The Hero’s Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. Understanding this template is a priority for story or screenwriters:
The Hero’s Journey:
• Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.
• Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.
• Interpreted metaphorically, laterally and symbolically, allows an infinite number of varied stories to be created.
The Hero’s Journey is also a study of repeating patterns in successful stories and screenplays. It is compelling that screenwriters have a higher probability of producing quality work when they mirror the recurring patterns found in successful screenplays.
The Hero’s Journey is also a study of conventions. Before screenwriters can decide whether to accept or reject the conventions, they must appreciate their purpose and value.
Consider this:
• Titanic (1997) grossed over $600,000,000 – uses the Hero’s Journey as a template.
• Star Wars (1977) grossed over $460,000,000 – uses the Hero’s Journey as a template.
• Shrek 2 (2004) grossed over $436,000,000 – uses the Hero’s Journey as a template.
• ET (1982) grossed over $434,000,000 – uses the Hero’s Journey as a template.
• Spiderman (2002) grossed over $432,000,000 – uses the Hero’s Journey as a template.
• Out of Africa (1985), Terms of Endearment (1983), Dances with Wolves (1990), Gladiator (2000) – All Academy Award Winners Best Film are based on the Hero’s Journey.
• Anti-hero stories (Raging Bull (1980), Goodfellas (1990) etc) are all based on the Hero’s Journey.
• Heroine’s Journey stories (Million Dollar Baby (2004), Out of Africa (1980) etc) are all based on the Hero’s Journey.
Elizabethtown (2005) and Silence of the Lambs (1991)
As an example, two very different stories have been briefly deconstructed: Elizabethtown (2005) and Silence of the Lambs (1991):
Elizabethtown (2005)
Fade In: starts strong (communicates salient information immediately): shoes recalled.
Introduce Hero (Drew Baylor) in his Ordinary World, which he is unwelcome in. Tangible representation of the Ordinary World (Ellen).
Foreshadow of the Journey: we meet Drew’s family around the table.
Back-story of Hero: Drew in the World of the Shoe.
Supernatural Aid pushes hero out of his Ordinary World (meeting with Phil).
Development of Inner Challenge: Drew’s suicide attempt in his apartment; what to do now that he is a failure.
Call to Adventure by the Herald (his sister): Drew’s Dad is dead.
Preparing to cross into the First Threshold with allies (sister and mother): in the airport.
First Threshold and meeting the Romantic Challenge: Drew meets Claire in the aircraft.
Allies encourage the journey: Claire draws a map.
References to the inner and outer challenge: Drew references that he was fired; Claire realises Drew’s father is dead.
Back-story of the Outer Challenge: Drew when he was young and with his father. Reminder of the Inner Challenge: that he is a failure / lost $1b.
Magical gift: Claire gives Drew his wings, the directions and her number.
Physical Separation: exit 60-B.
Resistance to the Transformation: difficulty getting to Elizabethtown.
A New World: entering Elizabethtown.
Meeting the Mentor (Jesse, his cousin).
Mentor shows the hero around the World of the Transformation and the Creatures within: Jesse introduces Drew to everyone.
Polarization: they want a burial and Drew is thinking about cremation; he’s from “California.”
Meeting the Creatures of this World: the congregation.
Trial [passive]: Meeting his father lying in a coffin; lessons: “if you move around a little bit, you’ll see different aspects.” The word is “whimsical.”
Trial [passive]: Meeting the relatives and familiarising himself with the family.
Trial [proactive]; Drew saves Samson in the car.
Celebration at the passing of the trials: Drew is congratulated in the house.
Mentor’s challenge: Jesse admonished by his father; “you can’t be buddies with your own son.”
References to the Outer Challenge; Mentor’s back-story and capabilities: Lynard Skynard sequence.
Foreshadow of the break from the Old Self and preparing to Seize of the Sword: Drew calls everyone, including Claire.
Pulled Backwards to the Old Self and Forwards to the New Self: Heather, Ellen and Claire all on the phone simultaneously.
Break from the Old Self: Ellen says Goodbye.
Journey to the Sword: Drew and Claire on the phone.
Seizing the Sword: Drew wrests the Champagne from Chuck.
Rebirth through Death: Claire offers to “let Drew go.”
Reward: Claire and Drew meet by the Roadside.
Allies confront limitations: Hollie takes tap, comedy, cooking lessons etc. Claire doesn’t go to Hawaii.
Warnings about the Atonement: Hollie warns Drew about Bill Banyon.
Preparing for the Atonement: Buying the cremation vase.
Second Thoughts: Claire and Drew think about being just friends.
Atonement with the Father:: Drew confronts his uncle et al and makes a decision about the cremation.
Reference to the mentor’s challenge: Jesse is ignored and admonished.
Apotheosis: Rusty’s Learning to Listen video. Mentor’s challenge overcome: “thank you for taking an interest in Jesse.”
Ultimate Boon: “feels good doesn’t it. I can see Mitch now, so proud, in that blue suit.”
Refusal: Drew tries to stop the cremation.
Magic Flight: Drew prepares to leave.
Rescue from Without: Drew meets Claire and sleeps with her.
Crossing the Return Threshold; confronting and overcoming the
Inner Challenge: Drew chases Claire and tells her about his failure. She doesn’t care. References to the Outer and Romantic Challenges.
Master of the Two Worlds: Hollie wins over both sides of the family with her tap and comedy. Convergence aided by Mentor (Jesse’s tribute).
Tangible representation of the New Order: the burial to appease the Kentucky family.
Freedom to Live. Drew goes on the road trip with his father’s ashes [the trip they always meant to go on] and comes to terms with his death (conquest of the Outer Challenge). Finally seizes Claire (conquest of the Romantic Challenge).
Silence of the Lambs (1991)
Introduce Hero and Capabilities [Clarice tackling the FBI assault course].
Herald brings the Call to Adventure [Jack Crawford sends Clarice to visit Lecter (her Supernatural Aid)].
Threshold Guardian [Dr Chiltern obstructs Clarice's visit to Lecter].
Refusal [Lecter refuses to help].
Overcoming Refusal [Lecter's cell mate is rude and causes Lecter to help Clarice by way of apology]. Lecter sends Clarice to the First Threshold [the garage].
Physical Separation / Belly of the Whale [Lecter says he'll help Clarice catch Buffalo Bill].
Antagonism developed [Buffalo Bill kidnaps senator's daughter].
Transformation / Road of Trials x 3 [Clarice controls the police officers; analyses the dead body in Clay County ; learns about the cocoon].
Resistance to the Meeting with the Oracle [Dr Chiltern obstructs Clarice from seeing Lecter before he is moved].
Journey to the Sword [Lecter journeys to meet the Senator].
Seizing the Sword [Clarice gets the info she needs, which Lecter has written in the case files; Clarice learns the significance of Silence of the Lambs].
Rebirth through Death [Lecter escapes and kills].
Reward [Clarice knows Lecter will not come after her].
Atonement with the Father [Clarice learns that Buffalo Bill can only covet what he sees].
Apotheosis [he's making a skin suit].
Ultimate Boon [Crawford has (allegedly) found Buffalo Bill].
Refusal [Crawford tells Clarice not to come to Chicago but go to Belvedere instead].
Magic Flight [Senator's daughter attempts to escape].
Rescue from Without {Clarice directed toward Mrs Lipman].
Crossing the Return Threshold [Clarice enters buffalo Bills House].
Master of the Two Worlds [Clarice and Buffalo Bill gun battle].
Freedom to Live [medals, graduation, Lecter confirms he has no plans to call on Clarice].
Learn more…
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Kal Bishop, MBA
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Kal Bishop is a management consultant based in London, UK. His specialities include Knowledge Management and Creativity and Innovation Management. He has consulted in the visual media and software industries and for clients such as Toshiba and Transport for London. He has led Improv, creativity and innovation workshops, exhibited artwork in San Francisco, Los Angeles and London and written a number of screenplays. He is a passionate traveller. He can be reached at http://managing-creativity.com/