How can the middle of your film pivot so much that it pulls the rug out of your audience? Stu and Chas embark on the first of a series of explorations into the dreaded Second Act. Their first stop is midpoint reversals or shifts, a plot point bang in the middle of ACT II that changes […]
Stu and Chas are joined once again by the inestimable Stephen Cleary to explore his idea of ‘key scenes’. Scenes like the diner scene in HEAT. Or the boardroom showdown in MARGIN CALL. These scenes are not only key to a film, they can also be key to developing a story. Why? Stephen’s observation is that if you put your protagonist and antagonist in a scene together for a period of time and they will instinctively play out the beats of your whole story… if you have the characters figured out.
An interesting theory and one we put to the test. In addition to HEAT and MARGIN CALL, we look at scenes and sequences from THE GODFATHER, NOTTING HILL, THE DARK KNIGHT, THE RAID 2: BERANDAL and Stu avoids mentioning STAR WARS by working in EMPIRE STRIKES BACK instead.