.
48.00   Ariadne finds Cobb ‘experimenting’. Mal’s totem.

49.30   You can’t keep her out. It’s getting worse… They think I killed her.

Sequence E: Ariadne joins Cobb’s secret memory dream. (10mins)

50.00   Cobb briefs the team in the workshop. Translate business strategy into an emotion.
51.00   Three levels of deams requires an extremly powerful sedative.
51.30   Lowest level: 10 years. Kick to get out.
53.00   We need 10 hours: Sydney – LA. Saito: I bought the airline. We have our 10 hours.
54.00   Ariadne finds Cobb dreaming. Joins in: Mal & Cobb. These are my dreams.

56.00   In my dreams we’re still together. These are memories I have to change.
57.00   Mal already gone. James and Philippa. All too late.
58.00   The Hotel suite. Anniversary. Mal attacks: you said we’d grow old together.
59.30   Ariadne: do you really think that’s gonna contain her? Ariadne is going.

Sequence F (MID): Things tougher than planned. (10mins)

60.00 Maurice died. Saito promises Cobb: No trouble with immigration if successful.
62.00 Take Off. Cobb has passport. Toasting to Maurice. Sleeping. Team gets ready.
64.00 L1 – Rain. Hijack cab. Pick up Robert. Attacked – under fire.
67.00 L1 – Not normal projections: trained! Saito bleeds. Cobb to Arthur: Your job.

67.30 L1 – Saito bleeding. When we die, we end up in limbo. Stuck in Fisher’s mind.
69.00 L1 – There’s a way out: continue as fast as possible. No other choice.

---

ACT IIb

Sequence G: Level 1 – Cobb’s secret revealed to Ariadne. (14mins)

70.00 L1 – The combination: tell us what it is. You’ve got an hour.
71.00 L1 – Browning ‘tortured’ for safe code. Maurice told me you’re the only one.
72.30 L1 – Down to the lower levels: the pain will be less intense.
74.00 L1 – Eames/Browning works on Robert. Maurice’s last word: disappointment.
75.00 L1 – Ar.: When were you in limbo? Deeper into Fisher… deeper into you.
75.30 L1 – C.: We lost sight of what was real. Limbo became her reality. for 50 years.
77.00 L1 – Obsessed: our world wasn’t real. To come back home, she had to kill herself.
77.30 FLASHBACK: Our anniversary. Mal jumps to her death.
79.30 L1 – I ran. I left my children behind.
81.00 L1 – Ar.: Your guild defines her. Not responsible, forgive yourself. Confront her.
81.30 L1 – Threatening Fisher: First 6 numbers that come to your mind, right now!!
82.30 L1 – We’re going for a ride. Into the van. Attacked by projections. Shootout.
83.00 L1 – Eames to Arthur: you mustn’t be afraid to dream of something bigger, darling.

84.30 L1 – Mr. Charles. Sweet Dreams. (into Level 2)

---

Sequence H: Level 2 – Mr. Charles, preparing ‘kick’ & Level 3 (12mins)

84.30 L2 – Robert Fisher in bar, stolen wallet. Mr Charles. Cobb offers security service.
85.30 L2 – Cobb: my people are on it as we speak. Fisher trusts him.  Strange weather.
88.30 L2 – Arth. kisses Ar. (L1: Van slides / shift in gravity.) Fisher concerned, believes Cobb.
89.30 L2 – Fisher: Can you get me out of here? Cobb: Rightaway. Leaving bar under gunfire.
90.30 L2 – Fisher holds gun to his own head: kill myself to wake up. Cobb: No! Sedated. Limbo.
91.00 L2 – Ariadne & Arthur: This room should be directly below 528.
92.00 L2 – Remember: hotel rooms… what was the number. 5th floor.
92.30 L2 – Arthur sets explosives for synchronized kick: when the van hits the water.
93.30 L2 – Cobb to Fisher: they’re putting you under, a dream within a dream.
94.00 L2 – Fisher’s projection of Browning. Let’s follow him to see how he behaves.
94.30 L2 – Browning & Fisher: the will is his last insult. Build a better company than he ever did.
95.00 L2 – Cobb: he’s lying. Going into Fisher’s dream, pretending it’s Browning’s. (into L3)

---

Sequence I: Level 3 – Into the Snow Fortress, All seems lost. (18mins)

96.30 L1 – Van attacked again. Van rolling.

99.30 L2 – Fight in hotel. Rotating gravity.

100.0 L3 – Cobb briefs team. To Fisher: break into Browning’s mind on your own.

100.3 L1 – Van on bridge, chased by projections. Being shot at.

101.3 L3 – Exit music plays – too soon. Move fast. 10 secs = 3 mins = 60 mins

103.0 L1 – Gunfight on bridge

103.3 L3 – Air duct system that can cut through the maze

104.0 L1 – Van goes through railing, off the bridge. Falling.

105.0 L3 – Missed kick. Finish job before next kick – when van hits the water. 20mins.

106.3 L2 – Floating – no gravity.

107.0 L3 – Entering the duct system, projections know.

107.3 L2 – Weightless fight between Arthur and guard in rotating gravity.

108.3 L3 – Approaching the central tower

109.3 L2 – Arthur is collecting everyone, for the kick.

110.0 L3 – Entire army coming their way. Robert Fisher is in stronghold.

111.0 L3 – Mal comes in. Ar.: She is not real. Fisher is real! Mal shoots Fisher.

111.3 L2 – Arthur moving the team, preparing for the kick.

112.3 L3 – Failed. Fisher’s mind already trapped. We failed.

112.3 L3 – Ar.: There’s still another way. Follow fisher down there. Use defibrillator.

---

Sequence J: Level 4 – Cobb’s cave, resolves guilt over Mal (14mins)

114.0 L4: Ocean and dead city.
115.0 L2: Arthur places team in elevator.
115.3 L4: Ar.: You built all this? C.: We built for years. All reconstructed from memory.
118.8 L2: Arthur placing charges.
118.3 L4: C.: An idea is a virus. Mal: your world is not real. Choose me.
120.0 L4: Mal: Our children are here. C.: I want to see them up above, Mal.
120.3 L3: Saito bleeding / L1: Van falling.
121.3 L4: C.: The reason I knew Inception was possible. I did it to her first.
123.3 L4: C.: Idea grew like a cancer. Death was the only escape. FB: Mal’s suicide.
124.3 L3: Projections enter. / Saito dies.
125.0 L2: Exit music plays. Ar.: We need to get Fisher. C.: Go check he’s alive.
126.0 L3: Ar. checks if Fisher is alive. It’s time. Come now! You can’t stay.
126.3 L4: I can’t stay … she doesn’t exist. You’re just a shade. Sorry, not good enough.
127.0 L3: Mal attacks with knife. Ar. shoots.  Need to get Saito back.
127.3 L2: The elevator moves.

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This sequence is where Cobb comes clean with himself. It is the end of his Inner Journey, his redemption. Only after this can he achieve the Outer Goal, i.e. the successful inception, which happens in the next sequence.

The end of Act Two is a Crisis or Ordeal in the traditional sense as we see Saito killed  (a character who has both Mentor and Herald qualities), as well as Mal (representing Cobb’s flaw or Inner Conflict). It is interesting that it is not Cobb,  but Ariadne who shoots Mal. Would this be because otherwise the scene would have felt too much like a Climax? I wonder.

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ACT THREE

Sequence K: Mission accomplished. All levels kick back. (8mins)

128.0 L3: Fisher with his father. Maurice: I was disappointed that you tried.
129.0 L2: Elevator drops.
129.3 L3: Robert finds paper windmill in safe.
130.0 L3: Eames blows up building.
131.0 L4: Ar. jumps: find Saito. / L3: All destroyed. / L2: Elevator kick / L1: Water kick.
130.3 L4: Ar.: Don’t lose yourself. Find Saito and bring him back.
131.0 L4: FLASHBACK (Limbo) We did grow old. I have to let you go.
133.0 L1: Van sinking
134.0 L4: Saito: Have you come to kill me? C.: Come back with me.

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Although the sequence of ‘kicks’ is a perfect example of a sequence crossing multiple thresholds back into the Ordinary World, In Hero’s Journey terms, Inception has a problem. Typically, this precedes the climax (or Resurrection) but obviously Cobb’s mission must be complete before he can return to the Ordinary World. This may explain why although intellectually satisfying, there is something oddly wrong with the way this climax feels intuitively.

Now looking at this structure, I realize that the climax is possibly the weakest part of the movie because Cobb is not active in it. It is Robert Fisher who plays out the climax and the only notable climax for Cobb is the resolution of the Inner Conflict at the end of Act Two.

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Sequence L: Waking up. Aftermath. Will the totem topple? (3mins)

136.0 In plane: We’ll be landing in about 20mins. All waking up. Cobb is wondering.
136.3 Saito wakes up and makes a phone call.
137.0 Immigration: Welcome home, Mr. Cobb. Father waiting at the exit.
138.3 At home: father. Look who’s here! Kids.
138.3 Totem spinning. Doesn’t topple.
139.0 The End.

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Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

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COMING SOON to the Story Department:

• Structure: Elephant in the Room (2)
• Mystery Man on Monday: Sex in Screenwriting (4)
• Structure: Inception (2)

With thanks to Sol.

Enjoy!

Karel

COMING SOON to the Story Department:

• Structure: A Bug’s Life
• Writing Drama: Precise, Conscious and Unconscious Objectives

With thanks to Sol.

Enjoy!

Karel

He meant screenwriters should keep scenes to what is essential to the story. No arrivals and departures, no meet & greet or chit-chat.

This is one of the fundamental rules in writing a scene, one which David Mamet has also been credited for. ‘Late’ usually means later than you imagine, so its wise to try and cut out as much as possible at the beginning and ask yourself if it still works. The later the better.

In the following example from Fight Club, the scene starts off with a gun shoved into the mouth of Edward Norton’s character. We are immediately connect with the scene and wonder how it happened and what will happen next.

As Hitchcock once said, drama is life with the boring bits cut out. So give the reader the essential, exciting bits of information in the least amount of words. As soon as the goal is achieved in the scene, get out.

I have this really beautiful shot that really must stay

Exceptions that deliberately break or bookend the flow of the action sometimes work at the beginning of an act or sequence.  You’ll hold a shot or scene longer when you want to give the audience a breather and you want to intentionally start re-building tension again.

In case you need this transition moment at the beginning or end of a scene, consider making it interesting by dramatising it or introducing something unusual, unique.

Here’s another prime example of leaving early and thus creating wonderful suspense.

In this scene from “The Dark Knight”, Jonathan and Christopher Nolan carefully finish the scene with unfinished business. A question unanswered. A massive conflict. Three men. Two halves of a broken cue. One survivor. Who will win? It also adds character to the Joker, showing how ruthless he is without ever mentioning a drop of blood.

However, unless it’s the final scene in the film, be sure to leave a question unanswered. This will engage the audience and urge them to ask what happens next. This creates movement, and it is important to have everything in your screenplay serve the movement in order to propel the story forward.

If you found this tip useful, check out the Screenplay Checklist, an A-Z of commonly made mistakes by aspiring screenwriters.

Once you have written your screenplay, make sure you keep the reader hooked by eliminating all the errors that would distract from an enjoyable experience.

Check this 12p. list of errors and annoyances to perfect your spec screenplay.

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Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

_______________________________

With thanks to Sol.

Enjoy!

Karel