I'm not really sure where the major setback is. Is it the midpoint? That would make sense because after the midpoint the character goes back to his old ways before the story and falls further into his lie. Then he has to believe in himself giving him enough courage for the climax, witch is the start of act 3. Right? So is the major setback even in act 3?
Major setback or All is lost moment is just before act 3. Between that and act 3 they have the “Aha moment” and realise they need to do something. Thats where act 3 starts
Unless it’s a Greek tragedy where, despite the Hero’s best efforts and being in his essence, everything goes to shit, the Hero dies, and everything gets worse and worse.
To me the best act 3 I can think of off the top of my head would be Crash. Not James Spader. Los Angeles Crash. I felt like the good and bad to the characters really came full circle. Heroes became villains, villains became heroes. People turned out to be not what you expected!
I think you can break those rules if it works for your story and if you actually know why you break them after you've studied them. I struggle with that a lot cause i don't know 100% if the different path i take can lead to a good story.
Yeah I do agree that rules can be broken and think that more filmmakers should experiment with breaking them. I honestly think that most film students follow everything by the book and that's why most don't succeed. It does feel awesome to be surprised by a films execution and path every now and then.
I agree - I feel that promoting a structure like this can give predictable results. Most movies follow this, way back to the golden era and beyond - One I can think of might be break it - You've got Mail. You know he is infatuated a long time before it's declared but he builds a dialogue and the ending is not a surprise - but it's a great ending. There's no big low before the climax but it works.
![Screenwriting Plot Structure Masterclass - Michael Hauge [FULL INTERVIEW]](http://i.ytimg.com/vi/besI6G4p4nw/mqdefault.jpg)
American Beauty - one of the best third acts (using Hague's concepts).
Thank you very much. I love listening to Mr. Michael Hauge.
Why does the love portion sounds like my life 😂😂😂
This is amazing. Thanks again... great content.
I want this master to be my grandfather!!!!
Now!!!!
NOW!!!!
🧡💙💛💜
thanks for great content
Nice video. Thanks for the chart!
The whole time I was referring to Endless Love! But very good information!
excellent!
excellent, thank you very much.
I'm not really sure where the major setback is. Is it the midpoint? That would make sense because after the midpoint the character goes back to his old ways before the story and falls further into his lie. Then he has to believe in himself giving him enough courage for the climax, witch is the start of act 3. Right? So is the major setback even in act 3?
Major setback or All is lost moment is just before act 3. Between that and act 3 they have the “Aha moment” and realise they need to do something. Thats where act 3 starts
Great content, seeing in Brazil!
Great stuff! When will the full interview be published ?
Hague is a master
Unless it’s a Greek tragedy where, despite the Hero’s best efforts and being in his essence, everything goes to shit, the Hero dies, and everything gets worse and worse.
This was very helpful
Thanks for watching!
The download link of the Structure Chart isn't working
To me the best act 3 I can think of off the top of my head would be Crash. Not James Spader. Los Angeles Crash. I felt like the good and bad to the characters really came full circle. Heroes became villains, villains became heroes. People turned out to be not what you expected!
Kevin Mejia really good points
And I wanted to watch"don't breathe" .... Haahhaha. ...
He didn't spoil the major reveal
Try also watching Hush
spoiler alert for dont breath
I feel as that if you follow this format your movie will be predictable don't @ me
I think you can break those rules if it works for your story and if you actually know why you break them after you've studied them. I struggle with that a lot cause i don't know 100% if the different path i take can lead to a good story.
Yeah I do agree that rules can be broken and think that more filmmakers should experiment with breaking them. I honestly think that most film students follow everything by the book and that's why most don't succeed. It does feel awesome to be surprised by a films execution and path every now and then.
I agree - I feel that promoting a structure like this can give predictable results. Most movies follow this, way back to the golden era and beyond - One I can think of might be break it - You've got Mail. You know he is infatuated a long time before it's declared but he builds a dialogue and the ending is not a surprise - but it's a great ending. There's no big low before the climax but it works.