and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the

From our deconstruction of hundreds of Hollywood blockbusters at www.managing-creativity.com/

The Matrix (1999) is one recent story that follows the Hero’s Journey almost to the book. Further, it uses storytelling techniques that are very common in other movies. Mirroring these structures and tools allows the screenwriter to write effective screenplays.

Voiceover introduces the context of the story. Context introduction (FADE IN) is common: in Star Wars we see the famous roll-on text screen and Scarface uses visuals and text to explain the Cuban expulsion by Fidel.

The first sequence introduces us to the antagonism [Smith pursues Trinity]. As is common, this introduction sets the tone and expectations and defines two opposing combatants.

The second sequence introduces the hero in his Ordinary World [Neo on his computer]. He is led into the adventure by an animal [White Rabbit]. A foreshadow of the adventure [reference to the Matrix] leads us straight into the story.

The third sequence leads the hero to the herald [punky friends invite Neo to the party]. This is unusual – usually the herald travels to the hero.

The fourth sequence provides the Call to Adventure [Trinity tells Neo he is really looking for the Matrix]. Herald knows about the hero but the hero doesn’t recognize the herald.

In the fifth sequence, the hero refuses the call to adventure [Neo refuses to jump; drops the cell phone].

The sixth sequence is punishment for refusing the call to adventure [Smith inserts the squid inside Neo]. There are references to the mentor or supernatural aid (Morpheus), which is not unusual.

In the seventh sequence, the hero commits to the journey. [Neo says “yes” to Morpheus on the phone].

In the eighth sequence, the hero travels to the mentor in the dead of night and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the

tar Wars we see the famous roll-on text screen and Scarface uses visuals and text to explain the Cuban expulsion by Fidel.

The first sequence introduces us to the antagonism [Smith pursues Trinity]. As is common, this introduction sets the tone and expectations and defines two opposing combatants.

The second sequence introduces the hero in his Ordinary World [Neo on his computer]. He is led into the adventure by an animal [White Rabbit]. A foreshadow of the adventure [reference to the Matrix] leads us straight into the story.

The third sequence leads the hero to the herald [punky friends invite Neo to the party]. This is unusual – usually the herald travels to the hero.

The fourth sequence provides the Call to Adventure [Trinity tells Neo he is really looking for the Matrix]. Herald knows about the hero but the hero doesn’t recognize the herald.

In the fifth sequence, the hero refuses the call to adventure [Neo refuses to jump; drops the cell phone].

The sixth sequence is punishment for refusing the call to adventure [Smith inserts the squid inside Neo]. There are references to the mentor or supernatural aid (Morpheus), which is not unusual.

In the seventh sequence, the hero commits to the journey. [Neo says “yes” to Morpheus on the phone].

In the eighth sequence, the hero travels to the mentor in the dead of night and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the

A foreshadow of the adventure [reference to the Matrix] leads us straight into the story.

The third sequence leads the hero to the herald [punky friends invite Neo to the party]. This is unusual – usually the herald travels to the hero.

The fourth sequence provides the Call to Adventure [Trinity tells Neo he is really looking for the Matrix]. Herald knows about the hero but the hero doesn’t recognize the herald.

In the fifth sequence, the hero refuses the call to adventure [Neo refuses to jump; drops the cell phone].

The sixth sequence is punishment for refusing the call to adventure [Smith inserts the squid inside Neo]. There are references to the mentor or supernatural aid (Morpheus), which is not unusual.

In the seventh sequence, the hero commits to the journey. [Neo says “yes” to Morpheus on the phone].

In the eighth sequence, the hero travels to the mentor in the dead of night and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the

refuses the call to adventure [Neo refuses to jump; drops the cell phone].

The sixth sequence is punishment for refusing the call to adventure [Smith inserts the squid inside Neo]. There are references to the mentor or supernatural aid (Morpheus), which is not unusual.

In the seventh sequence, the hero commits to the journey. [Neo says “yes” to Morpheus on the phone].

In the eighth sequence, the hero travels to the mentor in the dead of night and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the

and in the rain and thunder. Danger and conflict are present on the journey to the mentor, so much so that there is reason to turn back [Trinity removes the squid from Neo’s stomach, Neo thinks of jumping out of the car].

In the ninth sequence, the supernatural powers of the mentor are built up, often this is through reference and hearsay [Trinity warns Neo that Morpheus knows more than he can imagine, outside the door].

In the tenth sequence, the hero meets the mentor or supernatural aid. The mentor knows and has watching the hero whereas the hero is aware of the supernatural aid only though reputation. Often the hero is unaware of his own destiny.

In the eleventh sequence the mentor provides hero with spiritual advice. Here, the hero consciously embarks on the adventure [Neo takes the red pill].

The 106 stage Hero’s Journey and the complete Matrix analysis and other story structure templates can be found at http://www.managing-creativity.com/

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Kal Bishop, MBA

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