| So you have an idea for a movie? You just know | | | | I was at ShoWest in Las Vegas listening to Gus |
| it would be a big hit. All you need now is a good | | | | Van Sant, Director of "Good Will Hunting" speak |
| script. You remember that your friend has a | | | | about that incredible screenplay. He said that after |
| buddy who knows someone who once sold a | | | | reading that story, he went back and circled the |
| script to Disney. You contact them only to realize | | | | pages where the Act's broke. Act 1 was (literally) |
| that you just don't have the $15,000 necessary | | | | page 30. Midpoint was (literally) page 60. Act II |
| to pay this con-artist mid-level Hollywood writer | | | | was (literally) page 90. An incredible script. |
| to take on "your baby." What next? Well, if you're | | | | Your Act I doesn't have to be at exactly page |
| like most ambitious, semi-intelligent zealots, you | | | | 30, but if it's not, it's generally a sign that you're |
| decide to go for it and just write the thing | | | | dragging on a story point and beginning to bore |
| yourself! After all, how hard can it be? If Quentin | | | | your audience or reader. Or vice versa; you're not |
| Tarantino can do it, why can't you? | | | | giving the audience enough information. Thus, if |
| Congratulations! You're on your way. As Confucius | | | | not page 30, it should be close to it. |
| once said, "beginning is half done." And I must say | | | | So what happens at the end of Act I? That's up |
| the only feeling better than finishing your first | | | | to you to decide. But whatever it is, it should |
| script is selling your first script. I still have the | | | | throw your story into the second - and longest |
| voice mail saved on my phone when I got that | | | | Act - Act II. |
| call that a production company wanted to buy my | | | | This could be... |
| script. | | | | - the girl gets kidnapped |
| So, you Google screenplays and decide to read a | | | | - the boy realizes he loves the lowly waitress |
| few great scripts ("Good Will Hunting," "Rocky," | | | | (and not the popular cheerleader) |
| etc.). You get the basic formatting... and you're | | | | - the code to the nuclear bombs have been |
| ready to go... or so you think. And this is where | | | | stolen |
| the trouble begins: | | | | It's endless. But whatever it is, we're now into the |
| FADE IN: | | | | meat of our story! Fun, fun, fun! |
| Most scripts never get read beyond the first ten | | | | Act II is, in my opinion, where most stories tend |
| pages. I can't tell you how many times I've seen | | | | to drag down the entire film since it's the longest |
| readers stop reading a script almost before | | | | portion of the script; generally beginning at page |
| they've begun. Why? Because these readers have | | | | 30 and running to page 75-90(ish). This is the |
| 1,000,000 scripts behind yours to read. If they | | | | meat of your story. Where the boy hunts down |
| don't understand where your story is going or | | | | the killer. Where our character begins to develop |
| what it's about by the first 10-pages, they're | | | | and we see his/her arc unfold. EVERYTHING |
| simply going to assume the rest of the story is | | | | THAT HAPPENS IN ACT II PREPARES US FOR |
| just as confusing; and stop reading. Thus, it is | | | | THE CLIMATIC ENDING (ACT III). |
| imperative that within those first 10-pages of | | | | Act II is where it just doesn't seem like it's going |
| your script, the reader knows (1) what your | | | | to happen... yet somehow, our story continues. It's |
| story is about (2) who your lead actor(s) are and | | | | here where you really need to introduce a few |
| (3) the who, what, where, when and why and | | | | solid "beats." "Beats" are those moments that |
| how's of your story. SPEND AS MUCH TIME ON | | | | people talk about once the movie's over. |
| THESE FIRST 10-PAGES AS NECESSARY TO | | | | Staying on "Good Will Hunting," my favorite "beat" |
| ENSURE THE REST OF YOUR SCRIPT GETS | | | | was the scene where Sean Maguire (played by |
| READ! | | | | Robin Williams) is lecturing Will (Matt Damon) on |
| Read the script out loud. To yourself. To friends. | | | | the importance of life's lessons. He explains that |
| To strangers. To anyone who will listen. Then, | | | | while Will could give him a diatribe on Michelangelo, |
| have them tell you where they think the story's | | | | he couldn't begin to tell him what it smells like in |
| going. Have them share their thoughts. Input at | | | | the Sistine Chapel. |
| this stage is crucial. | | | | This scene is powerful in that it showed Will (and |
| One of my favorite scripts is titled, "Big Bear." It's | | | | the audience) the importance of living life. Exactly |
| about a group of 20-something friends that take | | | | what Will needed at this time in his life of denial. |
| a trip to Big Bear, California. I loved this script and | | | | It's a scene that sticks with you long after the |
| it was my first attempt at writing a comedy. | | | | movie's over. I love good "beats." |
| Even though I would laugh every time I read it, | | | | And, coincidentally, that scene was written at |
| the moment I had a group of friends read it out | | | | exactly Page 60 (midpoint). |
| loud - I realized just how not-funny it was. This | | | | Every good movie has two or three "beats." The |
| made me go back in and perform a major | | | | great ones have more. |
| overhaul of the project. It's so important to do | | | | And now, we're on to Act III. The conclusion. This |
| this. Scripts are not written - they're rewritten. | | | | is the action-packed chase scene where the hero |
| Now, before I go any further, I will admit that I | | | | finally gets the villain. Where the boy kisses the |
| do realize there is no "one-way" to write a great | | | | girl and finally tells her he loves her. Where the |
| screenplay. I'm simply giving you the guidelines | | | | nukes are finally back in the hands of the good |
| that work for 99.9% of the people out there. | | | | guys. |
| There are always exceptions to the rule. If that's | | | | Act III is no fluff. EVERY WORD must pull you |
| you, great! No need to read on. If not... keep | | | | forward. EVERY WORD must take you to the |
| going. You're well on our way! | | | | end. Act III has them on the edge of their seats. |
| "A great rule of thumb is one-page per minute of | | | | No more beating around the bush. This is |
| script. Thus, a 90-page script translates into a | | | | in-your-face-storytelling. At it's best. |
| 90-minute movie. And 90-minutes is the perfect | | | | And then... |
| length. How many times have you found yourself | | | | ROLL END CREDITS... and wait for the applause. |
| looking at your watch or waiting for the movie to | | | | In Summary: |
| get to the big climax? This is the fault of | | | | Pages 1-10: Who, what, where, when, why, how |
| overly-wordy writers who tend to go on and on | | | | Page 30: End of Act I |
| and on when all they should really be doing is | | | | Page 60: Midpoint |
| getting to the end! We want our hero to live... we | | | | Page 90: End of Act II |
| generally know they're going to anyway. We | | | | Page 120: End of Act III |
| want our couple to fall in love... we generally know | | | | The above really is just the tip of the iceberg. But |
| they're going to anyway. Stop dragging this on | | | | if you follow that simple structure, you'll be heads |
| and let us have our satisfaction!" | | | | and shoulders above those other 1,000,000 |
| You've now written 10 great pages. Your story is | | | | writers out there just hoping to have their |
| kicking in. At this point, everything is taking us to | | | | screenplay turned into the next summer |
| the end of Act 1. And where is the end of Act 1? | | | | blockbuster. |
| Right about at page 30. | | | | FADE OUT. |