1 Lecture 10: How do I Fade Out? Professor Michael Green Ikiru (1952) Written by Shinobu Hashimoto and Akira Kurosawa and Hideo Oguni.

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Lecture 10:Lecture 10:How do I Fade Out?How do I Fade Out?

Professor Michael Green

Ikiru (1952) Written by Shinobu Hashimoto and Akira Kurosawa and Hideo Oguni

Previous LessonPrevious Lesson• Writing the Middle

• Suspense

• Surprise and Reversals

• Writing Exercise #8

Sunset Boulevard (1950) Written by Charles Brackett & Billy Wilder

& D.M. Marshman Jr.

This LessonThis Lesson• Writing the End

• Revelation

• Climax and Resolution

• Writing Exercise # 9

Minority Report (2002) Written by Phillip K. Dick (novel) and Scott Frank

and Jon Cohen (screenplay)

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Writing the EndWriting the End

Lesson 10: Part I

Dog Day Afternoon (1975) Written by P.F. Kluge and Thomas Moore (article) and Frank Pierson (screenplay)

The EndThe End• In the rush to complete a screenplay once

they sense the end is near, writers - and especially beginning writers - often become careless with the final section.

• Here, traditionally the hero vanquishes the villain with a “mighty blow.”

• But, often in short films, instead of being the most forceful and consequential moment of a screenplay, the climactic chase simply runs out of gas.

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The Anti-climaxThe Anti-climax• Short films are prone to anti-climaxes

because the nature of the short film - limited budgets, shorter running time - requires more subtle resolution than long form drama.

• A final twist, irony or character revelation proves ideal in a short, as opposed to a feature’s need for, say, triumph on the battlefield or a complete character change.

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Purpose of the EndingPurpose of the Ending• The ending is why we come to the film in

the first place - the reason, purpose, ambition of the film.

• In the ending, the writer reveals what the experience has been all about.

• In great films, short or long, the ending gives the audience more than entertainment satisfaction. It gives them something to reflect on.

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The Key to the EndingThe Key to the Ending• Remember as you write to always have an

idea of what you want your film to be about in terms of theme.

• What idea or insight do you want your audience to think about and come away with?

• Remember also at the beginning to have a basic idea of what you want to have happen to your main character, so that the end is tied to the beginning and doesn’t seem arbitrary, implausible or tacked-on.

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Some Great EndingsSome Great Endings– George Lucas in Love– Gridlocked– Casablanca– Pulp Fiction– Back to the Future– Say Anything– Citizen Kane– Chinatown– The Shawshank

Redemption

The Shawshank Redemption (1994) Written by Stephen King (story) and Frank Darabont (screenplay)

Elements of the EndElements of the End• The same elements found in the last act of a

feature are also found in a short film: revelation, climax and resolution.

• However, while climax and resolution are definite terms, connected specifically to the outcome of the conflict and ending of the story, revelation is not as concrete.

• Though all great films and fiction employ story revelation, the level of importance and the degree of insight can vary dramatically.

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RevelationRevelation

Lesson 10: Part II

The Seventh Seal (1957) Written by Ingmar Bergman (play and screenplay)

Story RevelationStory Revelation• Revelation means something revealed or

exposed - especially a striking disclosure, or something not previously known or realized.

• In great films and fiction, there is a moment when important information to understanding the story can’t be concealed or withheld from the characters and the audience anymore.

• This information often comes as a shock, but often makes sense.

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Story Revelation (Continued)Story Revelation (Continued)• Often the revelation sheds light on one of the

main characters and explains what’s going on in the story, relating to motivations and/or backstory.

• Sometimes it’s a sudden realization or epiphany the protagonist has about his or her life a a result of the events experienced in the film.

• Sometimes it’s a realization or insight that the audience has about the protagonist that she remains ignorant of. 13

The Revelatory SceneThe Revelatory Scene• The revelatory scene is a scene or

group of scenes in which the truth of the story finally comes or is forced out into the open, and the characters, especially the protagonist, must cope with it.

• Now the audience understands why actions were taken despite the risks, and realize what the film is really about.

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Character RevelationCharacter Revelation• In film, fiction and theater, story revelation is

most often character revelation. It almost always takes place in the second half, near or at the climax.

• Wherever the revelation comes, it tends to act as a catalyst and propels the plot into the next portion of the film.– Say Anything– Chinatown– Back to the Future

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Revelation and ConsequencesRevelation and Consequences• The revelation almost always has

consequences. Sometimes the startling, new information causes the protagonist to doubt himself, before he finds the strength to recommit to the goal and the story.

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Revelation and Consequences Revelation and Consequences (Continued)(Continued)

• Or the recognition of an overpowering truth confirms the struggle and sends her and the film hurtling toward the conclusion.

• It is important to dramatize these moments because it allows the audience to glimpse the protagonist's true character.

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Revelation in a Short FilmRevelation in a Short Film• In a short film, revelation can occur almost

anywhere in the second half, and is more powerful when linked with another element such as a reversal, crisis, climax or resolution.

• By definition, the revelation surprises the audience. It creates suspense entertainment by giving crucial but unexpected answers to the characters and the audience.

• Often the revelation is saved for the last possible moment of a short film and is used to drive home the story’s point. 18

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Revelation and ExpositionRevelation and Exposition• To be truly effective, the revelation must

have a direct relationship to the main exposition of the film.

• The problem set up at the beginning must be connected to whatever is revealed that leads to the protagonist’s success or failure.

• In a sense, the revelation can be the reason why the protagonist encounters the difficulties he does trying to reach his goal.

Understanding the RevelationUnderstanding the Revelation• Once the revelation occurs, it can free the

protagonist to attain his goal, or at least allow him to meet his fate more consciously.

• Sometimes only the audience is allowed the revelation of the story.

• Whether the protagonist gets what the revelation reveals, or it just helps the audience sum up the character’s nature, the revelation illustrates not just the solution to the dramatic problem, but can show why the problem took the form it did. 20

When to RevealWhen to Reveal• The writer reveals new new information

about plot and character throughout the film.• But the main revelation is held back until the

time is ripe with dramatic possibilities to reveal it. The writer knows what the revelation is going to be but hold it back as long as possible so that the impact will be the greatest.

• Withholding the revelation helps to maintain suspense by keeping the audience guessing about what is really going on. 21

ExampleExample

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Back to the Future (1985) Written by Bob Gale & Robert Zemeckis

Kinds of RevelationsKinds of Revelations• Information that causes a sudden illumination

for the audience.• Information that the protagonist is unaware of

about herself.• Information that the protagonist is unaware of

about another character, a place, object or situation directly affecting the plot.

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Major and Minor RevelationsMajor and Minor Revelations• Revelations are major if they cause the

action to be dramatically different than if they had never surfaced.

• Minor revelations are less dramatic, but contribute to our understanding of the story and gain sympathy or empathy for the characters.

• Since a good film always surprises us, a few minor revelations should occur throughout it.

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Revelation of CharacterRevelation of Character• Revelation of character can occur in a

variety of ways. Information, when revealed, can illuminate the character for better or worse.

• Behavior is an effective way to illuminate who a character really is, revealing their true character where it had previously been hidden.

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Revelation through ConflictRevelation through Conflict• In film, new information is best revealed in

action and through conflict.• Revelation, too, is best when actions

dramatizes it or conflict forces it out in the open – not when it is conveyed in expository speeches or flashbacks.

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FlashbacksFlashbacks• Beginning writers often use flashbacks as

a way to show something from a character's past, but a flashback must be essential to the whole structure and not just a means of exposition.

• If it is only in the film to visually convey something, and does not utilize conflict of action, it will be flat and boring, and stall the forward momentum of the screenplay.

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Expository SpeechExpository Speech• The same is true of expository speech. If

the protagonist has changed or realized something important, the change must be dramatic, not conveyed through a speech.

• If the revelation is truly a revelation for the character there will be emotion around it. Discover the emotion to shape the scene.

• Remember, we’re more interested in characters who don’t tell us everything, especially when it’s painful. Use conflict to force the matter out into the open. 28

Revelation of Character Revelation of Character (Continued)(Continued)

• A protagonist’s self-revelation is a powerful moment of the film. Here the protagonist experiences an epiphany about herself, especially in relationship to conflict.

• The realization makes the message of the film clear to the audience.– The Constant Gardener

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Questions about the RevelationQuestions about the Revelation1. What is the story really about?

2. What interested you in the story when you began writing?

3. What is really motivating the protagonist?

4. What is the protagonist afraid of?

5. Is one of the main characters hiding something?

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Climax and ResolutionClimax and Resolution

Lesson 9: Part III

Crimes and Misdemeanors (1989) Written by Woody Allen

The ClimaxThe Climax• The moment in a film, play or work of fiction

with the greatest intensity, where the conflict is finally resolved, is the climax.

• It is the decisive point in the plot and the most meaningful in relationship to the conflict and theme. Here not only should the problem be solved, but the premise or theme should be clarified.

• It determines the worth and meaning of everything that has preceded it.

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Writing the ClimaxWriting the Climax• If the climax lacks power and a sense of

inevitability, the theme or premise has not dictated the progression of the conflict toward it as the goal.

• Somewhere, the meaning has become obscured to the writer.

• Simply put, in the climax, who succeeds and why determines the ultimate meaning.

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Climax and ThemeClimax and Theme• The climax makes the theme concrete in

terms of an event. By focusing the action of the film upon a definite goal, which ends at the event, the climax creates an integrated moment and becomes a reference point to test the validity of every element of the film.

• If a scene is not working or leading up to this conclusion, it needs to be revised or tossed.

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Placing the ClimaxPlacing the Climax• The climax isn’t necessarily the final scene,

but the one where the conflict reaches its final stage. A resolution often follows, but not always, depending on the structure.

• In short films, falling action after the final resolution may detract from the character twist or sense of irony.

• The climax need not be limited to a single scene. Depending on the story, it may play out over several scenes.

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Make the Climax FeltMake the Climax Felt• In a film, the climax must be visual and

visceral, not internal.• Though it doesn’t have to end in screams,

shoot-outs or car chases, an ending that incorporates strong actions will be more powerful and memorable than one that is restricted or confined.

• The protagonist’s emotional response should be included in the climax, to keep the drama working in human terms.

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The ResolutionThe Resolution• The events that follow the climax are a film’s

resolution. This is sometimes referred to as the falling action or dénouement.

• Whatever remains unresolved at the climax, and may pose questions for the audience, must be explained here.

• The resolution solidifies the circumstances of the film’s world as a result of the climax, fixing the fates of the main characters. Often, it bestows a final insight.

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AssignmentsAssignments

Lesson 10: Part IV

National Lampoon’s Christmas Vacation (1989) Written by John Hughes

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E-Board Post #1E-Board Post #1• Watch the short film from the lesson,

Gridlock, and analyze the film’s end. What happens at the climax and how is it built up to? Is there a resolution to the film?

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E-Board Post #2E-Board Post #2

• Choose any feature film you have seen and briefly analyze a major revelation. Where does the revelation fall in the story and how does affect the outcome of the film?

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Writing Exercise #9Writing Exercise #9In preparation for writing your film’s end, write a page of prose in which you answer the following questions:

1. What is the story really about?

2. What interested you in the story when you began writing?

3. What is really motivating the protagonist?

4. What is the protagonist afraid of?

5. Is one of the main characters hiding something?

End of Lecture 10End of Lecture 10

Next Lecture: What are the Parts that Make Up the Whole?