A Quote by Stephen J. Cannell
I believe in three-act structure. When I say that to novel people, or people in the world of books, they go, 'Well, that's a film thing.' However, even a good joke has three acts.
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When in doubt, the rule of threes is a rule that plays well with all of storytelling. When describing a thing? No more than three details. A character's arc? Three beats. A story? Three acts. An act? Three sequences. A plot point culminating in a mystery of a twist? At least three mentions throughout the tale. This is an old rule, and a good one. It's not universal - but it's a good place to start.
A funny thing about film is that it's the only medium where people say there are really rules that you have to stick to. Nobody says to the writer - in a film you've got to have three acts - there's a character arc you have to do - there's no reason that's true.
If I start a film of my own, then what I eliminate is acting in other people's movies. Because once I start, and I go raise the money, it's about two and a half or three years, and I can't stop. I have people hired. I can't say, 'Ooh there's a good part called 'Drive'; I'll see you in three months.'
When I was governor, if I told a joke in front of the press - I learned. I would go, "That was a joke, joke, joke," and I'd say it three times.
Well, I think if you're telling a story, a three act structure will just naturally emerge out of it. But I also love it when a film doesn't feel like it's anchored too rigidly to that structure and you feel like anything could happen.
You get work however you get work. People keep working, in a freelance world, and more and more of today's world is freelance, because their work is good, and because they are easy to get along with, and because they deliver the work on time. And you don't even need all three. Two out of three is fine. People will tolerate how unpleasant you are if your work is good and you deliver it on time. They'll forgive the lateness of the work if it's good, and if they like you. And you don't have to be as good as the others if you're on time and it's always a pleasure to hear from you.
'Glee' is produced with three people and written by three people. In my mind, I don't believe there's any other show on television that was written by three people. The fact is there are shows that have 14, 15, or 16 people writing them.
I guess I would say that most of what I've learned about storytelling derives from novels and short stories. I cannot think of a novel or story, or a novelist or story writer, who thinks in terms of three-act structure.
Is it my fault that there is a stereotype that black people are not good swimmers? I know that's a joke, but somebody will say, 'I can't believe you would say that.' Well, first of all it's just a joke, and second of all if you watch the Olympics, black people win medals in jumping, running. They don't win any in swimming.
Young actors ask me for advice. They say, 'Should I get an agent?' I tell them, 'Don't worry about that. Act, act, act. Get into that production of 'The Three Sisters' in a church basement. Consider every audition a chance to act, even if it's just for three minutes. Just do it whenever and wherever you can.'
I would have to say all of the civil rights acts, because there were three, and even, say, the Immigration Act, which I think also is a civil rights act, maybe on a global perspective, that he cared very, very much about it.
A lot of people have trouble with their second novel - the dreaded sophomore jinx. I wrote three books in between the two novels, and they just weren't very good.
Someone told me once - I mean I said, "Is it ok that I don't really know what the three-act structure is?" And he said, "It's basically: Act 1: a guy climbs up a tree; Act 2: people come and throw stuff at him; Act 3: he gets down."
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
The thing in comedy is that once you start worrying about something not succeeding, you're frozen. There's no verdict on anything. You can make ¡Three Amigos!, and some people will at the time say, "Oh, that's too silly." Then five years later, silly is hip. Now it's considered art. I never comment on anything I do, because if I say anything negative about X film, or X TV show, or X project, people who saw it and loved it go, "Well, am I an idiot?"
What you learn when you direct a film, even more so than as a producer, it's a marriage. It's like a relationship with that film so you've got to make sure that it's really something that you want to live with for three years or however long it is. So I haven't found the right thing to marry yet.
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