1. 1 Lecture 15: How do I Develop a Longer Script? Professor Christopher Bradley Jaws (1975) Written by Peter Benchley (novel and screenplay) and Carl Gottlieb (screenplay)

2. Previous Lesson Keeping on Track Approaching Revision Writing Exercise #13 Jaws (1975)

3. This Lesson Approaching the Feature Length Script Jaws: Act I Jaws: Act II Jaws: Act III E-board Jaws (1975)

4. 4 Approaching the Feature Length Script Lesson 15: Part I Jaws (1975)

5. Feature vs. Short As we have seen, the feature differs from the short in several important ways including: –Thematic material –Audience sympathy with the protagonist –Number of subplots –Nature of the antagonist –Length and complexity of the set-up However, as we have also seen, most of the same elements of storytelling exist in both. 5

6. Act I: The Set Up Inciting Incident Problem and sub-problem (related to conflict and theme) Main Exposition Visual interest Raise questions/be compelling Open up a world at least slightly different than ours Jaws (1975)

7. Act II: Development Accelerating Conflict (Cause and Effect) The Midpoint (Pseudo- Solution) First Major Loss Second Major Loss The Big Pit Climax Resolution Jaws (1975)

8. Act II: Development (Continued) Surprise –Mystery –Suspense –Dramatic Irony A Flawed Protagonist A Strong Antagonist Jaws (1975)

9. Act III: The Pay Off Revelation Crisis Climax Resolution Jaws (1975)

10. 10 Jaws: Act I Lesson 15: Part II Jaws (1975)

11. The Inciting Incident The inciting incident in Jaws is near the movie’s opening when the young girl goes out swimming and is attacked. After this point, balance cannot be restored to the community until the problem set in play by the inciting incident is solved. Pause the lecture and watch Clip #1. 11

12. The Problem and Sub-problem The problem in Jaws is that a great white shark has staked a feeding claim off the coast of a summer resort island and is eating swimmers. The mayor insists that the beaches stay open even though people are being killed. The sub-problem is that the sheriff is unable to confront his fears. He is unable to confront the mayor with enough force and unable to confront a water-dwelling antagonist. 12

13. Problems, Conflict and Theme The problems are clearly related to the conflict. The protagonist (Chief Brody) must try to eliminate the danger of the shark. In pursuing this goal, he comes into conflict with the mayor, the shark and with himself. The problems are also related to theme: –Wealth vs. the middle and working class –Man vs. nature 13

14. The Main Exposition There is a great deal of exposition in the first act. Among other things we learn: –About Chief Brody and his family; significantly, we learn early on that they are outsiders. –About the character of Amity, the values of its people, and how it sustains its economy. –About sharks and what they are capable of. –About Quint and what he is willing to do. –About Hooper and how he can help. 14

15. Visual Interest Even though Jaws has a lot of dialogue, the screenplay allows for much of the story to be told in actions and images. There are frightening scenes on the ocean and the beach that work mostly because of the way action, characters, images and location interact with little dialogue. –The opening scene –The scene with the two fisherman and the roast Pause the lecture and watch Clip #2

16. Raising Questions The movie raises a number of questions in the first act to keep the audience interested: –What is the nature of the shark and how dangerous is it? –How much more damage/terror will it perpetrate? –Will it be caught and how? –Will Chief Brody triumph over the amoral mayor? –Will Chief Brody conquer his fears/inadequacies and be able to act to solve the problem?

17. Opening Up a Different World Though Amity bears resemblance to beach towns of the time (the movie was filmed in Martha’s Vineyard), it is not a real place. It is strangely self-contained; despite the problems it is having, it has very little contact with the outside world. The shark problem is one that few of us would ever have to deal with. Specific, unique characters. 17

18. 18 Jaws: Act II Lesson 15: Part III Jaws (1975)

19. Momentum and Focus Maintaining the momentum in a feature- length screenplay is clearly more difficult than maintaining it in a short. The key is developing lots of conflict, and inventing enough complications, obstacles, triumphs and setbacks for your protagonist – usually about 60 pages worth in Act II. Maintaining the momentum depends on the strength of the set-up, problem and goals. 19

20. Accelerating Conflict Remember, the acceleration of conflict works on a cause and effect basis: your protagonist takes action, meets reaction, every scene increasing in intensity. In Jaws, Brody is fighting on three fronts, against the shark, against the mayor and against himself. Up until the midpoint, there are a series of actions and reactions as Brody fights the antagonists with mixed success. 20

21. The Midpoint Finally, at the midpoint, Brody triumphs over the Mayor, convincing him to hire Quint to kill the shark (this comes almost exactly at the actual midpoint of the film, about 62 minutes in). The second half of Act II now focuses on the battle against the shark – though the rest of the act is also developing an additional adversary for Brody in Quint. 21

22. Reversals The midpoint, when Brody triumphs over the Mayor, is one reversal. Some other reversals: –At the end of Act I, a shark is caught that turns out not to be the real shark. –Brody’s resolve is strengthened when he is blamed for the child’s death. –The shark kills Quint, their best weapon. –Brody kills the shark. 22

23. Obstacles and Complications Chief Brody, Hooper, and later Quint face a number of obstacles and complications as they pursue their goals, including: –The beaches being re-opened –Lack of cooperation and obfuscation by the mayor, selectman, coroner, citizens of Amity –Ignorance/lack of knowledge –A shark that’s bigger than previously thought –Quint’s obsessiveness –Tools and weapons that don’t work 23

24. A Flawed Protagonist Chief Brody is a classic flawed protagonist. The screenplay gives him a number of weaknesses and shortcomings including: –His fear of water –His naiveté about the ways of the town –His ignorance about everything nautical –His ignorance about sharks –His mistakes in giving into the town selectman 24

25. A Strong Antagonist Brody faces an extraordinarily strong antagonist. Not in a classical sense, that is, a human foe that matches him step for step, but this antagonist is extremely powerful, and the shark’s goal clearly conflicts with Brody’s goal. He actually faces four powerful antagonists at different points in the film: the shark, the Mayor, Quint and his own weakness. 25

26. The Pseudo-Solution The pseudo-solution in Jaws comes near the midpoint, when Brody is given the resources to make the beach safe. However, when this fails (the shark throws everybody off by feeding in the estuary) the protagonist must make the choice to hire Quint to kill the shark, which everyone thinks will work. But no. Something greater is being asked of the protagonist. 26

27. Revelation In addition to the revelation about who Brody is in the clinch moment, we have other revelations. One major revelation comes when Quint reveals that he was on the Indianapolis. This explains his behavior and leads to another revelation – that the three men are in trouble and on their own.

28. Crisis There are a number of crises in Jaws, which force the characters to take action. The main crisis occurs when the conflict intensifies and increases, causing the action to rise for the last time. The main crisis leads to the film’s climax. The main crisis happens when the men are stranded, the boat is sinking and the shark is now actively attacking them. Pause the lecture and watch Clip #3.

29. Climax The climax is the highest, most exciting point in the drama, where the conflict must finally be resolved, putting the world of the movie back into balance. In Jaws, the climax comes when Quint is eaten, the ship is almost completely sunk and Brody blows up the shark. Notice how the solution to the problem is foreshadowed earlier in the film. Pause the lecture and watch Clip #4

30. 30 Jaws: Act III Lesson 15: Part IV Jaws (1975)

31. Resolution Jaws has a very short resolution – the shark is killed and Brody and Hooper will evidently survive to bring the happy news to Amity (unless they are eaten by another shark on the way to shore). The resolution is only a minute or so long – the screenwriter realizes that tying up loose ends involving the characters and the town will be ultimately anti-climatic. 31

32. 32Assignments Lesson 13: Part V Jaws (1975)

33. 33 E-Board Post #1 How are the themes of Jaws discussed in the lecture – man vs. nature and wealth vs. the middle and working class – manifested in the film? Are there other themes present that I didn’t mention?

34. 34 E-Board Post #2 Discuss one or two of your ideas for full length screenplays.

35. Screenwriting Competitions Screenwriting Competitions http://www.moviebytes.com/directory.cfm

36. What You Take Away What You Take Away A Beautiful Mind (1975) Screenplay by Akiva Goldsmith Based on the book by Sylvia Nasar

37. Creating Meaning Creating Meaning Aristotle’s Model

38. Creating Meaning (Continued) Creating Meaning (Continued) Copernicus’ Model

39. Use Rejection to Make You Stronger Use Rejection to Make You Stronger Godzilla (1954) Written by Ishiro Honda, Shigeru Kayama and Takeo Murata

40. End of Lecture 15 End of Lecture 15 Congratulations, you’ve finished the course! Muriel’s Wedding (1994) Written by P.J. Hogan