Pages

How To Train Your Dragon (2010)

Genre
Action/Comedy
Written By
William Davies, Dean DeBlois, Chris Sanders
Logline
Having dreamed of being a dragon hunter his entire life, a clumsy young Viking learns there's more to the creatures than meets the eye after he strikes up an unlikely friendship with a fire-breathing Night Fury.
Why break it down?
I'll be honest…How To Train Your Dragon is my favorite film of all time. The soundtrack is in my top two. I have plans to name my first dog Toothless, and my second John Powell. It's the one film I'm almost completely incapable of being objective about. And guess what? For all its brilliance, the script follows classical three-act structure right down to the very last beat.

'HOW TO TRAIN YOUR DRAGON' IS AN EXAMPLE OF TWO PLOTLINES BEING WEAVED AROUND A SINGLE PROTAGONIST AT ONCE (see the Analysis section below), which can teach us how to keep Act 2 exciting and build satisfying arcs for our characters. And as an added bonus, IT CAN SHOW US HOW TO USE THE 'ROLL DOWNHILL' TO DRIVE OUR CHARACTERS TOWARD A LOW POINT, which will make our climaxes ten times more intense (which, my friend Colton has just informed me, is what she said).

So read up, keep an eye out for the beats, and we'll look at the film's structure after the jump. (Click the [+] button for a summary of each scene.)

ACT I
00:00 - 08:30 (8.50 pages) [+]
08:30 - 09:30 (1.00 pages) [+] ⇡⇣ OPENING EXPOSITION
09:30 - 11:30 (2.00 pages) [+]
11:30 - 15:15 (3.75 pages) [+] INCITING INCIDENT #1: THE BOY AND HIS DOG
15:15 - 17:00 (1.75 pages) [+] INCITING INCIDENT #2: THE FLEDGLING WARRIOR
17:00 - 20:00 (3.00 pages) [+]
20:00 - 22:00 (2.00 pages) [+]
22:00 - 24:45 (2.75 pages) [+]
24:45 - 25:30 (0.75 pages) [+]
25:30 - 27:45 (2.25 pages) [+]
27:45 - 33:15 (5.50 pages) [+] PLOT POINT #1

ACT II
33:15 - 34:30 (1.25 pages) [+]
34:30 - 35:00 (0.50 pages) [+]
35:00 - 37:15 (2.25 pages) [+]
37:15 - 39:15 (2.00 pages) [+]
39:15 - 41:45 (2.50 pages) [+] ⇡⇣ FUN AND GAMES
41:45 - 42:30 (1.25 pages) [+]
42:30 - 43:30 (1.00 pages) [+]
43:30 - 46:00 (2.50 pages) [+]
46:00 - 47:15 (1.25 pages) [+]
47:15 - 49:45 (2.50 pages) [+]
49:45 - 51:00 (1.25 pages) [+] MIDPOINT REVERSAL #2: THE FLEDGLING WARRIOR
51:00 - 60:00 (9.00 pages) [+] MIDPOINT REVERSAL #1: THE BOY AND HIS DOG
Midpoint
60:00 - 64:45 (4.75 pages) [+]
64:45 - 66:30 (1.75 pages) [+] ⇡⇣ ROLL DOWNHILL
66:30 - 67:30 (1.00 pages) [+]
67:30 - 69:30 (2.00 pages) [+] PLOT POINT #2

ACT III
69:30 - 70:30 (1.00 pages) [+]
70:30 - 71:00 (0.50 pages) [+]
71:00 - 71:45 (0.75 pages) [+]
71:45 - 72:45 (1.00 pages) [+]
72:45 - 83:30 (10.8 pages) [+] CLIMAX
83:30 - 85:30 (2.00 pages) [+]
85:30 - 88:00 (2.50 pages) [+] RESOLUTION

Analysis
One of the most interesting things to observe in How To Train Your Dragon is the way it weaves two parallel plotlines around its main character, Hiccup. To make this easier to follow, we'll give each of these plotlines a name:

PLOTLINE #1: THE BOY AND HIS DOG [+]

PLOTLINE #2: THE FLEDGLING WARRIOR [+]
|
So because we're following Hiccup down these two different roads in the Second Act, take note that the Inciting Incident and the Midpoint both show up twice - once for each plotline. After the Inciting Incidents, the two threads split apart and run parallel to each other until the latter part of Act 2, where they collide back together (during the Roll Downhill) and set us up for the Climax. So without further ado, let's take a look at where these plot points show up and briefly talk about why they are where they are:

Flash-Bang Open [+]
Opening Exposition [+]
Inciting Incident #1 [+]
Inciting Incident #2 [+]
Plot Point #1 [+]
Fun and Games [+]
Midpoint Reversal #1 [+]
Midpoint Reversal #2 [+]
Roll Downhill [+]
Plot Point #2 [+]
Climax [+]
Resolution [+]

4 comments:

  1. Though I am interested in learning to achieve a better climax, I've always been more interested in a 'Flash-Bang Open'.

    ReplyDelete
  2. Also, I want to have your babies Joshua. All of your babies. I miss you. Come back to Tucson soon bb guurrrrrrl.

    ReplyDelete
  3. Great analysis of the script. I think it's an interesting take on the narrative without succumbing to the analysis as something that is strictly "character driven" as many younger analysts tend to deviate toward. For example, I would have immediately said that the story revolves around three characters (Stoic, Astrid, and Hiccup) largely because of individual screen time and also the development of their characters. We find out early on that Hiccup has his own storyline: he wants to impress his father, but he is driven to make the citizens of Berk understand Toothless (and other dragons) rather than kill them. Astrid is a typical Viking whom searches to become a great viking warrior, but instead finds a heart and glory. Lastly, Stoic, a representative of the stoic Viking ways, searches to protect his town, annihilate any threat, and raise a strong Viking son; but instead he ends up with a greater understanding of existence and the bravest, most unorthodox Viking-son.

    Now, I only bring these points to light because I wished to compliment your analysis. I think you have a very valid point in stating Hiccup's centrality and the plot's duality. It may be useful, though, to look at the dual plot in terms of characters, as I think Stoic stands on the side of "The Fledgeling Warrior" while Hiccup stands on "The Boy and His Dog" and Astrid stands somewhere in between (even though her screen time is minimal, I find her an important distinction from the other characters, as she does have the entire scene in the forest where she searches for Hiccup and the answer to his mischievous absences).

    All in all, fantastic analysis. I enjoyed it, and I can't agree more with the soundtrack. I'm listening to it right now.

    ReplyDelete
  4. @Anonymous Right?! I mean, I have to give props to Reznor & Ross for 'The Social Network' - it's a great score, I ain't arguing - but people glaze over 'HTTYD' like it wasn't even a contender that year. I mean come on, people...have you HEARD this music?

    Soundtracks aside, though, you make a great point. I had so much trouble trying to figure out how to weigh Stoick against Hiccup in this breakdown, because like you said, he really is a central character and goes through an entire arc of his own in the film. I think it's definitely safe to say he has a plotline all to himself that follows these beats:

    1. He signs his kid up for dragon training.
    2. He goes out on a dragon-hunting mission.
    3. He comes back to find out his kid is a badass.
    4. He sees it was all a lie, and rejects his kid.
    5. He witnesses his kid's heroism first-hand, and finally accepts him again.

    In the end, I think what it really came down to for me was point of view; only one of these beats (#2, in which Stoick goes out on his dragon-hunting mission) is completely focused on Stoick, while each of the other beats keeps Hiccup firmly in the spotlight. Because of this, if I was a writer in the outlining stage of 'HTTYD,' I think I'd probably approach it by splitting the script into two halves - "The Boy and His Dog" and "The Fledgling Warrior" - and, like you mentioned, incorporate Stoick's scenes into the latter thread.

    Rocking comment, sir and/or ma'am. It's great food for thought!

    ReplyDelete