Act I sets the tension and gets the hero up the tree by establishing the characters, the story world, the story premise, and the conflict. We learn who the protagonist is and what he wants. We become familiar with his world before that world gets disrupted, and we are encouraged to like him, or at least develop some sympathy toward him. We are also introduced to the setting. We learn where and when the story is taking place, and we are introduced to the rules of this story world. An event must happen in Act I-something that disrupts our protagonist's world and elicits action from him-to set the story in motion. This event is called the Inciting Incident, and it often occurs within the first 10 pages. The first major twist in the story-the first major reversal-occurs at the end of Act I. The protagonist has experienced a major change in his life and has made an initial decision about how to react to this change, and the conflict has been established. Act I usually covers 25% of the screenplay.
If yourng image grabs the audience's attention, you have roughly ten pages after thatng to convince them that your film is worth watching. Don't believe that? The next time you go to a movie, ask yourself how you feel about it after the first ten minutes. If you're bored or confused, you'll likely deem it a failure. If you're riveted, odds are that you'll consider it a success.
The first ten pages provide an initial criterion on which to judge the ensuing story. They should provide just enough information to establish a clear world without giving too much of the eventual plot away, and they should create enough mystery to keep the audience wondering what's in store.
Your first ten pages should accomplish the following tasks:
- Introduce the main characters
- Establish the primary environments
- Convey a distinct mood or atmosphere
- Establish the time period
- Illustrate a routine or way of life
- Provide any relevant backstory (events that transpired before the story began)
- Introduce the antagonist
If you haven't already settled on an ending to your script, now is the time to do it. If you don't know where the script is going, how will you determine which pieces of information to highlight at the beginning?
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Dygra launches int'l sales arm
Film News: Da Cunha to head toon unit -- Galicia-based animation studio Dygra Films has launched an inhouse international sales arm, headed by Tania Pinto Da Cunha. It will focus on Dygra productions to begin with, handling CGI toon pic "The Spirit of the Forest," skedded for delivery in early 2007; and family comedy "Holly Night!", due Christmas of the same year.
Flight pattern
Film News: Will 'United' take off at the B.O.? -- Two case studies will be ripe for dissection after the weekend box office plays out. Universal is wondering whether people are ready for a 9/11 movie, and Lionsgate tests what a marketing blitz at Starbucks means at the box office
Montreal fest org seeks bankruptcy
Film News: Troubled film fest shuttered after first edition -- Organizers of the troubled New Montreal FilmFest are seeking bankruptcy protection. Le Regroupement Pour un Festival de Cinema a Montreal has hired bankruptcy specialists Andre Allard et Associes of Montreal to make an arrangement to at least partially pay the suppliers who are still owed money.
Cannes adds to competish
Film News: 'Cronica' added to Un Certain Regard -- The Cannes Film Festival lineup is growing. A week after announcing the Official Selection, artistic director Thierry Fremaux has added a 20th title to this year's competition slate, moving up Adrian Israel Caetano's Argentinean thriller "Cronica de una fuga" from its previously announced Un Certain Regard slot.
U taps TriStar distrib exec to oversee int'l
Film News: Former Columbia Intl. prexy joins Kosse in London -- Universal Pictures has hired former Columbia TriStar Intl. prexy Duncan Clark as exec VP, international distribution, based in London. Clark will report to David Kosse, U's London-based president of international marketing and distribution.
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