character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low li

From our deconstruction of hundreds of Hollywood blockbusters at www.managing-creativity.com/

An excellent remake, starring Al Pacino, of Scarface, the Shame of the Nation (1932). This story structure has 53 stages and is best understood by watching the film simultaneously. Using story structure templates like these helps the screenwriter to quickly expand an idea into a step outline and treatment and then rapidly reach a words-on-paper first draft from there.

Incredibly moralistic but executed in a thoroughly enjoyable and realistic way. A great way to plot the story of a hero's turn to the dark side and then attempt to return from it. Main archetypes include the (anti) Hero, Achilles Heel, Demon King, Dark Mentor, Loyal Ally, Threshold Guardian cum Shape Shifter, Mother and Goddess.

Stage 1: The intro explains the context of the story – visuals and narrative summarising the expulsion of Cuban criminals by Fidel from Cuba. This is in contrast to, for instance Star Wars, where the context is only given in narrative in the famous roll on.

Stage 2: We powerfully meet Tony Montana as immigration officials are interrogating him. We learn a little of his character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low lif

tructure templates like these helps the screenwriter to quickly expand an idea into a step outline and treatment and then rapidly reach a words-on-paper first draft from there.

Incredibly moralistic but executed in a thoroughly enjoyable and realistic way. A great way to plot the story of a hero's turn to the dark side and then attempt to return from it. Main archetypes include the (anti) Hero, Achilles Heel, Demon King, Dark Mentor, Loyal Ally, Threshold Guardian cum Shape Shifter, Mother and Goddess.

Stage 1: The intro explains the context of the story – visuals and narrative summarising the expulsion of Cuban criminals by Fidel from Cuba. This is in contrast to, for instance Star Wars, where the context is only given in narrative in the famous roll on.

Stage 2: We powerfully meet Tony Montana as immigration officials are interrogating him. We learn a little of his character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low li

's turn to the dark side and then attempt to return from it. Main archetypes include the (anti) Hero, Achilles Heel, Demon King, Dark Mentor, Loyal Ally, Threshold Guardian cum Shape Shifter, Mother and Goddess.

Stage 1: The intro explains the context of the story – visuals and narrative summarising the expulsion of Cuban criminals by Fidel from Cuba. This is in contrast to, for instance Star Wars, where the context is only given in narrative in the famous roll on.

Stage 2: We powerfully meet Tony Montana as immigration officials are interrogating him. We learn a little of his character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low li

ising the expulsion of Cuban criminals by Fidel from Cuba. This is in contrast to, for instance Star Wars, where the context is only given in narrative in the famous roll on.

Stage 2: We powerfully meet Tony Montana as immigration officials are interrogating him. We learn a little of his character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low li

character and back-story.

Stage 3: We meet Manny, his Loyal Ally who is one symbol of the (anti) hero’s strength. Their relationship, relative status and dynamic is introduced.

Stage 4: We meet them in their Ordinary World – prisoners, refugees, in jail, surrounded by criminals and low life. They fit perfectly into this world and are itching to get out of it.

Stage 5: Manny acts as the Herald and brings the Call to Adventure – they are able to escape their Ordinary World on condition that they pass a trial (killing the communist Rebenga).

Stage 8: Omar acts as a Threshold Guardian and attempts to divert the hero from the Ordeal, but he will not be diverted. Omar sets a condition: to pass the test of the First Threshold and sends them into the Belly of the Whale of the First Threshold (retrieve the cocaine from the Colombians).

Stage 14: This is a complex and seminal stage of the story. Hero et al are tempted by the Goddess (Pfeiffer) into the World of the Ordeal, symbolised by the Babylon Club. Here the rewards of embarking on the Ordeal are apparent. The Hero acts like a bull in a china shop – symbolising his ineptitude in this world, at this moment. The relationship between the Hero and Dark Mentor is expanded upon. The Goddess (the Sword) is the prize to be gained once he has undergone the Ordeal. There is much more to this stage.

Stage 21: The Hero meets the Demon King (Sosa) in his lair and they agree to journey together. A Threshold Guardian