Hey, guys. Since there's no new episode until April I thought I would share with you this part of
a recent post on my other blog
Wasteland & Sky. It is about what I learned in regards to pacing an action movie from doing Cannon Cruisers for so long.
You can find the full post
here, but I've included the relevant information for this post below.
Once again, thanks for coming by and I'll see you soon for more episodes!
Rarely does an action movie ever justify being shorter than 80 minutes or longer than 100, so ones that break this rule tend not to be very good on a fundamental level. Rushing through the story shows a lack of craft, and stalling shows a disrespect for the audience's time and overestimation of your own talents. An action and adventure story is meant to introduce quickly, then get to the rising action ASAP. The audience needs to be wowed as soon as you can do it, but do it too often or take too long to do it and they will rightfully drift off. Remember, they are here for the action. they aren't here for you to waste their time.
This means knowing when to end the story. Action stories should be as short as possible because the audience will get burned out or even desensitized to what you do. The faster and stronger your punches, the quicker the fight is won. Are you in a fight with your audience? In a sense. You are fighting to keep them engaged, and they are engaged in action and adventure because they want to see action and adventure. The less they get of it, the less they will want to stick around. You need to offer it to them while also making sure they stick around for the whole ride. This requires respecting their time and knowing the right way to cater to their needs.
Think of it in movie terms, such as the above. Imagine the shortest limit I put up there, an 80 minute action movie. How would that work? How do you make a movie so short and yet mange to hit all the right points? Naturally, few movies are as short as 80 minutes, but it appears to be the bare minimum you can go before you start losing things you need to make the story work. In essence, an 80 minute action movie would be the bare minimum required.
I will describe it in four blocks.
First 20 minutes: Introduction
In the first 20 minutes, you need to introduce your protagonist, their goals and why we should root for them. you must do the same for the antagonist. At the same time, the conflict between the two, why they are opposed, is to be set up. where most action movies go wrong as bloating this up with big, elaborate back stories or convoluted motivations in an attempt to be clever. You don't need to be clever, you need to be clear. Tell the audience straight out what they want to know. The longer you take to set it up, the more you risk the audience tuning out.
At the same time as the above, you need to have some action early in the story to give an indication as to what the audience will be expecting for the rest of the movie. This chunk of time is essentially the entirety of the first act, and it's very necessary. It's important set up, but dragging it out too long risks boring the audience and blowing through it too quickly risks confusing them. I can say, audiences will be looking at the time if you blow past half an hour on setup, and that is the last thing any moviemaker should ever want.
Second 20 minutes: Rising Action
Next, you ratchet up the action, leading up to the second act turn. Whether the heroes or villains suffer a win or loss doesn't matter so much as that the actual situation changes by the end of this conflict stage. The status quo must be rocked, and it must be reflected in the action. The carnage here must trump everything that came before, otherwise the audience will not feel the tension as best they need to stick with the story. Remember, this is action!
When this part ends, it shouldn't contain finality, but just enough of a shakeup that means the protagonist and antagonist have unfinished business and, to use an old cliché, that said business is now personal. If it isn't personal by this point then the characters are not as invested as they should be, and neither will the audience be.
Third 20 minutes: Tension Release
Yes, action stories shouldn't have constant explosions and knife fights. The audience needs to take in what just happened and learned how it affected what the characters have just gone through. Just as the introduction builds to the chaos the audience just experienced, so to must it be built again. This is the one period of the movie where there should be a lull in the action, the audience needs a breather and requires catching up with what just happened.
At the same time, the plot needs to continue towards the setup for the final confrontation. Linger too long on downtime and you risk the audience losing interest again. You need to remember that this is an action story, so things still have to move. All the pieces on the board must come to the place they need to be for the final checkmate. The hero says goodbye, he might not make it back, etc. Get ready for the climax, because this is all going to explode.
Fourth 20 minutes: Climax
This is where everything goes off the rails, in a good way. Everything has led to this moment, and the action needs to reflect all the buildup you have had so far. But it isn't just a final release. Even during the climax does the action rise, leading to the iconic standoff between protagonist and antagonist, where it is released in a battle of wills that can go however your story is meant to go . . . but it must top everything seen so far. It leads to the final moment when both hero and villain exchange their final (possibly metaphoric) blows with each other, and the correct party walks away. Do this right and the audience will be pumping their fist as the cheesy rock song plays and the credits roll over the remaining debris of what was just unleashed.
You'll notice I didn't put "denouement" in its own category. This is because action movies shouldn't have them. The story should end as close to the villain's defeat as possible, letting the audience leave on the high they came in for. The longer you risk going on and on after the final confrontation, the more you risk losing the effect you worked so hard for. You want the audience feeling like something got accomplished, and it meant something. That final image is going to stick with them long after they've put that movie back in the case again. This is what any creator wants the audience to feel.
This is the key to making a good action movie. It requires an order to the chaos, just as most storytelling does. It prioritizes giving the audience what they want through tight pacing and parsing out gold nuggets of action in all the right places. Every classic action movie does this.
Yes, the above formula does look a lot like
the Lester Dent formula, but since it we are working with visuals and not words there is a lot more to keep track of. Director-style, actors, execution of action, and even cinematography, can change the amount of time it takes for any of these things to happen. However, if you risk going over 30 minutes in any of these categories, you risk losing the audience entirely. Hence why there are few good action movies that break the 2 hour mark, and none that reach 3 hours without severe pacing problems. These movies simply don't warrant being that long because they go against the point of action, which is to be quick and brutal.
And sure enough, as long as I've been doing Cannon Cruisers and have covered well over 100 movies by now, this unwritten rule appears to have been put to good use. Just like most stories, there is a clear winning formula at play here.
Next time you watch an action movie, try to keep it that above formula in your head. You'll notice each part falls somewhere within the 20-30 minute limit I've described. For good reason. Most classic action directors knew how to put audience needs first.
Everything has a formula, you just need to be sure you're following the right one.
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