Which of these action points best describes the sequence in Jaws, when the townspeople think they've caught the man-eating shark and celebrate until Matt the oceanographer informs them that the captured shark isn't the man-eater. he _ is an action point that doesn't pay off immediately we wait for it, anticipating the inevitable. The story doesn't develop out of the _, it develops out of the decision to try another action. A _ can imply that a character is alive, when they're actually dead, as long as the audience's expectations have been properly set-up, and that those expectations are not contradicted. Īction-points can occur anywhere in the script.Īction-points are particularly important in Act 2 that needs the most momentum for the longest time. (True) The end of Act 2 and the end of Act 2 Turning points, and the Midpoint scene in the middle of the script, are action-points. (True or False) A turning point is an action point. Story momentum is the result of action-reaction scenes. (True) Each scene implies the development of the scene that follows it. (True or False) Story momentum requires the seeds of a scene be sown in the previous scene in a cause and effect relationship between scenes, advancing the action closer to the climax. Slumdog Millionaire's quiz show gets fewer beats than Jamal's epic background story. (True) Crash has an investigation that gives forward direction. (True or False) Films like Crash and Slumdog Millionaire seem like only sub-plots, but each has a small goal-oriented story that advances the action. (False) A thoughline does not develop or turn the action.Ī throughline can be a recurring character or scene.Ī minor "D" or "E" subplot may drop a turning point in its overall structure, but has a beginning, middle, and end. (True or False) A "throughline" is a smaller "D" and "E" subplot, which may drop a turning point in its overall structure, but has a beginning, middle, and end. The strangled body implies the off-screen action. (True) The murder does not play on screen. (True or False) A clearly strangled body washes ashore on the beach, making the scene of the murder an implied scene. This is the Act 1 development that provides necessary information that is not in the opening context and catalyst. (False) After the opening context and catalyst the audience needs to see the characters in action before we see them develop in Act 2. (True or False) The first turning point immediately follows the Act 1 catalyst in order to move the story forward. (True) Once the question is raised, everything that happens in the story relates to that question until it's answered in the climax. (True or False) Every story is a mystery as it asks a question in the set-up that isn't answered until the climax. (True) A "beat" is a bit of jargon that means different things in different contexts.įor an actor a "beat" is a pause, while for a writer a "beat" is a series of events that define a scene, act, or entire film. (True or False) For an actor a "beat" is a pause, while for a writer a "beat" is a series of events that define a scene, act, or entire film. (False) A logline distills a story to one or two sentences.Ī marketing hook puts together two successful elements (Alien is Jaws in space). (True or False) A logline puts together two successful elements (Alien is Jaws in space) while a marketing hook distills a story to one or two sentences. Of the different kinds of catalysts, _ is the best. (True) The set-up, development, climax and resolution are broken up by artificial breaks for commercials. (True or False) The 7-act structure of a 2-hour TV movie follows the three-act structure with artificial breaks for commercials. Linda Seger's functions of the 3-act structure are set-up, _, _.
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