Act 1: Build
The dramatic action unit establishes the story, the characters, the dramatic premise (what the story is about), depicts the context of the story (the environment around the action), and establishes the relationship between the main character and the other characters who surround him and move around him Relationship.
figure:
Margaret (Sandra Bullock Sandra Bullock) is an executive of a well-known American publishing company.
Andrew: Margaret's assistant, dream is to be an editor.
Dramatic Premise:
For some technical reasons, Margaret could not renew her visa, and she herself had to be sent back to Canada where she came from. In order to get a residence permit in her home country, she decided to marry an assistant and stay in the country to continue working.
Story context:
The first 9 minutes show how Margaret does things and how her staff reacts and thinks about her.
Raise the event:
Events that upset the protagonist's balanced world make the story work. Margaret was unable to renew her visa for some technical reasons.
Accident one:
The end of the first act, the beginning of the second, pushes the protagonist into a whole new world. In order to get a residence permit in her home country, she decided to fake marriage with an assistant and was able to stay in the country to continue working. The marriage was subject to immigration scrutiny, and in order to be convinced by immigration, Margaret needed to travel to Andrew's hometown.
Act II
The confrontation, the developing passages of increasing conflict, is fixed in a dramatic framework called confrontation, in which the main character encounters and conquers one obstacle after another, and finally realizes and achieves his or her dramatic needs. (What the characters in the script expect to win, compose, obtain, attain.
middle point
a. In terms of tone and style, the feeling of the middle point is different from the rest of the script, and there are often transition montages accompanied by music;
b. The mid-point scene serves as a point of no return at the emotional or action level;
c. The conflict between the protagonist and the opponent becomes a personal grudge;
d. In love stories and romantic comedies, the midpoint is often the first time a couple kisses or has a relationship (factually or metaphorically), or the first time same-sex partners resolve dissent and work together as a real team;
e. Intermediate points often include de-masking, de facto or metaphor;
f. The midpoint almost always contains the second-biggest step in character growth;
g. There is often a countdown at the beginning of the midpoint to increase anxiety;
h. There are often de facto or metaphorical moments of death and rebirth at the midpoint as a rite of passage for the protagonist;
Act II Climax
The dramatic action gradually intensifies, and the victory the protagonist expects is close at hand: the two really go to the wedding
Accident 2: Surprising dramatic reversal, ends Act 2 and begins Act 3 by shattering the protagonist's winning plan (occasionally surprising surprises/can be good news); the immigration guys come and break a family The status quo of people together requires the protagonist to face the reality
Act Three
Required scene: The third act decisive moment between the protagonist and the opponent, which will completely solve the main plot problem: the two stand on the wedding stage, the male protagonist is determined to marry M, but M decides to admit his mistake and choose to leave .
Ending: The male and female protagonists find that they have fallen in love with each other in their hearts, the male protagonist recovers the female protagonist, and the two really get married.
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