1 Lecture 14: The Climax and the Resolution Professor Christopher Bradley Singin’ in the Rain (1952) Screenplay by Adolph Green and Betty Comden Suggested by the song “Singin’ in the Rain” by Arthur Freed and Nacio Herb Brown

Previous Lesson The Epiphany 2 Jaws (1975) Screenplay by Peter Benchley and Carl Gottlieb Based on the novel by Peter Benchley

In this Lesson The Final Showdown with the Antagonist 3 Taxi Driver (1973) Screenplay by Paul Schrader Tying Up the Loose Ends

The Climax! 4 Lesson 14: Part I Singin’ in the Rain (1952) Screenplay by Adolph Green and Betty Comden Suggested by the song “Singin’ in the Rain” by Arthur Freed and Nacio Herb Brown

Increasing the Pressure We’ve been increasing the pressures on the characters for the entire story, and now is the moment when everything cracks open! 5 Taxi Driver (1973) Screenplay by Paul Schrader

Just Before the Climax The protagonist has had an epiphany. What he or she must do becomes clear. The protagonist has created a new plan. The stakes are higher than ever. 6

The Climax If there was a bomb with a ticking clock, now is the time the bomb explodes! 7 Taxi Driver (1973) Screenplay by Paul Schrader

The Climax The protagonist has his final showdown with the Antagonist. The new plan works, or in some cases, it does not, depending on your story. In some of the best stories, the protagonist fails or succeeds in an unexpected way. The climax should resolve plot and subplots simultaneously, if possible. A greater truth emerges. 8

The Climax: “A Greater Truth” All great films have a broader subject matter, a theme or, as McKee calls it, a Controlling Idea. It extends beyond the particular story a screenwriter tells. A Controlling Idea is the unifying idea of a story. It is concerned with a universal concept such as love, honor, identity, ambition, greed, etc. The universality of themes ensures that the audience will relate to a story on a deeper level. 9

Example 1: Singin’ in the Rain If this doesn’t work, Kathy’s career will be ruined, Don’s love life will be ruined, and R.F. will have lost his soul (and control of his studio). Let’s watch the climax of Singin’ in the Rain. 10 Singin’ in the Rain (1952) Screenplay by Adolph Green and Betty Comden Suggested by the song “Singin’ in the Rain” by Arthur Freed and Nacio Herb Brown

Example 2: Taxi Driver If Travis fails, he will forever be a nobody, a mediocrity, never a hero (or at least his flawed idea of what a hero is). Let’s watch the climax from Taxi Driver. 11 Taxi Driver (1973) Screenplay by Paul Schrader

The Resolution Lesson 14: Part II 12 Jaws (1975) Screenplay by Peter Benchley and Carl Gottlieb Based on the novel by Peter Benchley

Your Theme or Controlling Idea You might not know your theme beforehand. You might discover it as you write. Your theme might surprise you. Themes grow out of what you believe to be true. They grow out of your experiences and discoveries. 13

Discovering Your Controlling Idea “The most personal stories are, conversely, the most universal.” --Bob Rosen, the Dean of the School of Theatre, Film and Television at UCLA “If you’re moved, the audience will be moved.” -- Aristotle 14

Resolution Providing an opportunity to resolve any unresolved subplots. (How do you do this and not overstay your welcome?) – Providing an opportunity to show some of the results of the climax in the larger world – Giving the audience a moment to collect their emotions and reflect 15

Example 1: Jaws As far as Chief Brody knows, everyone but him is dead. The film’s theme, “Arrogance kills” is underlined by the fact that Hooper survives. Let’s watch the resolution of Jaws. 16 Jaws (1975) Screenplay by Peter Benchley and Carl Gottlieb Based on the novel by Peter Benchley

Example 2: Little Miss Sunshine Olive has lost the contest, but the family has been set free. The film’s theme, “You make your own rules” is underlined by their exit from the parking lot. Let’s watch the resolution of Little Miss Sunshine. 17 Little Miss Sunshine (2006) Screenplay by Michael Arndt

Assignments 18 Lesson 14: Part III Taxi Driver (1973) Screenplay by Paul Schrader

19 E-Board Post 19 Post the final 15 pages of your Second Act, including (most likely) your protagonist’s Epiphany, the Climactic Moment of your story and a brief (1- to 5-page) Resolution. As always, remember to continue developing your subplots and to be re-writing your earlier pages!

End of Lecture 14 End of Lecture 14 Next Lecture: The Re-Write and The Business 20 Little Miss Sunshine (2006) Screenplay by Michael Arndt