The great challenge in writing a feature-length screenplay is sustaining audience involvement from page one through 120. Screenwriting: The Sequence Approach expounds on an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole.
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The great challenge in writing a feature-length screenplay is sustaining audience involvement from page one through 120. Screenwriting: The Sequence Approach expounds on an often-overlooked tool that can be key in solving this problem. A screenplay can be understood as being built of sequences of about fifteen pages each, and by focusing on solving the dramatic aspects of each of these sequences in detail, a writer can more easily conquer the challenges posed by the script as a whole.
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?Screenwriting: The Sequence Approach? like it?s most famous predecessor ?Screenwriting: The Foundations of Screenwriting? by Syd Field is nothing but preposterous nonsense. Mr. Gulino's thesis is that all films can be separated into eight divisions which are nothing more than subdivisions of the Aristotelian three act structure.
He attempts to prove that this eight sequence ?Paradigm?, for he too insists he has formulated a paradigm, is the secret to writing successful movies; but he seems to be confused as to whether he is writing a book of film analysis or a technical book on the actual writing of a screenplay, and just as Buridan?s Ass starved when poised between two courses of action, Gulino?s book is intellectually starved so as to present nothing but malnourished and sickly theories.
One of the most preposterous pieces of writing occurs in the first chapter wherein he writes:
?In ?North by Northwest?, the tension surrounding Roger trying to clear his name is resolved 77% of the way into the movie?
How he came to such a definite percentage remains unsaid in his book. He likewise remains mute as to how he calculates the following:
?In ?Nights of Cabiria?, Cabiria gets her love and respectability when the man of her dreams proposes to her 82% of the way into the movie?
It is impossible to take seriously any author who can write such nonsense.
He goes on to elaborate on how all eight sequences, labelled A thru to H, contribute to the structure of the screenplay as a whole and what each structure ought to contain in the most vague and abstract of descriptions using only a few selected examples to buttress his weak and tenuous theories.
When Mr. Gulino writes ?My analyses seek to uncover the sequence structure that exists in these films? what he really means is that he intends to impose his spurious paradigm upon these films with the same blinkered mentality with which tyrants, despots, and infants are wont.
