Notes from the Screenwriting Expo: 1

At the Expo last week I took a bunch of notes, which I'll share over the next few days.

10/25: Syd Field on Writing the Action Sequence:
As noted here previously, a sequence is a collection of scenes--sort of a mini-story with a defined beginning, middle and end.

In writing a sequence, consider:
1. Where is the character coming from?
2. Where does the character want to go?
3. What are the different conflicts within the action sequence? Doesn't have to be a physical conflict--could be emotional--but we *are* talking action here.
4. What are the complications of the sequence? For instance (my own example), in the scene from THE UNTOUCHABLES where Ness faces down the gang in the train station, his goal is complicated by a need to stop the baby carriage careening down the steps. In Syd Field's examples, he showed a scene from BULLITT, in which Bullitt has to dodge a motorcycle rider while chasing two killers.
5. What is the purpose of the sequence?
--To move the story forward?
--To reveal character info?
--To save someone?
--To beat the clock?
--To escape?
--To bring someone to justice?
6. Where does the sequence take place?
7. Where does the sequence begin?
8. How does it begin?
9. What happens during the sequence?
10. What elements do you have to work with?

In addition to Bullitt, Mr. Field used good examples from THE FRENCH CONNECTION--the sequence where Popeye Doyle races under the elevated train in the Bronx trying to catch a sniper; and from PIRATES OF THE CARIBBEAN--the sequence where Sparrow escapes from the British, but is forced to lock swords with Will, and is eventually recaptured. The last reveals character about both of them, has multiple complications, uses the environment well AND moves the story forward nicely.

Overheard (different lecture): "On a scale of 1 to 10, what's the minimum amount of gloating an antagonist should have?"