Fake Scenes vs Real Scenes

May 27, 2020

By Adam W. Parker

Just like many characters with fake IDs tried to pass for the real Korben Dallas in The Fifth Element, many “fake” scenes try to pass as actual scenes in movies. These counterfeit scenes are very hard to spot. They often:

are very creative
reveal character
move the plot forward
have interesting conflict
resolve a goal

What these “scenes” do not do is tell a story. They do not evolve a premise, to a problem, to a dilemma, to a paradox.

The best way to tell the difference is to use examples. So, let's take a side-by-side look at a fake scene and a real scene (more like snippets) – both by the talented writer/director Luc Besson. I chose these because they are very similar. They each occur relatively early in the overall story, have similar lengths, and have the main Protagonist taking custody of a special alien being wanted by various other groups.

(I will be blunt in this analysis. Please note, this is not directed as an insult to Luc Besson. He has made classic films. With hard work, we may be able to make something half as good as he has made.)

Let's dive in!

Fake Scene(s) - (~24 minutes)

It's frankly difficult to break this section of the movie down, for the very reason that it is a fake scene(s). It is devoid of major reversals (paradoxical movements) and includes far too much unnecessary information. But I'll do my best...

Dilemma 17:00 – 20:00

Minister reiterates mission to retrieve top secret, rare, Converter

Meet team, “...dressed like that?”, they're undercover tourists

“Did you read memo?”, V and L will have to split up

V – “Will you marry me?”, she avoids with kiss & smiles as leaving

I believe everything in this movement could have been cut, or rather condensed into the next movement. There is a lot of wasted chatter about the "memo" and it's neither integral to the plot or at all funny. It's worthless. The running proposal "conflict" between Valerian and Laureline neither contributes as a payoff to previous beats nor as a set up for subsequent movements. He just repeats it every so often. Still, if it did actually matter, it could also be massaged into their radio chatter, or during a critical moment. Here, it just lays lifeless.

Paradox 20:00 – 25:00

Big Market rules explained, 2 strangers, “Welcome to Big Market!”

L takes control of guard, breaks into Big Market with box

V enters Big Market and splits off from the group

V given portal box, gun, and made to be invisible

This is home to some necessary world-building. Still, the exposition is not dramatized. It's five straight minutes of explaining the rules of the world and setting the pieces on the board in the most boring way possible. The one opportunity for drama is between Laureline's group and the tower guard. But that is quickly squashed with no unforeseen problem whatsoever. The fact that a soldier can remote-control people and objects with his tech is a VERY cool idea that isn't at all dramatically exploited now or later.

Premise 25:00 – 29:00

2 strangers in exchange meeting with Big Guy, V enters

Deal goes bad, guns drawn, Mexican standoff

Invisible gun appears, V confiscates the Converter

Guard “dog” attacks V, shootout begins, V on the run

This movement works very well for the most part. The one thing that holds it back from being great is the last beat. It makes no sense why Valerian is walking out rather than just converting his arm right then and there. Disregarding this, the fact that the dog attacks his arm box is in no way paradoxical. It is a valid Problem and moves the bigger story forward but it ignores this smaller story. For example, if he earlier used his "floating hand" to somehow mesmerize and distract this "dog" but now it comes back and wants to play - ruining Valerian's control of the situation - it would be valid. As is, it's a surprise rather than a reversal.

Problem 29:00 – 34:00

APB on V, invisible no more, metal balls on box

V uses box to crash thru sewer to lower levels, meets kid

V uses balls against guard, kid's angry mom, escapes to surface

Runs into wall, L fixes box as he fires, V examines pearl

Setting aside the logistical aspects of how Valerian moves through space - this whole movement feels like filler. It's essentially Valerian screaming and running through Big Market with a couple of obstacles in the way. Laureline fixing the box right before the "dog" bites Valerian's hand off is not paradoxical - it's just convenient. But again, it moves the overall story forward at the expense of this movement. (Our nagging subconscious is willing to forgive the lack of storytelling because "maybe it will pay off in the next movement" but we are starting to sense a pattern.)

Dilemma 34:00 – 38:00

Big Guy releases Big Monster, chases them onto bus

It gets on roof, tears up bus, V calls for his ship

Team is destroyed as they hop to ship, barely making it

Monster is on ship! Hyper-speed kills it

More running and screaming... The biggest missed opportunity in this part is how Valerian and Laureline interact with their teammates. They have absolutely NO hint of a concern for the others dying by the hand of this beast. They have no empathy at all, nor any lack of empathy. They are purely apathetic. What I mean to say is there is no Dilemma here - and this is the Dilemma movement. This is supposed to be the heart and soul of the conflict. (At this moment of viewing, our subconscious throws up red flags - this is not a good scene (or a scene at all) and this may not turn out to be a good movie.)

Paradox 38:00 – 41:00

L handles creature, feeds it high-grade uranium

Pearl contains Megatons of energy, classified info

Alien in dream had pearl just like it

V proposes (again), doesn't know honeymoon after wed

We do not need the extended beat where Laureline interacts with the creature. But it could still work as a shorter aside. The other beats of research into the pearl work great, but it would have worked better if this was the first time both we and Valerian realized the pearl was the same as in his "dream". The banter between Valerian and Laureline at the end really put a fork in any chemistry that was possible. It's getting annoying the way the relationship is told and not shown. Otherwise, this is an OK movement that could have wrapped up a good scene if what had preceded it was substantive.

END

Real Scene(s) – The Fifth Element (~23 minutes)

Problem 21:00 – 24:00

48 hours til death, only 5th element can stop it

5th element's ship draws near, is attacked, crashes and burns

“We are lost”, gov't plans, father is sent home, 300 years for nothing

One “survivor” – a hand

This is a perfect fractal with a great paradoxical ending. Is there a survivor? Yes and no.

Dilemma 24:00 – 27:00

It's enough to regenerate, superhuman, can't wait to meet him

Danger? No, he will be killed if threat, hand over kill switch, proceed

Machine reconstructs body, hides body from view, completes

Remove shield – it's a woman!

Another great fractal. The expectation for this to be a man is subtly hinted at several times through their use of pronouns. They are in a sort of limbo throughout - this could either turn out really good or really bad. In great storytelling fashion - it's both/and with a dash of "not in the way you expected".

Paradox 27:00 – 30:00

Snap pictures, Leeloo writhes from flash, can't escape

She speaks unknown language, General approaches her

General taunts Leeloo behind unbreakable glass

She punches through glass! and breaks through wall to escape!

Again, storytelling perfection. With one punch through the unbreakable glass she at once solidifies her superhuman status in a great "show don't tell" moment. And a leap through the wall underlines her wild, unpredictable nature.

Premise 30:00 – 32:30

Police hunt for her, she's on the building ledge, incredibly high up

Police try to get her to come back, she walks further out

Flying Police unit w/ loudspeaker and lights traps her

She jumps! Crashing into Korben's cab!

This fractal is solid. It does the job of making this jump psychologically believable as far as motivations - she feels trapped and overwhelmed - but it's also paradoxical in that this is an act of escape but would surely end in death.

Problem 32:30 – 36:00

Korben fights not to crash, Leeloo's alive and well

Leeloo rambles, they exchange smiles, “big bada boom”

Police arrive, Leeloo, “ple-ase hel-p”, Korben – help or not?

Korben floors it, that was “so stupid” but he's thrilled about it

This is a perfect fractal. Nothing to add.

Dilemma 36:00 – 39:30

Cops get APB, Korben ruins their lunch, chase

Scan blocker = weapons live, evasive moves

Korben loses tail, nope, cab is shot up

Dives into the fog, loses police, Leeloo says “Vito Cornelius”

This is solid but the ending beat is a bit underwhelming. It could have been a great "hidden in plain sight" moment but didn't quite come through. The cab being vertical is a nice touch, but if we had a POV of the cops scanning right past the taxi (even seeing a part of it), it would have made the moment truly paradoxical.

Paradox 39:30 – 44:00

Vito is dismissive at first, sees her tattoo, she's the 5th, he faints

It's a miracle, Vito goes to prepare for when she wakes

Korben kiss? explains himself at gunpoint, remember me?

Priest runs in wearing robe matching her tattoos, she's relieved

A solid ending. Nothing more to add.

END

Conclusion

So there you have it. Far too much credit is given to acting, production design, and tone regarding the success of a story. The main culprit is always the story. As long as you can complete successful fractals back-to-back the viewer won't be able to turn away. Because you will actually be telling a story.

https://coil.com/p/Adam_W_Parker/A-Story-s-Structure-My-Neighbor-Totoro/Usj5gXSqn

Thank you.

Examine the story structures of the following breakdowns:

adam-w-parker