1. U64006 INTRODUCTION TO SCREENWRITING
WEEK 5
Screenplay paradigm (3): 7-step pattern
Film genres: Romantic comedy
Case study – When Harry Met Sally

2. 3-ACT STRUCTURE – ROMANTIC COMEDY
GENERAL 3-ACT STRUCTURE
Conflict: the hero takes on a problem
Crisis: the hero can’t solve the problem
Resolution: the hero solves the problem
3 ACTS IN ROMANTIC COMEDIES
Meet: girl+boy have significant encounter(s)
Lose: girl+boy are separated (+ re-united + separated again)
Get: girl+boy reunite
Romantic comedy = comedy whose central plot revolves around a romantic relationship  COUPLE
Clip from Nancy Meyer’s The Holiday
U Introduction to Screenwriting

3. ROMANTIC COMEDY – CHARACTERS
Romantic comedies have a BIG HANDICAP...
... The audience knows the ending before they start.
How do you get the audience interested in the story?
Characters  strong desires  (plenty of) obstacles
Obstacles = external (AL) + INTERNAL conflicts (RLs)  character-driven
CHARACTERIZATION
U Introduction to Screenwriting

4. CHARACTER – SUMMARY OF TRAITS
Ontologic: gender, race, class, family background, name
Experience: education, abilities, own family, sexuality, back-story
Now: age, occupation, friends/enemies, appearance, world view, beliefs, manners, sense of humour, tension levels, language, pastimes/passions, delusions
Review notes from last year re: character traits (posted on web page)
U Introduction to Screenwriting

5. CHARACTER AND PLOT Motivation
Objectives (and threats) (goal-oriented characters)
Relationships with other characters
Relationships with antagonistic forces
Role of the back-story
U Introduction to Screenwriting

6. CHARACTERS IN ROMANTIC COMEDY
Male lead: attractive BUT also intimate, weak (?)  arc = strong, sexaholic, macho, sexist  gradual exposure of weakness  love wins
Female lead: strong, modern, active, aggressive (resistance)  true love (not subordinate role in couple)
Wrong guy/girl: socially presentable and stable, but not deep nor desirable  no chemistry
Friend/helper: characterization mirror + story forward
U Introduction to Screenwriting

7. CHARACTERS IN ROMANTIC COMEDY
Present life of character = Now
BUT
Script  Character’s arc  challenge/change?
Meet  at least one-half of couple not interested (love challenges characters)
Lose  what do they lose if they lose each other? (characters deny love or accept but are denied love)
Get  love transforms the characters (change)  something is learned  positive growth
U Introduction to Screenwriting

8. ROMANTIC COMEDIES – 7 BEATS
1. Setup: male lead introduced + female lead introduced (?)  unfulfilled desire
2. Catalyst (inciting incident): female lead introduced  (amusing, memorable) “meet cute” but obstacle (eg. wrong guy/girl in the way)
3. Sexy complication (turning point #1): new development, external problem  internal issue  character reacts (or does not)
4. Hook (midpoint, sequence or section): situation that binds couple (further implications)  sexual tension
5. Swivel (turning point #2): highest point of romance  jeopardize chance of achieving goal  point of no return (choice)
6. Dark moment (crisis climax): humiliation (fight or failed reconciliation)  all lost
7. Joyful defeat (resolution): personal sacrifice  happy ending (also just symbolic)  marriage or committment 7 6
4 (+) 2 1 5 3
U Introduction to Screenwriting

9. HOMEWORK FOR WK 7 SEMINAR Watch / Analyse “Notting Hill”
Prepare presentations (booked students)
- 3-Act structure
- 7-beat pattern (including all relationship lines and dynamics)
- Characters
LECTURE
- Watch David Fincher’s “Se7en”