Film Form – Screenwriting Form: The Fundamentals (Workshop with Chris Neilan)
Film FormI really enjoyed the screenwriting workshop with Chris, especially as he had us do a practical exercise to reinforce the concepts and theories to consolidate our learning.
What are the two main things professional screenwriters think about the most? – Dramatic action and the three act structure.
What is drama at its fundamental level? One protagonist pursuing a goal. (As believed by many film theorists, screenwriters, and film educators).
Aaron Sorkin – Intention and Obstacle
Aaron Sorkin uses the word intention but it’s worth noting he is referring to the ‘goa’l. The short lecture focused on plotting narrative based on two fundamental principles: the intention and the obstacle. This was illustrated through the analogy of a road trip across America.
We begin with a simple premise: somebody wants something and something is standing in their way of getting it. This obstacle must be formidable and not easily overcome otherwise you have no story.
The Hypothetical Road-trip
So you went on a cool, memorable road trip and want to memorialise it in a film. For cinematic drama it can’t simply be a leisurely trip across America, something has to go wrong or obstacles need to arise. You need to be in Vegas for a multi-million dollar deal four days and sixteen hours from now? We’re in the desert, the tire just burst, and you didn’t have a spare? That sort of thing. Think of how characters will try to overcome this obstacles and present further obstacles.
Quick-Fire Sorkin Tips
Move forward. Don’t use snappy dialogue that doesn’t amount to anything.
Dramatic stakes. What will happen if x, y, z doesn’t go to plan or occur?
The intention and obstacle is the clothes line of the story. Hanging clothes on the clothes line is when the cool, shiny story elements come in.
Sense of urgency to ensure audience engagement. Is this a deadline? When does it need to happen by? Is there somewhere to be?
If there are easy ways out of the obstacle, you need to get rid of those ways out and fortify your obstacle further.
Your protagonist doesn’t have to overcome the obstacle and succeed by traditional terms, they just have to try.
David Mamet – Thoughts on Screenwriting
“That which the hero requires is the play. In the perfect play we nothing extraneous to his or her single desire. Every incident either impedes or aids the hero/heroine in the quest for a single goal… That is why the drama that is second-rate, that is not structured as the quest of the hero for a single goal, is forgettable.”
David Mamet
The ‘cold open’ is followed by a title sequence to capture audience attention. On average you have 2 minutes to get people’s attention before they switch over. Given the attention economy of 2023, perhaps it is even less time now.
The intention can be simple, but the obstacle itself should be complex, dramatic, and emotional.
Three Act Structure
Act 1 – the disturbance and inciting incident.
(Turning Point – “Into the Woods”, “So It Begins”)
Act 2.1 – goals and obstacles.
(Midpoint – tables have turned, power dynamic shift, death and rebirth.)
Act 2.2 – goals and obstacles.
(Turning Point 2.0 – “The Crisis”)
Act 3 – the dramatic climax.
Resolution – of the goal.
Act 1 establishes the goal that is followed for the rest of the narrative. From Act 1 to Act 3 the goal is pursued. The Three Act Structure detailed above applies to the majority of films, and also to the scenes within the film.
What components make a great scene?
- A clear protagonist and an incident that occurs which creates a goal for them to pursue.
- An obstacle to establish an antagonistic force.
- The reveal of unknown information – this is the midpoint. It can be a plot twist or a reversal.
- Leading to a resolution in which the protagonist attains or misses their goal.
Examples of Scenes with a Three Act Structure
Fargo – I’m Cooperating
Act 1 – the policewoman entering the car salesman office.
Act 2.1 (the goal) – get access to records about a stolen vehicle.
Act 2.1 (the obstacle) – his refusal to cooperate and show her the documents.
Midpoint – his emotional outburst makes the policewoman suspicious about his involvement.
Act 2.2 (the goal) – figure out what role the car salesman played in the investigation. Policewoman asks to speak to his manager.
Act 2.2 (the obstacle) – he escapes from the office and flees.
Act 3 – the policewoman has failed to access the records but has reasonable grounds to suspect the car salesman now.
Three Act Structure – In a Scene
A protagonist.
An incident occurs that…
… Initiates a goal for that protagonist…
… Obstacle(s) creating an antagonistic force, stopping the protagonist from achieving their goal…
… Some kind of unexpected reversal, plot twist, or reveal of previously unknown information, usually about midway through the scene (midpoint)…
… Leading us to a resolution in which the protagonist either achieves their goals or fails to achieve it.
Main Lessons
In a scene or sequence, the resolution will resolve the goal in such a way that another, even bigger or more problematic dramatic situation now needs to be dealt with, leading to the next scene.
The Three Act Structure can translate into a scene as well as the overall narrative/story.