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Tangled (2010)

Genre
Adventure/Comedy
Written By
Dan Fogelman
Logline
Beautiful, magic-haired Rapunzel has been trapped in a tower her entire life. But when a handsome thief stumbles through her window, the two set off on an adventure that will teach them both what they've always been missing.
Why break it down?
Dan Fogelman is one of the biggest writers in Hollywood right now, and rightfully so. Since 2006, he's written 'Cars,' 'Fred Claus,' 'Bolt,' 'Tangled,' and 'Crazy, Stupid, Love,' and his latest, the Seth Rogen/Barbara Streisand-starring 'My Mother's Curse,' just wrapped filming and should be due for release later this year (download a draft of it here and bask in the amazingness). Hands down, he's one of the most reliably entertaining writers working today, and is a must-read for anyone serious about learning the craft. So why break down his 2010 animated flick, 'Tangled?' Well, because I just saw it…and WOW. Why on Earth did I wait so long?!

'TANGLED' IS AN EXAMPLE OF A NUMBER OF SCREENWRITING STAPLES, namely THREE-ACT STRUCTURE, PLANTS AND PAYOFFS (which we've touched on before), and the oft-used MACGUFFIN, a type of plot device that drives a story forward regardless of what it actually is. MacGuffins are used all the time, but you'd be surprised at how few people actually know what they are, so for a great explanation, check out the Wikipedia page. It's simple and effective, just like the movie 'Tangled.' (See what I did there?)

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

ACT I
00:00 - 05:15 (5.25 pages) [+] FLASH-BANG OPEN
05:15 - 08:15 (3.00 pages) [+]
08:15 - 09:30 (1.25 pages) [+] ⇡⇣ OPENING EXPOSITION
09:30 - 15:45 (6.25 pages) [+]
15:45 - 19:30 (3.75 pages) [+] INCITING INCIDENT
19:30 - 25:15 (5.75 pages) [+]
25:15 - 30:00 (4.75 pages) [+]
30:00 - 32:00 (2.00 pages) [+] PLOT POINT #1

ACT II
32:00 - 34:45 (2.75 pages) [+]
34:45 - 36:45 (2.00 pages) [+]
36:45 - 44:30 (7.75 pages) [+] ⇡⇣ FUN AND GAMES
44:30 - 51:00 (6.50 pages) [+]
51:00 - 52:15 (1.25 pages) [+]
52:15 - 59:15 (7.00 pages) [+] MIDPOINT REVERSAL
Midpoint
59:15 - 61:30 (2.25 pages) [+]
61:30 - 64:15 (2.75 pages) [+] ⇡⇣ ROLL DOWNHILL
64:15 - 71:00 (6.75 pages) [+]
71:00 - 74:45 (3.75 pages) [+] PLOT POINT #2

ACT III
74:45 - 81:45 (7.00 pages) [+]
81:45 - 88:15 (6.50 pages) [+] CLIMAX
88:15 - 91:15 (3.00 pages) [+] RESOLUTION

Analysis
I once heard someone say a nasty thing about one of my favorite writers, Allen Loeb. In a nutshell, it was that Loeb - one of the smartest, most in-demand writers in Hollywood today - isn't a good writer at all…rather, he just knows a bunch of tricks that make it seem like he's writing good material. Now, aside from being an asshole - and I mean, what a total asshole (have you even read 'Only Living Boy??' Have you READ 'Baster?!') - the guy had an interesting point swimming around beneath his words:

GREAT WRITERS HAVE AN ARSENAL OF TRICKS THEY KNOW WORK, AND AREN'T AFRAID TO USE THEM. Why a thing like this would seem shameful to that guy I have no idea, but look at any of the greats…Zaillian, Sorkin, Darabondt, Haggis…they all have tricks they regularly use, and it's a sign you're improving as a writer when you start to discover ones that work for you.

'Tangled' is a pitch-perfect example of this kind of writing. It's lean, it's emotionally resonant, and it's packed with clever screenwriting tricks that elevate it beyond the typical, "seen-it-all-before" kiddy fare. And for me, the most impressive trick in Fogelman's script is his MacGuffin:

Throughout the entire film, Flynn and Rapunzel are chasing this idea of a "glowing light ceremony," which (if you think about it) could really have been anything in the world. Would the plot have been any different if they were chasing after a purple elephant? No. But Fogelman is smart, and he knew that eventually his two main characters would have to...you guessed it...FALL IN LOVE, so he created a MacGuffin for his characters that would provide the most cathartic opportunity for romance that could possibly be achieved. I mean, what could be more romantic than sitting on a lake at night, watching a million glowing lanterns glimmer across the water around you? They could be chasing an elephant, sure, but if what they're chasing doesn't actually matter, then Fogelman's going to use it as an opportunity to solidify the relationship between them. It's a trick, yes. And goddamn if it doesn't work like a charm.

But aside from all this, 'Tangled' is really just a fine example of three-act structure, so without further ado, let's take a look at where the important plot points show up, and briefly talk about why they are where they are:

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

1 comment:

  1. Awesome analysis. Really in depth breakdown, I'm excited to read it myself and follow your notes.

    As far as "tricks" go--would you mind going into a little more depth on this? I understand the concept, but some examples would be particularly useful. Perhaps I simply haven't read enough screenplays to recognize tricks that some writers refer to in order to enthrall an audience.

    Lastly, I thoroughly enjoyed your dialogue with Dan. I felt I could connect to Dan's emotional perspective slightly more than Josh's, simply because it's usually me saying "just watch the fucking movie." Great work. Excited to see your next analysis. Keep it up!

    ReplyDelete