Story. Screenplay. Sale.
Should you write a happy ending? Commercial common sense will tell you: yes, you should. Robert McKee says: “Tell the truth.” (see the previous post) McKee means: your story needs to reflect your worldview. If you contradict whatever you believe in for the sake of commerce, you will fail. During his Arthouse seminar, he gives … Read more
A structural overview of The Shawshank Redemption (Frank Darabont, 1994). It was nominated for seven Academy Awards: Best Picture, Best Actor (Morgan Freeman), Best Adapted Screenplay, Best Cinematography, Best Editing, Best Original Score, and Best Sound – but it failed to win a single Oscar. This film has an interesting structure because of its unusual … Read more
A cult comic, two charismatic teen actresses, an inspired director and a sparse score. Six pages of a comic book were turned into one of the coolest movies of the decade. A structural overview of Terry Zwigoff’s Ghost World (2001). Because the plot points are often quite subtle, structurally this film seems a bit fluid and the protagonist’s … Read more
Keeping the audience interested throughout the ‘setup’ is a major challenge as professional readers won’t last until the Inciting Incident if the first ten or twelve pages don’t deliver. The ‘setup’ is often a complete sequence in which we see the ‘Ordinary World’, the protagonist’s ‘normal life’, an area of the story that by its … Read more
A structural overview of Michael Clayton (Tony Gilroy, 2007) in 8 Sequences. When I watched the 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 … Read more