Been re-reading Eric's book, which is great and a fun read.

@writtingdream7481

4 жыл бұрын

@LTUM ROKU did you stick with it :)?

@writtingdream7481

4 жыл бұрын

@LTUM ROKU Very true but some of the fun can be making those yourself, I plan on doing that eventually

This is the best screenplay course I've seen, definitely!

what an exceptional generous human . thank you sir

This is such great advice and makes sense....it shocks me that Eric Edson does not have more hit Hollywood screenplays under his belt.....

@friendlyone2706

Жыл бұрын

Maybe he does. I've a screenwriting & script doctor friend who says he gets paid more if his name does not appear in the credits. He said, he enjoys the money more than extra adulation from strangers. Perhaps Mr. Eric Edson is in the same category. No longers needs the fame and enjoys extra income that lets him teach.

Film Courage! I’m a huge fan. Thank you for constantly motivating amateur filmmakers and screenwriters. Great lectures by Mr. Edson. I really respect the information he puts up online for free. However, in this lecture, I believe he got Stunning Surprise 2 wrong in the Matrix. I personally don’t believe it’s the moment Neo is killed by agent Smith. That makes for way too short of a 3rd act if indeed the 3rd act is his re-birth into ‘’The One.’’ I truly believe with all respect to Mr. Edson that the true Stunning Surprise 2 moment in The Matrix is when Neo, Trinity and Tank are about to pull the plug on Morpheus in order to save Zion. Neo has the same expression on his face in that moment. It’s also a low point and it’s followed by Neo’s decision to go back in the Matrix which kicks off the beginning of the 3rd act when Neo and Trinity head in to rescue Morpheus. Just my opinion. Keep up the good work Film Courage!

@nikkinewbie6014

8 ай бұрын

Hmmm. I’m new at craft so this is definitely just my opinion too; but I think if you work backwards, it does point to Neo being shot - that moment he sees Agent Smith beat him there to the phone - as the Stunning Surprise #2. If Act 3 is the New World - the New World is first encountered after Neo is resurrected and begins to OWN the Matrix. This is him walking the path fully embracing his new understanding and he’s at the height of his change. If you don’t agree with that, then the rest of my comment won’t follow but if you do entertain that idea, then the stunning surprise has to happen right before that awesomeness in the hallway where Neo is “running” the Matrix. That moment is when the door flings open and Smith is there. They’ve managed to escape out of the Matrix just in time - every other time in the movie but not that one. It happens to the hero. It changes his life going forward. It meets all the criteria…except I don’t see it as the most dramatic moment of the film. For me, that’s when he stands up after he’s been “killed”. Professor does say that Act Three can be short. After he vanquishes Agent Smith, Neo comes back and kisses Trinity. It’s clear they will end up together. And then there’s Neo’s message to the machines via telephone before we see him take flight - because the main enemy hasn’t been vanquished but they establish Neo will continue the fight (in sequels). Again I’m new but it feels like to me that the point you reference as a Stunning Surprise 2 is too early. I feel like that’s the Midpoint when they are standing over Morpheus. I think he gets the expression because it’s all starting to gel in his head and he comes to BELIEVE he can go in and save Morpheus. I think we’re still in Act 2 at that point. I think there’s the part of the movie where Neo doesn’t believe he’s anything special and the part of the film where he’s willing to entertain the idea that he could be special. I feel like the midpoint represents that change in the character’s growth. I think we are in Act 2 Part 2 when Neo and Trinity go in to save Morpheus. When he saves Trinity from falling in the helicopter, when he does that famous Matrix move with the bullets, it’s all starting to make him believe. And the fight between Neo and Agent Smith is the climax of Act 2 - because they fight to a draw and not the climax of Act 3 because he doesn’t win. Act 3 has the final confrontation in the hallway which Neo wins “easily” after he has transformed completely into the New World. New World is not in play while Neo is not able to beat Smith one on one in the train station scene - so that scene and what leads up to it is still in Act 2, I believe. He’s starting to believe which is why he stays and fights Smith but then he runs after they fight to a draw. I think if Professor had discussed the Midpoint in this video, the moment you reference would have fit that criteria. I’ve also heard the Midpoint is seen as the point when the hero stops reacting to what the villain does and goes on the offensive - which is what happens when Neo develops his plan and says he can go in and bring Morpheus back. Again just me thinking it through and my opinion but it’s very interesting looking at Story structure! Take care.

🎯 Key Takeaways for quick navigation: 00:02 🎬 The seminar will focus on mainstream commercial Hollywood motion pictures that were box office hits, aiming to understand how they effectively touched the emotions of millions of people worldwide. 02:31 🧠 Human beings' thought processes and emotional responses to stories have remained relatively unchanged for 2,500 years, highlighting the enduring power of storytelling and the importance of understanding the structure of successful narratives. 04:03 📜 Structure in screenwriting is essential and not a hindrance to creativity. It serves as a tool to provide meaning to the chaotic and ambiguous aspects of life, connecting with audiences on an emotional level. 08:07 🌟 Key elements to establish in a screenplay are a sympathetic active hero, a physically visible high-stakes goal, and a powerful adversary. These elements create the necessary conflict that drives the story forward. 11:08 🎭 There are 14 essential character categories that serve specific functions in visual storytelling. Properly utilizing these categories can enrich the plot and provide meaningful subplots to enhance the narrative. 14:17 📝 Before starting to write the script, it's crucial to have a clear idea, a well-defined ending, and a starting point that emotionally connects the audience with the hero. This lays the foundation for a well-structured story. 21:52 🔄 Understanding the three acts as emotional adolescence (Act 1), a challenging special world (Act 2), and a mature resolution (Act 3) can help shape the character's growth and drive a compelling narrative arc. 24:47 📈 The dramatic tentpoles in each act (inciting incident, stunning surprise one, and stunning surprise two) should escalate the tension and emotional engagement, keeping the audience invested in the story's progression. 27:11 🤯 Hero's assumption about the creature E.T. is shattered, leading to a focused goal of getting him home and saving his life. 28:34 🎭 The stunning surprise occurs 25-35 minutes into the movie, presenting the storyline and shocking the hero and audience. 30:07 😄 In Shrek, the stunning surprise happens when he realizes he has to rescue the princess to get his swamp back. 34:51 😱 In "Collateral," the stunning surprise is when the cab driver realizes he is trapped with a hitman and his life has changed forever. 48:48 💔 In "The Matrix," the stunning surprise occurs when Agent Smith shoots Neo, seemingly killing him and destroying his plan. 53:36 🕵️‍♀️ In "Erin Brockovich," the stunning surprise is the discovery of the smoking gun evidence needed to prove PG&E's wrongdoing. 53:51 🎯 Hero Goal Sequences: Hero goal sequences consist of 3 to 7 pages of screenplay where the hero pursues a short-term physical goal, leading to fresh news that sets up the next goal. 57:49 🔄 Act Structure: Act 1 typically has 6 hero goal sequences with a stunning surprise in the 6th sequence. Act 2 is divided by the midpoint sequence and contains another 6 hero goal sequences, with a stunning surprise in the 18th sequence. Act 3 has 2 to 5 hero goal sequences, with an obligatory scene and a denouement sequence. 58:03 🌟 Conflict and Change: Successful screenplays require strong conflict and continuous change in the story flow. Understanding the unit of change called "hero goal sequences" helps in creating emotionally fulfilling screenplays. 59:27 🤝 Obligatory Scene: Act 3 includes an obligatory scene and a denouement sequence, which are essential for resolution and emotional fulfillment in the story. 01:05:43 🎭 Active Hero: Hero goal sequences ensure the hero is always active in the story, preventing a passive protagonist and keeping the story engaging for the audience. 01:09:25 📚 Script Analysis: Using the hero goal sequence paradigm, writers can analyze and identify weaknesses in their previous scripts, helping them improve storytelling and emotional impact. Made with HARPA AI

This was absolutely incredible.

God bless Eric Edson❤️

Wow. That was enlightening. I wonder if the same Hero Goal Sequences could be applied to one season series too...

@mikesorento8201

3 жыл бұрын

Did you ever find out if the hero goal sequence can be applied to a tv show?

This is pure gold! Thanks so much film courage!

@FilmCourage2

2 жыл бұрын

Thanks for watching!

I love the book.

I think this is "Learning Screenplay Story Structure" lecture audio set to Edson's lecture slides. There was a powerpoint crash in that lecture, along with some other minor interruptions. But this sounds like the exact same lecture but sans video.

Agradezco mucho éste tipo de vídeos

This was great! Eric Edson is awesome! Thanks for uploading these lecture; appreciate your work greatly 🎥💚🎬

Film Courage, thank you-thank you so much for this content. As a film graduate, I have learned the things that I could not learn at the school. I just finished the whole seminar but still stuck with the basic sympathy tools that Mr. Edson mentions at the beginning of the seminar at 6:15. where can i find the related information online? or is there any other seminar which these tools are mentioned?

Just bought Eric's book...both hard copy AND audio version.

Hi and happy new year. I am enjoying the video, and am at the part where he skips over the midpoint. where can I view his concept of the midpoint, please? can someone explain it, if there isn't a video? I think there are multiple and different possibilities depending on what the story requires, but I have no idea what a midpoint's main function is supposed to accomplish other than to make act 2 part 2 different in some ways. for instance, is the midpoint a plot (external) event, or is it a story (internal) reaction? does it cause an introspection which in turn causes the second half of act 2 to be approached differently? or is the character still stuck in his ways/flaw even during and after the midpoint until the second plot point? please help!

Yeeesssss !!!!!

@filmcourage

4 жыл бұрын

Thanks JBS Films! Hope this version is helpful.

Awesome work and teaching!... how can we get a copy of the slide presentation?

@Finians_Mancave

7 ай бұрын

Uh, take his course or pay for his writer feedback services? You can't expect him to give everything away for free. This is, after all, how he makes a living -- as a teacher/consultant.

🙏🙏🙏🙏

If in ACT 1: the hero has to be introduced into his ORDINARY WORLD. He is in a happy condition and then the Inciting Incident HAPPEND that launches the story. Is that right?

What is HGS#3, #4, #5 and #6 in Gravity? The stunning surprise is that the space shuttle gets destroyed. That is the end of act 1 ? Or is the end of act 1 when she gets rescued by George Clooney from tumbling through space?

@madameversiera

2 жыл бұрын

As he explained the stunning surprise must change the course of the entire story. So it is when the shuttle gets destroyed. The act 1 is shorter usually to keep the viewer attention.

@johncookie4415

2 жыл бұрын

@@madameversiera But that means Gravity has only 2 HGS in the first act, not 6.

How can there possibly be any hero goal sequences - let alone 6 - before they become a hero / before the Inciting Incident / Call to Action?! Many many movies have protagonists who are not on any sort of goal chasing until their call to action, right?

@nikkinewbie6014

8 ай бұрын

At the beginning, the goal sequences don’t have to be related to the big overall story goal yet. They should hint at what’s to come I think because your Story should start on a special day in the normal world. The early goals simply have to be something that the protagonist is trying to achieve that logically takes place before the plot points you mentioned. It makes them seem active and shows us who they are through their behavior and action. Professor Edson has a breakdown of the Hero Goal Sequences in a PDF for Back To The Future and Bridesmaids. I think the first goal sequence in Back To is just Marty leaving Doc’s house running late to get to school in time to audition with his band to play at the school dance..or something like that. That makes it a special day in his status quo before the inciting incident because he’s auditioning and following his dream to be a musician. This ties in big time with the movie’s events and theme but it’s not earth shattering in of itself. But it is a goal he’s actively pursuing - to get that gig😂 The scene ties in to the pivotal moment in Act 2, when he has to play in a band for his parents to dance and have that first kiss. So it ties in to the overarching goal of the story - even if we don’t see how yet! Also, I remind myself that the hero goal sequences still have to fulfill their Act 1 specific duties like establishing the normal world / status quo and to get us emotionally attached to the hero and other key characters. The goals don’t have to be huge or extraordinary but they have to move the story forward somehow and keep the hero’s situation changing either directly or indirectly I guess if you’re showing a scene where the villain is working his plans to obstruct the hero. Try going to Professor’s website for those downloads. It’s really helpful to see an entire movie mapped out. If you can’t find it, reply and I can try to steer you to where I found it. I have it saved as a resource but haven’t studied it in depth yet because I want to watch the movie and follow along at the same time but haven’t had time to do it that way. I’m actually trying to WIP a novel, not a screenplay, but Story is Story and I’m mindful of some of the differences inherent in the medium used - but I’m getting tons of applicable information about craft from Professor Edson. He’s got his own section in my Craft of Writing binder. ☺️ Take care!

He never covered the midpoint:/

Great stuff, but as a native Houstonian, I feel compelled to point out: it's Houston, not Huston. 1:02:32

Set playback speed at 1.5x thank me later

Edson's 23 "hero goal sequences" are plot points. Watch Adam Skelter videos on 4 Act Structure. Skelter calls Edson's sequences/actions plot points (as does everyone else). Act I (6 plot points, 2 x 1/8 sequences); Act II (first half, 6 more plot points, 2 x 1/8 sequences); Act III (second half of act II, 6 more plot points, 2 x 1/8 sequences); Act IV (this is act III, 6 more plot points, 2 x 1/8 sequences). Adam defines it to be 24 plot points (the way he was taught it). Edson states 20-23 (depending on subplots/relationships that need to be tied up, from early video releases). Some key plot points.... PP1 (hook), 3 (inciting incident or impetus), 6 (dramatic question, start of act II), 7 (subplot), 12 (midpoint), 13 (subplot), 18 (low point, start of act III), 21 (climax), and 24 (new world / resolution). Skelter defines acts as MC strategy changes. Edson defines acts as levels of maturation. Same stuff, just different packaging to confuse people (i.e. sell books and/or seats in his course).

@christophergallimore5529

4 жыл бұрын

Damn. You hit right on the button. Confuse people and sell they products.

@Damacles9

4 жыл бұрын

Just like what Hollywood wants: more of the same but different; the twist. We could say Aristotle has been ripped off and repackaged too ad nauseum, however, rewording could just make the big ideas "click" better to some people who want to pursue this endeavor. Poetics is less of a good read than Edson, Skelter, or Truby, et al. Good point you made.

@GridironMasters

4 жыл бұрын

Skelter and others call them plot points which led me to believe that they could be defined as a this happens- this happens- this happens etc. However, the fact that Edson calls them GOALS really changed the way I understand them. It implies change and pro activity. It made so much sense and lifted a burden of vagueness. To edson there are certain things that can qualify as goals, certain emotional changes that need to happen each scene etc. To me that was valuable and not identical to what Skelter says. Structure in writing is a lot like musical forms. Binary, Tertiary, Rondos, Symphonies, through-composed etc. These are all musical "shapes" that have been used countless times but people come along composers and theorists alike and add something unique within these shapes or create a new shape that is then used by others and theorized about. It's the same in Philosophy, Science, Business etc. Similarity or overlapping elements of theories does not constitute repackaging. In every area of human study someone comes along and adds some degree of insight to existing knowledge. Edson does it here like many other have before and likely will in the future.

@grossbrosparodies9610

4 жыл бұрын

Nailed it man. Good stuff.

@ziedmeddebhamrouni3315

4 жыл бұрын

They basically the same with others also. The Name change with slight or minor subtle differences, but they are mainly saying the same. The best to do is maybe to take advantage of them all and fusion them into one approach : Yours.