| From our deconstruction of hundreds of Hollywood | | | | Interdiction: take no further steps towards marriage. |
| blockbusters.... | | | | Breaking the Interdiction: Mozart gets married; moves |
| The Hero's Journey is the template upon which the | | | | to Vienna. |
| vast majority of successful stories and Hollywood | | | | Trial 2: |
| blockbusters are based upon. In fact, ALL of the | | | | The King wants a musical tutor for her niece.; Salieri |
| Hollywood movies we have deconstructed are based | | | | blocks it |
| on this template. | | | | "...why must I submit sample of my work just to teach |
| Understanding this template is a priority for story or | | | | a 13 year old girl.."; "..well I won't..." |
| screenwriters. | | | | Developing Characters and Relationships: Constanze |
| The Hero's Journey:a) Attempts to tap into | | | | brings samples of Amadeus' work to Salieri. |
| unconscious expectations the audience has regarding | | | | Developing Hero's Capabilities: Salieri looks at Mozart's |
| what a story is and how it should be told.b) Gives the | | | | work...it's miraculous; Salieri walks away. |
| writer more structural elements than simply three or | | | | Foreshadow of the Resolution: "...from now on we are |
| four acts, plot points, mid point and so on.c) Interpreted | | | | enemies...I will ruin your incarnation..." |
| metaphorically, laterally and symbolically, allows an | | | | Trial 3: |
| infinite number of varied stories to be created.and | | | | Foreshadow of the Resolution: Papa arrives in the |
| more... | | | | dark costume. |
| Sample Movie Deconstructed: Amadeus (1983) | | | | "...What is your financial situation? They say you have |
| FADE IN: Context: screams; the antagonist's regret / | | | | debts..." |
| Inner Challenge. | | | | Foreshadow of the Sword: "...that one will..." |
| Meeting the Antagonist: Salieri. | | | | Developing Characters and Relationships: Papa meets |
| Foreshadow of the Journey: Salieri thinking back | | | | Constanze; out on the town. |
| [flashbacks]. | | | | Foreshadow of the Resolution: Papa's mask. |
| The Ordinary World: Austria; snow Mozart's era. | | | | Pulled Back: "...I want you to come back to Salzburg..." |
| Meeting the Herald: the priest. | | | | Polarization: Mozart mocks Salieri's music. |
| Refusal: Salieri playing the piano; "..leave me alone..." | | | | Foreshadow of the Resolution: "...that's right, mock me..." |
| Call to Adventure: "...all men are equal in God's eyes..." | | | | Meeting the Oracle: Mozart working on Figaro; Lorl (the |
| Antagonist's Backstory: "...you must know this...""...it was | | | | maid servant) arrives. |
| very popular in its day..." | | | | Developing Characters and Relationships: Mozart |
| Foreshadow of the Journey: Salieri conducting the | | | | working on Figaro, Constanze and Papa arguing. |
| opera [flashback]. | | | | Ideal: Lorl visits Salieri; "...next time they're out of the |
| Introducing the Hero's Capabilities: "...that was Mozart..." | | | | house, let me know..." |
| playing for the King as a young boy. | | | | Seizing the Sword: Salieri sees that Mozart is working |
| Pushed to the First Threshold: "...for Gods sake | | | | on the 'Marriage of Figaro." |
| confess...give yourself some piece..." | | | | Pushed to the Near Death Experience: Salieri tells the |
| Threshold Guardian: Salieri's father; "...my father did not | | | | King's counsel that he is working on Figaro. |
| care for music..." | | | | Resisting the Near Death Experience: Mozart tries to |
| Conscious decision to embark on the Journey: "...please | | | | defend himself in the King's audience. |
| God..." | | | | Near Death Experience: Herr Director rips out the |
| Threshold Guardian overcome: Salieri's father dies. | | | | ballet. |
| First Threshold: | | | | Battle with the Serpent: Mozart begs Salieri for help. |
| Outer Cave: New World; the King's court composer. | | | | Reward: the Emperor attends rehearsals; the pages |
| Middle Cave Threshold: the door. | | | | are put back in. |
| Middle Cave/ Meeting Allies: meeting Amadeus and | | | | Atonement with the Father: Figaro is marvellous; the |
| Constanze. | | | | King yawns; the audience don't like it; "...why don't they |
| Romantic Challenge: "...will you marry me..." | | | | come..." |
| Push to the Inner Cave: "...Mozart is not here..." | | | | Apotheosis: Salieri's opera is exceptional with Mozart's |
| Pull to the Inner Cave: "..they've started without me..." | | | | help; "...the best opera yet written..."; Mozart |
| Inner Cave: "...that's Mozart! That giggling, dirty minded | | | | congratulates Salieri. |
| creature crawling on the floor..." Mozart playing for the | | | | Ultimate Boon: Mozart father dies; Mozart writes Don |
| Pope. | | | | Giovanni; Salieri sees a way to kill Mozart. |
| Push to the Physical Separation: "...if I don't satisfy, you | | | | Pushing to the Resolution: Salieri dresses up and asks |
| can dismiss me..." | | | | Mozart to write a Requiem for the dead. |
| Developing the Hero and Antagonist: "...on the page it | | | | Developing Characters and Relationships: Salieri |
| looked simple, almost childish..." | | | | discusses how exactly to kill Mozart with the priest.. |
| Pushed to the World of the Transformation: Pope | | | | Pulled Back: Emanuel's version of Don Giovanni; |
| sends Mozart to Vienna. | | | | commissioning it for the masses. |
| Meeting the Mentor, Allies and Enemies: the King and | | | | Pushed Forward: Foreshadow of the Magic Flight: "...I |
| his councillors. | | | | want it [the money] here in my hand..." |
| Physical Separation: | | | | Refusal: Lorl doesn't want to go back. |
| Developing the Antagonist: Salieri playing the piano. | | | | Pushed Forward: Salieri turns up in the mask. |
| Developing the Hero: Amadeus trying on wigs. | | | | Pushed Forward: Constanza pushes the Requiem; |
| Developing Characters and Relationships: Mozart | | | | here is a man with real money. |
| meets the King, Salieri et al. | | | | Magic Flight: Mozart gets drunk and Constanza leaves. |
| Trial 1: | | | | Rescue from Without: Salieri takes the sick Mozart |
| We're going to commission an opera from you... | | | | back home. |
| Resistance to the Trial: an opera set in a harem in | | | | Crossing the Return Threshold: Constanza feels she |
| Turkey. | | | | must come back. |
| Polarization: Mozart toys with Salieri's tune. | | | | Master of the Two Worlds: Mozart tells Salieri what to |
| Developing the Antagonist: "..why did he create the lust | | | | write. |
| and then deny me the talent..." | | | | Freedom to Live: the burial; Salieri watches himself |
| Antagonist's Romantic Challenge: meeting Salieri's | | | | become extinct; returns back to his room in the |
| crush. | | | | institution. |
| The Turkish opera is a success. | | | | Learn more... |
| Developing Characters and Relationships: the King | | | | The Complete 188 stage Hero's Journey and other |
| congratulates Mozart; "...but there are too many notes..." | | | | story structure templates can be found at |
| Romantic Challenge: "..my landlady, she's the | | | | You can also receive a regular, free newsletter by |
| fiancé of Herr Mozart..."; when do you marry? | | | | entering your email address at this site. |
| Romantic Challenge: Salieri realises that Mozart has | | | | Kal Bishop, MBA |
| had his girl. At that moment I knew, the creature had | | | | ********************************** |
| had my darling girl; for the first time in my life I began to | | | | You are free to reproduce this article as long as no |
| have violent thoughts. | | | | changes are made and the author's name and site |
| Pulled back to the Ordinary World: Amadeus' father | | | | URL are retained. |
| persuades the Pope to give him one more chance. | | | | |