I want to focus on Act One because they can be such a bear to write. Here the script has a lot to accomplish, as most first acts do, in introducing a whole batch of characters, almost all of the key ones, while establishing Amy (Protagonist) in her world - work, dating, sibling, father - and setting up the central dynamic of the story: Amy thinks she is having a great old time - and she is in a way - but witness the changes she eventually makes (gives up drinking, gets real serious about her writing), the setup also has to lay in that subtext of how much of her behavior is HERS and how much of it is influenced by her father's lecture when Amy and her sister were kids: Monogamy isn’t realistic. With everything going on in Act One, the script takes on the rhythm of an 80s movie in that Amy doesn't intersect with her romantic interest -- Aaron until -- 25-30. Most movies nowadays, that's got to happen by 10-15. But Trainwreck goes to show that sometimes it pays to really delve into the Protagonist's Old World, give us a chance to really understand what's going on there so we can get invested in her and measure the changes she goes through along the way. Yes, this is a lighthearted comedy. But if you check out each scene in Act One, you'll see it hits the three E's: Essential, Efficient, Entertaining. End of Act Two is the traditional All Is Lost. Act Three is also traditional: Amy cleans up her act, gets her shit together re writing, and becomes proactive in reaching out to Aaron. One interesting twist is she doesn't have much of what I call a Final Struggle, that actually gets tossed to Aaron when LeBron does an intervention along with Matthew Broderick, Marv Albert, et al. What did you notice about the plot for Trainwreck?

I love L O N G first acts myself.... as I love getting to know the characters, figure out who it is I'm gonna root for and why. I do tend to like a few more "breadcrumbs" scattered in act one, though. I love set-ups and pay-offs -- and trying to recognize the set-ups and seeing if they do, indeed, pay off. Not having the lovey-dovey montage until deep into act II was .. well, kinda refreshing. Although because everything took its time and was a bit "pushed back" in comparison to, what, convention --- it made for almost a too-fast, too-compacted, too-decisive an Act III for me. Like, almost so much so I wasn't going to buy what she was selling. I guess I need more of a Come-to-Jesus Final Struggle for my plausibility alarms not to go berserk, so I'll say my jury's out on whether this "worked" or not for me.