can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave CasablancaThe Hero's Journey is the template upon which the vast majority of successful stories and Hollywood blockbusters are based upon. In fact, ALL of the hundreds of Hollywood movies we have deconstructed (see URL below) are based on this 188 stage template.

Understanding this template is a priority for story or screenwriters.

There is only one story.

The Hero's Journey:

a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

and more...

Apotheosis = illumination

Apotheosis for the Hero is many things, including:

An insight, epiphany etc that clarifies and sets the Hero on the final path.

In Al Pacino Scarface (1983), Tony Montana's insight is that the rewards of the path he's chosen are not worth the spiritual price he is paying, expressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny? Eating, drinking, fucking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?"

In Casablanca (1943), Rick's insight is that if you love someone, you sacrifice yourself for their happiness. That sacrifice can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca)

p>a) Attempts to tap into unconscious expectations the audience has regarding what a story is and how it should be told.

b) Gives the writer more structural elements than simply three or four acts, plot points, mid point and so on.

c) Gives you a tangible process for building and releasing dissonance (establishing and achieving catharsis).

d) Gives you a universal structural template upon which you can superimpose your situational story.

and more...

Apotheosis = illumination

Apotheosis for the Hero is many things, including:

An insight, epiphany etc that clarifies and sets the Hero on the final path.

In Al Pacino Scarface (1983), Tony Montana's insight is that the rewards of the path he's chosen are not worth the spiritual price he is paying, expressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny? Eating, drinking, fucking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?"

In Casablanca (1943), Rick's insight is that if you love someone, you sacrifice yourself for their happiness. That sacrifice can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca

upon which you can superimpose your situational story.

and more...

Apotheosis = illumination

Apotheosis for the Hero is many things, including:

An insight, epiphany etc that clarifies and sets the Hero on the final path.

In Al Pacino Scarface (1983), Tony Montana's insight is that the rewards of the path he's chosen are not worth the spiritual price he is paying, expressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny? Eating, drinking, fucking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?"

In Casablanca (1943), Rick's insight is that if you love someone, you sacrifice yourself for their happiness. That sacrifice can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca

ressed with the words (in the restaurant scene): "is this it? Is that what it's all about Manny? Eating, drinking, fucking, sucking," "no free rides in this world kid," "I lost my appetite," "is that what I worked for? With these hands? Is that what I killed for? For this?"

In Casablanca (1943), Rick's insight is that if you love someone, you sacrifice yourself for their happiness. That sacrifice can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca

can include selling your most prized material possessions (he sells his bar), allowing your love to find happiness in another's arms (he ultimately allows Ilsa to be with Victor), physical suffering (it is likely that his ultimate actions will see him to a concentration camp), leaving dear friends (he will have to leave Sam behind) and forced exile from home and heart (he will have to leave Casablanca). He learns this insight from both Ilsa and Victor, who are prepared to do the same for each other.