Storytelling in Hollywood

1. Storytelling in Hollywood

2. Everyone Has a Story to Tell

3. Basic Plot Map

4. But Who Says? • WHY do stories have to be told in this linear fashion? • So DO they HAVE to? • Where have you seen films NOT follow the plot map?

5. Examples • Pulp Fiction • Memento • Sliding Doors • 500 Days of Summer • Slumdog Millionaire • Love Actually

6. Pulp Fiction - Emotional

7. Pulp Fiction - Chronologically

8. Challenge? • Want to tell their story • Want to tell it in unique manner • Can’t confuse the audience! • Not saying they need to “dumb it down”

9. History of Storytelling (in Hollywood) • Beginnings (1910 – 1930) • Independent producers / directors banding together • Studio Era (1930 – 1940) • 12 films a year • Actors with long-term contracts • Similar stories • Guidelines to follow

10. New Hollywood (1960s – Present) • Change in studios • Auteur (within the New Hollywood) • Directors being individuals • Telling stories artistically • Spielberg, Coppola, Lucas, Altman

11. Return to Classical Storytelling (70s – Present) • Pattern you already and subconsciously know…

12. Plot Defined • Chain of events occurring in time and space that are linked by cause and effect. • Events and actions don’t happen randomly

13. Easy to Follow? • Classical storytelling may be easy to follow. • But….that does not make them SIMPLE or childish!

14. Patterns • Classical Storytelling • Plot Mountain • Three Act Structure • Intro, Body, Conclusion • Hero’s Journey • Remember from World Studies?

15. Understandings • Movie making is TIME intensive • Most scripts don’t make it to production • Multiple revisions over scripts

16. Understandings • Items are WELL thought out. • Pretty much everything IS intentional • Words said • Order • Inflection • Costuming • Framing

17. Characters • Traits assigned at first viewing • Characters follow their traits • IF they break traits, it must be explained why / how • Characters are “round” and “consistent”

18. Double Goal Orientation • Character has one goal • Often forced to CHANGE to another • Second line is often a love-interest line

19. Examples – Double Goals • The Proposal • Margaret need to marry Andrew to become “legal” • Falls in love…for real • Titanic • Jack wants to get to America • Falls in love with Rose • Alien • Ship is heading home from space • Must fight off the Alien • NO love interest

20. Cause and Effect • Character has a goal or set of goals. • Most have 1 or 2 related goals • Something gets in the way of the goal. • Time crunch for completing goal(s)

21. Examples – Time Crunch • The Proposal • Must be married and have info on new husband before being deported • Titanic • Ummm….the ship is sinking • Back to the Future • Must reach the goals before his messed up history causes him not to be born (fading picture) • Star Wars • Must destroy Death Star before Rebel base is in firing range

22. Tools to Make These Understandable • Rule of Three • Important items will be repeated at least THREE times • Biblical (Think back to archetypes!) • May not be in the SAME EXACT method

23. 180 Degree Rule

24. Sound Bridge • Sound from one scene bleeds over to other scenes. Parents talking about daughter’s piano playing ability Shot of daughter practicing Hear END of parents’ talking while visually seeing the girl practicing. Piano music starts playing before the scene of parents ends.

25. Dialogue Hook • Character will say something…. • That “something” pops up on the screen • Silence of the Lambs • Lecter: “Our little Billy must already be searching for that next special lady…” • Next scene: Woman who will be the murder’s next victim

26. Dangling Cause • Something you see / hear early in the film. • But….takes a while for it to return to importance

27. Dangling Cause Examples • Raiders of the Lost Ark • Indy HATES snakes (plane) • In vault – snakes everywhere • Back to the Future • Plutonium reported missing (stolen by Libyans) • Radiation box seen (in Doc’s room) • Plutonium needed to power the time machine • WHO comes to kill Doc?

28. How to Lose a Guy in Ten Days • Andie decides she will do more research on an article she wishes to write called "how to loose a guy in ten days." • Benjamin makes known the opinion that he can make any woman fall in love with him in less than ten days.

29. Motif • Repeated idea, image, pattern • Colors = red (Raiders) • Phrase = “pop quiz” (Speed) • Item = barrels (Jaws)

30. Motif to Progress Plot • Jaws… • Shoot the shark with barrels to bring him to the surface. • We see the gradual adding of barrels. • Don’t see the shark…just barrels!

31. Plot Holes • When a dangling cause is not resolved • When a character changes unexplainably from his or her initial set-up • A dumb character disarms a bomb • Minority Report - precogs

32. The Four Stages! • Not to be confused with…..

33. The Set-Up • Meet characters • Get a feel for who they are • Establish the “double goal” structure

34. Complicating Action • Action goes in a new direction • New situation that the protagonist must cope with

35. Development • Goals are all in place • Many incidents that create action, suspense, and delay

36. Climax and Epilogue • Straight forward progress toward a resolution • Build steadily toward a point of high action • Will protagonist’s goals be achieved or not? • Nothing new should be introduced

37. 4 Stages • Roughly balanced in terms of time • Cause and effect pattern