SEQUENCE ANALYSIS.
During the opening scene of Madame Webb or what Paul Guilino describes as sequence A in his 8-sequence movie structure, audiences are introduced to Casandra (Cassie) Webb. My group thought we could best classify the scenes where Cassie’s mother dies, and Cassie is given her powers as a baby. The importance of the A sequence is to set up the protagonist’s life before they are faced with any dilemma or controversy.
For sequence B, which aims to set up main tension in the film, my team found that Cassie’s car accident and first experience of seeing the future/possible futures fit well as it drew attention to an uncontrollable power force that Cassie possessed.
This is then followed by step C (The first attempt). This step can best be shown through Cassie’s first major conflict that is linked to her abilities. While on the scene of an accident she struggles to make sense of her conflicting future visions. Although having an uneasy feeling about her new visions Cassie doesn’t intervene as she sees them begin to unfold in front of her and ultimately discovers she could have prevented her co-worker and friends’ death.
When Cassie uses her abilities to save a small bird in her apartment, and then to save three girls lives aligns with Guilinos definition of sequence D where he claims the “protagonist [will] try one or more desperate measures to return his or her life to stability.” (Guilinos 2014) I also feel that the introduction of the three younger girls that Cassie takes under her wing could fit well into sequence E.
Sequence E focuses on the characters phase where they work through the issue the faced ‘in the first culmination’ (Guilious 2014) We chose to put the moment during the movie when Cassie takes the three girls whose lives she saves to protect from harm.
In Sequence F we find Cassie learning the reason the antagonist is after the three girls. In this part of the sequence the main conflict is supposed to be resolved. This is where Cassie learns why she has the abilities she does.
In sequence H we find the final resolution. This is where Cassie, whilst saving the girls yet again, is paralysed and blinded but still has the ability to see and control the future.
WEEK 5 POST.
Since beginning the class: The Plot Thickens, I have found it insightful to learn about the different formats or ways that scenes and movie sequences can be put together. This has completely opened my eyes to the ways movie scenes are crafted. When entering this course, I really didn’t think about the importance of structure in relation to scenes and movie plot. I assumed that the way a movie/show was structure was just one large story that unfolded line by line. Once taking part in activities such as creating beat sheets and looking into readings that distinguish the difference between Story, Plot and Narrative I began to find myself watching movies through a new lens. This majorly stood out to me whilst watching Dune Part 2 in the cinemas. I found myself not only enjoying the movies overall story and plot, but the way each scene was masterfully planned, and the way conflict was delt with in each sequence of the movie.
In relation to what makes a good movie plot twist, movies that have stood out to me as having an entertaining and catching plot twist would be the movies that fully engross the audience in the characters and story before presenting the twist. I have found that the plot twists I find most emotional or effective have been those from movies where I am very emotionally invested in the story and its characters. An example of this would be A beautiful mind. During watching this movie, I was highly invested in the main character, who turned out to be struggling from mental health issues effecting the whole movies vibe and outcome.
Another important element of a good movie plot twist is timing. Timing the right moment for the twist to take place is crucial to the reaction received by the audience. There is no point having a plot twist at the very beginning of the movie or too far at the end of the movie (which would become more of a cliff-hanger).
REFERENCE:
Gulino, P (2014) Screenwriting: The Sequence Approach, Bloomsbury Publishing