If You Can't Answer This Question Don't Write The Scene - Tony DuShane
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- čas přidán 28. 12. 2023
- Tony DuShane is the author of the semi-autobiographical novel Confessions of a Teenage Jesus Jerk. He adapted the screenplay for director Eric Stoltz, and the film is now available on Amazon Prime.
His journalism and essays have appeared in The Los Angeles Times, Mother Jones, Penthouse, The Believer, and other media outlets. DuShane has hosted the author interview show Drinks with Tony since 2002.
He just finished his next novel Dream Casting and is seeking a happy home for it.
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There doesn't always need to be multiple characters in every single scene - there just needs to be something happening to progress the character and the plot. It entirely depends on the film and what each scene looks/needs to accomplish.
yes and the scene must be there for a reason, to answer something or ask something that will be answered later, in other words, conflict and resolution, so every scene must exist for a reason, one of my favorite movies that has all of this and has nothing existing just “because” is Step Brothers, that movie is hilarious and every scene has a reason, it has no scene that leaves you feeling “okay what was that for?”
It's also a slap in the face to the audience when in scenes with multiple people, you can clearly see the actors aren't even in the same room. Latest Mission Impossible comes to mind.
The key thing to remember is everything can be a character if you imbue it with life. Wilson the volleyball. A shark fin in the water. A briefcase that glows when its opened in a diner.
The power dynamic is a great way to explain this though, and its reflected by reactions. 1) wilson doesn’t change, but Tom Hanks interaction with it/him does - evolution. 2) the shark fin knows everything (who he gonna eat), and the humans go from not knowing hes there, to knowing. Then it shifts to a contest of wills - success vs failure on both sides - conflict. 3) briefcase has a secret. Character can kill to get it, sees the secret, then has a dilemma: leave it so no one will kill him for it, or keep hold of it and face the threats - gamechanger.
There was an episode of eastenders...British soap.
It was 30 mins of just one character.
Absolutely brilliant.
All a scene needs is to grab attention and not let go.
There's many ways to achieve this.
Good Acting and a good script is all that is needed.
Another good example in Little Miss Sunshine is when they are in a Restaurant and Olive wants ice cream, but her dad doesn't want her to get any at all. Then there is a power dynamic. Olive's grandpa is the deciding factor. And end up all sharing the ice cream. So Olive wins.
Even though her "stuffed shirt" dad was correct in his lesson on self-discipline, while the "do whatever" weirdos just want her to be happy.
@@jodi2847 my point is conflict. It doesn't matter if he was right or not.
Great video on a very great and undermentioned film. Clear narrative goals, clear examples of relatable character, and conflicts that drive the development and unfurling of the film itself. Also, a very good entry in “ feel good” as canon.
The problem with this sort of approach is that conflict for the sake of conflict will eventually destroy the credibility or any ability for the audience to resonate with every single character. It turns everybody into a dirtbag. Everyone doesn’t need to be in conflict with each other all the time for things to be interesting. In fact, this is called a dysfunctional family. You can do better than this as a writer. It also makes for seeing the same scenes over and over. You can pretty much predict exactly what’s coming in most shows and movies these days.
Conflict isn't necessarily with other people. it includes conflict with a previously held belief system ( self) , conflict with environment ( survival, existential or political) or a merge of the two.
I’ve been reading through Star Wars Heir to the Empire and I’ve found every single character’s statement or input is questioned which forces everyone to explain themselves every time they open their mouth. It’s very annoying. Way too much conflict.
A hilarious example of this is the show ‘Belair’😂(a remake of fresh prince).
One of the best ‘worst’ shows out.
@@hamothemagnif8529I didn't get that feeling while reading it. Maybe cause I understood why the characters feel what they feel (from the universe's perspective) - in the Star Wars books in the late 90's it was typical to throw Luke, Han, Leia or Lando into something they would be extremely confused, frightened or angry about. That naturally created conflicts both in the characters and between them, conflicting statements and emotional situations.
I really don't mean to be ignorant but I watched this twice and I cannot find the Question - per the title of this clip - that if you cannot answer then do not write the scene... I know he talks about shifting power play and then how to gain sympathy for a character - but I am completely missing what the Question is. I have several learning disabilities so I do apologize if I am being lame here. I hope some kind human can shed light on this for me.
0:38 - Looks like you pretty much have it. Hope that helps! Just another tool to think about when rewriting.
I didn't see it either. If it is that we should pay attention to power dynamics in a scene, I am not sure I agree with that. It can be a neat thing to see shift around, but is it required to the point that I should not even begin unless i have that? I thinking not really. I think the caption for the video is misleading.
Shifting power play to characters and the audience but this is just one small piece. A great example is Burgess Meredith in the original Rocky. Rocky comes to Micky’s apartment and there’s feck all dialogue just Meredith taking his hat off of his head and walking towards the other side of the apartment. There’s something the audience is aware of that Rocky is not, this isn’t a power play it’s the providence of the scene itself and great acting. Like a stage play than a movie.
Power plays are a small part which build dialogue but not the movie itself. Mann’s Heat uses so much of the power play but it’s the characters which make the movie not the power play of their actions or dialogue. We knew how the movie would end from the beginning, like any heist movie.
Sorry but the title does not answer what is implied in this video. It’s more a case of gathering eggs and shifting the story which could be done in many other ways like setting, editing, costume, etc.
Also Arkin’s character in LMS is one whose battle is with himself and not with the other characters so again I’m unsure on this point or question. Necessity Clause: this many wants to die and is a heroin addict how do we change this?
It was a title overlay in the first 1 minute… Who has status??? The power dynamics ultimately determines who has final status.
@@filmcourage ahhh ty very much ❤
The movie "SALT" is also a great example of power dynamic shift
There is no such thing as "your truth."
Tony!!! This is awesome.
Phenomenal this...
Thanks!!! 🔥🔥🔥
It's also a slap in the face to the audience when in scenes with multiple people, you can clearly see the actors aren't even in the same room. Latest Mission Impossible comes to mind.
So...what's the question you have to answer in order to write the scene as stated in the title??
Exactly what I was wondering.
"Soooooooooo,....... what was the question?"
It was a title overlay in the first 1 minute… Who has status??? The power dynamics ultimately determines who has final status.
For a work about writing well, that title was a bad one. It should be more obvious.
Anyone notice that he talks about how much he watches and makes his students watch Little Miss Sunshine, but then proceeds to fumble over answers relating to the movie?
@@JamesHall305 Lmao right
So what I got was it from
1. Power Dynamic
This equals status. And this status is a good thing to change and not keep the same to the end. Switch the status over, like give a person in handcuffs high status, maybe he smirks, having something the cop (whose supposed to be in power) wants, and switching the dynamic. Or reveal who we thought to be a High Status Character, to be a Low Status one by showing that nobody gives a fuck about what he's saying.
Then the rest of the video I didn't see any more title captions for a lesson on there which I'm associating it with what we're supposed to learn, but I did get this I guess
- Cuts or when you step on shit with your feet sucks, and people relate to that cause EVERYONE's stepped on sharp shit before, creates sympathy, so write that into your story, because it'll make people relate more? I mean I guess so, if it doesn't take way from runtime and shooting it wouldn't hurt (pun intended) to put a little 10 second portion of them hurting themselves accidentally in the story to make people feel bad for them...
- Maybe have a plotpoint with a vow of silenc, ion know make one of the guys colorblind, give us something that's not just silence, but it's silence revealed to be an actual problem
This also applies to songwriting!
I believe Richard finally became his program in the end. He didn't become low status - remember, every family member is aware that these people parading their kids are utter monsters, and by "embarrassing" himself, which to him, and us, is a giant fuck you to these people, he, ascends. The fact that the rest of the family joined in seems to be proof of this. In what context can anyone think Richard (and Olive and the family) are somehow beneath these people? Even Grandpa manages to win here via the routine and music choice :-)
the point is not the other people in the crowd, it's him, lowering himself to do something he would not normally consider. It's about his journey, not the crowd's.
i agree. these people at the pageant had a misconception about their own status, that they were above all others because their daughters were acting older than they should have been and that was a products of the parents' Hard Work and Determination. whatever. the audience immediately sees them and realises theyre so shallow they can touch the bottom of this hierarchy. the family, weird and dysfunctional and Real, are immediately elevated in response. these are the people to root for, these are the people to relate to :) i adore this film, although this is the first time im realising that olive and sheryl really are just placeholders with little to no arcs. interesting
Very useful information. 331.
There are four ways to create conflict: emotions, behaviors, beliefs, and values.
Someone doing something out of anger is constracted with someone who does the same thing, but to be generous.
Someone wants to fight, but another person has a peaceful solution.
Someone goes for the girl because shes attractive, but their friend who dated her says shes a narcissist.
Or someone who values connection because they hate feeling alone is contrasted with someone who does it to help others.
This conflict pulls the character into alignment with their emotions, behaviors, beliefs, and values they are supposed to have.
I'd add necessity to that list. It could be pushed into the box of behaviors or beliefs, but it is the mother of all conflict.
If someone absolutely needs something, and someone else absolutely needs something but there is not enough to go around, everything else can feed off that. On a larger scale entire belief, values and behaviors will emerge from that, too.
@@BlazingOwnager That is a great comment, however necessity is a part of value. So there are two things to know: first is the obvious split between plot and theme. Second is that memories and moments are created with these four concepts. Someone pushes you down, you might get mad, push them back, believe you are seen as weak, and value power.
So when you are writing, is a character needs something, there has to be a reason why, something that they value. Even if you take this as the most fundamental need of say, food, there is still a value there.
Now food doesn't seem like a value, but everything physical is merely a representation of that value, even biological things. I have.....too many pops. I value understanding and communication and these pops show the shows that impacted me and work as a gateway of communication and understanding to people who see them. Food as a necessity is there to stay alive, but that concept alone comes from valuing hope.
In fact, we see value vs value in a story about an eating disorder, the value of social image against the value of healthy living. Or perhaps where one does not eat, they do not have any hope and food no longer becomes a necessity.
For example, if you have a character who eats because it is habit or to stave off hunger pains, there is no value there, however if it is the last food on earth, would they really fight for it? Probably not because they don't value that.
Now talking about the mother of all conflict, we do live these four things forward. Something happens, we have an emotional reaction, we act, because we think, it will get us closer to our goal. However it is important to dissect it backwards in narrative to create the beginning and end.
@@thescribe3184 Thank you for your kindness. If you are referring to the man vs man, man vs nature, etc. chart, that is a very plot based thing. These four principles are what make memoires and moments. Something happens, so we have an emotional reaction, we act, because we think, it will get us closer to our value. You are right though, belief is a classic term that does connotate religion or value. Think is a far more appropriate term (especially when sorting out the types of thinking with whole brain models).
The reason I use belief is the same reason I say there are four: I modified the psychological concept of an attitude. So you would need to explain more than four, and I hesitate to say this operates more on the theme side, but an example: I said above I have too many pops, which really are completely useless outside of display. However I value communication and understanding, concepts that story gives in spades. My pops communicate immediately a part of who I am through the stories I love.
Now if you are referring to that classic more plot based system, yes there are more than four. However all of that still comes back to these four things. For example, man vs nature could be the emotional conflict between a protagonists anger over natures fear. That's not the best example, a better one being the value of control, of say someone clearing a forest out, vs the value of being symbiotic with nature.
What about conflict from nature (Jaws)or an accident?
@@jimwoodswrites I talked about that one specifically in a reply to the scribe 3184, however to recap, memories and moments are build from these four principles, pulled from the psychological idea of an attitude. So yes you have the man vs man, nature, man vs self, however these are very much events, which are necessary, but not what add meaning.
A guy fighting a living tree is maybe fun the first time? A guy frighting a living tree that used to be his childhood treehouse adds more interest, or would if I had a better example. But this man vs nature is about conflicting emotions between the joy of his childhood hating the sorrowful adult he became.
3:25 I haven't seen Little Miss Sunshine, but in looking at this still of the whole cast, I wonder if the reason the female characters are more like placeholders is that the other males represent other possibilities Richard could have in life depending on how he interprets and handles the challenge he faces?
It's a truly special film. I hope you watch it :)
Never seen the film either. Big fan of the film The Maltese Falcon.
Something is reflecting in Tony’s glasses giving an appearance of a bionic left eye. It’s a bit distracting. Great advice though.
What is the question?
Does the scene present a clear power dynamic and are their shifts in that power dynamic as the scene progresses?
You just asked it.
"If you can't answer this question...."
Which question ?
I'm guessing: "Who has Status in the scene, and is there a way to play with it?"
Watch 70s films. A lot of creative risk. Not like currently cookie cutter rubbish.
Stattis? Whatever happened to 'status'?
Watch the full live stream with Tony here - czcams.com/users/liveUuc-Gr15ojU
Do you think about status in each scene you write?
I don't. I focus on what is happening in the scenes.
Plot, characters, and story progression.
I think ppl write too much. Too much dialogue. They don’t let the scene breath. Happens all the time in movies. Or too much music. I love scenes where nothing is said. And nothing is being played but the acting is still happening and you understand whats going on. Doesn’t happen enough. That’s a huge reason why I love “No Country for Old Men” so much. There is no musical score. And a lot of times the tension alone is what’s doing the most talking. It speaks volumes on the screen because it allows you to settle into the film. Instead of constantly being bombarded with noise.
No.
Hate to nitpick.
He's using the word "statues" to replace "power" which are two different ideas.
Michael Jordan had status on the basketball court because he had power, but someone with status doesn't become a better basketball player.
A real movie, before the advent of content. Content doesn't really require this stuff.
Making students watch little miss sunshine over and over may be the single best way to guarantee no one in that class will take screenwriting seriously.
Pretty much thinking that. 🤔 Classic older films like The Lion in Winter have absolutely RUTHLESSLY brilliant writing.
The movie’s role first is to entertain. All the while using propaganda to get a certain message across.
That’s why it was created along with Television.
It was Youwish/yt male dominated. So the stories that were created were mostly being portrayed by yt folks. Because of marketing of the movie experience the public bought into this genre as a way of having a family and friends and dating experience. It was presented as a positive medium.
But it was always a tool of the government. There was literally no so called black folks getting job opportunities in that industry.
If they did they were portrayed in a negative light for the most part.
The last 25 yrs the movie industry has been allowing more non yt folks to play a role in this process. But with that came a lot of backlash from people who had been so indoctrinated into seeing and believing that they were the only ones who could create a good film and that they were the best Actors and Directors.
Because of this in today’s world the youwish people and the people who sellout to them, have really been pushing certain ideas that most don’t agree with.
This is all by design. The hiring of so called black actors/directors and changing a character’s gender or race was frowned upon.
What's the question that needs to be answered? Did I miss it?
0:38
The male characters all have character arcs but not the female characters???? Why?
I really want to clean his glasses…
Bullshit. Boring bullshit. It’s cheap, cathartic, empty entertainment. Fast food culture. A good movie must stir the audience’s appetite for something good and NOT provide a fast food (re)solution. It has to stir something in the audience, plant a seed, show them the way, and let them grow it for a long time after they finish watching the movie. A movie must be like a scent that lingers in one’s memory that he/she remembers in the most mundane experiences. That’s art. It has to be formative and relevant.
People live by proxy, die by proxy, suffer by proxy, even are redeemed by proxy… mere shadows in others’ scripts. 😕
Excellent.
you don't always need conflict... this idea is from a very basic approach to scene writing... scenes can also be quiet etc
This is the kind of approach that has certain writers add a warning in their screenwriting book not to follow the book slavishly
What question am I supposed to answer? 😅😂
0:38 - Maybe it helps you, maybe it doesn't. It's a question you can ask during the rewriting process.
Uh, you don't say what this question is. Please make the titles match the content, ok? (Writing 101).
Click on 0:38
@@filmcourage Who has status. Yes. Thank you. Sorry for the snark.
‘
Little Miss Sunshine is a good movie but Tony’s advice is cheap sauce.
Little Miss Sunshine is the most mechanical movie I've ever seen. Every character have exactly one goal, one treasure, one internal conflict, one external, etc. Not more, not less, exactly one. By the book. I know, it won Oscar for writing, but it was extremely predictable and boring for me to watch. And it is a good movie, well made by professionals. It is just not for those who already read Snyder or McKee or others similar author.
So, how exactly do you write a non-"mechanical" movie? Do you insert "useless" characters or characters with 7 different conflicts? Maybe even create a setup that doesn't have a payoff?
Is that really "good" writing, though?
What are some movies for people that have already read Snyder and McKee?
@@AscendMaq If you want to write a non-mechanical film, get out of Synder and Mckee and just let your stream-of-consciousness take over. People are so concerned with conflict and set-up and payoff and blah blah. Some of the best films I've seen are completely void of plot and only focus on character and atmosphere.
@@sonnysantana1768Do you have some examples? Because even movies by Richard Linklater or Wong Kar-Wai, that at first glance seem void of conflict, are FULL of conflict. In fact, I'd argue they have even more conflict than your average action blockbuster that strictly follows Blake Snyder's beatsheet.
If stream of consciousness writing is "good" writing, doesn't that mean everyone is a good writer? After all there is nothing to learn when it comes to writing down your thoughts...
@@AscendMaq Linklater and Wonk Kar-Wai do not seem void of conflict at all, even at first glance. The Before trilogy, especially the third, is immediately filled with conflict. The point being, conflict exists in many different ways. Films that express conflict by-the-book tend to be incredibly boring. Here are some examples since you asked of films that express plot and conflict in an artful and entertaining way:
- "Memoria" by Apichatpong Weerasethakul
- "The Comedy" by Rick Alverson
- "Mirror" By Andrei Tarkvosky
- "Happy Hour" by Ryusuke Hamaguchi
- "Burning" by Lee Chang-dong
and many, many more. The point being, there are many ways to deviate from the (tired) Hollywood structure and how conflict is expressed. Also, in my opinion, "plot" is mostly bullshit and films tend to be the most successful when the focus is more-so on character---not plot.
@@sonnysantana1768 Exactly. Stop listening to inner critic and just let the goals, etc unfold. Structure is allowing it to unfold not hitting certain pages, etc. It's much more than that. I read books until it confused and made me puke. Finally somebody told me to put books away and just write. It was very freeing.