statement of intention RSS

ACE VENTURA, establish the problem, first ten pages, INDIANA JONES, Introducing the lead, JAMES BOND, JOHN WICK, statement of intention, THE MATRIX -

The first ten pages are the most important because they often determine if anything from page 11 on will be read. It’s a common wisdom among reps and producers that name talent (i.e. movie stars) rarely read past the first-10 if they don’t see their character, and/or if the character doesn’t grab them as interesting. Given that financing is frequently contingent on attaching name talent to the leads, those first ten pages – and how well they can introduce the lead characters – can literally determine if the movie gets made or not. The second key thing the first-10 needs...

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antagonist, protagonist, SILENCE OF THE LAMBS, statement of intention -

The story isn’t just about the protagonist; the protagonist is the story. We should establish the protagonist as quickly as possible, and from there maintain a tight focus on the protagonist’s actions to move the story forward. We can find examples of this in the most elemental of story forms. For example, fairy tales. “Once upon a time, there was a princess who lived in a castle…” Bang, there’s our story: a princess is living in a castle, and then something happens, so then she does X, which leads to Y, and onto Z, and so on. That’s our narrative....

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hook, JAMES BOND, JAWS, PSYCHO, STAR WARS, statement of intention, WEDDING CRASHERS -

One of the most important parts of the script is the opening sequence. This is sometimes referred to as the first-10, as we’re talking about business that happens in the first ten pages or so. Basically, the first, opening scenes of the movie. It’s typically best to use the opening sequence as statement of intention. Simply put: we’re letting the reader/audience know right off the bat what the movie intends to deliver. So if it’s a comedy, we open on a funny scene; if it’s horror, we open on a scary scene; if it’s action, we open on an action...

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