How Many Scenes in a Film/Script?

Question

In a typical 100-120 page script film, how many scenes are in it? What's the average number of scenes in a 100-120 page film?

Is there a set number of scenes I should aiming for when writing a script?
The Screenwriters Bible says to create a step outline which is comprised of paragraphs, one paragraph for each scene, anywhere from 30 to 100 steps! Isn't 30 to 100 a big gap? Do most films average around 100 scenes? Much less? Much more? I know, I could put in a DVD film and count the number of scenes. But, before I do that I would like to hear what you all say.

Thanks!

Usenet · Accepted Answer

Someplace between 45-60 scenes (that's scenes not sluglines).

- Bill

Usenet · Answer

[nq:1]Someplace between 45-60 scenes (that's scenes not sluglines).[/nq]
How many sluglines?

Usenet · Answer

[nq:1]In a typical 100-120 page script film, how many scenes are in it? What's the average number of scenes in ... and count the number of scenes. But, before I do that I would like to hear what you all say.[/nq]
I say, read some scripts.

A woman can be anything the man who loves her would have her be. James M. Barrie

Usenet · Answer

A better question might be "How many sequences are in a typical story?"

Most stories seem to have 10-12 sequences, but you shouldn't increase or decrease the number of sequences in your story solely to make them fit a number. A possible reason for the large number of 10-12 sequence stories may be adherence to the "hero's journey" and other story models. Of course, it is often just natural for stories to have that number of sequences. In addition, something that I might consider to be its own sequence is something that someone else (like the actual writer) might consider to be continuing scenes in a larger sequence. There is no true right or wrong, but there are tendencies.

OT: As an example of a writer having a different point of view, Steven de Souza (sp?), a writer of "Die Hard," considered Hans Gruber to be the protagonist, not John McClane. Hans Gruber performs the common "checklist" of protagonist functions - he puts the story in motion, it's his goal that eventually conflicts with that of the antagonist (McClane), etc.
You identify your sequences by stepping them out in your story. Again, I think the focus should be on the sequences needed to tell your story as opposed to the scenes. The number of scenes necessary to complete each sequence depends on your characters and story. Similar to a bell-shaped curve, you might expect your sequences (in terms of both page-length and the number of scenes) to be shorter at the Act I and III "tails" of the curve and longer in the Act II "middle" of the curve. There are multiple successful exceptions to this expectation.

These things aren't mentioned in "The Screenwriter's Bible?" I haven't read it, but I would be surprised that structuring a story with sequences and then filling the sequences with scenes is not discussed.

Conceptually, 60 two-page scenes (represented within 10-12 sequences consisting of 5-6 two-page scenes in each sequence) would result in a "perfect" 120-page screenplay, although 120 pages is a little long by today's expectations.
I would be interested in reading a "perfect" 120-page screenplay consisting of 12 five-scene sequences (or 10 six-scene sequences) in which each scene is 2 pages. I would be quite surprised if such an exceptional adherence to page counting resulted in something worth reading or watching.
There is one "rule" that generally should always be followed, but there are (again) multiple successful exceptions. The rule is that your main character should be the one that is first seen or introduced or at least appear on the first page. Since the story is usually told from the main character's point of view, this makes sense. This also means that your main character should not be MIA during long portions of your story.
One story technique that is dramatically and emotionally effective (when executed well - beginners beware) is to delay the appearance of a major (or important) character to make that character even more significant (e.g. "The Third Man"), but this should not (generally) be done for the main character. Some might think this might be a stretch, but I would also say this was used (and worked well) in "Wedding Crashers" (i.e. using Will Farrell). The set-up was done more subtly than was done in "The Third Man," but the audience with which I sat cheered when Will Farrell stepped out of the shadow.

Who would have expected an R-rated comedy to have a homage to "The Third Man?" I was pleasantly surprised, although I realize that many would not have recognized it for what it was. Recognizing it emotionally, as my audience did, is all that is needed.

Compare that technique to the unclever (and literal) "deus ex machina" conclusion used for "The Matrix Revolutions."
Winking at a story flaw (unless it is rare storytelling satire like Act III of "Adaptation") doesn't make it any better. That should be another mandatory rule.

Usenet · Answer

[nq:1]A better question might be "How many sequences are in a typical story?" Most stories seem to have 10-12 sequences, ... I would be quite surprised if such an exceptional adherence to page counting resulted in something worth reading or watching.[/nq]
I'm just in section to of the book. I haven' got to the formatting section yet. The book does briefly mention what a scene is and that a film has Acts - Sequences - Scenes - Beats.
The books hasn't explained what a sequence is. So, what is a sequence? Let me guess - it's a set of scenes taking place in the same general area? Is it like the main different parts of the film (car chase, first battle on the mountain top, hiding at the train station)?

Usenet · Answer

[nq:1]The books hasn't explained what a sequence is. So, what is a sequence? Let me guess - it's a set ... the main different parts of the film (car chase, first battle on the mountain top, hiding at the train station)?[/nq]
The word sequence gets used to mean different things by a lot of different people.
The way I tend to use it, it's a series of dramatically connected scenes. Location doesn't matter - although frequently location changes when dramatic tension does.
For example, in "Raiders of the Lost Ark," you have the second-act tension of "Will Indy find the Ark before the ***** do?" but you have a bunch of sub-tensions which span several scenes: "Will Indy get the headpiece to the staff of Ra?" "Will Indy avoid survive the **** attempts to kill him?" "Will Indy find the well of souls?" "Will Indy get the the ark from the well of souls?"
Each of these span several scenes. Some of them (such as the last one) are very location specific, but others (like the second one) span multiple locations.
Dramatically, something like a chase is really more of a scene than a sequence, even though it may take place over multiple locations, the tension "Will X get away from Y?" is constant.
-Ron

Usenet · Answer

[nq:2]The books hasn't explained what a sequence is. So, what ... battle on the mountain top, hiding at the train station)?[/nq]
[nq:1]The word sequence gets used to mean different things by a lot of different people. The way I tend to use it, it's a series of dramatically connected scenes. Location doesn't matter - although frequently location changes when dramatic tension does.[/nq]
Well, last night I was reading a screenplay for the first time - it was Mr. And Mrs. Smith. I got half way thru it. I have not seen the film. There is a big battle in a mountain pass between John, Jane, and the target they are trying to assassinate. I takes place around pages 31 to 38. I would consider this whole "mountain battle" one sequence. Would that be wrong?
There is also the first battle between Jane an John when they know who each other are, it's after the dinner and they are chasing each other in their cars doing battle with each other. I would also consider this Freeway Car Battle one long sequence. Would that be wrong?

Usenet · Answer

[nq:1]Well, last night I was reading a screenplay for the first time - it was Mr. And Mrs. Smith. I ... doing battle with each other. I would also consider this Freeway Car Battle one long sequence. Would that be wrong?[/nq]
I haven't seen the film or read the script, so I can't comment one way or the other.
-Ron

How Many Scenes in a Film/Script?

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