Vogler, Memo From the Story Department:
The hero and newfound allies prepare for the major challenge in the Special World.
The hero approaches the most dangerous place in the extraordinary world where something he or she wants is hidden (the object of the quest). The approach phase covers all the preparations for entering this fearful place including gathering his or her team, their supplies, weapons, and tools, etc.
Batty - Movies That Move Us:
Physically, the protagonist is led into the Inmost Cave, a bleak placewhere he comes face-to-face with dark, enemy forces. High stakes reside in the Inmost Cave; physically, the protagonist has everything to lose. This moment of crisis physically pushes him to his limits, forcing him to call upon the physical tools provided by the Mentor, and everything thus far acquired from the journey, in order to survive. It is in the Inmost Cave that the protagonist may experience physical rebirth, changing so much that he comes out of it a new person. As such, the Approach to the Inmost Cave picks-up the physical pace of the narrative, driving the audience’s anticipation towards the Ordeal.
Vogler, Memo From the Story Department:
During the outer journey stage of Approach, the hero is inwardly Preparing for Major Change by exploring feelings more deeply and building up resolve to face something difficult and scary.
Palmer - http://www.crackingyarns.com.au/2011/04/04/a-new-character-driven-heros-journey-2/
Step 7: Inauthentic (The Approach)
This is a tricky sequence to nail in terms of the emotional journey of the Hero.
You could consider them to be “amiable”, given that this is often where friendships are forged. For example, in The King’s Speech this is where Bertie opens up to Logue after his father’s death about the mistreatment he suffered at the hands of his nanny and his brother.
You could consider them to be “amorous”, given that this is where many love interests are introduced. For example, in Witness, this is where John Book (Harrison Ford) and Rachel Lapp (Kelly McGillis) dance in the barn in a scene dripping with sexual subtext.
So, why have I characterised it as “inauthentic”? Because in the next sequence, The Ordeal, you’re going to confront your hero with their flaw, so in this sequence I think it’s a good idea to remind the audience of exactly what the hero’s character failing is.
One of the best examples of this is Groundhog Day, where Phil beds – and proposes to – local Punxsutawney girl and Lincoln High grad, Nancy. At this stage, he’s not interested in using his special powers to help anyone. Why? Because his flaw is that he’s selfish. So in this sequence we see him being entirely “inauthentic”.