WEBVTT 1 00:00:05.208 --> 00:00:10.416 Animation Basic Animation scenario writing 1 2 00:00:10.416 --> 00:00:13.238 GCC Academy 3 00:00:13.238 --> 00:00:14.938 4 00:00:14.938 --> 00:00:16.588 5 00:00:16.588 --> 00:00:20.415 6 00:00:20.415 --> 00:00:22.133 7 00:00:22.133 --> 00:00:23.809 8 00:00:23.809 --> 00:00:25.347 9 00:00:25.347 --> 00:00:29.000 Hello, I'll be lecturing on animation scenario writing 10 00:00:29.000 --> 00:00:32.337 the three-act structure, and plot points 11 00:00:32.337 --> 00:00:38.109 I am Professor Park Jaewoo from the Department of Comics and Animation Technology at Sejong University 12 00:00:38.109 --> 00:00:41.733 Let's briefly review the learning content 13 00:00:41.733 --> 00:00:45.000 We'll be learning about the fundamental components of the three-act structure 14 00:00:45.000 --> 00:00:47.584 and its elements 15 00:00:47.584 --> 00:00:50.594 Then, we'll explore the flow of segments within the three-act structure 16 00:00:50.594 --> 00:00:53.980 We'll also focus on learning the key plot points 17 00:00:53.980 --> 00:00:57.871 The basic components of the three-act structure 18 00:00:57.871 --> 00:01:00.851 The term "three-act structure" literally means 19 00:01:00.851 --> 00:01:03.574 It's divided into Act 1, Act 2, and Act 3, right? 20 00:01:03.574 --> 00:01:06.782 And between those structures, there are certain plot 21 00:01:06.782 --> 00:01:09.168 In other words, we'll be learning how the story progresses 22 00:01:09.168 --> 00:01:13.495 by incorporating key plot points 23 00:01:13.495 --> 00:01:19.069 So, what are the basic components of the three-act structure? 24 00:01:19.069 --> 00:01:22.254 In English, it's called the three-act structure 25 00:01:22.254 --> 00:01:24.495 Act 1, Act 2, and Act 3 26 00:01:24.495 --> 00:01:28.376 so each act is divided into three parts 27 00:01:28.376 --> 00:01:30.465 First, let's examine the basic components 28 00:01:30.465 --> 00:01:33.000 of the three-act structure 29 00:01:33.000 --> 00:01:36.069 Secondly, let's discuss the importance of the three-act structure 30 00:01:36.069 --> 00:01:39.554 We'll delve into how the three-act structure 31 00:01:39.554 --> 00:01:42.040 guides the narrative progression 32 00:01:42.040 --> 00:01:45.327 Thirdly, let's explore what drives the momentum of the three-act structure, 33 00:01:45.327 --> 00:01:49.743 what propels the movement of the three-act structure 34 00:01:49.743 --> 00:01:52.059 Those are the topics that I'll cover today 35 00:01:52.059 --> 00:01:53.475 The three-act structure 36 00:01:53.475 --> 00:01:55.980 In other words, what is three-act structure? 37 00:01:55.980 --> 00:01:58.673 Many of you have probably heard about 38 00:01:58.673 --> 00:02:02.861 "Four steps in composition - Introduction, development, turn, and conclusion" in the context of storytelling 39 00:02:02.861 --> 00:02:07.000 The "Four steps in composition" is equivalent to the three-act structure in English 40 00:02:07.000 --> 00:02:09.812 which we'll be discussing about the three-act structure 41 00:02:09.812 --> 00:02:13.366 So, in a screenplay, 42 00:02:13.366 --> 00:02:16.554 events are often categorized into three parts 43 00:02:16.554 --> 00:02:18.594 I often receive questions like this 44 00:02:18.594 --> 00:02:20.822 "When writing an animation script, 45 00:02:20.822 --> 00:02:23.663 do I need to strictly adhere to the three-act structure?" 46 00:02:23.663 --> 00:02:25.149 "Is it not acceptable to deviate from that structure?" 47 00:02:25.149 --> 00:02:28.198 "Can't it be done in a more unconventional way?" 48 00:02:28.198 --> 00:02:31.000 There's nothing you can't do; everything is possible, folks 49 00:02:31.000 --> 00:02:36.644 But it's important to establish the basic framework of the story structure first 50 00:02:36.644 --> 00:02:40.911 Then, after that, you can modify that structure as you see fit 51 00:02:40.911 --> 00:02:43.277 That's the way to write a compelling story 52 00:02:43.277 --> 00:02:46.584 Rather than completely demolishing the structure from the outset, 53 00:02:46.584 --> 00:02:49.703 understanding how Act 1, Act 2, and Act 3 are structured 54 00:02:49.703 --> 00:02:52.911 I believe it's important to prioritize learning that first 55 00:02:52.911 --> 00:02:56.426 So, while it's indeed a three-act structure, 56 00:02:56.426 --> 00:03:00.743 I've subdivided Act 2 into 2-1 and 2-2 57 00:03:00.743 --> 00:03:03.525 So, even though it's referred to as a three-act structure, 58 00:03:03.525 --> 00:03:07.733 Act 2 is divided into two parts: 2-1 and 2-2 59 00:03:07.733 --> 00:03:12.672 I'll explain the reason for that later on 60 00:03:12.672 --> 00:03:15.846 What are the reasons for the necessity of the three-act structure? 61 00:03:15.846 --> 00:03:22.314 The three-act structure resembles human language and everyday life issues and events 62 00:03:22.314 --> 00:03:26.917 For example, we explain a certain event to our friend 63 00:03:26.917 --> 00:03:30.612 In that case, when, where, who 64 00:03:30.612 --> 00:03:33.579 what, how, what happened 65 00:03:33.579 --> 00:03:37.441 explaining in this sequential order is very natural 66 00:03:37.441 --> 00:03:39.368 Actually, if you try writing down 67 00:03:39.368 --> 00:03:44.003 how you would explain an event to your friends, 68 00:03:44.003 --> 00:03:48.005 Without realizing it, you would find that 69 00:03:48.005 --> 00:03:50.954 there's a beginning, a middle, 70 00:03:50.954 --> 00:03:54.018 and an end, with a conclusion at the end 71 00:03:54.018 --> 00:03:58.757 So, the structure emerges as beginning, middle, end, encompassing three elements 72 00:03:58.757 --> 00:04:00.162 That's precisely the structure of the three-act format 73 00:04:00.162 --> 00:04:03.587 Therefore, there's really no need for you to think of it as difficult at all. 74 00:04:03.587 --> 00:04:06.517 So then, what is the three-act structure? 75 00:04:06.517 --> 00:04:11.000 Within the three-act structure, characters undergo continuous change 76 00:04:11.000 --> 00:04:13.634 and develop new motivations 77 00:04:13.634 --> 00:04:17.776 So, they strive to resolve the events with that newfound determination 78 00:04:17.776 --> 00:04:20.739 Storytelling is driven by the characters 79 00:04:20.739 --> 00:04:27.371 The events that occur as the characters attempt to resolve the situation 80 00:04:27.371 --> 00:04:31.736 are the story elements within that three-act structure 81 00:04:31.736 --> 00:04:35.168 So, think of it as the character creating a playground 82 00:04:35.168 --> 00:04:37.837 to resolve the situations 83 00:04:37.837 --> 00:04:41.871 Then, what is the ultimate purpose of the three-act structure? 84 00:04:41.871 --> 00:04:47.644 The climax in the third act is what emerges at the end of the story 85 00:04:47.644 --> 00:04:49.625 Do you know what the climax is? 86 00:04:49.625 --> 00:04:54.090 The climax is the point in the story where the conflict reaches its peak, 87 00:04:54.090 --> 00:04:57.566 escalating to the point where there's nowhere else for the characters to go but down, 88 00:04:57.566 --> 00:05:00.256 sort of like a sudden burst 89 00:05:00.256 --> 00:05:04.704 Thus, what serves as a device to maximize that climax 90 00:05:04.704 --> 00:05:07.000 is the three-act structure 91 00:05:07.000 --> 00:05:09.662 Lastly, what is the driving force behind the three-act structure? 92 00:05:09.662 --> 00:05:12.546 In the three-act structure, characters play a significant role 93 00:05:12.546 --> 00:05:14.607 Characters are a crucial component of the three-act structure 94 00:05:14.607 --> 00:05:17.950 When it comes to characters, 95 00:05:17.950 --> 00:05:22.872 in simple terms, there are good characters and bad characters, right? 96 00:05:22.872 --> 00:05:25.135 There are characters who play the role of villains 97 00:05:25.135 --> 00:05:28.590 Then, there are characters who try to stop the villain 98 00:05:28.590 --> 00:05:32.595 Would their values be the same or different? 99 00:05:32.595 --> 00:05:33.768 They are different 100 00:05:33.768 --> 00:05:35.219 So, what would arise from that? 101 00:05:35.219 --> 00:05:36.665 Conflict arises 102 00:05:36.665 --> 00:05:40.657 The conflict would escalate and eventually reach a breaking point 103 00:05:40.657 --> 00:05:44.772 There could be small explosions, moderate explosions, 104 00:05:44.772 --> 00:05:46.574 or even a big explosion 105 00:05:46.574 --> 00:05:49.985 Those eruptive moments constitute the plot 106 00:05:49.985 --> 00:05:52.380 The plot is essentially a series of events 107 00:05:52.380 --> 00:05:56.546 However, while events may play 108 00:05:56.546 --> 00:06:00.494 varying degrees of importance 109 00:06:00.494 --> 00:06:02.385 within a given act or scene, 110 00:06:02.385 --> 00:06:04.806 the three-act structure is primarily driven by the plot 111 00:06:04.806 --> 00:06:09.920 catalyzed by the characters and their conflicts 112 00:06:09.920 --> 00:06:13.876 Hence, the driving force of the three-act structure is the characters and the plot 113 00:06:13.876 --> 00:06:15.591 Characters are indeed the most crucial aspect 114 00:06:15.591 --> 00:06:19.245 Because when you're crafting storytelling, 115 00:06:19.245 --> 00:06:22.036 when the story doesn't come to mind and good ideas don't seem to surface 116 00:06:22.036 --> 00:06:25.524 The most crucial thing to always consider is 117 00:06:25.524 --> 00:06:28.495 learning more about your characters 118 00:06:28.495 --> 00:06:30.469 When a compelling character is introduced 119 00:06:30.469 --> 00:06:34.880 along with their conflicts and storytelling, 120 00:06:34.880 --> 00:06:39.015 the resolution of the three-act structure often falls into place smoothly 121 00:06:43.646 --> 00:06:48.169 So, let's take a look at the segment flow and plot points of the third act structure, 122 00:06:48.169 --> 00:06:52.101 detailed components of the structure, its role, 123 00:06:52.101 --> 00:06:53.942 followed by an in-depth analysis, 124 00:06:53.942 --> 00:06:58.944 and then we'll delve into examining the action chart of the third act structure 125 00:06:58.944 --> 00:07:01.954 In the detailed components of the three-act structure, point 2 is 126 00:07:01.954 --> 00:07:06.555 In each segment, Act 1, Act 2-1, Act 2-2, and Act 3 127 00:07:06.555 --> 00:07:09.675 Let's explore how characters respond to challenges and conflicts, 128 00:07:09.675 --> 00:07:13.600 what events trigger reactions from the characters 129 00:07:13.600 --> 00:07:15.380 and drive the plot forward, 130 00:07:15.380 --> 00:07:18.498 and ultimately how these efforts 131 00:07:18.498 --> 00:07:22.688 converge and intensify 132 00:07:22.688 --> 00:07:27.805 into a climactic explosion in the third act 133 00:07:27.805 --> 00:07:31.422 I've come up with some names of my own 134 00:07:31.422 --> 00:07:32.660 What is Act 1? 135 00:07:32.660 --> 00:07:35.256 Act 1 is called the "isolation phase" 136 00:07:35.256 --> 00:07:36.686 What I mean by "isolation phase" is that 137 00:07:36.686 --> 00:07:41.685 In Act 1, characters are physically or psychologically isolated 138 00:07:41.685 --> 00:07:44.272 In Act 1, a character who was living an ordinary life 139 00:07:44.272 --> 00:07:48.011 Something significant happens that sparks a big change at the end of Act 1 140 00:07:48.011 --> 00:07:51.786 So, that character either physically falls into a downfall 141 00:07:51.786 --> 00:07:54.209 or experiences a significant psychological shock 142 00:07:54.209 --> 00:07:56.736 They find themselves falling into a new world 143 00:07:56.736 --> 00:07:59.946 I'm simplifying it for the sake of easy illustration, 144 00:07:59.946 --> 00:08:04.678 more in the realm of action stories and such 145 00:08:04.678 --> 00:08:09.023 In fact, you can think of it as a formula that applies to all genres, 146 00:08:09.023 --> 00:08:12.238 whether it's romantic comedy or thriller 147 00:08:12.238 --> 00:08:14.079 Then we move on to Act 2-1 148 00:08:14.079 --> 00:08:17.087 The character becomes isolated 149 00:08:17.087 --> 00:08:18.393 The character has fallen into a new world 150 00:08:18.393 --> 00:08:19.878 What should they do then? 151 00:08:19.878 --> 00:08:21.759 Well, the first step is to survive in this new place 152 00:08:21.759 --> 00:08:24.278 So, they'll adapt and start exploring 153 00:08:24.278 --> 00:08:28.342 Thus, I call this phase the adaptation or exploration phase 154 00:08:28.342 --> 00:08:32.378 But as the character continues on like that, 155 00:08:32.378 --> 00:08:36.252 The character simply thinks, 'This is a new world, I just need to adapt and explore' 156 00:08:36.252 --> 00:08:38.089 Would it be interesting if they said that? 157 00:08:38.089 --> 00:08:39.232 It wouldn't be very engaging 158 00:08:39.232 --> 00:08:42.660 Then, new crises start looming over the character 159 00:08:42.660 --> 00:08:46.104 So, the character who once wished for a normal life 160 00:08:46.104 --> 00:08:50.368 and didn't want to end up in this situation 161 00:08:50.368 --> 00:08:51.759 realizes that they need to wake up 162 00:08:51.759 --> 00:08:54.336 'No, I have to take action...' 163 00:08:54.336 --> 00:08:57.622 'I need to survive as well...' 164 00:08:57.622 --> 00:09:00.621 That's why Act 2-1 is referred to as the response phase 165 00:09:00.621 --> 00:09:03.496 The level of conflict will gradually escalate, won't it? 166 00:09:03.496 --> 00:09:06.063 Now we're entering what we call the story buildup phase 167 00:09:06.063 --> 00:09:09.162 As the story's conflict level rises, 168 00:09:09.162 --> 00:09:11.080 we transition into Act 3 169 00:09:11.080 --> 00:09:13.440 Act 3 is what I call the sacrifice phase 170 00:09:13.440 --> 00:09:18.611 Because the character puts forth their utmost effort to resolve the situation, 171 00:09:18.611 --> 00:09:22.595 pulling out all the stops and utilizing every ability they have 172 00:09:22.595 --> 00:09:27.000 So, it ultimately leads to the hero making a sacrifice 173 00:09:27.000 --> 00:09:28.653 They throw themselves into it, 174 00:09:28.653 --> 00:09:33.161 making a sacrifice of some kind, and that's how it concludes 175 00:09:33.161 --> 00:09:36.840 Therefore, the basic framework of animation storytelling: 176 00:09:36.840 --> 00:09:41.000 Act 1, Act 2-1, Act 2-2, and Act 3, 177 00:09:41.000 --> 00:09:44.617 If you watch Hollywood animations or live-action films, 178 00:09:44.617 --> 00:09:49.103 You'll find countless trends, evolutions, and mediums 179 00:09:49.103 --> 00:09:52.190 nowadays there are also plenty of OTT platforms 180 00:09:52.190 --> 00:09:54.494 That structure is the timeless formula for core story structure 181 00:09:54.494 --> 00:09:58.562 Even when you read webtoons or novels, 182 00:09:58.562 --> 00:10:02.092 stories are built using this three-act structure 183 00:10:02.092 --> 00:10:06.307 So, when writing an animation script, 184 00:10:06.307 --> 00:10:09.410 you establish the basic framework of the animation narrative 185 00:10:09.410 --> 00:10:10.823 And ultimately, what does it boil down to? 186 00:10:10.823 --> 00:10:15.705 It serves as a device to embellish the character's ultimate climax 187 00:10:15.705 --> 00:10:19.000 The climax is the scene where 188 00:10:19.000 --> 00:10:21.427 the theme of the story is visually expressed 189 00:10:21.427 --> 00:10:23.594 when a director or screenwriter says, 190 00:10:23.594 --> 00:10:25.951 "I want to convey this message 191 00:10:25.951 --> 00:10:29.412 through this animation," 192 00:10:29.412 --> 00:10:31.446 the climax is where 193 00:10:31.446 --> 00:10:37.289 all the built-up conflicts and tensions from the three-act structure finally explode, 194 00:10:37.289 --> 00:10:40.359 leading to the resolution of the conflict 195 00:10:40.359 --> 00:10:44.108 Ultimately, within the framework of the three-act structure, 196 00:10:44.108 --> 00:10:49.000 characters with various backgrounds find themselves embarking on adventures and getting swept up in whirlwinds 197 00:10:49.000 --> 00:10:52.671 as they encounter event after event, navigating through new environments 198 00:10:52.671 --> 00:10:55.000 In the end, a climax is born 199 00:10:55.000 --> 00:10:57.895 through their sacrifices and proactive responses 200 00:10:57.895 --> 00:11:01.000 for the greater good 201 00:11:01.000 --> 00:11:03.598 Let's delve into a detailed analysis 202 00:11:03.598 --> 00:11:06.286 Act 1 is referred to as the isolation phase, right? 203 00:11:06.286 --> 00:11:07.976 The hardship begins 204 00:11:07.976 --> 00:11:10.759 So, it's often called the setup point 205 00:11:10.759 --> 00:11:13.702 In English, it's often called the "expository point" 206 00:11:13.702 --> 00:11:16.672 We need to get to know the protagonist 207 00:11:16.672 --> 00:11:19.000 Then we need to establish the setting to some extent such as 208 00:11:19.000 --> 00:11:23.133 Who is the protagonist? Where do they live? What do they do? 209 00:11:23.133 --> 00:11:26.154 The trend nowadays is that Act 1 is becoming very short 210 00:11:26.154 --> 00:11:30.633 In the past, when you watched movies, Act 1 used to be around 30 minutes 211 00:11:30.633 --> 00:11:33.891 In drama movies, Act 1 used to be around 30 minutes 212 00:11:33.891 --> 00:11:37.979 The remaining 60 to 50 minutes would be Act 2 213 00:11:37.979 --> 00:11:42.351 The remaining 20 to 30 minutes would be Act 3 214 00:11:42.351 --> 00:11:46.192 However, as audiences increasingly prefer faster pacing, 215 00:11:46.192 --> 00:11:49.157 it's quite common for Act 1 to be wrapped up within 10 minutes nowadays 216 00:11:49.157 --> 00:11:50.591 They start with the conflicts right away 217 00:11:50.591 --> 00:11:54.306 Nevertheless, every Act 1 still contains the expository point 218 00:11:54.306 --> 00:11:58.107 So, as Act 1 progresses, it eventually leads to Plot Point 1 219 00:11:58.107 --> 00:12:00.897 I'll now refer to this as Plot Point 1 220 00:12:00.897 --> 00:12:03.000 This is where the first major event occurs 221 00:12:03.000 --> 00:12:04.013 Then, what happens next? 222 00:12:04.013 --> 00:12:07.890 With this pivotal event, we transition into Act 2-1 223 00:12:07.890 --> 00:12:10.554 The character now faces challenges 224 00:12:10.554 --> 00:12:12.756 and is thrown into a new world 225 00:12:12.756 --> 00:12:16.377 So, in Act 2-1, it's about exploration and embarking on a new journey 226 00:12:16.377 --> 00:12:19.000 I refer to Act 2-1 as the turning point 227 00:12:19.000 --> 00:12:20.803 It's the turning point because 228 00:12:20.803 --> 00:12:24.546 it's where powerful adversaries, events, or obstacles... 229 00:12:24.546 --> 00:12:27.774 the bigger the obstacle, the more our character... 230 00:12:27.774 --> 00:12:29.690 You've probably had moments like 231 00:12:29.690 --> 00:12:33.000 when you watched a movie and thought, "If I were in that situation, I'd lose it" 232 00:12:33.000 --> 00:12:36.676 "It's too much." It has to be that tough 233 00:12:36.676 --> 00:12:39.213 So, when faced with a major obstacle, 234 00:12:39.213 --> 00:12:42.027 you think, "What's going on here? This is all new to me" 235 00:12:42.027 --> 00:12:44.637 If I can't find a way out, what then?" 236 00:12:44.637 --> 00:12:46.939 It has to be that challenging 237 00:12:46.939 --> 00:12:49.205 Therefore, you find yourself standing at the crossroads of the first pivotal decision 238 00:12:49.205 --> 00:12:54.259 And eventually, all characters become reluctant heroes 239 00:12:54.259 --> 00:12:56.500 I refer to them as the reluctant heroes because 240 00:12:56.500 --> 00:13:00.535 not everyone is born talented, handsome, strong, beautiful, 241 00:13:00.535 --> 00:13:03.894 exceptionally capable, or possessing superpowers, 242 00:13:03.894 --> 00:13:07.821 and they don't necessarily appear in the story from the beginning 243 00:13:07.821 --> 00:13:12.196 Even superheroes like Batman or Spider-Man, who have superpowers, 244 00:13:12.196 --> 00:13:14.335 face tremendous hardships 245 00:13:14.335 --> 00:13:18.508 Movies wouldn't be interesting if all we saw were perfect characters 246 00:13:18.508 --> 00:13:22.631 As a result, reluctant heroes ultimately evolve into sacrificial heroes 247 00:13:22.631 --> 00:13:25.905 And that begins in Act 2-1 248 00:13:25.905 --> 00:13:29.460 Depending on the development of the situation in Act 2-1, 249 00:13:29.460 --> 00:13:31.861 the turning point is emphasized 250 00:13:31.861 --> 00:13:35.443 So, as we move into Act 2-2 eventually and 251 00:13:35.443 --> 00:13:38.037 create characters in Act 2-1 thinking, "This isn't going to fly, is it?" 252 00:13:38.037 --> 00:13:39.877 or "If I don't step in, it's not going to work," 253 00:13:39.877 --> 00:13:43.257 Then as we transition into Act 2-2, 254 00:13:43.257 --> 00:13:44.469 the conflict deepens 255 00:13:44.469 --> 00:13:48.888 It sets the stage for a bigger villain and a more significant conflict to emerge 256 00:13:48.888 --> 00:13:52.720 So the protagonist makes a special decision 257 00:13:52.720 --> 00:13:55.498 The protagonist, who had just wanted to live quietly and peacefully, 258 00:13:55.498 --> 00:13:59.253 disliking everything here and there 259 00:13:59.253 --> 00:14:02.804 and wanting to escape from the situation, starts thinking, 260 00:14:02.804 --> 00:14:08.462 "This isn't right. If this continues, the city will explode" 261 00:14:08.462 --> 00:14:11.358 as the villain's actions become increasingly extreme in Act 2-2 262 00:14:11.358 --> 00:14:15.688 I'm giving an easy example 263 00:14:15.688 --> 00:14:17.793 using action movies, but 264 00:14:17.793 --> 00:14:20.433 what should the protagonist do in that situation? 265 00:14:20.433 --> 00:14:21.612 They might have to make sacrifices, wouldn't they? 266 00:14:21.612 --> 00:14:23.361 The protagonist awakens to their true potential 267 00:14:23.361 --> 00:14:26.375 "Awakening" is often considered a transformational turning point 268 00:14:26.375 --> 00:14:30.321 Just because it's called a transformation point doesn't mean it's about transforming into a superhero or anything like that 269 00:14:30.321 --> 00:14:35.275 "I started out selfish and ended up as the protagonist almost against my will, 270 00:14:35.275 --> 00:14:37.698 but now I realize I must make sacrifices" 271 00:14:37.698 --> 00:14:40.589 Consequently, the protagonist emerges as a sacrificial hero, 272 00:14:40.589 --> 00:14:44.330 embracing the new changes with enthusiasm 273 00:14:44.330 --> 00:14:47.065 The protagonist, upon this awakening and realization, 274 00:14:47.065 --> 00:14:50.789 now enters the final stage of both internal and external growth 275 00:14:50.789 --> 00:14:55.502 The most significant crisis unfolds at the end of Act 2-2, 276 00:14:55.502 --> 00:14:57.973 potentially bringing about the greatest peril 277 00:14:57.973 --> 00:14:59.328 What's the biggest crisis? 278 00:14:59.328 --> 00:15:01.976 The greatest crisis isn't just another mundane event; 279 00:15:01.976 --> 00:15:04.241 which leads us into the climax of Act 3 with 280 00:15:04.241 --> 00:15:06.813 it's something significant enough that if left unresolved, could jeopardize the safety of the town 281 00:15:06.813 --> 00:15:09.860 or the well-being of my loved one 282 00:15:09.860 --> 00:15:15.664 This pivotal moment unfolds at the conclusion of Act 2-2 283 00:15:15.664 --> 00:15:19.384 So Act 3 becomes a saga of sacrifice, resolving the conflict 284 00:15:19.384 --> 00:15:21.472 Act 3 is referred to as the sacrificial phase earlier 285 00:15:21.472 --> 00:15:26.434 When I mention the protagonist as the hero here, 286 00:15:26.434 --> 00:15:27.779 I'm referring to the character who is the focal point of the story 287 00:15:27.779 --> 00:15:29.774 The character at the heart of the story 288 00:15:29.774 --> 00:15:33.140 So it doesn't mean that 289 00:15:33.140 --> 00:15:34.820 every character has to appear like a superhero 290 00:15:34.820 --> 00:15:39.050 The protagonist's transformation into a sacrificial hero 291 00:15:39.050 --> 00:15:41.467 is showcased in their final appearance in Act 3 292 00:15:41.467 --> 00:15:46.628 Thus, they play the climax point role for all events 293 00:15:46.628 --> 00:15:50.228 Events gradually, bit by bit, accumulate 294 00:15:50.228 --> 00:15:53.309 as we progress through Acts 2-1 and 2-2, 295 00:15:53.309 --> 00:15:55.559 in Act 2-2, 296 00:15:55.559 --> 00:15:57.966 we must present an event that truly pushes them to their limits, 297 00:15:57.966 --> 00:16:00.656 making them feel overwhelmed and unsure of how to proceed 298 00:16:00.656 --> 00:16:07.073 As viewers, we tend to make some predictions 299 00:16:07.073 --> 00:16:08.765 as we watch the movie 300 00:16:08.765 --> 00:16:11.966 We often predict, "Oh, that's obvious; it'll end that way," or 301 00:16:11.966 --> 00:16:14.392 "No way, Batman will win, right? He has to," or 302 00:16:14.392 --> 00:16:16.325 "The superhero is bound to win, isn't he?" 303 00:16:16.325 --> 00:16:17.475 We already know these outcomes as we watch 304 00:16:17.475 --> 00:16:23.170 However, despite knowing these things, why do we still get emotionally invested every time we watch an animation? 305 00:16:23.170 --> 00:16:25.550 Why do we find ourselves immersed every time we watch a movie? 306 00:16:25.550 --> 00:16:33.487 The reason is that when huge conflicts or obstacles are thrown at the protagonist, 307 00:16:33.487 --> 00:16:35.725 it makes us believe in them 308 00:16:35.725 --> 00:16:38.665 And we would think, "Oh, that seems quite challenging doesn't it?" or 309 00:16:38.665 --> 00:16:40.725 "I wonder how they'll manage to resolve it?" 310 00:16:40.725 --> 00:16:44.943 So, in the climax scene where the main conflict of the movie is resolved, 311 00:16:44.943 --> 00:16:50.521 the protagonist ultimately epitomizes the sacrificial hero 312 00:16:50.521 --> 00:16:53.364 And the movie concludes by 313 00:16:53.364 --> 00:16:56.131 expressing the director's theme in a visual form 314 00:16:56.131 --> 00:16:59.000 What I mean by visual form is that 315 00:16:59.000 --> 00:17:02.473 although it may receive assistance from dialogue and music, 316 00:17:02.473 --> 00:17:05.000 ultimately, in the climax scene, 317 00:17:05.000 --> 00:17:07.418 something visually striking unfolds 318 00:17:07.418 --> 00:17:09.882 Action movies could feature scenes such as 319 00:17:09.882 --> 00:17:12.970 massive explosions 320 00:17:12.970 --> 00:17:16.129 or epic battles 321 00:17:16.129 --> 00:17:17.495 as straightforward examples 322 00:17:17.495 --> 00:17:21.972 Or in tranquil movies, there might be directing styles where the protagonist gives up everything 323 00:17:21.972 --> 00:17:25.351 and sacrifices themselves, 324 00:17:25.351 --> 00:17:27.979 or leaves their loved one, 325 00:17:27.979 --> 00:17:31.937 in various visually striking ways 326 00:17:31.937 --> 00:17:34.782 Ultimately, for the sake of that one scene, 327 00:17:34.782 --> 00:17:38.440 creators, whether directors or screenwriters, 328 00:17:38.440 --> 00:17:40.837 build up characters 329 00:17:40.837 --> 00:17:43.501 Now, let's take a look at the action chart 330 00:17:43.501 --> 00:17:46.482 I've made a chart like this 331 00:17:46.482 --> 00:17:52.262 In Act 1, the ordinary character 332 00:17:52.262 --> 00:17:55.920 is thrust into a new world or situation by the events 333 00:17:55.920 --> 00:17:59.077 that occur at the end of Act 1 334 00:17:59.077 --> 00:18:02.435 Act 2 is often referred to as the second act 335 00:18:02.435 --> 00:18:05.334 In Act 2-1, the character must adapt 336 00:18:05.334 --> 00:18:08.543 to the new situation or world 337 00:18:08.543 --> 00:18:13.883 However, just as they're trying to adapt, another new event occurs 338 00:18:13.883 --> 00:18:15.877 and new obstacles appear 339 00:18:15.877 --> 00:18:19.942 That obstacle would become Plot Point 2 340 00:18:19.942 --> 00:18:24.509 Consequently, as they navigate through challenges, 341 00:18:24.509 --> 00:18:28.297 they start evolving into a more sacrificial character 342 00:18:28.297 --> 00:18:33.762 Then, our protagonist is faced with an overwhelming event that truly pushes them to their limits, 343 00:18:33.762 --> 00:18:38.069 making it almost impossible for them to cope 344 00:18:38.069 --> 00:18:40.152 That would be Plot Point 3 345 00:18:40.152 --> 00:18:42.544 So, ultimately, in Act 3, 346 00:18:42.544 --> 00:18:45.405 their efforts to resolve these challenges reach their climax 347 00:18:45.405 --> 00:18:47.016 As Act 3 draws to a close, 348 00:18:47.016 --> 00:18:50.414 the climax scene emerges, marking the pinnacle of the narrative tension 349 00:18:50.414 --> 00:18:54.362 Analysis of the three-act structure through a real example 350 00:18:54.362 --> 00:18:57.000 There's a movie called "Kung Fu Panda 1" 351 00:18:57.000 --> 00:19:01.712 It's a CG 3D animation produced by DreamWorks 352 00:19:01.712 --> 00:19:08.551 "Kung Fu Panda 1" is indeed an excellent example for studying the three-act structure 353 00:19:08.551 --> 00:19:13.092 In fact, it has a very simple storyline 354 00:19:13.092 --> 00:19:18.441 The success story of an underdog is a very universal 355 00:19:18.441 --> 00:19:22.635 and globally relatable story structure 356 00:19:22.635 --> 00:19:26.958 If we examine why this movie was successful, 357 00:19:26.958 --> 00:19:33.864 In "Kung Fu Panda 1," the protagonist isn't a remarkable village youth, but 358 00:19:33.864 --> 00:19:36.230 a food-loving, chubby panda 359 00:19:36.230 --> 00:19:42.319 However, when you look at the Kung Fu Panda, it intertwines the story of a very ordinary underdog with 360 00:19:42.319 --> 00:19:47.268 a very special character, typical of an animation screenplay 361 00:19:47.268 --> 00:19:51.056 a very exemplary storytelling 362 00:19:51.056 --> 00:19:55.036 and a scenario that possesses elements for global success 363 00:19:55.036 --> 00:19:59.000 Because there weren't many examples of animations 364 00:19:59.000 --> 00:20:02.662 featuring pandas before this film 365 00:20:02.662 --> 00:20:05.592 So, let's take "Kung Fu Panda" as an example and 366 00:20:05.592 --> 00:20:09.107 analyze its three-act structure 367 00:20:09.107 --> 00:20:12.628 Act 1 of the story is the isolation stage 368 00:20:12.628 --> 00:20:16.133 Let's analyze the story of "Kung Fu Panda" 369 00:20:16.133 --> 00:20:18.099 while providing a brief summary 370 00:20:18.099 --> 00:20:21.330 Assigning titles to each act can be helpful 371 00:20:21.330 --> 00:20:23.919 So, I've titled Act 1 of "Kung Fu Panda 1" as 372 00:20:23.919 --> 00:20:27.753 "Dreaming of the Dragon Warrior" 373 00:20:27.753 --> 00:20:30.009 So, we will start with the synopsis of Act 1 374 00:20:30.009 --> 00:20:33.169 Next is the second act's setup point and 375 00:20:33.169 --> 00:20:35.622 how the protagonist was established 376 00:20:35.622 --> 00:20:39.294 And thirdly, what are the protagonist's goals and conflicts 377 00:20:39.294 --> 00:20:42.589 And fourthly, what event Plot Point 1 represents 378 00:20:42.589 --> 00:20:45.082 Those are the key factors that we will analyze 379 00:20:45.082 --> 00:20:47.819 If we look at the synopsis of Act 1, 380 00:20:47.819 --> 00:20:51.395 In the village's legend of the Dragon Warrior, 381 00:20:51.395 --> 00:20:55.827 there are these magnificent animals 382 00:20:55.827 --> 00:20:58.410 who train in a palace nestled in the mountains 383 00:20:58.410 --> 00:21:01.281 Although not as strong as those animals, 384 00:21:01.281 --> 00:21:02.889 There's nothing wrong with imaginations 385 00:21:02.889 --> 00:21:04.572 Thus, by becoming the Dragon Warrior, 386 00:21:04.572 --> 00:21:06.572 the character dreams of defeating villains with his dazzling kung fu skills 387 00:21:06.572 --> 00:21:09.402 named Po, 388 00:21:09.402 --> 00:21:11.889 our Kung Fu Panda character 389 00:21:11.889 --> 00:21:14.130 The funny thing is, his father is a goose 390 00:21:14.130 --> 00:21:15.876 So, later on, his birth secret is revealed 391 00:21:15.876 --> 00:21:18.550 in the second and third series. 392 00:21:18.550 --> 00:21:21.483 He's fated to continue the family business at the noodle shop 393 00:21:21.483 --> 00:21:23.488 run by his goose father 394 00:21:23.488 --> 00:21:26.040 And physically, 395 00:21:26.040 --> 00:21:27.720 he finds it somewhat challenging to move his body 396 00:21:27.720 --> 00:21:29.986 and absolutely loves to eat 397 00:21:29.986 --> 00:21:33.432 Meanwhile, at the Jade Palace nestled in the mountains, 398 00:21:33.432 --> 00:21:36.099 Grand Master Oogway, the martial arts instructor, and 399 00:21:36.099 --> 00:21:39.351 Master Shifu 400 00:21:39.351 --> 00:21:42.044 who is a red panda 401 00:21:42.044 --> 00:21:45.801 they are concerned about the escape of the villainous Tai Lung 402 00:21:45.801 --> 00:21:49.432 They had imprisoned Tai Lung, a former disciple who had done bad deeds in the past, in prison 403 00:21:49.432 --> 00:21:53.318 worried that the former disciple's escape might eventually lead to the destruction of the village 404 00:21:53.318 --> 00:21:56.107 So, they believe they need the Dragon Warrior to stop him 405 00:21:56.107 --> 00:21:59.533 And they decide to host a kung fu tournament 406 00:21:59.533 --> 00:22:01.126 with the purpose of selecting the legendary Dragon Warrior 407 00:22:01.126 --> 00:22:06.013 They already have students who excel in martial arts, 408 00:22:06.013 --> 00:22:08.277 such as snakes and tigers 409 00:22:08.277 --> 00:22:11.248 Nevertheless, they still want to fairly select the Dragon Warrior 410 00:22:11.248 --> 00:22:14.840 Our panda, Po, must help at his father's shop, 411 00:22:14.840 --> 00:22:17.201 but he can't miss the once-in-a-thousand-years tournament 412 00:22:17.201 --> 00:22:21.465 He can't even imagine participating in it 413 00:22:21.465 --> 00:22:25.837 He hauls his hefty body up the mountain and arrives at the Jade Palace 414 00:22:25.837 --> 00:22:29.271 So, in order to enter the firmly closed palace, 415 00:22:29.271 --> 00:22:30.851 Oh, in fact, he can't get in 416 00:22:30.851 --> 00:22:32.879 But he can't just trespass 417 00:22:32.879 --> 00:22:37.977 Upon seeing fireworks, he thinks maybe he can use fireworks to get in 418 00:22:37.977 --> 00:22:42.696 Amidst the chaos, a bang erupts in the middle of the tournament grounds 419 00:22:42.696 --> 00:22:46.905 Then, Grand Master Oogway, the turtle, presumably 420 00:22:46.905 --> 00:22:51.000 suddenly points to Po, the panda, 421 00:22:51.000 --> 00:22:53.284 and announces that he has been selected as the Dragon Warrior 422 00:22:53.284 --> 00:22:55.809 Then stunned Po receives cheers from the crowd 423 00:22:55.809 --> 00:22:58.380 And Act 1 comes to a close 424 00:22:58.380 --> 00:23:03.672 Here, the story begins with Po's initial imagination 425 00:23:03.672 --> 00:23:06.565 Draped in a cape, Po, now the lonely Dragon Warrior, 426 00:23:06.565 --> 00:23:10.819 heroically defeats villains, showcasing these imagined scenes in Act 1 427 00:23:10.819 --> 00:23:13.335 But as soon as those imagined scenes end, 428 00:23:13.335 --> 00:23:15.716 he quickly snaps back to reality, thinking he needs to hurry and deliver noodles 429 00:23:15.716 --> 00:23:18.724 he realizes that he is just a chubby and food-loving son of a noodle shop owner 430 00:23:18.724 --> 00:23:21.129 And we mentioned that his father was goose earlier 431 00:23:21.129 --> 00:23:23.093 With such absurd settings, 432 00:23:23.093 --> 00:23:28.312 the character of Po, who is disconnected from reality, is certainly well-defined 433 00:23:28.312 --> 00:23:31.473 Even through such short imagined scenes, 434 00:23:31.473 --> 00:23:35.559 Po's character is effectively established 435 00:23:35.559 --> 00:23:37.900 And what is that setting? 436 00:23:37.900 --> 00:23:41.263 Not only Po is in a situation where he can't even learn kung fu, 437 00:23:41.263 --> 00:23:44.705 but he also can't even talk to his father about his own dreams 438 00:23:44.705 --> 00:23:47.615 He feels too embarrassed to share his dreams with others, even his father, 439 00:23:47.615 --> 00:23:50.370 because he's afraid of being judged 440 00:23:50.370 --> 00:23:53.000 and finds his father's expectations as burdensome 441 00:23:53.000 --> 00:23:55.907 Such things become part of the setting 442 00:23:55.907 --> 00:23:58.619 and minor conflicts emerge first 443 00:23:58.619 --> 00:24:02.590 Internal conflicts are just as important in the scenario as external conflicts, 444 00:24:02.590 --> 00:24:04.728 if not more so 445 00:24:04.728 --> 00:24:06.415 What would be his internal conflict? 446 00:24:06.415 --> 00:24:08.430 Po wants to learn kung fu 447 00:24:08.430 --> 00:24:11.788 However, because he must continue the family business of making noodles, 448 00:24:11.788 --> 00:24:14.395 he finds it difficult to express his intentions to his father 449 00:24:14.395 --> 00:24:17.167 and can't defy his father's wishes 450 00:24:17.167 --> 00:24:19.288 And his self-esteem is very low 451 00:24:19.288 --> 00:24:23.152 Thus, he perceives himself as a chubby panda, questioning if there's any kind of martial arts he could possibly pursue 452 00:24:23.152 --> 00:24:24.959 So, the internal conflict of being unable to confidently assert 453 00:24:24.959 --> 00:24:29.099 and pursue what he desires becomes part of the setting 454 00:24:29.099 --> 00:24:33.622 Ultimately, these become a buildup for the second and third acts as well 455 00:24:33.622 --> 00:24:39.482 So, he goes to the once-in-a-thousand-years Dragon Warrior selection tournament out of curiosity, 456 00:24:39.482 --> 00:24:44.955 but it turns into an event that hints at hope and possibility beyond mere curiosity 457 00:24:44.955 --> 00:24:48.212 Then, what scene is Plot Point 1? 458 00:24:48.212 --> 00:24:51.024 In the movie, when a firework misfires 459 00:24:51.024 --> 00:24:54.163 and Po lands in the middle of the arena 460 00:24:54.163 --> 00:24:58.822 Grand Master Oogway, instead of selecting the famous Furious Five — 461 00:24:58.822 --> 00:25:03.965 Tiger, Crane, Mantis, Viper, and Monkey — 462 00:25:03.965 --> 00:25:09.398 famous martial artists in Chinese martial arts, chooses Po, 463 00:25:09.398 --> 00:25:12.218 causing the crowd to cheer, and the first act comes to a close 464 00:25:12.218 --> 00:25:18.283 So, this plot point becomes when the firework misfires and Po lands in the arena, 465 00:25:18.283 --> 00:25:21.531 followed by Grand Master Oogway designating him as the Dragon Warrior 466 00:25:21.531 --> 00:25:25.742 would be the Plot Point 1 467 00:25:25.742 --> 00:25:28.850 And then we would transition to Act 2-1 468 00:25:28.850 --> 00:25:30.861 which is an exploration phase 469 00:25:30.861 --> 00:25:35.235 I titled it "Breaking Through the Wall of Reality: Tai Lung's Escape" 470 00:25:35.235 --> 00:25:37.806 So, let's delve into the synopsis, turning points, 471 00:25:37.806 --> 00:25:40.526 protagonist's goal and conflict, 472 00:25:40.526 --> 00:25:42.974 and then what Plot Point 2 entails 473 00:25:42.974 --> 00:25:45.096 We'll investigate those factors now 474 00:25:45.096 --> 00:25:50.997 In Act 2-1 of the synopsis, a messenger from Master Shifu rushes in 475 00:25:50.997 --> 00:25:54.680 and checks to see if Tai Lung is securely imprisoned, if the villain is well-contained 476 00:25:54.680 --> 00:25:57.749 However, it's the first time the villain reveals himself 477 00:25:57.749 --> 00:26:02.850 Here, we realize that Po's life won't be easy 478 00:26:02.850 --> 00:26:06.829 Meanwhile, as Po enters the palace with much fanfare, 479 00:26:06.829 --> 00:26:09.775 he is very excited about the prospect of learning kung fu 480 00:26:09.775 --> 00:26:15.270 He may seem naïve and innocent, 481 00:26:15.270 --> 00:26:19.692 but even Master Shifu, who serves as his coach, does not trust Po and advises him to give up 482 00:26:19.692 --> 00:26:20.642 Master Shifu says, "You're not the one" 483 00:26:20.642 --> 00:26:22.075 "Furious Five should be the Dragon Warrior" 484 00:26:22.075 --> 00:26:25.177 "Po, you get out" and advise him to give up as well 485 00:26:25.177 --> 00:26:28.206 And even the Furious Five, who will become Po's comrades, 486 00:26:28.206 --> 00:26:31.291 also dislike him intensely 487 00:26:31.291 --> 00:26:34.779 As Kung Fu Panda once again grapples with the disappointment brought on by the harshness of reality, 488 00:26:34.779 --> 00:26:40.226 the Grand Master Oogway, who chose Po as the Dragon Warrior, imparts a profoundly poetic advice 489 00:26:40.226 --> 00:26:43.162 Emphasizing the significance of the present over dwelling on the past or future, 490 00:26:43.162 --> 00:26:47.427 he encourages Po to relish the here and now 491 00:26:47.427 --> 00:26:48.902 Oogway is quite old 492 00:26:48.902 --> 00:26:51.575 and disappears from the scene 493 00:26:51.575 --> 00:26:53.375 And then, the scene transitions again 494 00:26:53.375 --> 00:26:57.391 Despite giving the message to reinforce the borders, 495 00:26:57.391 --> 00:26:59.927 The villain, Tai Lung, escapes, 496 00:26:59.927 --> 00:27:02.442 bringing imminent danger to the village and the Jade Palace 497 00:27:02.442 --> 00:27:03.474 What did we say earlier? 498 00:27:03.474 --> 00:27:04.862 There has to be a crisis 499 00:27:04.862 --> 00:27:06.577 Well, the first crisis begins 500 00:27:06.577 --> 00:27:11.456 Looking at the turning point, the bewildering dream has become a reality 501 00:27:11.456 --> 00:27:13.000 Although the dream has come true 502 00:27:13.000 --> 00:27:15.839 Po, who became the Dragon Warrior without knowing anything, 503 00:27:15.839 --> 00:27:18.505 is ecstatic at the prospect of being able to learn Kung Fu 504 00:27:18.505 --> 00:27:21.139 However, the wall of reality and prejudice 505 00:27:21.139 --> 00:27:23.206 crushes his self-esteem once again 506 00:27:23.206 --> 00:27:25.892 Po's friends and even his master ignore him 507 00:27:25.892 --> 00:27:30.649 At the same time, the formidable villain Tai Lung escapes from prison 508 00:27:30.649 --> 00:27:33.202 And the crisis intensifies 509 00:27:33.202 --> 00:27:37.114 Po gradually approaches a crossroads of choice 510 00:27:37.114 --> 00:27:40.023 What was the reason for choosing the Dragon Warrior? 511 00:27:40.023 --> 00:27:41.365 To stop Tai Lung 512 00:27:41.365 --> 00:27:43.207 But Po is the Dragon Warrior 513 00:27:43.207 --> 00:27:44.862 When he first entered the kung fu lesson, 514 00:27:44.862 --> 00:27:47.712 Po starts thinking, "What exactly is the Dragon Warrior? What am I supposed to do?" 515 00:27:47.712 --> 00:27:50.561 Po wasn't prepared yet 516 00:27:50.561 --> 00:27:53.808 and keeps thinking to himself, "Am I supposed to get out like my master said?" 517 00:27:53.808 --> 00:27:57.450 "This doesn't seem right. I just came here to have fun" 518 00:27:57.450 --> 00:27:59.345 He stands at a crossroads of decision 519 00:27:59.345 --> 00:28:01.848 Therefore, Po's internal conflict deepens 520 00:28:01.848 --> 00:28:05.799 due to the mistrust of his master and peers 521 00:28:05.799 --> 00:28:08.183 And Tai Lung's escape foreshadows 522 00:28:08.183 --> 00:28:12.852 an escalation of both physical and psychological conflict 523 00:28:12.852 --> 00:28:16.126 So, what's plot point 2 here? 524 00:28:16.126 --> 00:28:19.857 Plot point 2 is when Tai Lung finally breaks out of prison and escapes 525 00:28:19.857 --> 00:28:24.041 From there, we realize that 526 00:28:24.041 --> 00:28:29.049 Po will encounter a physically formidable enemy 527 00:28:29.049 --> 00:28:33.461 Thus, it condenses into the confrontation between Po and Tai Lung 528 00:28:33.461 --> 00:28:35.595 So, as the Dragon Warrior, Po finds himself 529 00:28:35.595 --> 00:28:37.837 unable to avoid the confrontation with Tai Lung, 530 00:28:37.837 --> 00:28:44.331 and in Act 2-2, he transitions into an opportunity to regain his self-esteem 531 00:28:44.331 --> 00:28:46.713 Therefore, he begins to confront reality 532 00:28:46.713 --> 00:28:49.463 Now, we move on to Act 2-2 533 00:28:49.463 --> 00:28:51.837 I've titled this part as 534 00:28:51.837 --> 00:28:55.040 "The Defeat of the Furious Five and Po's Journey to Self-Rediscovery" 535 00:28:55.040 --> 00:28:57.241 Let's explore the synopsis, transformation point, 536 00:28:57.241 --> 00:29:02.557 and the purpose and conflict of plot point 3 537 00:29:02.557 --> 00:29:04.334 If we look at the synopsis, 538 00:29:04.334 --> 00:29:07.140 Po gained courage from the advice of Master Oogway 539 00:29:07.140 --> 00:29:10.003 And Tai Lung has escaped 540 00:29:10.003 --> 00:29:13.385 So, Po challenges himself in training but face repeated failures 541 00:29:13.385 --> 00:29:18.103 And it turns out that the villain Tai Lung was the beloved pupil of Master Shifu in the past 542 00:29:18.103 --> 00:29:20.716 We come to know the fact that he failed to become the Dragon Warrior 543 00:29:20.716 --> 00:29:23.815 and instead turned into a villain due to his insatiable greed 544 00:29:23.815 --> 00:29:26.830 The crisis escalates due to Tai Lung's escape 545 00:29:26.830 --> 00:29:30.556 Grand Master Oogway leaves, 546 00:29:30.556 --> 00:29:32.322 leaving behind Master Shifu to believe in Po and train him 547 00:29:32.322 --> 00:29:35.021 Consequently, Master Shifu reluctantly realizes 548 00:29:35.021 --> 00:29:37.593 that he has no choice but to train Po, even though he doesn't like him, 549 00:29:37.593 --> 00:29:40.090 because Po is the Dragon Warrior, and there's no one else 550 00:29:40.090 --> 00:29:45.851 Thus, Shifu trains Po, but Po keeps trying to escape 551 00:29:45.851 --> 00:29:47.723 But here, an idea pops up in his mind 552 00:29:47.723 --> 00:29:49.858 Po's favorite thing is eating 553 00:29:49.858 --> 00:29:54.394 And Po's best trait is his positive personality 554 00:29:54.394 --> 00:29:58.556 Therefore, Master Shifu trains Po by using his appetite and positivity, 555 00:29:58.556 --> 00:30:01.604 and eventually, Po starts to improve gradually 556 00:30:01.604 --> 00:30:04.685 While Po is progressing, someone needs to capture Tai Lung, right? 557 00:30:04.685 --> 00:30:08.735 So, the Furious Five go to capture Tai Lung, 558 00:30:08.735 --> 00:30:11.770 but they suffer a devastating defeat and retreat 559 00:30:11.770 --> 00:30:13.897 Then, what is the turning point? 560 00:30:13.897 --> 00:30:18.475 It turns out to be an opportunity for Po to discover his strengths through Master Shifu's persuasion 561 00:30:18.475 --> 00:30:22.217 Po realizes that his love for food and positive attitude are his strengths 562 00:30:22.217 --> 00:30:27.556 With this realization, he transforms into a more proactive and confident version of himself 563 00:30:27.556 --> 00:30:29.468 Ascending from an unexpected hero driven by his appetite 564 00:30:29.468 --> 00:30:33.748 to becoming the town's one and only rescuer 565 00:30:33.748 --> 00:30:35.949 I see this as a remarkable transformation 566 00:30:35.949 --> 00:30:40.398 So, eventually, as he becomes aware of his shortcomings 567 00:30:40.398 --> 00:30:42.530 and faces critical gazes from his peers, 568 00:30:42.530 --> 00:30:45.639 the conflict intensifies with the arrival of Tai Lung, 569 00:30:45.639 --> 00:30:47.765 forming both A and B storylines 570 00:30:47.765 --> 00:30:51.984 The A storyline revolves around the physical conflict introduced by the arrival of Tai Lung 571 00:30:51.984 --> 00:30:55.143 The B storyline focuses on my low self-esteem 572 00:30:55.143 --> 00:30:57.936 and how to overcome it 573 00:30:57.936 --> 00:31:00.711 So, Po tries to give up on being the Dragon Warrior, 574 00:31:00.711 --> 00:31:04.392 but with Master Shifu's persuasion, he undergoes training once again 575 00:31:04.392 --> 00:31:09.433 The internal conflict begins to be resolved 576 00:31:09.433 --> 00:31:11.228 alongside the external conflict 577 00:31:11.228 --> 00:31:13.671 However, with the defeat of the Furious Five, 578 00:31:13.671 --> 00:31:16.559 the external conflict intensifies significantly 579 00:31:16.559 --> 00:31:19.332 Even the skilled Furious Five are defeated, and eventually, 580 00:31:19.332 --> 00:31:22.114 Po has to confront Tai Lung 581 00:31:22.114 --> 00:31:23.911 Next, the third act becomes a sacrificial phase 582 00:31:23.911 --> 00:31:27.630 Let's explore how the Dragon Warrior is born 583 00:31:27.630 --> 00:31:29.758 We'll look into the synopsis, climax points, 584 00:31:29.758 --> 00:31:32.098 and themes 585 00:31:32.098 --> 00:31:35.231 The synopsis of Act 3 is pretty simple 586 00:31:35.231 --> 00:31:39.261 Po becomes frightened after seeing the defeated and battered Furious Five 587 00:31:39.261 --> 00:31:43.868 But as the Dragon Warrior, he comes to realize his duty and destiny 588 00:31:43.868 --> 00:31:47.509 The citizens are unable to evacuate, and chaos ensues in the village 589 00:31:47.509 --> 00:31:52.639 Po engages in a showdown with Tai Lung, who has invaded the Jade Palace 590 00:31:52.639 --> 00:31:55.574 Master Shifu has a technique called the Wuxi Finger Hold, which he passes down to Po 591 00:31:55.574 --> 00:31:57.768 It's quite amusing that it's a technique 592 00:31:57.768 --> 00:32:01.536 where the power to defeat the opponent is condensed into a single finger 593 00:32:01.536 --> 00:32:05.121 In the end, he uses it to defeat Tai Lung 594 00:32:05.121 --> 00:32:07.056 and save the village 595 00:32:07.056 --> 00:32:09.806 With the ultimate level of Kung Fu, the Wuxi Finger Hold, 596 00:32:09.806 --> 00:32:12.953 Po overpowers Tai Lung in a spectacular display of light 597 00:32:12.953 --> 00:32:17.436 Po overcomes prejudice and fulfills his dream of becoming the Dragon Warrior 598 00:32:17.436 --> 00:32:19.956 So, the climax of the underdog story unfolds 599 00:32:19.956 --> 00:32:22.912 Po sacrifices himself to fight against Tai Lung 600 00:32:22.912 --> 00:32:27.113 The scene is visually stunning as light flashes brightly 601 00:32:27.113 --> 00:32:30.029 and is depicted vividly 602 00:32:30.029 --> 00:32:33.034 The theme of the movie, that with belief in oneself and hard work, 603 00:32:33.034 --> 00:32:37.834 authenticity and achievement are possible, 604 00:32:37.834 --> 00:32:41.330 is expressed in the end 605 00:32:41.330 --> 00:32:44.191 The most important aspect of the story is 606 00:32:44.191 --> 00:32:51.205 within the framework of the three-act structure, how characters think, act, 607 00:32:51.205 --> 00:32:53.928 and demonstrate proactive determination 608 00:32:53.928 --> 00:32:57.754 The driving force of the three-act structure is, firstly, the characters 609 00:32:57.754 --> 00:33:03.057 Secondly, it's the events created by those characters 610 00:33:03.057 --> 00:33:06.280 It's always good to keep that in mind 611 00:33:06.280 --> 00:33:07.261 Thank you 612 00:33:09.421 --> 00:33:11.030 Summary Basic components of the three-act structure The story is created within the framework of the three acts, consisting of Act 1, Act 2-1, Act 2-2, and Act 3 613 00:33:11.030 --> 00:33:12.949 The flow of segments and plot points within the three-act structure Flow of segments within the three-act structure Act 1 (Isolation phase): Characters experience either physical or psychological isolation 614 00:33:12.949 --> 00:33:14.563 Act 2-1 (Adaptation/Exploration Phase): Adaptation and exploration of the new world Act 2-2 (Response Phase): Detect the crisis, initiate responses, and begin strategizing Act 3 (Sacrifice Phase): Reaching the climax of resolutions with sacrifice 615 00:33:14.563 --> 00:33:15.713 Plot Points Plot Point 1: The decisive first event occurs, marking the transition from Act 1 to Act 2-1 Plot Point 2: At the end of Act 2-1, a pivotal event presents a major obstacle, forcing the characters to face their first critical decision 616 00:33:15.713 --> 00:33:16.983 Plot Point 3: Towards the end of Act 2-2, an event occurs that could bring about the greatest crisis yet 617 00:33:16.983 --> 00:33:19.416 Analysis of the three-act structure with real examples Act 1: "Dreaming of becoming the Dragon Warrior" Setup Point: Introducing the character of Po, a panda with a setting detached from reality 618 00:33:19.416 --> 00:33:21.804 Act 2-1 "Facing the Wall of Reality, Tai Lung's Escape" Turning Point: Po finds himself at a crossroads, unprepared and faced with a critical choice Act 2-2 "Defeat of the Furious Five and Regaining Self-Esteem" 619 00:33:21.804 --> 00:33:24.175 Transformation Point: Po transforms into a proactive and confident individual Act 3 "Birth of the Dragon Warrior" Climax Point: Po overcoming prejudice and realizing the dream of becoming the Dragon Warrior