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Journal of Screenwriting, Volume 3, Issue 2, pages 215-232 (2012): 'Development of a fundamental '19-Sequence Model- of screenplay and narrative film structure'.
(hide)High accolades for this beautiful Coming-of-Age screenplay. An ideal model.
Excellent use of flashback to explain character's interpersonal relationships and motivations.
Masterful example of a heist with thieves stealing the loot from each other. How do you find it and steal it back?
Excellent structure for an innocent man being framed and then pursued whilst having to reveal the real perpetrators.
A remarkably good biography and 'black humor' approach to an addict who manages to come through the experience alive. Excellent example of how to use additional characters to magnify the personality and challenges of the protagonist.
(hide)Socially ostracized Finbar moves to a rural train station. There he meets insistent friend Joe and saddened Olivia. A perfect model screenplay of beautiful relationships.
(hide)Two superpowers are almost fooled into annihilating each other by a neo-Nazi industrialist. Jack Ryan must prove the industrialists involvement.
(hide)'Red Eye' is an excellent to model how to create tension and action in a confined space (Act II).
An excellent script of escalating tension and emotion during personal deterioration and self-destructive behavior.
The script utilizes both the death of Jo's father from a tornado, and the estrangement of Jo and Bill as emotional backdrops to their scientific pursuit of tornadoes.
(hide)An excellent example of pursuit where the protagonist (Bond) and antagonist (Carver) cross paths from Act II onwards. The antagonist also has a surrogate fighter (Stamper) for Bond to continuously battle.
(hide)This is the Sequence-Scene structure of the 1998 restored version derived from Welles's 1958 memo.
A prototype for a multiple Flashback format screenplay where all is not what it seems and characters are not who they say they are.