Striving to attain mastery as a Two Handed Warrior occasionally results in some very enjoyable if unintended consequences. Learning to “reverse engineer” Academy Award-winning films in order to teach worldview (see Teaching Worldview Through Film) somehow led to my inadvertently developing a unique skill-set for analyzing how filmmakers create Academy Award-winning films.
A true script consultant, such as Linda Seger or Key F. Payton, has read thousands of screenplays and can instantly recognize a myriad of factors that might improve an unfinished script. I, on the other hand, hate reading screenplays, and often can’t tell the difference between snappy dialogue and good scenery.
However, in the kingdom of the blind the one eyed man is king. Since few (if any) script consultants are trained in worldview thinking, I can sometimes help screenwriters and creative executives in story development in a way that others can’t. The highly intuitive use of worldview often employed by Academy Award-winning filmmakers in their character-transformation arcs is often clearer to me (the amateur) than it is to more broadly trained experts.
Guiding my students’ understanding of worldview in the classroom and serving as story consultant in Hollywood have become some of the most enjoyable aspects of my journey toward becoming a two handed warrior. Helping screenwriters, producers, directors, and creative executives “see” and clarify the worldview journey in their film is a very gratifying experience.
So while I would never claim to be an expert, I hope that this ongoing discussion of the relationship between worldview and story will be as helpful to filmmakers as it is to educators.
Who knows, it might even help a two-handed filmmaker win an Academy Award someday.
Now, that would be a very intended consequence,
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