N.16 | "Gone Girl" (the tricolon that builds suspense), how to craft a powerful opening scene plus more

JOURNAL ENTRY

Dec 01, 2024: Film school just got more serious. We have assignments now.

This past week I had to read a script and watch the film. The coach decided we had to read and watch Nomadland. Loved it! Sad movie, but I loved both the script and the film.

The second assignment is to write a 10-page script by Dec 07. The script has to have correct script formatting. The story must have at least 3 characters, and at least 3 locations. I wonder if my script could be the one we end up producing at the end of the 5 months?!

With both work and film school, I wasn’t able to work much on the micro film I’m developing as a side project.

FILM STORYTELLING

Gone Girl (the tricolon that builds suspense - hammer scene)

The number 3 is very special. When used in rhetoric (politicians often use it) or in storytelling, 3 can create a pattern. Patterns create meaning. Our mind is built in a way that if we see a pattern, we start to pay attention.

Triads are everywhere in movies because screenwriters know the power of the number 3.

In a very powerful scene from Gone Girl (watch 30-sec clip here), the character uses the rule of tricolon to build suspense. The term tricolon refers to three parallel words or phrases within a piece of writing — which gives the writing rhythm, balance and power. The scene is actually the end of a longer monologue and the tricolon is at the end of it.

She says:

Amy (V.O.)

(…) He needs to learn. Grown-ups work for things. Grown-ups pay. Grown-ups suffer consequences.

The repetition punctuates Amy’s anger at her husband’s immaturity. The tricolon, paired with the movement of the hammer, builds suspense as we wait to see what happens. The scene has rhythm, balance and power.

TIDBIT I’M PONDERING

Building a powerful opening scene: character, action and setting

I was reading again Structuring Your Novel by K.M. Weiland. Some food for thought here:

Weiland says that there are three integral components necessary to create a powerful opening: character, action and setting. She gives us an example (originally by Lix Scheier quoting one of her professors):

It’s not “World War II began!”

It’s “Hitler. Invaded. Poland.”

This is a very powerful opening. And it also makes a great case for the use of the active voice. A few more points about this beginning:

• It starts with a human being (albeit an ugly one), in whom we can invest our interest. People want to know about people. No people = no story. Whenever possible, introduce the main character right away.

• It starts with action. Static characters are boring characters. This action can also create foreshadowing, framing and prepare the audience for what’s coming. Make it count.

• It includes a place. Characters perform actions in a specific setting. Careful here though: the audience only needs what’s necessary to understand the story.

These three elements will help you build a solid opening scene to hook and captivate the audience.

Source: From Structuring Your Novel by K.M. Weiland (paraphrased and/or quoted).

FILM STORYTELLING

A.I. - Artificial Intelligence (monochromatic color scheme)

The monochromatic color scheme may contain different tones, shades and tints of the same hue.

This color scheme creates an harmonious feeling that is very pleasing to the eye because of the cohesive look. This scheme is very often used in cinematography, like in this example from A.I. - Artificial Intelligence.