I find a lot of sense in this 8 sequence approach . Divide a script in 8 parts and probably 4 scenes in each part . Then consider each scene as a independent unit , that has its own entertainment value alone. And it is hooked to previous and next scene, like a string of pearls. I have observed there are hundreds of scenes from various movies , that gives lot of viewing pleasure , if we view them alone , regardless of watching the full movie. The coffee shop scene, for instance.
I've been reading his book Screenwriting- the Sequence method. Terrific book. It's like the Bohr Model of the Atom, finally it all starts making sense at the atomic level. I can 'see' how a script is supposed to work. And what I think makes it even more valid is I can now see where in a script, every piece fits, but doesn't have to be just one way- it's not a formula, Gulino's approach is more of a basic theory of how the parts work; within that theory are infinite ways of doing things. My nature is that as soon as I learn a method or system, I've always started to think about ways of tweaking it.Gulino is right with this from the start. If there's one big idea it's that a movie has to remain interesting to engage the audience. There are limits. If some things go on too long, the audience loses interest, almost no matter what. (How many macho action movies neat the end when the two guys are battering each other endlessly and you just want to fast forward.)
I still feel lost, but I love this guy!!! I could listen to him for a billion sequences. He actually distracts me from even beginning to write, because he’s just so dear and incredibly humble. He’s so rare and knows so much. What a beautiful soul he is! He makes you completely forget about writing, just to be able to enjoy his kind presence forever. And that’s what life is all about. It’s what he emanates... To be able to capture “that” essence on film is why Film Courage and this dear teacher both deserve an Academy Award.
I hadn't thought of this approach but, like much advice given on this channel, it has opened up a new way of thinking for me and it is so exciting to try these new ways. Thanks Paul and thanks Film Courage - awesome stuff!! :-)
Interesting take. I have started a screenplay based on connecting my flash fiction published years ago. As I listened, it occurred that I was writing mini scripts or sequences. This is a different approach for me and I am quite enjoying it. 😁
I haven't tried it because I haven't heard about it before, but it fits really well with the story I'm writing now, so I'm actually gonna use it when I rewrite the script! Thanks!
Steven Spielberg modeled "Raiders of the Lost Ark" on 7 acts - each with their own cliffhanger - because that's what he grew-up with. 8 sequences is more or less the same thing.
1) Can a sequence be 60 seconds instead of 15 minutes? 2) he said " if I care about the character " 5:28 So the question is what makes the audience care. And what should we show them? to make them care.. Anyone have any answers?
That's the art part of writing. Emotion and making it appear. Craft is maybe 50% of what is needed but the other 50% is the art of developing genuine emotion in an audience.
Simple. Have the character "save the cat" or in other words, have them display an admirable trait. You can make people care about psychopaths by having the person let a cat in out of the rain and give it a bowl of food. No dialogue needed or any vocalization of their character. Simply have them display an admirable trait. You can even layer this to show negative aspects of their character while showing them doing the admirable thing. We sometimes admire things that aren't necessarily good. For example you could have a scene with a bunch of corporate people in a regular job. The boss is rude and making himself look good and making the failures everyone else's fault. He's using someone we know isn't at fault as the easy scapegoat and we the audience want someone to do something about this asshole. Insert the main character, turning the scenario against the boss and humiliating the person in a way that we all recognize this to be a confident and somewhat ruthless person. But he uses this attitude in this first scene to do something we the audience wanted to happen. Give the asshole his comeuppance. We admire their confidence and their competence but we also get to see their arrogance. We want to see them do more of those things we've always wanted to see, a sense of justice for the audience, but we also know that this person isn't really a nice person themselves. We get to explore this and develop it one way or the other based off our central theme.
always felt cramped with the 3 Act Structure...never felt comfortable,,awkward, cumbersome...not natural in my Movie-Head-Thought Nebula..very intimidating and hard to adapt to, so i came up with ( on my own, WAY before i saw this ) about thinking in terms of Sequential Approach....and...BOOM..all the lights came on and my whole posture to scriptwriting changed and looked forward ( instead of dreading ) in sitting down with my laptop / Screenplay Software...physical notebook, paper and pencil, and the process felt a lot more natural and more human instead of a ROBOT struggling to write a screenplay.....
I think he forgot to describe what the 8 sequences are. He antisocially spent 10 minutes saying how great it is and where in comes from - and that's all. Did I miss the point or something?
Well, he said that those sequences last for about 15 minutes, where the hero solves a task and the next sequence is where the bigger task or obstacle presents itself (something of that kind)
The 8 sequences are what you do to fill the 2nd act. There are no farmulae for those, except, as he says, each is about three mi,utes, and each followes the 3 act structure itsrlf.
![Screenwriting: The Sequence Approach - Paul Joseph Gulino [FULL INTERVIEW]](http://i.ytimg.com/vi/wqK4jb1l5vQ/mqdefault.jpg)
I like this guy he has a different perspective on screenwriting
I find a lot of sense in this 8 sequence approach . Divide a script in 8 parts and probably 4 scenes in each part . Then consider each scene as a independent unit , that has its own entertainment value alone. And it is hooked to previous and next scene, like a string of pearls. I have observed there are hundreds of scenes from various movies , that gives lot of viewing pleasure , if we view them alone , regardless of watching the full movie. The coffee shop scene, for instance.
I've been reading his book Screenwriting- the Sequence method. Terrific book. It's like the Bohr Model of the Atom, finally it all starts making sense at the atomic level. I can 'see' how a script is supposed to work. And what I think makes it even more valid is I can now see where in a script, every piece fits, but doesn't have to be just one way- it's not a formula, Gulino's approach is more of a basic theory of how the parts work; within that theory are infinite ways of doing things. My nature is that as soon as I learn a method or system, I've always started to think about ways of tweaking it.Gulino is right with this from the start. If there's one big idea it's that a movie has to remain interesting to engage the audience. There are limits. If some things go on too long, the audience loses interest, almost no matter what. (How many macho action movies neat the end when the two guys are battering each other endlessly and you just want to fast forward.)
I still feel lost, but I love this guy!!!
I could listen to him for a billion sequences. He actually distracts me from even beginning to write, because he’s just so dear and incredibly humble. He’s so rare and knows so much. What a beautiful soul he is! He makes you completely forget about writing, just to be able to enjoy his kind presence forever. And that’s what life is all about. It’s what he emanates... To be able to capture “that” essence on film is why Film Courage and this dear teacher both deserve an Academy Award.
This is uber-spectacular. all of it, thank you Paul. You just helped
me figure out where I'd been stuck. @ 3:39
"The effect is very liberating..."
I hadn't thought of this approach but, like much advice given on this channel, it has opened up a new way of thinking for me and it is so exciting to try these new ways. Thanks Paul and thanks Film Courage - awesome stuff!! :-)
Interesting take. I have started a screenplay based on connecting my flash fiction published years ago. As I listened, it occurred that I was writing mini scripts or sequences. This is a different approach for me and I am quite enjoying it. 😁
I haven't tried it because I haven't heard about it before, but it fits really well with the story I'm writing now, so I'm actually gonna use it when I rewrite the script! Thanks!
Good luck with it Mari, would love to know how it works out for you. I'm also going to try it and see what the outcome is!
Definatly my favourite approach and a great book
Steven Spielberg modeled "Raiders of the Lost Ark" on 7 acts - each with their own cliffhanger - because that's what he grew-up with. 8 sequences is more or less the same thing.
My very favorite Paul Gulino clip - this Rules.
Doesn't get any better than this, Folks.
okay, most of this sunk in. Helpful. Good job!
Very interesting. I certainly know about the problem of solving the big middle. This is a good remedy.
Keep it up, these help us who wanna make a career in film
the way you break it down is really clever!
Great insight, would also like to hear on web series approach.
I've only really tried my hand at shorts and tv pilots. This makes features a lot less intimidating.
Paul can save us all a lot of time and trouble.
IS this the same as the mini-movie approach?
"Have you tried the 8 sequence approach?". Yup, it's a similar concept when you design narrative games, thinking in chunks.
great analyzer : psychological theory clarify in simply short and sweet ... srilanka
Cheers Ananda! 🇱🇰
Very enlightening
1) Can a sequence be 60 seconds instead of 15 minutes?
2) he said " if I care about the character " 5:28
So the question is what makes the audience care.
And what should we show them? to make them care..
Anyone have any answers?
That's the art part of writing. Emotion and making it appear. Craft is maybe 50% of what is needed but the other 50% is the art of developing genuine emotion in an audience.
Simple. Have the character "save the cat" or in other words, have them display an admirable trait. You can make people care about psychopaths by having the person let a cat in out of the rain and give it a bowl of food. No dialogue needed or any vocalization of their character. Simply have them display an admirable trait. You can even layer this to show negative aspects of their character while showing them doing the admirable thing. We sometimes admire things that aren't necessarily good. For example you could have a scene with a bunch of corporate people in a regular job. The boss is rude and making himself look good and making the failures everyone else's fault. He's using someone we know isn't at fault as the easy scapegoat and we the audience want someone to do something about this asshole. Insert the main character, turning the scenario against the boss and humiliating the person in a way that we all recognize this to be a confident and somewhat ruthless person. But he uses this attitude in this first scene to do something we the audience wanted to happen. Give the asshole his comeuppance. We admire their confidence and their competence but we also get to see their arrogance. We want to see them do more of those things we've always wanted to see, a sense of justice for the audience, but we also know that this person isn't really a nice person themselves. We get to explore this and develop it one way or the other based off our central theme.
always felt cramped with the 3 Act Structure...never felt comfortable,,awkward, cumbersome...not natural in my Movie-Head-Thought Nebula..very intimidating and hard to adapt to, so i came up with ( on my own, WAY before i saw this ) about thinking in terms of Sequential Approach....and...BOOM..all the lights came on and my whole posture to scriptwriting changed and looked forward ( instead of dreading ) in sitting down with my laptop / Screenplay Software...physical notebook, paper and pencil, and the process felt a lot more natural and more human instead of a ROBOT struggling to write a screenplay.....
this is why Eric Edson says to use 18-21 sequences
and this is why I write 3000-word flash fiction, its a 15 min sequence.
maybe it refers to 18-21 scenes and not sequences
@@Miguel-boooo No, sequences
good commentary; 8-10 sequences is good, but no reason why 18 or 21 would be unreasonable, given 3 to 5 minute human attention span, as per ....
argumentative essay formatting
How do you write a Epic movie?
I think he forgot to describe what the 8 sequences are. He antisocially spent 10 minutes saying how great it is and where in comes from - and that's all. Did I miss the point or something?
Well, he said that those sequences last for about 15 minutes, where the hero solves a task and the next sequence is where the bigger task or obstacle presents itself (something of that kind)
The 8 sequences are what you do to fill the 2nd act. There are no farmulae for those, except, as he says, each is about three mi,utes, and each followes the 3 act structure itsrlf.
Buy his book! It’s great!
"Peeeaaaacceee. Noooo Peeeaaaace"
It is getting repopularized by Dan Harmon and his dogma of The Story Embryo, you should have him on.
Is that the baby doll f*cking guy? No thanks!
Nerd
Stop talking about yourself 😂😂😂