What is likely needed is more of a subjective perspective towards the storyform itself (like my series on Generating Dramatic Tension was all about).
In fact, if you look at the Plot Sequence Report–the closest thing we have to a subjective view of the storyform–you’ll note that the Issues within the Overall Story Throughline source from the Psychology Domain. Not quite the Fixed Attitudes Sebastien calls for, but close enough to what the characters themselves are dealing with…while they engage in ACTIVITIES 
In act one, “appreciating the meaning of something” (Understanding) is explored in terms of Permission, Need, Expediency, and Deficiency.
Act two concentrates on “gathering information or experience” (Gathering Information) and is explored in terms of State of Being, Situation, Circumstances, and Sense of Self.
Act three focuses on “engaging in a physical activity” (Doing) and is explored in terms of Knowledge, Ability, Desire, and Thought.
And act four illustrates “achieving or possessing something” (Obtaining) and is explored in terms of Commitment, Responsibility, Obligation, and Rationalization.
What do you know…the first sequence is all about PERMISSION…lol.
How insanely prescient are these sequences? They read like a Beat Sheet for the entire film. Ending in Rationalization??? They’re all justifying their actions during that closing sequence.