The eight-segment sequence structure is interlinked in the 78-minute film, and the atmosphere of sorrow and joy is mixed, which pushes the audience's emotions to the peak.
Usually in the opening paragraph of the film, the main characters of the film, the environment and background of the development of the event, and the needs or goals of the characters will be explained as the background of the development of the story. However, if you use a third angle of view to tell the audience all the information, the viewing effect will indeed be greatly reduced.
The way to arouse the audience's interest is to show and delay. Taking the show as an example, Hu Di told Spurga that we will encounter a bad thing, and the audience will have a curious emotional experience. The greatest success in creating a story is to resonate with the audience. But how to grasp the emotions of the audience is actually very important to learn. In addition to confusing the audience, there is another way to show the audience that the protagonist himself is about to be in crisis, or that the protagonist himself does not know information. These can make the audience better immerse themselves in the story experience, and start to worry about the protagonist's reaction after knowing this information, and sweat for the protagonist.
Delay is also the most important part of emotional preparation. As in "Toy Story", Hu Di sent scouts downstairs to find out about the gifts, but he thought it was all right, but Buss had an accident. Originally, Buzz could be the first to appear, or the last one to appear directly. But it was the delay that gave Bass extra image tension.
The use of foreshadowing actually tests the screenwriter's ability. As mentioned earlier, Hu Di often plays chess with Spring Dog. Potato head wants to have a wife, and dinosaur wants to have a scary call. In the second sequence, there are certain uses, showing the arrival of Buzz, to Hu Di had the impact of status. There are many foreshadowings, but it is really important and ingenious to learn to use foreshadowings well.
Constantly creating obstacles and creating motivational events is an effective way to promote the development of the story. At the same time, the protagonist’s needs and goals are more clearly discovered in the obstacles and motivational events, and the protagonist’s character growth can be seen. For example, when Hu Di first encountered danger or saw hope, the first reaction was to save himself. But when you have feelings with Bass, you will choose to give up the hope of going home and go to Bass. These are great examples of the protagonist's transformation and growth. The interlocking obstacles cause the protagonist to achieve his goals and his own expectations to get into trouble again and again, and at the same time keep the audience looking forward again and again, creating new confusion.
The character change of the protagonist is the theme of the story. Just as Bass’s ideals of self-belonging collapsed from the initial collapse, Hu Di realized that the status of his toys is not unchangeable, and even Asi learned to treat toys well after being intimidated. The growth of the protagonist is giving light to the story.
At the same time, I have to mention that time limits are often used to enhance tension and empathy. For example, Christmas and birthday are the days when toys are most feared. In these two days, new toys will appear. At the same time, there is a countdown to moving, and whether it can catch up with the truck, whether it can catch up with the planet of Pisa and not be left behind, or whether Hudi can be rescued after Buss is tied to a rocket. The big time contains small time nodes in small pieces, so that every small sequence maintains a sense of tension and dramatic tension.
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