Screenwriting Online: Dances with Wolves (1990) Deconstructed
From our deconstruction of hundreds of Hollywood blockbusters.... The Hero's Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the Hollywood movies we have deconstructed are based on this template. Understanding this template is a priority for story or screenwriters. The Hero's Journey: a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told. b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on. c) Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created. and more... Sample Movie Deconstructed: Dances with Wolves (1990) Hero's strength of character; and nature demonstrated [John Dunbar stubbornly pulls his boots over his soon to be amputated leg]. Introduce a Supernatural Aid / Mentor [the General watches on the hill top]. Hero wishes for a rebirth, which he attempts through death [suicide sequence, Call to Adventure ]. Refusal [John's fellow soldiers think he's crazy]. Supernatural Aid recognizes John as a hero [a man worth something], and grants him his wish and magical gifts [John Dunbar's desire to see the frontier before it's gone; Cisco the faithful horse and a promotion]. Hero begins his journey [trip to Fort Hayes with Cisco]. Meeting the Threshold Guardian [the officer who commits suicide]. Warnings [this journey can drive you insane like it did the officer]. Journey to the First Threshold with the (dangerous) Joker [John travels with possibly the foulest man I have ever met]. Danger of the journey developed; references to an antagonism [John finds skeletons along the way; killed by Indian arrows]. Character and natures of the Hero and Joker developed [camping sequence]. The magical nature of the First Threshold (this New World we are entering) illustrated [we see the majesty of the prairies]. Foreshadow of the adventure [Indians are nothing but thieves and beggars]. John's desire for a transformation reiterated; foreshadow of the coming marker [where are the buffalo]. Hero arrives at the First Threshold ; views it from a distance. It is foreboding, dangerous and unwelcoming. The Hero enters and sees value there. There is resistance [the Joker won't stay; John Dunbar has to pull a gun on him]. There is no way back [the Joker departs]. The Hero feels strangely comfortable with the decision he has made. Hero is fearful in the First Threshold [John is edgy he pulls a gun on Cisco]. Danger illustrated [John finds a dead dear]. Hero overcomes his fears [John gives the dead deer a funeral; he literarily burns his fears away]. Hero aware of an antagonism [John Dunbar realizes that the smoke may attract the Indians]. We are introduced to an Antagonism [the Pawnee]. The danger of the Antagonism illustrated [the Pawnee kill the Joker]. Hero enters deeper into the First Threshold and meets an ally [John begins to get comfortable at Fort Hayes and meets Two Socks]. Hero conquers the First Threshold and relationships with allies develop [John completely at home and the relationships with Two Socks is developed]. Hero becomes aware of a new Supernatural Aid / Mentor, though he does not know it. [Kicking Bird is discovered shuffling around the Fort]. Hero resists the physical separation (1) from the First Threshold [John prepares to defend himself from the Indians]. Hero has an intuitive respect for the Mentor [a magnificent looking fellow.] We meet more allies, including a Shape Shifter [Ten Bears, Kicking Bird and Wind in his Hair et al discuss John Dunbar in their tent]. Their distinct characters, motivations and natures are developed. Resistance to the physical separation (2) and the pull of the Transformation [the children fail to pull John into the adventure they fail to steal his horse; John knocks himself out]. Resistance to the physical separation (3) [John pulls a gun on Wind in his Hair]. Belly of the Whale . Hero makes a physical break from the First Threshold [John rides to the Indian village as a proud US soldier]. Hero meets his romantic challenge [John meets Stands with a Fist]. As usual, the initial meeting is riddled with conflict. The Hero views the World of the Transformation from a distance. It is strange, new, beautiful and magical [John sees the Indian village from afar]. Hero enters the World of the Transformation with his romantic challenge. Resistance to the Hero beginning the Transformation [Wind in his Hair tells John he is unwelcome]. Mentor(s) decide to encourage the Hero into the Transformation. Hero encouraged into the Transformation (1) [meeting with Kicking Bird and Wind in his Hair; Katanka]. Hero encouraged into the Transformation (2) [the coffee grinder]. The importance of the Romantic challenge to the Transformation [Stands with a Fist speaks English]. Romantic challenge's back-story [Stands with a Fist's back story]. Hero encouraged into the Transformation (3) [Sioux give John the Buffalo skin]. Hero attempts to persuade allies [Two Socks almost agrees to trust John]. Hero consciously agrees to the Transformation. Transformation / Road of Trials . Hero clumsily begins the Transformation (1) [John clumsily smokes the pipe; introductions with Stands with a Fist and Kicking Bird; speaking English only]. Hero revues his decision to Transform [John writing in his diary; in this story he is pleased]. Mark of change [the coming of the Buffalo]. Transformation / Road of Trials (2). Initiation and celebration [John enters the Indian camp during the celebrations and is mildly beaten]. Progression of the Transformation [John becomes a celebrity]. Foreshadow of the Sword [Stands with a Fist eyes up John]. Polarization. Hero reminded of his Old Self and given a motivation to complete the Transformation [white men have skinned the buffalo]. Refusal of the Final Trial [John cannot sleep with the Indians]. Encouraged back into the Transformation [sharing the telescope]. Putting on the Wolves Clothing [war paint]. Mirroring [pulling out a rifle as the Indians pull out bow and arrows]. Back into the Transformation [partaking in the hunt]. Final Trial (3) [saving the child's life]. Reward from the Shape Shifter [eating the buffalo heart with Wind in his Hair]. Reluctantly letting go of his Old Self [John exchanging clothes with Wind in his Hair]. Celebration and consciously letting go of his Old Self [trading away his hat. Acceptance by the other, [telling stories by the camp fire]. The Ideal (Meeting with the Goddess). The Hero envisions an Ideal [thinking of Love]. Rest break [John Dunbar feels harmony]. Foreshadow of the Complete Rebirth (1) [John Dunbar pretends he is an Indian]. Hero is keen to push on with the Transformation [John makes an unannounced visit to the Indian village]. Allies resist the Final Rebirth. [Two Socks attempts to hold John back]. Foreshadow of Rebirth (2) [John's given a lodge in the village]. Foreshadow of the Atonement with the Father [John cannot tell Kicking Bird about the coming of the white man]. Foreshadow of the Sword [Stands with a Fist eyeing Jon]. Foreshadow of the rebirth (3) [John wants to help fight the Pawnee; John given is new name]. Hero guided towards the Sword (the tangible representation of the Ideal) [John stays with Kicking Bird's family]. Separation [Kicking Bird and Wind in his Hair et al part]. Journey to the Sword [John and Stands with a Fist on a date]. Obstacle to the Sword developed [Stands with a Fist is in mourning; Stone Calf tells John of her dead husband]. The desire to overcome the obstacle to the Sword developed [Stands with a Fist wants it]. References to the Old World being left behind [John visits the Fort]. Hero's desire to overcome the obstacle to the Sword developed Hero gains the trust of allies [Two Socks takes the meat from John's hand]. Hero Seizes the Sword [John wins over Stands with a Fist; sexual union]. Comedic element [keep it secret]. Rebirth through Death / Woman as Temptress . Night Sea Journey [John informed of the danger by Stands with a Fist; John goes back to fetch the guns night, raining, dangerous, time pressure]. Near death experience. Death. Baptism. Rebirth [the Pawnee attack]. Comedic element [shoot the gun.] Reattachment [Kicking Bird, Wind in his Hair et al return]. Celebration of the rebirth [camp festival]. Reward. [John and Stands with a Fist marry]. Shape Shifter comes on board [Wind in his Hair makes peace with John]. Hero says goodbye to his Old Self [John says goodbye as he enters the tent]. Atonement with the Father [John tells Kicking Bird that many white people will come]. Hero's transformation complete [he is dressed in full Indian gear, fits in well with Kicking Bird in the idyllic fields; he speaks the Sioux language very well]. Apotheosis [Ten Bears decides that he must strike the village]. Ultimate Boon [John knows he must travel with the Indians]. Refusal of the Return [John must go back to collect his diary; Stands with a Fist refuses to let him go; they cannot wait for him]. Magic Flight. Pursued by the antagonist [John caught, imprisoned and tortured by the US soldiers]. Rescue from Without. Time pressure [the Sioux have to return to free John before he is taken away]. Indians versus US soldiers battle. Antagonist deserving of death [they shoot Two Socks; ignorant; unwise etc]. Loss of innocence [the child kills for the first time and cries]. Crossing the Return Threshold [John returns to the village; the diary (his Old Self) floats away]. Master of the Two Worlds . Hero effortlessly traverses both worlds [John speaks Sioux effortlessly; smokes the pipe like a master with Ten Bears; must traverse both worlds if the Sioux are to survive]. Freedom to Live . Exchange of gifts. Emotional goodbyes. Everlasting friendship. Resolution. The legend of the journey lives on [in the diary]. Fade Out: the fate of the Sioux explained. Learn more
The Complete 188 stage Heros Journey and other story structure templates can be found at http://www.clickok.co.uk/ You can also receive a regular, free newsletter by entering your email address at this site. Kal Bishop, MBA ********************************** You are free to reproduce this article as long as no changes are made and the author's name and site URL are retained. Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://www.clickok.co.uk/ |
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