Mid-Act Climax

[Jijenji]

So I've noticed that most of the really great films not only have the requisite turning point at the mid-act climax, but this scene usually has the best "scene characterization" in the entire film. What I mean by scene characterization is the setting, the backdrop, the context the action/dialogue takes place in. Not just two people sitting in a room arguing, for instance.

Has anyone else thought about this much?
What suggestions do you have for making the mid-act climax better in this regard?

I have a very dramatic scene between my two main characters at the mid-act climax right now. The scene is spot on, everything happens that needs to happen, with respect to what they say and reveal to each other, and what actions they will take. But I feel that to make a story great, you have to put everything in the right context--scene/sequence character. I'm finding it difficult because my two main characters, they cannot be seen together in public. They basically have one chance to meet, right at the Midpoint. The sequence itself is easy enough, but that small detail is making it more difficult for me to characterize the entire sequence.

My favorite example is the New Year's Eve sequence in Cuba in The Godfather Part II.
What are some other good examples, and does anyone have any suggestions here?

 

[ricketybridge]

It's hard to respond to this without knowing any further details. You say the problem is that they can't meet in private, but then you say they have a chance to meet at the midpoint. So what's the problem?

 

[Jijenji]

It's hard to respond to this without knowing any further details. You say the problem is that they can't meet in private, but then you say they have a chance to meet at the midpoint. So what's the problem?

They can meet in private, but they cannot meet in public.

There is a spotlight so to speak on one of the two characters. They meet a few times earlier in the story, but something happens in Act II. After, they have to go to great lengths to meet. What has to happen in the sequence and at the Midpoint scene, as far as actions and dialogue...I have all of that figured out. Now I just need to give the sequence the right characterization and that's what I'm finding difficult.

A lot of stories use a change of setting around the midpoint and build a sequence around that. I don't really think that will work in my case, and besides I already change the setting for the last Act.

 

[Unknown Screenwriter]

I think the MIDPOINT

So I've noticed that most of the really great films not only have the requisite turning point at the mid-act climax, but this scene usually has the best "scene characterization" in the entire film. What I mean by scene characterization is the setting, the backdrop, the context the action/dialogue takes place in. Not just two people sitting in a room arguing, for instance.

Has anyone else thought about this much?
What suggestions do you have for making the mid-act climax better in this regard?

I have a very dramatic scene between my two main characters at the mid-act climax right now. The scene is spot on, everything happens that needs to happen, with respect to what they say and reveal to each other, and what actions they will take. But I feel that to make a story great, you have to put everything in the right context--scene/sequence character. I'm finding it difficult because my two main characters, they cannot be seen together in public. They basically have one chance to meet, right at the Midpoint. The sequence itself is easy enough, but that small detail is making it more difficult for me to characterize the entire sequence.

My favorite example is the New Year's Eve sequence in Cuba in The Godfather Part II.
What are some other good examples, and does anyone have any suggestions here?

is definitely a place where the following need to be considered...

1) Your protagonist(s) is/are fully invested into their new world. That of course doesn't have to be a location per se... But all evidence of their ORDINARY WORLD is gone now. So of course context become extremely important.

2) The Antagonist or antagonistic forces are really a lot closer than the Protagonist assumes they are.

3) Your Protagonist is normally experiencing a high or low right now but in any case, they are at a point in the story where they think they pretty much have everything under control and figured out -- a false sense of superiority if you will -- but of course they do NOT. If it's a high, it's a false high and the Antagonist or antagonistic forces are seriously right around the corner.

filmy

 

[mrpeech]

well i suppose it depends upon the resources available to your characters and perhaps the content of the conversation. Could there be someone to act as an intermediary between the 2 characters? i.e: a party, intermediary tells one of the characters that the other is in another room or on the roof.

other private places could be an orchard, a lake (godfather), boat (sopranos), church (bad lieutenant), i really like the roof scene in true romance. The scene illuminated by the street sign.

 

[dangerouscreenwriter]

I'd say to find the appropriate context/location for your mid-point scene, you need to start by thinking about your Theme and your Characters, mainly what's going on inside them and what they're physically doing. In other words, their location and actions have to be as in synch with the theme as the dialogue. For example:

If your theme is about friends' betrayal or true identities/personalities being revealed, maybe your mid-point scene happens in a strip club, a room full of mirrors (funhouse, department store) or while someone's gutting a fish or something. Not the greatest examples, but you get the idea. All visual metaphors for what's going on with these people.

Again, try thinking about
who these people are,
what they want in their lives by this point,
what surprises lay ahead,
how things are changing in their worlds,
and come up with an appropriate visual metaphor.

Once you have the metaphor you're looking for, remember to EXPLOIT IT TO ITS FULLEST! Beginning, middle and end of scene - what happens to those pristine mirrors by the end of the scene? The fish - eaten? Dropped in the trash? The strip club - broke by the end? Gets lucky? Makes a stupid mistake? Etc.

 

[Jijenji]

Thanks everyone.

Dangerous, that's an insightful post. I'll put some thought into it.