- Joined
- Apr 20, 2005
- Messages
- 155
- Reaction score
- 15
1. Opening Image
The very first impression of what a movie is -- its tone, its mood, the type and scope of the film. It gives us the starting point of the hero. It gives us a moment to see a "before" snapshot of the guy or gal or goup of people we are about to follow on this adventure.
2. Theme Stated
Somewhere in the first five minutes of a well-structure screenplay, someone (usually not the main character) will pose a question or make a statement (usually to the main character) that is the theme of the movie. This statement is the movie's thematic premise.
In many ways a good screenplay is an argument posed by the screenwriter, the pros and cons of living a particular kind of life, or pursuing a particular goal. And the rest of the screenplay is the argument laid out, either proving or disproving this tatement, and looking at it, pro and con, from every angle.
3. Set-up
This is the make-or-break section where you have to grab the audience or risk losing them. The first ten minutes "sets up" the hero, the stakes, and goal of the story.
Make sure you've introduced or hinted at introducing every character in the A story.
Plant every character tic, exhibit every behavior that needs to be addressed later on, and show how and why the hero will need to change in order to win.
And when there's something that our hero wants or is lacking, this is the place to stick the Six Things That Need Fixing. Six is an arbitrary number, that stands for the laundry list you must show the audience of what is missing in the hero's life. These six character tics and flaws will be exploded later in the script, turned on their heads and cured.
The first 10 pages and the rest of Act One is the movie's thesis; it's where we see the world as it is before the adventure starts. There is a sense in the set-up that a storm's about to hit, because for things to stay as they are. . . is death. Things must change.
4. Catalyst
Call to adventure.
Catalyst moments: telegrams, getting fired, catching the wife in bed with another man, news that you have three days to live, etc.
Life-changing events often come disguised as bad news. The catalyst is not what it seems. It's the opposite of good news, and yet, by the time the adventure is over, it's what leads the hero to happiness.
5. Debate
This is the last chance for the hero to debate whether to stay or go.
The debate section must ask a question of some kind.
Once the debate question has been answered, the hero can proceed into Act Two.
6. Break into Two
The act break is the moment where we leave the old world, the thesis statement, behind and proceed into a world that is the upside down version of that, its antithesis. Because these two worlds are so distinct, the act of actually stepping into Act Two must be definite.
The hero cannot be lured, tricked, or drift into Act Two. The hero must make the decision himself -- he must be proactive.
7. B Story
the B story of most screenplays is "the love story." It is also the story that carries the theme of the movie.
The B story gives us a breather from the A story and the abrupt jump into Act Two and its whole new world.
This is where the hero will be nurtured. This is the place where the hero will confide what she is learning. This is the place from which the hero will draw the strength he needs for the final push into Act Three and ultimate victory.
The B story is also very often a brand new bunch of characters. These are the upside down versions of those characters who inhabit the world of Act One.
It provides not only the love story and a place to openly discuss the theme of your movie, but gives the writer the vital "cutaways" from the A story.
8. Fun and Games
This section provides the promise of the premise. It is the core and essence of the movie's poster. It is where most of the trailer moments of a movie are found. It's where we arent' as concerned with the forward progress of the story -- the stakes won't be raised until the midpoint -- as we are concerned with having "fun."
Why did I come to see this movie?
This section is lighter in tone than other sections.
9. Midpoint
There are two halves in a movie script and the midpoint on page 55 is the threshold between them.
A movie's midpoint is either an "up" where the hero seemingly peaks (though it is a false peak) or a "down" when the world collapses all around the hero (though it is a false collapse), and it can only get better from here on out.
The stakes are raised at the midpoint. It's the point where the fun and games are over. It's back to the story!
It's never as good as it seems to be at the midpoint and it's never as bad as it seems at the All Is Lost point. Or vice versa.
10. Bad Guys Close In
This is the point where the bad guys decide to regroup and send in the heavy artillery. It's the point where internal dissent, doubt, and jealousy begin to disintegrate the hero's team.
Evil is not giving up, and there is nowhere for the hero to go for help. He is on his own and must endure. He is headed for a huge fall.
11. All Is Lost
It is the opposite of a midpoint in terms of an "up" or a "down."
Even though all looks black, it's just temporary. But it seems like a total defeat. All aspects of the hero's life are in shambles.
This is the place where mentors go to die, presumably so their students can discover "they had it in them all along."
It's where the old world, the old character, the old way of thinking dies. It clears the way for the fusion of thesis -- what was -- and antithesis -- the upside down version of what was -- to become synthesis, that being a new world, a new life.
12. Dark Night of the Soul
It is the point just before the hero reaches way, deep down and pulls out that last, best idea that will save himself and everyone around him.
This is the point where the hero admits humility and humanity, and yeilds control of events over to Fate. He is beaten and knows it.
13. Break into Three
Both in the external story (the A story) and the internal story (the B story), which now meet and intertwine, the hero has prevailed, passed every test, and dug deep to find the solution. Now all he has to do is apply it.
The classic fusion of A and B is the hero getting the clue from "the girl" that makes him realize how to solve both -- beating the bad guys and winning the heart of his beloved.
14. Finale
It's where the lessons learned are applied. It's where the story tics are mastered. It's where the A story and B story end in triumph for our hero. It's the turning over of the old world and a creation of a new world order -- all thanks to the hero, who leads the way based on what he experienced in the upside-down, antithetical world of Act Two.
The finale entails the dispatching of all the bad guys, in ascending order. Lieutenants and henchman die first, then the boss. The chief source of "the problem" must be dispatched completely for the new world order to exist.
This is where a new society is born. It's not enough for the hero to triumph, he must change the world.
15. Final Image
This is the opposite of the opening image. It is proof that change has occurred and that it's real.
Beat Sheet for the Wedding Crashers courtesy of www.blakesnyder.com
http://www.blakesnyder.com/downloads/Wedding_Crashers_Beat_Sheet_FINAL.doc
He also provides a BS2 for Miss Congeniality in his book Save the Cat! And he's got another book consisting of 50 movies beat for beat. I think that's called Save the Cat Goes to the Movies.
At any rate, I think it's fairly similar to Joseph Campbell's monomyth structure. Nonetheless, it won't write your story for you. But if you're the kind of person who outlines, maybe it'll help.
The very first impression of what a movie is -- its tone, its mood, the type and scope of the film. It gives us the starting point of the hero. It gives us a moment to see a "before" snapshot of the guy or gal or goup of people we are about to follow on this adventure.
2. Theme Stated
Somewhere in the first five minutes of a well-structure screenplay, someone (usually not the main character) will pose a question or make a statement (usually to the main character) that is the theme of the movie. This statement is the movie's thematic premise.
In many ways a good screenplay is an argument posed by the screenwriter, the pros and cons of living a particular kind of life, or pursuing a particular goal. And the rest of the screenplay is the argument laid out, either proving or disproving this tatement, and looking at it, pro and con, from every angle.
3. Set-up
This is the make-or-break section where you have to grab the audience or risk losing them. The first ten minutes "sets up" the hero, the stakes, and goal of the story.
Make sure you've introduced or hinted at introducing every character in the A story.
Plant every character tic, exhibit every behavior that needs to be addressed later on, and show how and why the hero will need to change in order to win.
And when there's something that our hero wants or is lacking, this is the place to stick the Six Things That Need Fixing. Six is an arbitrary number, that stands for the laundry list you must show the audience of what is missing in the hero's life. These six character tics and flaws will be exploded later in the script, turned on their heads and cured.
The first 10 pages and the rest of Act One is the movie's thesis; it's where we see the world as it is before the adventure starts. There is a sense in the set-up that a storm's about to hit, because for things to stay as they are. . . is death. Things must change.
4. Catalyst
Call to adventure.
Catalyst moments: telegrams, getting fired, catching the wife in bed with another man, news that you have three days to live, etc.
Life-changing events often come disguised as bad news. The catalyst is not what it seems. It's the opposite of good news, and yet, by the time the adventure is over, it's what leads the hero to happiness.
5. Debate
This is the last chance for the hero to debate whether to stay or go.
The debate section must ask a question of some kind.
Once the debate question has been answered, the hero can proceed into Act Two.
6. Break into Two
The act break is the moment where we leave the old world, the thesis statement, behind and proceed into a world that is the upside down version of that, its antithesis. Because these two worlds are so distinct, the act of actually stepping into Act Two must be definite.
The hero cannot be lured, tricked, or drift into Act Two. The hero must make the decision himself -- he must be proactive.
7. B Story
the B story of most screenplays is "the love story." It is also the story that carries the theme of the movie.
The B story gives us a breather from the A story and the abrupt jump into Act Two and its whole new world.
This is where the hero will be nurtured. This is the place where the hero will confide what she is learning. This is the place from which the hero will draw the strength he needs for the final push into Act Three and ultimate victory.
The B story is also very often a brand new bunch of characters. These are the upside down versions of those characters who inhabit the world of Act One.
It provides not only the love story and a place to openly discuss the theme of your movie, but gives the writer the vital "cutaways" from the A story.
8. Fun and Games
This section provides the promise of the premise. It is the core and essence of the movie's poster. It is where most of the trailer moments of a movie are found. It's where we arent' as concerned with the forward progress of the story -- the stakes won't be raised until the midpoint -- as we are concerned with having "fun."
Why did I come to see this movie?
This section is lighter in tone than other sections.
9. Midpoint
There are two halves in a movie script and the midpoint on page 55 is the threshold between them.
A movie's midpoint is either an "up" where the hero seemingly peaks (though it is a false peak) or a "down" when the world collapses all around the hero (though it is a false collapse), and it can only get better from here on out.
The stakes are raised at the midpoint. It's the point where the fun and games are over. It's back to the story!
It's never as good as it seems to be at the midpoint and it's never as bad as it seems at the All Is Lost point. Or vice versa.
10. Bad Guys Close In
This is the point where the bad guys decide to regroup and send in the heavy artillery. It's the point where internal dissent, doubt, and jealousy begin to disintegrate the hero's team.
Evil is not giving up, and there is nowhere for the hero to go for help. He is on his own and must endure. He is headed for a huge fall.
11. All Is Lost
It is the opposite of a midpoint in terms of an "up" or a "down."
Even though all looks black, it's just temporary. But it seems like a total defeat. All aspects of the hero's life are in shambles.
This is the place where mentors go to die, presumably so their students can discover "they had it in them all along."
It's where the old world, the old character, the old way of thinking dies. It clears the way for the fusion of thesis -- what was -- and antithesis -- the upside down version of what was -- to become synthesis, that being a new world, a new life.
12. Dark Night of the Soul
It is the point just before the hero reaches way, deep down and pulls out that last, best idea that will save himself and everyone around him.
This is the point where the hero admits humility and humanity, and yeilds control of events over to Fate. He is beaten and knows it.
13. Break into Three
Both in the external story (the A story) and the internal story (the B story), which now meet and intertwine, the hero has prevailed, passed every test, and dug deep to find the solution. Now all he has to do is apply it.
The classic fusion of A and B is the hero getting the clue from "the girl" that makes him realize how to solve both -- beating the bad guys and winning the heart of his beloved.
14. Finale
It's where the lessons learned are applied. It's where the story tics are mastered. It's where the A story and B story end in triumph for our hero. It's the turning over of the old world and a creation of a new world order -- all thanks to the hero, who leads the way based on what he experienced in the upside-down, antithetical world of Act Two.
The finale entails the dispatching of all the bad guys, in ascending order. Lieutenants and henchman die first, then the boss. The chief source of "the problem" must be dispatched completely for the new world order to exist.
This is where a new society is born. It's not enough for the hero to triumph, he must change the world.
15. Final Image
This is the opposite of the opening image. It is proof that change has occurred and that it's real.
Beat Sheet for the Wedding Crashers courtesy of www.blakesnyder.com
http://www.blakesnyder.com/downloads/Wedding_Crashers_Beat_Sheet_FINAL.doc
He also provides a BS2 for Miss Congeniality in his book Save the Cat! And he's got another book consisting of 50 movies beat for beat. I think that's called Save the Cat Goes to the Movies.
At any rate, I think it's fairly similar to Joseph Campbell's monomyth structure. Nonetheless, it won't write your story for you. But if you're the kind of person who outlines, maybe it'll help.