by Greg DePaul
screenwriting 36–9, 165–72; books about 5–6; comedy 32–3, 49, 83, 86–7, 124–5; Comic Justice in 75–8; feature 36–9; genre bending 78–83; high- vs. low-concept 68–74; importance of second act 64–8; and the need for success 38–40; rules for 124–5; for sale vs. to make 18–19
scripts, reading 10
“second act blues” 32
second acts 32, 35, 64–8, 76, 85–6, 101–3, 107, 137–8, 142
set pieces 141–3
setting 130
shadow characters 58–9
Silver Linings Playbook (David O. Russell/Matthew Quick) 50, 68, 91, 92, 142, 178; diagram 199–203
sound effects 132
spec scripts 152, 154
stakes 100
Story (McKee) 5, 139–40
story lines, multiple 113–14, 119, 121
structure: act breaks 137–8; emphasis on 127; first acts 64–7, 102–3, 131; second acts 32, 35, 64–8, 76, 85–6, 101–3, 107, 142; third acts 64, 66, 67, 92, 103, 107, 129
subtext 15, 139–41
Successful Live Action Comedy Movies 2000–2016 178–81
Superbad 73, 180
suspense (tension) 100
Sweet Home Alabama 73, 181
Tammy 71, 73, 178
Ted 69, 73, 90–1, 178
tension (suspense) 100
Think Like a Man 74, 178
third acts 64, 66, 67, 92, 103, 107, 129, 137–8
This is the End (Seth Rogan & Evan Goldberg) 69, 73, 83, 93, 138–9, 178, 203–7
three-act structure 6, 14
Trainwreck (Amy Schumer) 6, 18, 50, 53, 177; diagram 10–14
The Trip 78
21 Jump Street (Michael Bacall & Jonah Hill) 18, 71, 90–1, 105, 178; diagram 15–16, 207–10
two-handers 90–3
The Ugly Truth 77, 179
Wedding Crashers 90, 142, 180
We’re the Millers (Bob Fisher, Steve Faber, Sean Anders, Rob Morris) 67, 74, 93, 106, 114–19, 120–1, 138–9, 178
What Happens Next? (W.H.N.) 53, 100, 128–30
What Women Want 69, 70, 73, 181
Wild Hogs 93, 180
Wrecked 81
writers groups 39
writing comedy 32–4, 38, 47, 49, 74–6, 124–5; see also screenwriting
Writers and Actors Lab (WAL) 24
wrylies 27–8
X meets Y 81–2