In screenplays, three is the magick number. In most movies we see on the screen today, there is a formula and it centers on three. It is not always apparent, but screenplays are written in three acts with some very key incidents happening at very specific places within the movie. You can time most of them down to the minute.
Want to check this out? Here’s how. Put in your favorite movie (no matter what “put in” for you means) (Ahem, I’m actually talking real movies… You know, those with plots and stuff?). Make sure it is one you’ve seen multiple times, so you’re very aware of the story. Queued up? Ready to go?
“Roll ‘em CB!”
Act I
Roughly the first 25 minutes of the vid, which is 25 pages of screenplay. Yep, there is a formula for this too!
The opening is “life as normal” and should, within the first few minutes, introduce you to most, if not all, the key characters. Or leave “an opening” for them later. Opening being the operative word for excuse.
If you look carefully, in the first five minutes there will be some hint of the what is to come. Usually it is a statement by the protagonist that he doesn’t do this, this can’t happen, he wants this… (Sorry for the male pronoun).
In the first ten minutes, there will be some visual or verbal “what if this should happen” that sets the drama for the rest of the movie. To me, personally, the quality of the movie is how well this is slipped in. In one genre, this “what if” is the dramatic core. In another, the romantic core. In, yet another, the action core.
At minute 15 (page 15), we discover the real reason we’re sitting here watching these pictures on the screen. Don’t believe this? Refer to the movie you are watching. Okay, put the f’ing porn tapes away, okay? This is usually subtle. Some flaw or unresolved issue the protagonist needs to handle. The movie will rarely center around this, visually, but it will be resolved by the end of the movie. Remember this point (damn, that sucked at doing build up!)
Somewhere between minute 17 and 25, a key incident occurs that sets everyone on ear. Ah, the drama begins!
Once this occurs, we move, quickly (depends on the director), to:
Act II
Act 2 usually occurs in two pieces. Yeah, yeah. I know. That makes it look like two more acts instead of one. Trust me for a couple of minutes.
Phase One of Act 2 is the characters trying to deal with the “inciting” incident. Their world has changed. Now they have to deal with it. Mostly this is just reaction. Think denial, anger, or such. Or, more simply: Fight, Flight, or Freeze.
Angst or humor or hopelessness or optimism or… Yeah, they’re all the words to describe this part of the movie, depending on what you’re watching (okay, put away the latest release from Evil Angel and get back to the real movies, right?).
Two incredible things happen here. Incredible because we don’t think about them, but most every movie has them. First, the stakes are raised for the protagonist(s). And, a countdown clock starts ticking.
Phase Two of Act 2 begins roughly 55 minutes into the movie. At this point, the key character(s) decide to take their life back. They move from reacting to acting on what life has handed them. They’ve chosen to change.
All during this phase, optimism builds. It almost seems like they’ve got everything covered. They can handle it. Life is going to be good.
Then…
Act III
Act three begins with the key dramatic moment. Not the climax, but what will drive us to that point. We now know the main characters and some of their drivers. We now know what “life was life” and “what life should be like”. We’ve watched them handle adversity and begin to overcome it.
And someone just shit on their parade.
All the real drama occurs here, but couldn’t happen without everything up to here.
Somewhere around 2/3rds of the way through this act, the patented “Stay-Puff Marshmallow Man” scene will happen (think Ghostbusters). Don’t like that reference? Try the movie you are watching. What major event is occurring at this point? Yeah, you know, that one. It is much easier to see in action movies, much more subtle in other genres. They’re all the same to the screenplay writer.
After this, the screenplay (or movie) should answer three critical questions to make it “good” or “complete”:
- Was the inciting incident (the 17-25 minute one) resolved?
- Was the minute 15 flaw resolved?
- How is(are) the main character(s) different at the end than the beginning?
You promised to pick a movie you know, so you should know what I’m talking about. If not, just remember these clues (all time are plus or minus a bit):
Minute 15 – the dramatic flaw is revealed. The real reason for us sitting here watching it.
Minute 17-25 – the inciting incident. The one thing that sets everything else in motion.
Minute 55 – the character(s) move to take charge of the change.
Minute 70 – the aforementioned bovine product hits the parade.
Minute 90 – the action climax (which may or may not be the emotional climax) occurs
Conclusion
“Wait! No, WAIT!” you say. “You started this out with three is a magic number.”
Oh, no. Actually, I said three is a magick number. And, I hold to that, if you’ll listen.
I presented a notion of three acts. And, hopefully, have shown that it is true, there are three acts. Act I – set up. Act II – exploration of the theme. Act III – resolution of the theme. Yep, three acts. I gave more detail so you could find the waypoints.
Three is a magick number because it is a pattern we know from other art forms before movies and we’re comfortable with them. It is also a technical limitation of early movie making that created the three reel movie (a feature) that actually took three reels of film to show the movie and caused the writers to make “breaks” in case the film broke.
Three is also the form of most plays on the stage.
Three is also the phases in the sonata form, which is the basis for most classical music.
Three is a magickal number.
“Okay, what the H is this magick word you keep using?”
Simple. It represents that which occurs naturally without the evil connotations that others have placed on the word magic. Simple. Google it.
Keep Writing!
John P.