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Author Topic: Re: Fight sequences  (Read 1070 times)
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uncle_al
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« Reply #2 on: February 08, 2007, 02:58:26 PM »

If you start with three heroes (Charlie's Angels) you end with three heroes ... if you start with one, you're best to end with one. Otherwise, you run the risk spreading the focus from one central character to others that don't matter, in the end.
Another example, the first Star Wars {a/k/a Episode Four}.  The hero?  Luke.  Who triumphs at the end? Luke.  Han and Chewbacca help, especially at the end of the Death Star Trench sequence, and Obi-Wan is there in spirit to guide Luke, but it is Luke that must feel the Force, use it, and fire the proton torpedo at precisely the right moment to have it sucked down the thermal exhaust port.

As an aside, I've always wondered... if they have to fire a torpedo into a port that is flush with the skin of the Death Star, then why didn't they come at it from space?  Firing at a target that you're pointed at is a lot easier than trying to have it curve into the port.  Of course, that would have eliminated the need for the whole trench sequence...

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« Reply #1 on: February 04, 2007, 07:33:40 AM »

Do these spirits just appear ... or does our hero finally and successfully accomplish what he has previously been unable to do -- just when they're needed most?

What is their purpose in being there at all?

Also, it might be better if they help HIM and not help him fight, per se. A neat and tidy ending where the hero gets too much help makes the audience feel cheated. They want to root for him ... they want him to struggle against all odds, summon the strength from seemingly out of nowhere and triumph over evil in the end.

Be careful you're not "diluting the focus" at the climax. If you start with three heroes (Charlie's Angels) you end with three heroes ... if you start with one, you're best to end with one. Otherwise, you run the risk spreading the focus from one central character to others that don't matter, in the end. The result is usually a weak ending where the focus is shared between too many characters and the impact diluted. Just a thought.
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« on: February 03, 2007, 01:50:45 PM »

In the conclusive fight sequence of my script, two new, never introduced Huh characters appear and help the protagonist fight the antagonist. This is horror and the characters are spirits. Most screenplay textbooks stress that the hero (protagonist) gets himself -- by himself -- out of any dilema the script has gotten him into to. The thrown rocks, up the tree scenario. But I've seen films where there are exceptions to this rule. What is your opinion?
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