Script Analysis: “All Is Lost” — Part 3: Sequences
Reading scripts. Absolutely critical to learn the craft of screenwriting. The focus of this weekly series is a deep structural and thematic analysis of each script we read. Our daily schedule:
Monday: Scene-By-Scene Breakdown
Tuesday: Major Plot Points
Wednesday: Sequences
Thursday: Psychological Journey
Friday: Takeaways
Today: Sequences.
A sequence is simply a collection of scenes in a screenplay that have their own narrative arc and they have been around since the earliest days of cinema. Arising from this is something known as the sequence approach. Here is a description from Wikipedia:
The sequence approach to screenwriting, sometimes known as “eight-sequence structure”, is a system developed by Frank Daniel, while he was the head of the Graduate Screenwriting Program at USC. It is based in part on the fact that, in the early days of cinema, technical matters forced screenwriters to divide their stories into sequences, each the length of a reel (about ten minutes).
The sequence approach mimics that early style. The story is broken up into eight 10–15 minute sequences. The sequences serve as “mini-movies”, each with their own compressed three-act structure. The first two sequences combine to form the film’s first act. The next four create the film’s second act. The final two sequences complete the resolution and denouement of the story. Each sequence’s resolution creates the situation which sets up the next sequence.
That’s too formulaic for my tastes. Some screenplays may have eight sequences. Some may have two or three times that many. We should never let a formula control where our stories want to go. That can restrict our creativity and lead to formulaic writing. Nevertheless the idea of a sequence has considerable merit:
• Working with sequences breaks down crafting and writing a script into smaller, manageable parts.
• Each sequence has its own beginning, middle, and end which can help to give the story a solid structure.
• With each sequence flowing directly into the next, a writer can give their script a strong narrative push.
When analyzing a script, there are multiple benefits in identifying its sequences:
• We can identify these mini-stories and see how well they track — beginning, middle, end.
• We can track the transitions into and out of them, one sequence to the next.
• We can explore how the sequences influence the pace of the narrative.
An indicator of sequences are the plot points: When a plot point happens, that generally marks the end of a sequence, building to a significant climax that spins the plot in a new direction.
For Part 1, to read the Scene-By-Scene Breakdown, go here.
For Part 2, to read the Major Plot Points, go here.
Written and directed by J.C. Chandor.
IMDb plot summary: After a collision with a shipping container at sea, a resourceful sailor finds himself, despite all efforts to the contrary, staring his mortality in the face.
Writing Exercise: Go through the scene-by-scene breakdown and identify the sequences.
Here is something you can do: Imagine each sequence as a runner in a relay race and as an individual sequence ends, it ‘hands off’ the baton to the next sequence. This is how we create a sense of narrative flow. So look at the sequences as articulated above: How does each one ‘hand off’ the story’s momentum to the next sequence?
Tomorrow we consider the script’s structure in terms of its psychological journey and the dynamic of transformation.
This series started here and we have volunteers to do 28 scene-by-scene breakdowns of contemporary movie scripts. The scripts we have already analyzed are in italics.
All Is Lost: Chris Faulkner
American Hustle: Jon Raymond
Argo: Nora Barry
Barney’s Version: John M
Belle: DaniM
Beginners: Ali Coad
Boyhood: Jacob Jensen
Enough Said: Ali Coad
Flight: 14Shari
Frankenwenie: Will King
Frozen: Christina Sekeris
Gone Girl: NateKohler1
Gravity: Matt Duriez
Hanna: John Arends
Lincoln: Paul Graunke
Looper: erikledrew
Moonrise Kingdom: Daniel Bigler
Mud: Alejandro
Paranorman: OhScotty
Prisoners: Melinda Mahaffey Icden
Short Term 12: Carolina Groppa
The Artist: Traci Nell Peterson
The Grand Budapest Hotel: Rob Hoskins
The Imitation Game: Rick Dyke, Sean Sauber
The Social Network: Nick Dykal
The Way Way Back: Ricky
Wadjda: iamdaniel
Whiplash: Steven Broughton
If you’d like to participate and do a scene-by-scene breakdown yourself, please indicate which script in comments or email me. We are using scripts available on our site here.
For new volunteers and those who have already volunteered, but not sent me a breakdown yet, please do so as soon as possible. Thanks!
Circling back to where we started, reading scripts is hugely important. Analyzing them even more so. If you want to work in Hollywood as a writer, you need to develop your critical analytical skills. This is one way to do that.
So seize this opportunity and join in the conversation!
I hope to see you in comments about this week’s script: All Is Lost.
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