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Film Structure [Screenwriting Fundamentals]

Screenwriting theories have become a hot topic in recent years, following the publication of a number of screenwriting "bibles" from self-proclaimed "screenwriting gurus".

The predominate structure for narrative feature films is the Three Act Structure. This is based on Aristotle's Poetics, which describe stories as being structured into three acts. The classic Three Act Structure comprises a Beginning, Middle and End - which screenwriters like to regard as the Setup, Complication and Resolution.

Act 1 - Beginning/Setup

It is important to establish the film's story, central characters and situation within the first 10-25 minutes. The film needs to grab the audience and keep them glued to the screen for the next 2 hours, if they get bored they will leave the cinema/eject the DVD/change the channel!!

First acts tend to contain an important event called the catalyst, which gets the story moving. This event introduces problems that start causing chaos. For example, in Independence Day , it is the arrival of the alien space craft, or Captain Willard being assigned his mission in Apocalypse Now, or in A History of Violence when Tom Stall kills the two criminals attempting to rob his diner.

The first act ends with a Big Event (sometimes called a Turning Point). The Big Event introduces the main conflict of the story, pushing the story into a new direction.

In Kind Hearts and Coronets , the major turning point is when Louis Manzzini's mother is refused burial with the rest of her family. With The Big Lebowski , the story's catalyst the mistaken identity where "The Dude's" rug is peeded on, then the big event is The Dude going to visit the Big Lebowski in order to get reimbursed for his soiled rug, and subsequently getting recruited by to liaise between the Big Lebowski and his wife's kidnappers.

Within the first act, the primary direction of the story, the major characters and established the main conflict affecting them. It is after the big event that the characters become determined to take risks in order to fulfil their goals.

The opening image is extremely important for establishing the mood of a film. Think of the legendary title sequences created by Saul Bass. They manage to summaries the entire film in just a few seconds and instantly set the scene. His title sequences for such classics as North by Northwest and Seconds are exceptional works, standing as short films in themselves! However, the opening image doesn't have to be an elaborate title sequence. The Conversation opens with a great surveillance shot of a public square, which gradually zooms in - firmly establishing the mood and nature of the film. You never get a second chance at making a first impression, so seize the opportunity to finely tune your opening to instantly grab people's attention.

Act 2 - Middle/Complication

For me, the middle act is always the most problematic. I can come up with a great start, or a fabulous ending - even both on rare occasions - but the middle section of the story tends to be just "filler" to pad it all out.

Once we have established the direction of the story, within the second act the story becomes more complex, new obstacles are encountered, and there is an increase in conflict affecting the main character from fulfilling their need .

In the film City of God , Rocket (the main character) has a want to become a photographer, which will help him to achieve his need to escape from the harsh ghettos of the "city of god". In Memento the protagonist, Leonard Shelby, has a need to understand and avenge his wife's death, but his short term memory loss makes this very hard. During the second act of the film, Leonard searches for his wife's killer, however he encounters and is exploited by Natalie (played by Carrie-Anne Moss) and the police officer played by Joe Pantoliano. Memento conforms to the 3 act structure, but it subverts the traditional linear timeline.

Conflict is an excellent tool for creating drama. Characterisation emerges through the reaction of characters to particular events; the more extreme the circumstances, the truer revelation of character. Without conflict and obstacles - events - stories tent to become dull and uneventful. Many directors attempt to cover up this mistake by passing if off as "art house", and suggesting we are merely unintelligent enough to comprehend the story - so if all else fails, there is always an excuse!

Syd Fields suggests the second act can be split into two sub-acts. These sub-acts are typically separated by a midpoint scene during the middle of the film. Like a turning point, this scene often brings about a reversal of fortune or revelation that throws the story into a different direction. Concentrating on this middle act will give a central focus for the story, preventing it from sagging in the middle. At this point, the protagonist decides which course of action he is going to take - they choose to become fully committed to the cause!

Within each of these sub-acts it is common to find a scene that reminds us of the overall conflict - a pinch. Relating the two pinches can adds further emphasis to the central conflict.

The tension that has been building throughout this middle act culminates in another turning point, which leads into the film's ending. It is typical a low point where the protagonist has finally had enough and decides it will confront the source of antagonism. Going back to our previous example of A History of Violence , Tom Stall has lost the respect of his family, and he travels back to his roots in Philadelphia to confront his brother.

Act 3 - End/Resolution

Ultimately, our film story is resolved in the final act. This does not necessarily mean the story has ended, but more the main conflict of the story has been confronted and resolved. In the good version of The Italian Job and in Lock Stock & Two Smoking Barrels, the endings are left open - in both examples, what happens with the "loot" - but the main drive of the story has been resolved.

If one has invested two hours of their time watching a film, it is desirable to be given a satisfying ending - whether happy or sad. For me, the notion of a happy or sad ending does not really affect my view of a film; I just want to have an ending that fits the rest of the story.

The first two acts of A History of Violence really built me up for an excellent finale, which sadly the film did not deliver. At the end of the second act, Tom Stall's family rejected him and he goes to confront his brother - these possibilities were suggested early on in the film, so it was no surprise when they materialised. When Tom confronts his brother, it turns into a shoot out, with Tom being the only man left alive - riding his life of "baddies". On return home, he is not initially welcome with open arms, however his young daughter lays the table for him, suggesting that they will be able to overcome this troubled time, and all live happily ever after. This film started out as an inventive and exciting thriller, yet fizzled out with a very predictable ending.

City of God certainly delivers! Rocket has to confront the main gang after his photographs of them were unknowingly published in the newspaper. He fears the gang will kill him for this - instead the publication of the pitctures inflates their egos. Finally, the gang is defeated by a rival gang, leaving a great photo opportunity for Rocket. The demise of one gang results in the rise of another - leading to an endless stream of stories. However, the photographs Rocket takes of the defeated gang will secure his future as a photographer, giving him sufficient earnings to afford accommodation in a more civilised area, escaping the harsh ghetto lifestyle.

Resolution brings about an irreversible change in the protagonist's life; for better or worse, they have changed. Think about how the central characters have developed in films such as Taxi Driver, The Graduate, Apocalypse Now, It's A Wonderful Life, Lord of the Rings and One Flew Over The Cuckoo's Nest.

Test Your Knowledge

To test your knowledge of this subject, why not attempt one of the assignments? When making a film, it is essential to make something that you would want to enjoy, so we have designed these assignments to help you think about what you like about films and how you can apply this to the films you want to make. Chances are, if you like your film, someone else will too!

This is the last lesson for Screenwriting Fundamentals