Screenwriting : Opening a Feature by Jake Parker

I always look for a moving image. But it will click eventually. Best of luck Jacob.

I believe that having your ending is key to your opening and since you have that, you're well on your way. Your theme intertwined through an object, a place, a person or an event are all means to an end that can give your finale a serious boost.

Genre?

Genre is definitely important, so depending on the story this might not be a good example for you, but revisit Raiders of the Lost Ark. It has one of the best movie openings of all time and served to introduce the audience to the main character Indiana Jones and reveal many things about him. The events in the opening have very little to do with the plot, except for the main conflict between Indy and Belloq which manifests itself in the search for the Ark. In fact, it's a very good screenplay to study for structure and how Lawrence Kasdan reveals character & conflict, etc. I think an opening should reveal the life of the main character (or protagonist) to help the audience identify with them.

Thank you all for the advice, I've always had the most trouble with the opening sequence. I'm going to try several different things to see what works best for the story. Right now I'm going to work my way backwards from the ending. Again, thank you all so much for your tips.

At the risk of writing a mini-essay, you got me thinking about this. Different genres have different traditions, but when you think about it generally: Your opening scene should tease the conflict and get the audience excited about what's coming. Depending on your story, there are a few different ways you might do this. (This is not a complete list... I'm just writing off my head.) 1. Your story is about an attack by a powerful villain (monster, slasher, bank robber, etc.). In this case, you might open with a scene of that villain attacking so we see how formidable it is. (Example: Jaws.) 2. Your story is about a peaceful world torn asunder by a powerful force (earthquake, alien attack, Orc army, Manic Pixie Dream Girl). This describes most "Hero's Journey" type stories, including comedies where the protagonist's life is upended. In this case, you probably want to start by showing the "Ordinary World", prior to the arrival of the Orc army or potential girlfriend. (Examples: Lord of the Rings, Groundhog Day, Independence Day, The Wedding Singer.) 3. Your story is about a man/woman fighting his inner demons. In this case, start with an illustration of those inner demons. (Examples: The Verdict, Clean and Sober.) 4. Your story is about a bunch of ostensibly allied characters on a collision course. In this case, start by introducing your characters in a friendly setting. (Examples: Reservoir Dogs, War of the Roses.) I'm sure there are more, but you get the idea. What is the nature of the conflict? What type of scene would most make me anticipate this conflict playing out?

Kerry, that really helps a lot! I think that part I'm having so much trouble with is the fear of it coming off too cliche or like an example from Save the Cat. I think as screenwriters we are always trying to be new, fresh, and original, and create new and innovative stories. As we know there are only a certain number of stories, it's just how you tell those stories. So my fear of coming off too cliche is really holding me back in this case. I'm working on a rise to fame eque drama set in the 70's. My initial thought was to show the "Ordinary World" prior to this rise to fame, but my fear of cliche and overdone comes to mind. Ergo, why I'm over thinking it and struggling with it.

Hey Jacob... knowing a bit more from your last post, I suggest you showing a scene that teases your hero with the grass being greener fame another achieves in the same arena, the "ordinary world" ridicule he/she faces for persisting to pursue it (or believe in it), the perceived benefits that "famous" person gains, and then some kind of ticking-clock fleeting window-of-opportunity that their ship is sailing and either they've gotta jump on board (dramatically, of course) or watch it sail away forever. Then later, the "dark night of the soul" and "all is lost" moment comes in the form of the disillusionment that that dream isn't all it's cracked up to be and that sometimes, the grass is plenty green right where they've been. The difference though is the wisdom and perspective they now have and the confidence that at least they tried and saw it through on their terms which is when a booster rocket from that opening image may be the right rescue vehicle to remind your protagonist they had the treasure inside themselves all along. They just hadn't rubbed that diamond with enough abrasion yet to let it shine bright and have that sharp edge that now cuts to da bone. Here's a real-life example, Stevie Ray Vaughn apparently got booed at a music festival... they didn't "get" his style. Then later that night in the underground after-party, he got discovered (either by David Bowie or Jackson Browne) and one year later won a Grammy. It's kinda similar to the movie School of Rock . . . but what would be the most extreme case of your hero's terrible fate if they don't take the chance to dance and busta move when the spotlight shines their way?

If I were writing a rise to fame story, I would certainly agree with your inclination to start with the Ordinary World. (If you want a cautionary counter-example, see Kevin Spacey's Beyond the Sea for a movie that tried to get fancy with the opening and suffered for it, in this viewer's opinion.) But as for the actual content of the sequence, you need to go back to that question of what is your antagonistic force (i.e., the source of your conflict)? Is it internal, like your hero is a drunk (Crazy Heart) or a choke-artist (8 Mile)? Is the conflict the ravages of fame and its potential to make a good person lose their soul? Is it the record industry, and the challenges a talented artist will have to face to get ahead? When you know your antagonistic force (which I assume you already do) this will guide what's going to happen in your opening scene. Yes, you'll establish the ordinary world, but make sure to surprise us a little. Like in Crazy Heart... we are told our hero is a drunk. Then we see him about to do a show. We think, "oh shit, this will be a disaster. I know where this is going." That's suspense. Then he starts performing, and... oh, he's actually holding it together. He's a consummate professional! That's surprise! Then he's overcome by sickness and bails on the show. THAT's an illustration of the conflict (the internal conflict of the fact that he's a drunk). So, yeah, it's the expected Ordinary World, but it's suspenseful, surprising, and establishes the character and the conflict. That's not cliched... that's textbook, and that's a good thing.

Kerry, that actually really helps. I think I have a good place to start now.

Can some explain what 'long format writing' means please?

I'm not sure of a technical definition, but it's the way I describe television writing as long form.

I like to keep a film circular if I can, making the end a 180 degree reflection of the beginning. Hope that helps.

The ending I have decided on has similar to a tragedy in that my "hero" dies in the end. The themes of the film are portrayed using the surrounding characters. One of my initial thoughts was to show her moment of fame, mixed with spots of her current life. Almost like a dream sequence, only that it will actually happen, basically telegraphing just not in the typical sense. If that makes sense.

I suggest you watch Robert Altman's excellent movie "The Player" starring Tim Robbins about a movie script that initially has the "hero" die. Then revisit "Thelma & Louise" where their death plunge into the Grand Canyon works. Also, "look at Titanic" too. But watch The Player, and you may change your mind. Just playing Devil's Advocate can show another facet to that sort of ending. Trying to provide food for thought.

They call it a hook. The first page has to hook you into reading the rest of the script. Mr. Hill pointed you in a good direction.

The beginning of your script, prior to the inciting incident exists to showcase your character's flaw. Kramer Vs Kramer: Dustin Hoffman is selfish. So we see how he interacts with his world, who benefits from his flaw and who suffers (his family, specifically son) And when his wife leaves him, leaving the boy, Hoffman's world is turned upside down. Basically, make sure you are showing off your protagonist's character flaw and how it allows him to interact with the world around him so that when that I.I. hits him, his world is turned upside down. And now the movie can REALLY begin. Just ask yourself what you think he does on a regular basis because as soon as that inciting incident hits, that's routine is gonna stop.

When writing the first scene you need to first introduce the audience to the Ordinary world of your story. Then you take us on the journey of your protagonist. I'm not saying you can't start big but we need to see your character doing his regular daily duties before you thrust them into the journey you have created for them. Hope that makes sense. Here's a link that hope can help you... http://www.movieoutline.com/articles/the-hero-journey-mythic-structure-o...

Billy Wilder put it, "Grab 'em by the throat, and don't let go". Apply that lesson to films you love. How do they do it? Now ask, "How do I want to do it?" The great one's go to their passion. Wilder didn't go to Hitchcock's passion or Kubrick's passion, he went to his own. What is your passion, Jacob? Start with that!

I'd say the opening of the film is where you set the tone up for your film, garnering attention and tuning in expectations, and not necessarily by telling the main narrative or the beginning of the story. Prelude: In horror films, often a prelude involving a first victim or original tragedy kicks things off to give people an idea of where things are going. Superhero films often introduce the hero or villain, showing the ordinary world suddenly contrasted by larger than life characters, usually outside the main conflict of the film. Fantasy films speak of the past that sets up for the present more often than not. A romantic comedy may reference the previous failed relationship to contrast new ones and show the foibles of the protagonist. Etc. Skip to Midpoint or Climax: Not sure what this device is called, but a lot of films do this, where we see the end of the film or some middle part, before being taken back to review how the characters got where they are now. These scenes are usually very grabbing or powerful in some way, gripping an audiences attention immediately, allowing the more sedate beginning to come in afterwards, rather than lose people in the first few minutes. These are just alternatives to simply telling the story though, and not always necessary. Sometimes the story itself will start off so fast and furious you don't need these chronological cheats, but as not every story's beginning is going to be a massive draw, there's nothing wrong with establishing excitement with these options.

Hi Jacob, as a screenwriter also very much in the struggling class, I get stymied by this too. My response is to ask the question first of what character am I centred on in the screenplay. Usually that isn't ambiguous since I write very single dominant character kinds of scripts. Second question is, what is the most important thing in that character's life, their greatest aspiration or their greatest problematic obstacle? This is intimately tied up with the major theme of your script. Third question is, what makes them most angry and what will they do when provoked to extremis? That's usually the trajectory of most stories. Combining these answers I try to construct an opening scene that shows a character at their most raw and vulnerable and in the process of something related to those answers. It may or may not be part of the overall narrative, for example it might be a flashback or come midway through or foreshadow the end. My intention is to show and define the character in as short and effective a scene as possible so as to go into the story. A particular favourite of mine for this is the opening scene in GOODFELLAS with the trunk murder horror, where you see how Ray Liotta's character is a career criminal in the first couple of minutes. It's best when it's as direct as this. Hope it helps and best of luck with the script, Edward St.Boniface