Keeping Act 2 Alive

It’s been said all too often that if a film is going to die it will be in Act 2. Of course, the reason it is stated so often is because it’s true. There are several reasons for this prophetic Act 2 nightmare:

  • Writers that lose focus stray from the spine of the story or distort the throughline during the longest act.
  • Writers sometimes stick in favorite scenes that don’t fit the story.
  • Writers get into creating dialog instead of action.
  • Writers lose track of the stories pace and slow down the story, or speed it up so fast that the audience can’t learn about the characters.

The only way to avoid these issues is to write in keeping with the story’s momentum. Every scene participates in the momentum of the story by setting up the main character’s goal, which leads to his action, which forces a reaction or a complication, which drives the audience to have to see the next scene.

This cause and effect, or action and reaction pattern, moves the story to the next scene in an interesting way that draws the audience deeper into the story. These complications can be in the form of:

  • Barriers that must be overcome or skirted.
  • Delayed pay-offs of the action points.
  • Reversals that change the direction of the story.

The reversal is typically used at one of the turning points or at the midpoint in film.

There are several test questions you can ask yourself as you evaluate each scene for its potential addition or subtraction to the story’s momentum.

  1. Does the story gain momentum through action or does dialog force it to advance?
  2. What types of complications are in the story and where are they located?
  3. Are the complications organic to earlier dramatic elements in the story?
  4. Are scene sequences used to set up the complications?
  5. Is the scene aligned with the throughline?

The key is that all actions in a story must be connected to the throughline and to the action that precedes it and follows it. It would be prudent for writers to also remember that dialog can take away from momentum and should therefore be used sparingly.

Copyright © 2013 by CJ Powers
Photo © Denis Aglichev – Fotolia.com

Trailer Elements that Generate Buzz

I recently watched a trailer for a new independent film that seemed to be a mini story in its own right. The clips were so well put together and the ending so clear that I was completely satisfied and didn’t need to see the film. That same day I saw another trailer that gave me just enough information to be curious, which drove my need to see more. Curiosity festered within me until I had to see the film.

© Ilyes Laszlo - Fotolia.comTrailers must create that sense of desire and curiosity to draw an audience. By raising a question in the audience’s mind, the filmmaker forces the audience to seek out the answer and purchase a ticket. Unfortunately, filmmakers struggle with knowing what part of the film should be promoted and what part withheld for for the film’s theatrical release.

This delicate balance can be achieved using a few rules:

USE SET PIECES FROM FIRST HALF OF MOVIE – Set pieces are scenes that are designed to have an obvious imposing effect on the audience and many times end up in trailers. They are also the scenes that stand out and say this film is unique and special. When done correctly, the scenes are easily remembered and generate a good deal of marketing buzz.

A strong set piece withstands the test of time. Many remember the light saber battle between Darth and Obi-wan Kenobi. Another iconic set piece was the scene where Indiana Jones runs away from the giant boulder. I’ll never forget the DeLorean racing across the wet mall parking lot and seeing it vanish into a pair of fire trails in Back to the Future.

Set pieces distinguish a film and drive the buzz that skyrockets a title to success. It becomes the story’s leverage to entice audiences to shell out money for tickets. It also tells the press that the film is new and fresh, making it newsworthy and promotable.

USE ACT ONE HERO AND PROBLEM SET UP – The hero has to be likeable or his situation relatable to the audience. By introducing him in a humorous way, or by establishing some form of crisis that people can relate to, will all help build a desire in the audience to find out how the hero will deal with his dilemma.

Establishing the hero’s flaw or problem is also prudent, but only using enough of it to establish the question of how it will be solved. “Why” answers satisfy and “what” answers generate conversation, which leads to ticket sales.

NEVER USE ANYTHING FROM ACT THREE – By act 3, the audience knows exactly where the story is headed, but don’t know how they will arrive at the climax. If something is used from act 3, it’ll be too easy for the audience to determine the film’s outcome before they see the movie. Act 3 elements are sacred and are considered off limits in the promotion of a film.

DON’T USE THE THEME – The theme is typically associated with some form of moral or social lesson. It’s a part of the story that should never be revealed during promotions because once a person understands the lesson there is no longer a need to see the film. Many times the lesson might seem forced unless it’s properly woven into the full story, which a trailer can’t do.

RAISE THE UNIVERSAL QUESTION – Every film raises a question in the audience’s mind that needs to be fulfilled or completed. The trailer also needs to raise the question, but in a way that causes the audience to wonder how the hero is going to accomplish it. This drives the audience’s desire to see the film and find out how the hero succeeds.

The above rules will keep the filmmaker safe from giving out important information that needs to be saved for the film.  It also positions the filmmaker’s mindset to focus on the action he wants the audience to take – purchasing a ticket so he or she can watch the film and  answer the question haunting his or her mind.

 

Copyright © 2013 By CJ Powers

7 Elements of a Great Movie Poster Design

Reprinted blog by permission of Mathew Carpenter @matcarpenter

Big movies are a huge business, as the success of films such as Avatar and The Dark Knight suggests.

Billion-dollar revenue figures aren’t all that uncommon today in cinema, placing many major movies alongside companies such as Facebook when it comes to revenue.

With so much riding on a film’s success, marketing one is a massive opportunity for creative designers.

We’ve looked at some of the most effective film marketing materials out there – the promo posters that have been used on modern releases and older movies – and established some key elements that have contributed to their success.

These aren’t just commercial successes either – everything from smaller cult movies to huge blockbusters benefits from these 7 simple movie poster design elements.

1. Attention – jump out from the wall.

If there’s one simple sales formula that everyone in a performance-based position should know, it’s AIDA. The four-step formula – attention, interest, desire, and action – has been used as the basis of thousands of successful movie advertising campaigns.

The first step, and the one most important for designers, is attention – grabbing the attention of passers-by and encouraging them to look.

This doesn’t have to be achieved with provocative pictures or flashy graphics, although given their advantage at grabbing attention, it’s no wonder Hollywood’s turned to them en masse.

By using the film’s characters or a major plot point, designers can establish some level of plot while still gaining the attention of anyone that views the poster.

Check out The Hangover posters above for a classic example. None are particularly beautiful, nor are they real iconic designs, but they’re very effective at getting people to look.

The flashy gradient background, head-and-shoulders character pictures (which can improve response rate,) and bright lighting make it difficult not to stare at one of these posters.

2. Iconography – showing without telling.

The most effective movie posters are iconic, presenting the themes in the film without resorting to flat out saying what it’s about.

They use imagery, whether a close-up of a character or item that’s a major plot point, or a simple graphic, to establish the film’s plot. Combined with an eye-grabbing design, this can be an incredibly effective way to gain attention and create interest at once.

The Jennifer’s Body poster above is a classic example of this, albeit one that borrows quite heavily from True Blood.

It uses tactics honed in on by advertisers over the decades – sex appeal, contrast, and spacing – to grab your attention.

At the same time, it also gives a glimpse into what the film is about. This allows it to market to casual observers and horror fans at once, all through imagery.

3. Interest – create an incentive to see the film.

When using icons and more abstract imagery doesn’t work with your film – say, for example, it’s a serious drama or a thriller that can’t be explained with iconography – using an image that provides viewers with an idea of the story is a great idea.

Many of the best modern film posters use pictures that put the viewer in the middle of a scene from the film, creating tension and a major incentive.

The incentive is that in order to resolve the situation, the person looking at the poster needs to see the film and find out what happens.

The Inception poster above uses this strategy – it puts viewers in the middle of a scene from the film that can only be explained by seeing what occurs before and after it. As a result, the curiosity created by the poster translates into on-the-spot ticket sales.

This type of design strategy tends to work best with films that cover unrealistic, fantasy-type events, particularly those that deal with the supernatural or psychological.

Since it’s hard to offer insight for this type of story using icons and simple colors, a still from the film can work wonders.

4. Appeal – create desire with fans and non-fans alike.

With film studios cranking out comic book adaptations at a rapid pace, it’s the ‘true fans’ that end up last in the marketing line.

Studios can rely on them to see their new releases regardless of its review coverage or promotional materials, since chances are fairly strong they’re already aware of it. Great film posters, particularly those for adaptations, use this dual appeal to enhance their advertising.

Look at the Inglourious Basterds poster above. It’s made by one of the world’s most celebrated and well-known film directors,yet it barely states his involvement on its promotional poster.

The reason is that Quentin Tarantino fans are probably already aware of the film itself – it’d spend several years in production before finally being released – while newer fans are less interested in its history.

Compare this type of promotional poster to the marketing materials used for films that draw appeal from the involvement of a certain actor.

Since fans’ ties with actors are generally weaker than those with directors or producers, their names usually appear in large print to grab attention. The stronger the audience’s bond, the less important it becomes to highlight features that appeal to current fans.

5. Style – a look that’s consistent with the film.

Whether you’re marketing an art film or a blockbuster, style matters. Some of the most memorable film posters out there have used bold, unique artistic styles to their advantage.

What separates these posters from their ineffective art-for-art’s-sake rivals is that they’re consistent with style, in both the movie’s promotional materials and throughout the film itself.

The poster for Watchmen above is a classic example of this technique succeeding. Since it uses an instantly recognizable comic book style, it grabs the attention of fans of the book.

It’s accurate too, using the same type of stylized imagery as the film itself. This consistency means that it isn’t just a great theater-based marketing tool, but a recognizable image for DVD and other releases.

6. Lasting Appeal – a look that suits other formats.

Here’s the danger in getting too ‘arty’ and delicate with your film poster: it’s eventually, after release and theater shows, going to be shrunk to a fraction of its original size for the DVD release.

While a growing number of films now use different designs for their DVD cover than their in-theater promo posters, most of the classics and high-budget blockbusters still use the same poster for both.

This means that your imagery, your titles, and your major points of interest need to be just as visible on a small DVD case as they are on a giant movie poster.

The Jurassic Park poster above really gets this feature, using imagery that’s just as visible and clear when it’s small as when its gargantuan. For your poster to work for the long-term, it needs to have scalable, clear, and lasting design appeal.

7. Recognizability – if it’s a sequel, make it obvious.

From time to time, the entire box office seems to be made up of sequels.

There’s a good reason for it too – some of the most financially dependable films are sequels to successful franchises.

From films that dominated both the commercial world and the awards scene to purely commercial releases, few films can guarantee studios income like a good sequel.

That’s why sequel posters tend to be highly related to the first release, generally with a giant title in the top third of the canvas and instantly recognizable imagery throughout it.

The Godfather and the two sequels in the franchise are a great example – all three use the same style and design, using the critical and commercial success of the previous films in the franchise to draw in would-be viewers.