What screenwriting lessons can be we learn from SPLIT?
In our first (and perhaps last) one-shot, we take a close look at the M. Night Shyamalan’s SPLIT. Rather than having one topic with many examples, we use the one example to look at many topics. Well, okay, a few topics.
Firstly, we take the opportunity to revisit theme. SPLIT offers a very clear example of the worldview of the characters and the rules of the world working together to create a coherent theme.
Then we look at the SPLIT’s use of macro point of view. Given the film’s contained nature, it makes some interesting choices in the story structure in order to control what the audience knows vis-a-vis the characters. This assists in generating tension (in both conventional and unconventional ways) while also creating a dramatic journey for the protagonist and reinforcing the theme.
We also cover (in lesser detail) flashbacks, tactics, contained spaces, character individuation, and… being a M. Night Shamalyan film… TWISTS.
And if its not obvious… this episode is FULL OF SPOILERS.
Love it, hate it or indiffererent, please let us know what you think of this new format. We’re not going to do it every episode, but it gives us the opportunity to look at some great films in more detail.
- SPLIT by M. Night
- IMDB: http://www.imdb.com/title/tt4972582/
- Find it on JustWatch
- The Guardian: From Split to Psycho: why cinema fails dissociative identity disorder
- WORLDVIEW [ @ 6m 36s]
- MACRO POV AND NARRATIVE [ @ 35m 35s ]
- FLASHBACKS [ @ 1hr 03m 26s ]
- TACTICS [ @ 1hr 12m 34s]
- CONTAINED SPACES [ @ 1hr 15m 35s ]
- CHARACTER INDIVIDUATION [ @ 1hr 19m 32s ]
- TWIST ENDINGS [ @ 1hr 33m 00s]
- EPISODE WRAP [ @ 1hr 50m 41s ]
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