How does a writer know for sure that he’s writing a successful story? And why does one film work become a great success while the other one doesn’t?

Dutch filmmakers Paul Ruven and Marian Batavier went to Hollywood to improve their writing skills. During their stay in Hollywood they interviewed some successful American scenarists . After many conversations with these insiders, they discovered a ‘secret’: All successful films are based on one simple formula.
Ruven’s book: "The secret of Hollywood" has been published in Holland, but within a few months it will be translated into English. Since I’m sure scenarists from Italy and the rest of the world will be interested in this formula, I decided to write an article about it. I’ve read the book and went to a lecture by Ruven. This article is based on my findings.
At first I thought it was rather pretentious for a Dutch scenarist to say he has discovered the secret of Hollywood. But Ruven strongly believes in his own formula. According to him this is something that has been kept away from the public. As he states: “Everybody gave us bits and pieces, which we put together in the book. None of our informants wanted to be cited as an informer. When I asked about the reason of this secrecy, and why these ideas were never published, they all responded that there was a code not to inform the competition. In some way we are the whistleblowers of Hollywood.”
So there’s a formula that optimally addresses the viewer’s emotions. It all comes down to storytelling throughout history. We are used to a certain structure, a certain tension curve, a certain way of identification. Children want to hear the same stories over and over again, and when they grow up the longing for that safe sensation is being fulfilled by one framework for all stories.
Ruven saw over 40 films to work out and test the formula. For example Die Hard, Notting Hill, Saving Private Ryan, Meet The Parents, Jaws, Toy Story, Rain Man, Titanic and Ghost, but also less conventional films like Caché, La Vita è Bella, Lola Rennt, Das Leben der Anderen and Pulp Fiction. Apparently the scheme is not restricted to Hollywood, it also works for some European productions.

What is the secret? According to Ruven, all successful films have one simple structure. Basically the formula comes down to:

MC + Pr = P5

Translated into English it means: the Main Character (MC) is confronted with a Problem (Pr) that he cannot solve with his first four plans, but his Plan 5 (P5), generally the most risky plan, succeeds.

Ruven: “If you look at all the biggest blockbusters in history they all operate with this simple formula. Whether it is Ben Stiller who has to win the trust of his future father-in-law Robert de Niro or James Bond who has to defeat the villain, it all come down to this formula. It also applies to all genres: thrillers, melodrama, science fiction, westerns, comedies. It runs from Titanic to Die Hard to Pulp Fiction.’’

The problem can be anything. A terrible boss (The Devil Wears Prada), aliens (Men In Black) or a soldier that needs to come home (Saving Private Ryan). All problems are the opposite force or forces to the main character. The protagonist needs 5 plans because of the average length of a film. It’s all about the balance between the amount of tension and the viewer’s capacity to stay focused. Therefore, the problem has to be big enough to beat the main character during the first four plans. The fifth plan will seem to fail too, because the audience has to remain focused as long as possible.

There’s another important element within the formula. It comes down to:

MC (L2→L1) + Pr = P5

At the beginning, the main character always lives a kind of Second Choice Life (L2). He doesn’t have the maximum of happiness. He misses something. Maybe he’s afraid to loose his safety, or he doesn’t want to fail. Viewers can easily identify with this protagonist, as they themselves might think they live a second-choice life as well. Not the best job, not the best partner, not the best house – all examples of a second-choice life. During the film, the main character will experience a transition from second-choice life to first-choice life (L1). This transition will, of course, not be smooth as the protagonist is dealing with his problem.

All stories that use this formula are being told in 8 steps of approximately 15 minutes. Why? Ruven: “This has been developed during filmhistory. Tension can easily be built up and let loose during a well-organized amount of time”. A clear scheme will also offer actors and directors the knowledge of which emotions they should play or direct. When reading a script, actors who are aware of the formula always look up page 90 first, because the real dilemma will unfold itself around the 90th minute.

This doesn’t mean writing will be a piece of cake from now on. The film’s dilemma is what it’s all about, Without a fantastic idea or clear dilemma a scenarist will never sell his story. For example: Jamie Foxx’s dilemma in Collateral comes down to: I don’t want 5 people to be killed. But I don’t want to be killed myself either”. A good dilemma is the key to success. Ruven: “Scenarists are paid millions just to work out a catchy dilemma. If you have the dilemma, writing the script can be reduced to a gap-exercise”.

The book contains many more elements of the secret. See the end of my article for Ruven’s detailed scheme. Also, every genre has it own rules and guidelines. The book explains ‘love’, but does not provide a detailed explanation of ‘action’, ‘thriller’, ‘detective’, ‘comedy’ etc. We should work those genres out ourselves.

One formula for all films – that still goes against the grain with me. Although I have analyzed a few films by using this scheme now, and they all seem to fit in more or less, I just don’t think cinema is to be captured in a formula. This formula might be the commercial key to a big audience and a Hollywood remake, but the world still needs directors who offer us gazes to other worlds, other cultures and new experiences. Hollywood is a factory where test-screenings are being held, elements of scripts can be rewritten, and formulas are being used to reach an audience. Interesting it is, but everyone out there who loves cinema, will agree that a great and moving film is more than just a well-worked out dilemma and a gap-exercise.
 

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