Unveiling the Secrets: How Miguel Duran Transforms Shorts into Cinematic Masterpieces
Ashley
Yeah, for sure. So, how do you approach screen play structure? You’re getting into it a little bit with your three at your beginning middle and outline and that sort of stuff but how do you approach screenplay structure? Do you originally try and have those act breaks at the right page number, when you go back and reprise are you thinking about that but just in general how do you approach screenplay structure.
Miguel Duran
So. I definitely keep it loose. So, since the, you know, I approach it from a three act structure, but beyond that, I’m not rigid with it. And the reason for that is because I’ve found, you know, we all know how movies supposed to feel as we go through the story. And so it kind of naturally comes out that way usually. And that doesn’t mean that it naturally sticks to these rigid points, but these rigid points, you know, we talk about these certain points where things happen because that’s just how we’re used to stories happening. And so, you know, if something’s not clicking, it’s usually because there’s something that needs to be there, either like, you know, like something’s missing from around where something should happen. We’re out, we’re around, you know, we’re around the 30-page mark. Why hasn’t anything happened yet? We’re at the midpoint. Why hasn’t there been a turn? And so I’m definitely not thinking about that when I’m writing, but when I’m rewriting, usually is when there’s probably a structural issue. That’s a reason for something not clicking. That’s usually how I view it.
