![]() ![]() As scientists, they simply have to know more. Spielberg knows this is a big beat, and thus he uses every trick in his playbook to heighten the awe of the moment:Īfter the characters see the dinosaurs, there’s no going back. This is not so after our first plot point, which is when Alan and Ellie see the dinos in all their glory. Sattler and Grant can say no to Hammond and walk away. ![]() That’s how this is different from the inciting incident. It’s the point of no return– after the characters cross this barrier, they can’t go back. The first plot point is also commonly referred to as the break into act 2. Our interest has been piqued, and now our protagonists are going right into the belly of the beast. Why is this the inciting event? It gets the plot moving. We’ve already gone over what an inciting event does, so let’s jump right into the inciting incident in Jurassic Park– when John Hammond convinces Grant and Sattler to visit the park. As an audience, we want to know where we are, what’s going on, and, by the end of the scene, we really want to see those dinosaurs. Steven Spielberg diverged a little from the specifics Koepp lays out, but the core idea is still there: scary, suspenseful, and filled with mystery. Titanic has one of the most famous climaxes of all time– check it out on the page: It’s a sigh, either of relief or despair. ![]() The end should bring some kind of catharsis or resolution, (regardless if the ending is happy or sad). In fact, if the story just builds and builds in a straightforward manner, you may bore the audience with a predictable movie. Note that the plot doesn’t have to move in one direction. This is the main chunk of the story and often leads us to the worst possible thing that can happen to the character. The middle of your story should raise the stakes, you want the audience to keep watching. Typically a first act ends around 20-30 pages into a screenplay, at around the 25% mark. This inciting incident happens on page 16, a little deeper into the script than most inciting incidents, but it’s a bit of a longer script, so it fits with the pacing. Second, it starts the core narrative arc: Creasy gets the job and his duties as a bodyguard who will stop at nothing to protect Pinta begins. First, it begins the key relationship that propels the movie: the down-and-out Creasy finds a reason to live in Pinta. It’s an inciting incident for two reasons. The inciting incident here is Creasy’s introduction to Pinta, the girl for whom he’ll be a bodyguard. ![]()
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