Lecture 8 Departing from the 3 Act Structure

Lecture 8: Departing from the 3 Act Structure Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) Professor Daniel Cutrara

Previous Lesson • The Story Spectrum • The Key Factors

This Lesson • Act Design beyond the 3 Act • What makes Pulp Fiction work? • Assignments

Act Design Lesson 8: Part I 4

Departing from the 3 Act Structure • In our last lecture we examined the many ways to depart from the Classic Design of the 3 Act Structure. • This week we continue that examination with an analysis of Pulp Fiction. • First, however, we want to look at some other alternatives. 5

Beyond 3 Acts • According to Mc. Kee, having more than three acts creates its own set of challenges. – Multiplication of Act Climaxes invites cliché. – Writer must create more brilliant climax scenes – The multiplication of acts reduces the impact of climaxes and results in repetitiousness. 6

It Can Be Done • Four Weddings and a Funeral – A romantic comedy that progresses from one discreet episode to the next. • The Girl Next Door – A teen comedy that has multiple twists and reversals. • Full Metal Jacket and Life is Beautiful – These films are split in half and tell selfcontained stories in each part, with the second building on the first. 7

Alternative Structures • When you depart from Classical Design/Archplot you must use other elements of storytelling to engage your audience. • In our last Lecture we talked about multiplot and nonplot and what makes them work. One strategy we didn’t examine was the work of Sofia Coppola. 8

Sofia Coppola • Lost in Translation • The Virgin Suicides • Character study and immersion into a profound mood. 9

What Makes Pulp Fiction Work? Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) Lesson 8: Part II 10

Quentin Tarantino Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) • For this lecture we will do a more in depth examination of Pulp Fiction. Our analysis should shed some light on what makes it work. 11

Authenticity “A writer should have this little voice inside of you saying, ‘Tell the truth. Reveal a few secrets here’. ” -- Quentin Tarantino 12

Pulp Fiction - The Genre • Black Comedy – Satirical critique of gangsters – The drug world • Pastiche – Draws upon the world of film not real life to tell stories – Allusions to other films – Reworking older storylines 13

Mood and Spectacle • Pulp Fiction – “The film's title refers to the pulp magazines and hardboilded crime novels popular during the mid-20 th century, known for their graphic violence and punchy dialogue. ” From Wikipedia • Spectacle – The graphic violence 14

Character • Characters - the unexpected • Hit men - articulate • Drug dealers • Boxers • Gun Shop owners Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) 15

• • Dialogue Stylized Dialogue Discussions over morals and theology Pushing the envelope Graphic language Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) 16

The Structure • • Not the typical 3 Act Structure Not in chronological order Multiplot Storylines: – Jules and Vincent – Vincent and Mia – Butch and Marsellus – Pumpkin and Honey Bunny 17

Pulp Fiction -The Structure • Prologue – Pumpkin and Honey Bunny begin robbery • Sequence 1: “Vincent and Jules” – Prelude to “Vincent Vega and Marsellus Wallace’s Wife” – Concern about Mia – Collecting the briefcase – Elision of the “miracle” • Jump forward in time 18

Sequence 2 • Sequence 2: “Vincent Vega and Marsellus Wallace’s Wife” – Butch takes money from Marsellus and agrees to lose the fight – Vincent and Jules deliver the briefcase to Marsellus – The “Date” with Vincent and Mia – Back at Vincent’s withstanding the temptation – Mia overdoses- the drug dealer’s house – The Aftermath- and Mia’s joke 19

Sequence 3 • Sequence 3: “The Gold Watch” – Flashback- the opening monologue – Butch flees the Boxing arena having won – Learns in the Taxi that he killed the guy – Hooks up with Fabienne, plan to leave town 20

Sequence 4 • Sequence 4: “Return for the Watch” – Butch kills Vincent Vega – Butch vs Marsellus – Butch, Marsellus and the Gimp – (takes us to chronological end) • Jump back in time 21

Sequence 5 • Sequence 5: “The Bonnie Situation” – “The Miracle” Vincent and Jules survive bullets – Returning the briefcase/Marvin shot – Calling in the Wolf 22

Sequence 6 • Sequence 6: “Conversion” – Return to the Diner and the opening tease – Vincent stays in the life – Jules has a conversion and spares Pumpkin and Honey Bunny, letting them go with the money they’ve stolen 23

Pulp Fiction - The Chronology • Day 1 – Vincent and Jules collect. Vincent accidentally kills Marvin. They call in the Wolf. At the diner, Jules has his conversion. Vincent escorts Mia to the Club. • Day 2 – That evening Butch throws the fight and slips back to his motel to make love to Fabienne. • Day 3 – Butch goes back for his watch and kills Vincent. Butch encounters Marsellus, their fight takes them into the gun shop. The owner captures them. Butch saves Marsellus. They make peace. Butch leaves town with 24 Fabienne.

The Power of the Structure • • • The Opening Tease Foreshadowing dilemma with Mia Butch story can be less engaging Keeping Vincent “alive” Saving Conversion for Climax Theme 25

Surprise and Suspense • Suspense – – Will Vincent succumb to his desire for Mia? Will Butch get away with his scheme? Will Wolf clean up in time? Will Honey Bunny chill out? • Surprise Mia’s overdose – Vincent’s death – The Gun Shop owner – Jules’ Conversion – 26

Mystery • The thought puzzle of having to figure out the chronology. • This is also effective in movies like Memento and Donnie Darko. 27

Summary • When you stray from Archplot and the power of a single protagonist, a linear narrative, and external conflict, something else must compensate. • This can be done in many different ways. Through character, dialogue, mood, and alternate structures. 28

Assignments Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) Lesson 8: Part III 29

E-Board Post #1 • Complications – Define situations you’ve put in place in Act II and briefly describe ways in which they become complicated and pay off later in the story as opposed to paying off immediately. 30

E-Board Post #2 • Complications – Comment on your peers with respect to ways their situations can develop complications. 31

End of Lecture 8 Pulp Fiction (1994) Quentin Tarantino and Roger Avary (stories) Quentin Tarantino (Screenplay) Next Lecture: Breaking Through