Four Screenplays: Studies in the American Screenplay: Thelma & Louise, Terminator 2, The Silence of the Lambs, and Dances with Wolves

by Syd Field

Understanding how and why screenplays work is one of the surest paths to writing your own successful script. Few people have known this better than Syd Field, who dissected thousands of films and screenplays in order to discern the vital elements that all great screenplays share. His books, lectures, workshops, and classes brought clarity and confidence to a great many accomplished screenwriters, a quartet of whom are featured in this one  
Informative and utterly engrossing,  Four Screenplays  belongs in every writer's library, next to Field's highly acclaimed companion   The Foundations of Screenwriting, The Screenwriter's Workbook, The Screenwriter's Problem Solver  and  Selling a Screenplay.

Genres: Writing, Film, Nonfiction

336 pages, Paperback

First published January 1, 1994

About the author

Sydney Alvin Field was an American screenwriting guru who wrote several books on the subject of screenwriting. He also conducted workshops and seminars on the subject of producing salable screenplays. Hollywood film producers have increasingly used his ideas on structure as a guideline to a proposed screenplay's potential.

Reviews

[Joseph · Rating 4 out of 5]

A day late and way more than a buck short, I'm writing a report on Syd Field's Four Screenplays...

The ethos of screenwriting and credible art form of myth is often compared to the writing equivalent of lead guitar and can be vastly improved upon because of scholars and philosophers such as Joseph Campbell by "presenting a contemporary perspective to a generation hungry for myth." (xiv) Screenplays are neither novel nor play, but rather an organic story that combines elements of both and have the incalculable potential to be a love affair with one's self. Bummer...

Field swan dives into Thelma & Louise, Terminator 2, The Silence of the Lambs, and Dances with Wolves, but only segments of those actual screenplays ENABLE his... feathery intellectual discourse. He also references Rocky a buncha times probably because Rocky is a champion who rulz. Field surprisingly uses the adjective, "schlocky" on page 143 in his chapter, "The Tin Man Gets a Heart." <3

"Movies have become so much a part of our lives that sometimes we forget how much they can influence behavior or our ways of thinking..." (xiv) The best and coolest films present a "spiritual awareness" that resonate through the final act as contrived through plot points that hold the story in place and the #basic structure of three acts.

"...the timing and structure. did you hear...?" (182...)

Act I: Set-Up
Act II: Confrontation
Act III: Resolution

According to Field, the first ten pages of a screenplay are wicked important, launching into a unit of dramatic action because allegedly active readers in stupid Hollywood apparently need only ten pages to determine if a script is legit legit working. Visual transitions aid moving the story forward and how characters respond to written constructed situations define who they actually are. Even the standard act of packing a suitcase can be a visual illustration to develop a character based on their HUMAN BEHAVIOR.

Field defines "Film is behavior," (21) but I'm curious as a stinky dude with a pen, paper, and somewhat charged shitty laptop if traditional training in applied behavioral analysis (ABA) or cognitive behavioral therapy (CBT) can succor those other worldly artistic (not autistic...) pursuits.

"The word, 'exposition' literally means 'necessary information'; in creative writing, exposition is information necessary to further the action of the story." (19) Dramatic subtext can also fuel the fire of Act II whilst some screenplays improve upon the source material by using a method called, "CROSS-CUTTING" as story threads are woven together like a braid, friendship bracelet, or anthemic pop-punk lyrics in a written book report. The, "PINCH" (not a fart or loaf...) is typically an event or sequence of events that occurs approximately a quarter of the way through Act II, keeping the story on track. Is it within reach that a fun literal pinch of someone's bum could keep a romantic story on track??

"it's alright to tell me...what you think about me..." (182...)

"Persistence and determination are the keys to success; then comes talent." (86)

Ridley Scott of science fiction and action acclaim actually directed Thelma and Louise. Thelma and Louise was Callie Khouri's first screenplay. Khouri describes herself as a "fish out of water" (7) who worked several odd jobs, unfulfilling acting grinds, and burned out on music video production before fully embracing her passionate niche.

Prior to reading this book, I still hadn't seen that one yet, but I'm well aware of Wayne's World 2 (with the memorable quiet Native American Indian...) parodying it along with The Graduate.

Jim Cameron, another sci-fi and action biggun learned how to write screenplays by reading an actual book called Screenplay and the epistemology, or not-so-immaculate conception of his bad ass Terminator franchise was imagined in several stages. Cameron is mostly inspired by driving into new territories. As a personal prompt, Cameron frequently tries writing about things that scare him as he forays into the "what's inside of the box" territory, which can at times be rather polemical in nature.

"...when he's gone, I won't come back..." (182...)

What about Arnie?

Good sequels are fantasies that can become realties with proper calibration and collaboration. Some screenwriters have the sheer willpower to write words for thirty-six hours straight. Verbal transitions are useful tools to foreshadow future events even sans the element of time travel.

"SWIISHHITT" is an actual direction in T2 and identical twins are useful for creating cinema MAGIC, but it's important not to forget that a good action flick also lets the audience breathe.

(pause to breathe...)

Film editors are lucky enough to have the privilege of restructuring and adding literal breathtaking silences through interspersed dynamic panoramic landscape views.

(pause to breathe...)

I have always been under the pretense that Silence of the Lambs is overrated, but Ted Tally actively pursued the adaptation of Silence of the Lambs "like a real job" (162) because its something he felt deep down inside underneath his own skin. He broke down every scene into cards, successfully reducing a 350-page novel to a 120-page screenplay. Tally affirms, "You may have to shift several scenes in order to follow the main story line," (165) while also cautioning to the wind not to let the job enslave or oppress your mind (maybe like Hannibal Lecter? #irony). The main first draft becomes an entity of its own as it cuts its umbilical ties to the novel.

"A passage of time bridges the action: 'Almost a month and no one has come,' Dunbar writes in his journal. 'The longer this condition persists, the less inclined I am to believe that anyone will... It is the loneliest of times...'" (269)

The Resolution (Act III) is the SOLUTION to the problem set. It's fairly common practice for Hollywood juggernauts to change endings without true rhyme or reason. Even if a blockbuster ending is explosive or messy, I certainly prefer to choose the monogamous happy conclusions.

A true writer's journey is a test of faith and courage.

"...you must have your reasons... the season is... calling..." (182...)

(pause to breathe...)

"...well, I guess this is growing up..." (182...)

Damnit...

https://letterboxd.com/jtb143/

[John Rachel · Rating 3 out of 5]

Syd has some very useful things to say about the craft of screenwriting. His analysis of these four screenplays __ excellent choices by any measure __ is helpful. But as with most guide books to doing anything well, they are after the fact, and merely indicate what was done well and how that was achieved, conforming understandably to the formula which Syd has extracted as a necessary structural component of all effective and successful screenplays.

While the formula is critical and necessary, there is still no way to extrapolate a path for writing a good story. Good stories are the product of an excellent imagination in tune with those aspects of human nature which resonate with vast numbers of human beings.

The template for effectively telling a story does not produce the story. Sometimes I get the feeling that Mr. Field, like many in Hollywood boring us to death with predictable and soulless cinema, forgets that.

[McQueen · Rating 3 out of 5]

3.5 Stars ⭐️⭐️⭐️

There is no need to read this book unless you are a glutton for Syd Field's work. If you have read Screenplay by the author then there is nothing new to learn here, but it is interesting going through 4 of the biggest movies of the early 90s and see them digested morsel by morsel if you have a craving for story structure:

Silence Of The Lambs
Thelma & Louise
Dances With Wolves
Terminator II

[German · Rating 5 out of 5]

Me gustó mucho la aproximación que hace Syd Field a través del análisis de cuatro estupendos guiones. Tardé en leerlo porque quise volver a ver las películas antes de leer el capítulo en el que se hablaba de ellas y eso hizo que la experiencia fuera más interesante y recomiendo leerlo así.

La elección de los guiones no solo es buena por la calidad de los mismos, también porque elige un guion original (Thelma & Louise), un guion original que es dirigido por su creador (Terminator 2), un guion adaptado (The Silence of the Lambs) y un guion adaptado por el autor de la novela (Dances with Wolves). Esto hace que adquieras habilidades y tomes en cuenta ciertos puntos específicos de cada perspectiva.

El análisis que hace sobre la decisiones creativas del guionista y el director también es muy interesante y en general me pareció un muy buen libro y creo que es muy útil para seguir aprendiendo el arte del guionismo.

[Gabriella Niles-Ewen · Rating 2 out of 5]

While Syd Field provides some valuable knowledge on screenplays and screenplay structure, a large percentage of this book is a recital of the plots and an occasional unhelpful comment driven by film-industry ego.

[Dan Howarth · Rating 4 out of 5]

Not my favourite Field book but still full of knowledge. Resorted too much to telling us what happens in the films rather than actually analysing them. Still, not half bad.

[Laura · Rating 3 out of 5]

read this for my editing job but with glee bc it’s something I would also just pick out to read

[Alex · Rating 4 out of 5]

I liked it more than the regular screenwriter book by Syd Field that I read just before this one. I think this was more effective because it focuses on the analysis of four great films instead of a general screenwriting book where I think he is vague and sometimes convoluted. Out of the four films I really enjoyed only three. I thought Dances With Wolves, while is an immense film with so many admirable things about it just did not fit the screenwriting tips Syd was telling us about and to read him writing about it felt like a stretch. Though I did admire the chapter that describes the screenwriter of Dances with wolves, which felt like a rags to riches story. The best section indisputably is the treatment of The Silence of the Lambs and he made some interesting observations about Thelma and Louise. Though I am not always in agreement what constitutes a definitive act point. Example - the second plot observed point in Thelma and Louise didn’t resonate for me. Overall a good analysis of the greatest films produced in 1990 and 1991.

[Marie · Rating 3 out of 5]

Mr. Field had exceptional taste, choosing four films that are now considered classics, even though, at the time of publication, they had only been out for a few years. The interviews with the screenwriters were especially refreshing. As a culture, we tend to interview actors and directors rather than screenwriters, so it was nice to get a different perspective on the creation of a movie in its earliest stages.

Not much on the craft of writing, unless you've never been exposed to the three-act structure (plot point 1, pinch, etc). More like an interesting "DVD commentary" from the writers of these movies. For example, Callie Khouri talks about an incident she had as a waitress that sparked the idea for Thelma and Louise, and the alternate ending to T2 is described. Pick it up if you enjoy these movies and would like a bit more insight on how they were written.

[Brian]

This is a valuable book for anyone interested in screenwriting, or more broadly, in movies — or even in other genres of creative writing. Syd Field lays out a paradigm of screenplay structure and then analyzes the screenplays of four excellent and successful movies in the context of that paradigm. Through in-depth interviews with the screenwriters, he explores the creative choices involved in writing the scripts and in bringing the words to the screen. It's not so much a how-to manual as an inspirational guide to approaching the screenwriting process. Highly recommended.

[drew · Rating 5 out of 5]

Silence of the Lambs and T2 are two of my favorite movies of all time ... to see them analyzed from the screenplay up was a wholeheartedly enjoyable experience. It gives a completely different perspective on the films, and the way Field picks the films apart to show the different ways they follow the "screenplay format" oddly enhances them. It delves into how the films came into existence, and interviews the screenwriters. If interested in screenplays -- read this book!

[Guy Burt · Rating 4 out of 5]

I've been a professional screenwriter for 30 years now, but I was effectively self-taught; I read screenplays by other people, assimilated what I could, and listened (hard!) to criticism from production companies as I worked. It was a decade or more before I took a look at any of the many manuals on how to write screenplays; of which Syd Field's are perhaps the best known.

This is for good reason: Field has done more than anyone to analyse, dissect and codify the formal structuring of a Hollywood screenplay. In his other works, he takes this down to a very granular level indeed ("on page 17, the following important pinch-point should occur..."). How useful you find this will, I suspect, depend on what your goals are: if they're to write a Hollywood-style commercial feature film script, then they'll help you with the necessary structural toolkit. If you want to write anything that departs from this model, though – indie film; long-form television; arthouse; a short; a character study – then you may still find use in them, but you should constantly be reminding yourself that Field's focus is, and always will be, Hollywood-style commercial feature films.

All that said – this is still a fun, approachable and engaging read, not just for aspiring screenwriters but for movie buffs and people interested in film from the audience's seats rather than the writers'. Instead of a how-to manual, it is a more discursive look at four well-known films, breaking down their structure and talking about how they achieve their effects. Since all four screenplays under the microscope are – say it with me – Hollywood-style commercial feature films, Field's stock-in-trade structural templates hold true for all of them; and it's instructive and interesting to see how each film measures up. If you're familiar with all these films as a viewer (and they're popular enough that you're likely to be), then seeing how the sausage is made can be really intriguing. Plus, Field writes entertainingly and well throughout.

This is to my mind ideal for cinema-lovers of all kinds, letting you see a little of the Wizard working behind the curtain – and would pair well with anecdotal books about Hollywood like Easy Riders, Raging Bulls or any of William Goldman's autobiographies of life in the screen trade. For screenwriters in the making, it's also useful; though bear in mind the limitations of Field's frame of reference. You'd do well to pair it with The Seven Basic Plots: Why We Tell Stories and The Writers Journey: Mythic Structure for Writers, 2nd Edition, for more breadth on what kind of stories we tell, rather than just the structural form they take.

[W · Rating 5 out of 5]

They say the best way to learn how something works is to take it apart, then put it back together again. Syd Field does just that with four (now classic) Hollywood screenplays. I can’t recommend this enough for anyone who cares about screenplays or about how movies function as a medium for storytelling.

It is incredibly dense with useful information (I bookmarked ~20% of the 300 pages), but none of it is abstract. Every point Field makes is backed-up with either direct excerpts from the screenplays and/or interviews with the writers and directors.

My only gripe is that there is only one volume of this, written in 1991. If there were three more—a 2001, a 2011, and a 2021 volume—you’d probably have the greatest resource for modern mass-market film writing ever created.

——

**Some reviews of this criticize it for being too focused on writing blockbuster/Hollywood films. They’re not wrong about that. But this is only a problem if you accept Field’s opinions as dogma. The real value of this book is how it analyzes the process of writing, and reveals, in a level of detail I haven’t encountered anywhere else, how writers made specific decisions at the most granular level (e.g. “I changed this Hannibal Lector line from ______ to ______ because _____.”). This, regardless of your taste in cinema, is invaluable because it demystifies writing, revealing the process behind the product.

[Arnav · Rating 5 out of 5]

I read Terminator 2, and Dances with Wolves since those were the movies I have seen. Syd Field inspires a very strong desire in me to pursue screenwriting. In my current storytelling practice this book has definitely helped me flesh out my characters and story better and make them more dynamic.

[Taher Bellah · Rating 4 out of 5]

Its a very good follow up on two previous books: screenplay and screenwriter's workbook. It shows how the theory is done in practice. However its old with movies almost 30 years old.

[Maryjane Nordgren · Rating 5 out of 5]

Excellent scene by scene exposition of his theories about screen writing. I read, watch the movie and re-read and what was clear in my head is not becoming clear in my writing. Tank you, Syd Field

[Sebastian · Rating 4 out of 5]

Very good! Makes me want to read Syd Fields other book on the topic

[Niniane · Rating 5 out of 5]

Excellent book. I loved the analyses of the screenplays. I'd seen all 4 of the movies a long time ago. This analysis was thought-provoking and helped me understand each movie in a deeper layer. I wish Syd Field could analyze every movie with me after I watch it.

[Linda · Rating 5 out of 5]

This is the third time I'm reading this book. It always, without fail, jumps starts the screenplay writing process for me.

[Husti · Rating 4 out of 5]

Cuando un libro sobre escritura de guión te da ganas de escribir un guión, y además, te hace creer que es algo más o menos fácil, es que es bueno.

[Aditya · Rating 5 out of 5]

Dances with Wolves, Silence of the Lambs, Thelma and Louise and Terminator 2. Great choice of screenplays to analyse and a blody good analysis. syd field's BEST BOOK.

[scherzo♫ · Rating 4 out of 5]

Thought-provoking analysis of the scripts for Thelma & Louise, Terminator 2: Judgement Day, The Silence Of The Lambs, and Dances With Wolves.

[Christopher Ryan · Rating 4 out of 5]

More analysis and insight. It is good information for those interested in craft.

[Matt Jones · Rating 5 out of 5]

A great study in the art if screenwriting

[Ira Livingston · Rating 5 out of 5]

Gives great insight to modern films with the theories of his previous books.

[Perry · Rating 5 out of 5]

Understanding the screenwriting process is an asset to the fiction writing process