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cultural vandal | by maryann johanson

the screenwriting bible that is to blame for the tedious blandness of blockbusters

When I look at my watch during a movie (which I do occasionally do), it’s not because I’m bored. It’s because I’m checking to see if my guess about where in the runtime we are coincides with what just happened onscreen. (My guess is almost always correct.) I just didn’t know that someone had actually written a book breaking down the formula so specifically. Peter Suderman at Slate:

If you’ve gone to the movies recently, you may have felt a strangely familiar feeling: You’ve seen this movie before. Not this exact movie, but some of these exact story beats: the hero dressed down by his mentor in the first 15 minutes (Star Trek Into Darkness, Battleship); the villain who gets caught on purpose (The Dark Knight, The Avengers, Skyfall, Star Trek Into Darkness); the moment of hopelessness and disarray a half-hour before the movie ends (Olympus Has Fallen, Oblivion, 21 Jump Street, Fast & Furious 6).

It’s not déjà vu. Summer movies are often described as formulaic. But what few people know is that there is actually a formula—one that lays out, on a page-by-page basis, exactly what should happen when in a screenplay. It’s as if a mad scientist has discovered a secret process for making a perfect, or at least perfectly conventional, summer blockbuster.

The formula didn’t come from a mad scientist. Instead it came from a screenplay guidebook, Save the Cat! The Last Book on Screenwriting You’ll Ever Need. In the book, author Blake Snyder, a successful spec screenwriter who became an influential screenplay guru, preaches a variant on the basic three-act structure that has dominated blockbuster filmmaking since the late 1970s.

There’s tons more, and it will all make you despair.


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