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The 8-step "Secret" Hollywood Formula

209.179.244.196

Posted by Bambi B on December 13, 2002 at 12:24:29

Mates,

There is much discussion here about the relative qualities of "Hollywood", "Independent", and "Foreign"(non-US to the US)films. And strong feelings as to preference.

The Hollywood movies are often criticised for being predictable and there is a reason. The Hollywood type does correspond to a template 99% of the time:

One page of screenplay= one minute of movie

Screenplay= 90 to 120 pages (tending to be a longer lately)

1. ACT ONE pp 1-30: pages 1-10: page 1: open with a strong image that to establish location and time (place and period).
2. pp. 1-10 Establish main character(s), especially the likability or interest and also the hateability of the (future)opponent
3. pp. to 15: establish need, desire, task of main character
4. somewhere pp. 25-30: plot point- something happens which sets main charcters into action towards fufilling the task-
5. ACT TWO pp. 30-90: the character pursues task, development of the opposition
6. somewhere around p. 90; plot point- the final "battle" to fulfill task is set- Luke and Darth sword fight, Earps and Clantons are heading off to the O.K. Corral
7. ACT THREE pp. 90-120: the final battle- the hero(ine) confronts the opposition in a confined space to a clear result.
8. last 8 pages- resolution: explanantion of the results in which the effect and changes to the hero are made clear. The hero is shown sad, happy, fulfilled or dead.

FADE to BLACK

If you are a screenwriter without a considerable track record and producer contact, unless your script follows the above formula- and is even typed and bound in a certain way- it will never get to or past the first round of readers. The audience does not know how rigid the application of this formula has become.

If this seems too simplistic, watch any US studio financed and distributed movie since 1970, time the plot points and the three acts, wait for the final battle in a confined space and post battle resolution. I have seen this pattern in movies exactly with a frightening regularity. If you see independent and/or foreign films that are taken up for distribution by major studios, most often it is because the independently made film corresponds to the formula.

As for preference, this formula produces some wonderful, interesting movies and from studio (=money) perspective, the public is perceived as being most comfortable with this familar structure. It is the suprising non-flexibility that can bore people that enjoy suprises.

Cheers,

Bambi B

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