3 Mistakes Screenwriters Make In Act 1 That Ruin A Screenplay - Michael Hauge
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- čas přidán 28. 12. 2016
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In this Film Courage video interview, Michael Hauge talks about 3 Mistakes Screenwriters Make In Act 1 That Ruin A Screenplay.
MICHAEL HAUGE is a script consultant, story expert, author and lecturer who works with writers, filmmakers, marketers, business leaders, attorneys and public speakers, both in Hollywood and around the world. He has consulted on projects starring Morgan Freeman, Julia Roberts, Tom Cruise and Reese Witherspoon, and for Overbrook Entertainment, where he consulted on the scripts for (among many others) I AM LEGEND, HANCOCK, THE KARATE KID, SUICIDE SQUAD and BRIGHT, which is currently in production.
Michael is the best selling author of Selling Your Story in 60 Seconds: The Guaranteed Way to Get Your Screenplay or Novel Read, as well as the 20th Anniversary Edition of his classic book Writing Screenplays That Sell.
Michael has presented seminars, lectures and keynotes in person and online to more than 80,000 participants worldwide.
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#writing #entertainment #movies - Krátké a kreslené filmy
1. Set a clear goal for the entire story.
2. Set-up the life of the character first.
3. Build up the story before the 25% mark.
Thank you for this
THE SECOND ONE! Netflix shows are REALLY bad for that. I recently watched this stupid netflix movie and within the first 20 minutes I knew the movie was going to be horrible because of that horrible set up they had where they didn't properly introduce the life of the character. Like I had nothing to hold onto as an audience that allowed me to care what happened to them. They did a REALLY horrible save the cat scene where the guy scoffs at a man who doesn't give money to a homeless person so he steals from that man to give to the homeless man, like it wasnt even a good robin hood style scene it was basically an immature childs interpretation of morality. Like I kept waiting for redeemable qualities that never came and without any backstory it was just impossible for me to care about the character going forward.
I always laugh at made up numbers. Why 25% and not 26 or 24? lol
@@federicou9424should’ve been 33 and 1/3
Have a clear end goal throughout the story.
Don't rush the story; build it
Hey I’m l
Hey, what would be a goal for a boy meets girl kinda love story. I have good script and characters but all these terminology confusing me a bit. I am not a trained writer.
but what if the main theme of your story is being lost? you tend to have to find micro-ways to entertain the story along the way and keep changing the characters end goal. like with Peter Pan type stories when you have the subplot of these being LOST children, it's through the development of their characters that they can become unLost but every step along the way is a new type of adventure and you see that in the scenes where the lost children are simply causing mayhem and playful adventures. Which is what childhood is, similar to Lion King where he runs off and finds Timone and Pumba in a paradise of "no worries" which is basically avoiding responsibility and refusing the call to adventure, which for children is growing up.
You don't have to empathize with the main character. You just have to find the character interesting enough to follow to the end.
To add onto that, some good stories/films start you with disliking the character but end you on sympathising with them and the choices they made
The first that came up in my mind was Thanos
@@arthur9491 great example
Anthony; PREACH IT!
Empathy doesn't mean 'like' - it just means you understand
That six stage plots structure makes WAAAAAY more sense than anything I've seen for the basic 3-act. It's so clear and doesn't mince around.
His version of the Inception's logline is brilliant.
How many versions are there? You weren't listening to him.
🇧🇧
Which is ironic considering he said - "what's the heroes visible goal?" And in Inceptions case it is that the hero wants to go home to his children.
I totally agree.
Ridiculous to watch.
im not a writer but this feels like good advice
ThoughtGaze, lol! Same.
This is good everyday advice, really.
I am and it feels like good advice too :)
I was so eager for Michael Hauge's help that I hired him to critique my script's key turning points. He gave a lot of advice like he did here and pointed out that nothing worked, and he was absolutely right. Now I'm moving on to writing other scripts and really trying to learn from his advice and that experience.
If you can't write, you can't write. Don't waste money trying to do something you can't and won't ever be good at.
@@Nautilus1972 If you have a strong need to express your inner feelings and thoughts, nothing's gonna stop you from doing that. Don't be such a narrow-minded jerk man.
@@Nautilus1972 Bullshit. Even Stephen King had a pile of rejection slips before he got anywhere in his career. Most times it's just a matter of perseverance and trying to improve by learning from your mistakes.
@@Nautilus1972 You can't walk? You just fell? Too bad, little baby, but life sucks. You're just not good at it, just leave it...
Wtf, damn you people are negative and aggressive. OP, write if you like. It's for you first and last. Are you having fun? That's enough. The rest is an accident.
First Mistake- Have a visible goal 0:32
Second Mistake- Establish daily life 2:43
Third Mistake- Don't rush the story, build the conflict 3:53
Thank you
The interviewer mentioned Rambo and it's true. The first time we see him in FIRST BLOOD, he's just this guy who wants to visit his old war buddy from 'Nam and is told by his widow that he died two years earlier from cancer and he's devastated. Now he's the only one in his unit left. You empathize immediately with him. If you just introduce him as this scary drifter walking by the side of the road, you would think Sheriff Teasle would be right not to let him into his town.
Yup. It's a great setup.
Agree
jjkhawaiian your mom is a great setup.
Mokkari77 yup without the setup its a horror movie
i live at your mom's house
Today I spent 5 hours in s coffee shop writing with my co writer. It was amazing. I feel on top of the world. It was really successful today 😍
First thing I learned about writing, is not to stick to the typical Three Act structure. You're handcuffing your story if you think it has to perfectly follow just three acts. At least, this is what I learned through John Truby's book, "The Anatomy of Story". Of course, he gives examples of several successful films to support his approach. Nonetheless I love what Michael Hauge says in this video. So much to learn from him.
remember your character doesn’t have to change what they believe in. They can change the people around them. Look at Lou in Nightcrawler, he has the same ideology the entire movie - he can exploit people to get what he wants.
Hawkeye in Last of the Mohicans as well.
Well put! A great example of a change-less character arch is Paddington. Paddington himself never changes his beliefs or manners, but the family and people surrounding him do change because of his arrival.
Same thing in Parasite.
The reason older people stop going to movies, and more younger people do, is because of the formulaic nature of movies. Once you've seen enough, you almost always know where they're going.
So many remakes, sequels, and adaptations of comics or books, shows anyone interested, that true originality and creativity is a rarity in Hollywood. It terrifies them. And only happens by lucky accident when it does.
So right! Us oldsters sigh heavily and think about leaving, regret the money...
@@fleurettemvangulden7883 It is a formula. He talks about showing the protagonist's everyday life before anything else . Watch South Korean movies . They are bigger on flashback and having multiple stories within the big story. The formula he talks about here is the same formula they use on superhero movies.
That's true but it's not because there's a formula. The reason why people knows what's going to happen, and then it happens, are clichés. Still the main events have to be there (e.g. if you are walking a romantic movies the two lovers has to meet and at a certain point they need to have some sort of conflict).
@@Andrea80661 A clichéd plot can be called formulaic. Cliché and formula are not mutually exclusive; they are only distinct on the small scale, like a clichéd phrase or a clichéd action, which itself might not be formulaic in its placement.
I guess I'm an older person.... and I watch all kinds of movies every week. I started reading very early & still love to read. In fact I love all the arts, it's all about the originality and I am still awed by an artist's creation and their creativity. So don't assume and count us out, Jake.
it's not just the story, most of what people want to see is because they want to see it, a cool situation, or an engaging world or perspective. People like to see cool things but more than that only get engaged if there's emotion. Story doesn't drive story, emotion does. Without emotion, you'll forget about in the second it ends. But emotion makes you connect, makes you experience and makes you understand.
What he describes in the very first minute is why I stopped reading fiction years ago. Far too many writers get lost in the main character's inner, emotional machinations, and their (usually weak) plot grinds to a halt, with the book ending up being more character study than story. This happens because creative plotting, far more than character development or dialogue is the most difficult element of writing or storycraft.
I often find myself not giving a s*** about the plot and cant get enough of character driven movies.
Please, everyone, stop saying sh*t like: "you must do this or your whole script will fail!" There's a big chunck of people that get to work in the industry as a middle management producer, script reader or someone's p.a. that actually believe this sh*t to be true and even think they're smart when they're parroting sh*t like this. Those people have never finished writing a first draft but have the power to block a script because 'the first act break isn't on page 25'. I'm sure any film nut can think of at least three examples that are excellent films and prove these rules are no necessity at all. What's wrong with simply stating (for example): if you want your audience to be onboard with your protagonist, one way to do that is to make his desire or goal very clear so we can track his progress through the decisions he makes to achieve it, which leaves room to explore how he makes those choices instead of why he makes those choices.
D V I Couldn’t Agree More With This, I’ve Noticed That The People Who DONT Follow The Rules Are The Ones Who Make It. I’ve Seen So Many Videos And Read So Many Articles Telling People What Not To Do To Avoid Failure Or “Do This To Achieve This”...
Just GO And Learn And Keep Going.
For example, 1917 barely fits to anything the video said.
The plot starts about 15 minutes into the film, and from that point the goal is obvious.
*[SPOILER ALERT]* Sure, the movie sort of switches the goal when one of the soldiers die, because now instead of him wanting to save the brother, we focus on the other soldier wanting to honor that soldier by saving the soldier's brother. Still, the goal was always to save the soldiers, and especially the brother.
Then, we barely see the heroes' everyday life. They leave the friendly side after about 20 minutes.
@@groot7844 it was such an incredible film, from the story to the Cinematography
@@nickbraley5718
I thought the story was a bit weak, but it was still a great film. And it's not like the story structure was bad.
You can creatively break the rules only if you understand them. Take 5 or more movies that you think are terrible. Up to 10 max. Forget the characters and the cinematography. Then ask what specifically about the story failed and why.
i've always thought that most of the best movies usually showed the characters eating/dining and where they sleep, or at least some semblance of their home life if they have one. of course that's not possible in every movie, but that holds true in a lot of great flicks, i feel.
I agree. If we don't know who these characters are, we're less likely to care about what happens to them.
I agree. I think we enjoy those moments the most, because it reveals character and the small idiosyncrasies and it allows us to be empathetic towards them.
Yeah, that's part of why when they change, or they are put in a different situation, we understand why this happens or how this affects our character. Breaking Bad wouldn't work so well if we weren't shown in the first episode that he wasn't happy with his monotone lifestyle where he always felt unappreciated.
As long as you don't start the movie with them getting out of bed :)
That might be the weakest qualifier of what makes a great movie I think I've ever read.
Been taking so much time to learn the formatting and basics of screenwriting. Here’s hoping within a few years we’ll have a deeper Marvel movie on Cater Slade’s Ghost Rider.
Wish me luck peoples
you don’t need luck to make a marvel movie you just need plastic fans for those plastic movies
@@jrviade85
They are not plastic nor are they plastic fans. What does any of that actually mean?
Its been 3 years. Wheres the movie? And who the hell is cater slade?
@@flipjupiter1 I didn’t even realize I made the typo way back then lol. Carter Slade is what I meant. If you’ve watched She-Hulk at all… the wheels are churning but we take our time 🤫
"There Will Be Blood," "Nightcrawler," and "The Master" are a few examples of extraordinary films with protagonists that didn't evoke empathy, at least not in the first act.
In "No Country For Old Men" almost nothing is established about the main characters daily lives before their outer motivation.
And in "1917" they start racing towards their main goal in less than what? Four minutes into the story?
These seemed great advices, but we just can't generalize.
You know what they say about rules, right?
Made to be broken
The rules still apply. However, you must learn the rules first so that you can break them *properly.*
@@Hot18Shot Precisely.
Seems to be a recurring theme in the literary world. Rules apply to everyone but the masters, but there’s a reason that’s the case. There’s only one Tarantino, Scorsese, Kubrick, etc. But I think that taking bold leaps or being innovative is just as important. I think what they mean by rule breaking is like the Wiseau approach but hey he made it work somehow too lol
they arent rules as much as they are tools. They're not supposed to be followed exactly, but you can break them or build on top of them and make your film original, and your own. Thats when you have used stuff like the hero's journey or film courage advice as a TOOL, not as a RULE
Man this brings alot of clarity to a short film I've been struggling with... the brilliance here.
It's good to revisit some basics when you go to work on a new project. Lots of times you can forget concerns that should be at the root of your work, because you're so preoccupied with the nuances.
One of the biggest problems is writers thinking one guru knows all the answers...
DOG FACED GODS \m/ true😂😂😂
I have heard these words said differently but conveying the same concepts from many successful screenplay writers.
Only good comment here.
If your films has no real structure to it within the first 25% of the movie it is going to suffer.
Thank you for these Michael Hauge clips. Much appreciated. And thank you, Mr. Hauge!
I do so love it when the advice I see/read just reaffirms the work I've already done!
I desperately needed this advice, I've been stuck on act 1 and 2 for a graphic novel because I moved in too quick with the character depth, themes, and pushing the plot forward rather than dedicate these crucial segments to establishing the overall goal. I mean, the overall goal becomes apparent and the direction becomes known but I didn't realize what I needed is to make the setting breathe first rather than have it get on it's feet and sprint right away. I'll make sure to watch this video again if I still feel stuck later, but this was solid advice that I needed.
Love this interview by Michael Hauge I must reread this book. Identify problems in Act 1 first, before searching elsewhere. Beautiful and next I'd move on to that Blake Snyders beatsheet for sure to make sure all film beats are present. Love these videos Film Courage!
Great interview conducted by a great interviewer. Film Courage is a blessing.
Great video. The work I had in mind when I clicked on this video is not a movie, but a mini series that I wrote. Honestly, after watching this short video I feel more comfortable with my story. I did feel before that the story was effective as a narrative but watching the video and especially pausing it at the beginning and looking closely at the detailed chart I have a new and fresh perspective on why the story works! I love the quote about how all roads lead to the main characters outward motivation. The mini series is a satirical sock puppet play wherein all the socks are recovering alcoholics and recovering drug addicts. Thank you very much for the great video!
Wow. I've been struggling with my story for weeks, and because of this vid and Hauge's advice I realised what was wrong with it. Fantastic, thanks so much for posting this.
Its been 3 years. Did you finish your story? Im guessing, no.
So true - all of it - so simple and yet so true - Michael Hauge's one of the best,
thanks for great post.
Here's the reality of screen writing: It's not only what you know, it's who you know. Most producers won't have the time to read your screenplay, it's your pitch. If you deliver a interesting pitch on your screenplay, they might look at it or send one of their people to read it. When you deliver your screenplay, they will either hate it or even if they seem remotely interested, they will say this has potential but we want you to change this, change that, add this, add that, take this out when basically they are taking your story and turning it into their own. And what are you gonna do??!! Say no??!! They have the power, if you don't do the changes they want, they will just move on. It's sad but producers are not gonna take that chance unless your book is a best selling novel that they want to buy the rights and turn it into a screenplay. Unfortunately today, producers don't want to take chances on new projects because they don't know for sure they will get their money back. That's why big production companies and producers are sticking with nostalgia and superhero movies.
that is why I produce my own movies. Sure, it means no budget, but at least I get to make stuff!
@MT
It is the exact same thing with being an author in that the right person has to seen the work. Tell us something new.
If you have an important story to tell, write a novel. The bonus here is, you get to have your heart ripped out and trampled on in front of your very eyes when they rewrite it for the screen.
Ameen
This channel is the shit. Really helps me clear my head and improve my script day after day. I think I leave here with something new after every interview.
She’s a brilliant interviewer. Love hearing her thoughts and ideas along the way. Storytelling interview.
Thank you for the incredible information. I've shared it with The Film Scene via Facebook because there's terrific information in this video that needs to be shared.
Been trying to write a film and this video really helped me out thank you so much!
this is so incredibly helpful!! thank you!!
Thank you! Sounds like a very clear simple idea. Now to implement...
Brilliant!! Thanks for the post!
You can put a crew together from the commenters on these videos and a make a film.
This explains why "hoops&yoyo's Haunted Halloween" works on such a high level. It's all about that through-line of motivation towards a goal juxtaposed with the character's identity vs essence.
Before you start writing, ask yourself: Who is the hero, what does he/she want, want stands in the way, and why should we care?
The tricky part is the "why should I care" bit...
Like your comment.
Example: Inception
- a professional dream-thief
- to modify someone's behavior without them knowing
- said person's subconscious personified, and the thief's own embodied trauma
- because he gets to return to his family
But what if your film is an ensemble of characters?
So helpful, I learned a lot from this channel.
Thank you!
Love to hear it Ishay! Keep writing!
I love this guy. He knows what he is talking about and tells us clearly.
Hello! Sir. You have my utmost respect and admiration, further more you are brilliant! brilliant! brilliant! Thank you!! Zillion times for sharing your valuable, and priceless, Information with the public.
Great information. Thank you, Mr. Hauge.
Great explaination, especially about the rushing the first act turning point, especially that.
I really like the set up of the story to embody three things and I try to almost keep it under 15 pages. That's characters, what they do, and where they're going. Now I wont finish act 1 on that but I definitely like to finish act 1 with what the characters want, what stands in their way, and where they're going. And usually that propels my characters into interesting second and third acts.
This gives me a much better way to write my first act. Thank you!
Such a great vid! Great example with Inception. Love that film!
What about a movie like Se7en where the film immediately starts with the first crime scene? In the very first scene the “goal,” which in this case was to catch the killer, was established, and that goal was able be maintained for a majority of the film, but then it flipped at act III to the killer turning himself in. The goal then was not “who” but “why?”
It’s almost as if the script turned this concept on its head, and it worked beautifully.
I would take the template type writers with a grain a salt. Sometimes refusing to color within the lines makes a much better screenplay.
People who are willing to play around with their script could unearth new ways of writing screenplays.
Still good advice, but it's not one size fits all.
I would say there is no set piece for success... everyone tries to adopt from what s worked.. you can start from anywhere and anyway you want..but making the audience connected is important.. you can tell your story the way you want it and you should... everything new is something people thought wouldn't work before.
@@sumanthgowda8512 g
You can go backwards etc depends on how you want to tell visually the story, you have to know the rules so you cant adapt them or break them.
When was the last time you've seen this movie? The first crime scene wasn't commited by the main serial killer.
Actually, this scene and the whole movie play much like Hauge's structure. I don't know why people are so inclined to not believe in what he is saying.
Great video! Though the end goal in Inception is actually even simpler: Cobb has to pull off a risky heist that will allow him to go back to his children.
Wow that was good!!! Really clear and helpful.
Best one yet. Thank you. So clear and helps me so much. Yes!
Loved him as Gregory on the Walking Dead, and also for directing True Lies
Great info... this guy is amazing
What about Moonlight or The Shape of Water? What are their clear objectives? Moonlight had mystery that kept me there, and kept hitting with intimacy and reality at every scene. Water was charming from the first shot till the last shot and made love where there couldn't otherwise have been any. The empathy angle makes more sense. Emotional investment is everything. Avoid alienation, but don't be afraid to just show life on screen. Insights into human nature through beautiful expression is delicious enough to keep butts in chairs and win awards.
Shape od water was miserable. I couldn,t even finish the movie. Nothing, actually nothing about that movie appealed to me or made me care for any of the characters. The movie os very well done yes, but it was kust drsgong out and i couldn,t care less.
Moonlight was about a man finding an ex lover and Shape of water was for a woman to save her lover
This was very helpful.
If you watch movies stop at different time points and you begin to see where thing happen how pacing works. Breaking down films is really good way to learn we did that in film school it was so helpful. Plus read as many scripts as possible!
This is some good general advice, particularly when it comes to having a clear motivation for your character early on that an audience/reader understands - this can often get lost in the exploration of character to the detriment of story overall. Even if the goal of your character is to discover their goal, or place, or purpose, or identity etc, thus making it more open-ended and not so specific, it still counts as something the movie is driving towards, whether obviously or more subtly.
The general structure he proposes also is a handy reference point, but I'm sure Hauge would agree this is not a 'one-size-fits-all' formula - more of a general guideline to consider, being very common in a lot of films, when structuring your own story, whether it be a film, book, tv episode or comic book. For instance, lots of stories throw you into the thick of the action and develop character and backstory effectively later on, though I'd still say 'character establishment' has to still obviously come in the first 25% of the story, so he ain't wrong about that either.
I've always said come up with your ending first. You have to know where you're going.
@Box Jabber but coming up with a ending at first has lot of advantages like the story will be solid and it can be connected well... If you let the story flow through it will have to disadvantages like you will start at one point and end it like something which can't be digested by audience but once you get the charechter to the end with a solid goal you can rewrite the script after you end the basic story.. you can change it into something solid... .. but mostly a story build with a ending in mind can be a better for example ENDGAME or the whole AVENGERS series... They had the ending in their mind... And then they build us to it... And it worked perfectly..... For proof THANOS shows up in Avengers 2 itself which is great example of foreshadowing and making us to go ready to witness the war a the end......
Depends on the needs of the particular story. Sometimes you need uncertainty of destination to help you sharpen your alertness and access a deeper level of your instincts. Other times you need the security of a certain destination. Sometimes you mix a bit of certainty with a bit of uncertainty.
But then there's also preferred method. Some people lock on to one method of development and writing and that's it, they're good with that while others like to try out different approaches.
I disagree. Have a goal, sure, but if you already know how everything's gonna turn out, where's the fun in writing? It's a wonderful thing when you get surprised by your characters.
If you are doing a bank robbery movie there is a strong chance the film is either going to be about a successful bank robbery or an unsuccessful bank robbery. How you decide to get there can go a thousand different ways.
Wow, devastatingly on point for me. This guy's incredible.
Really dig his thoughts on Inception and not losing sight of a simple finish line.
He looks like the older brother of James Cameron and Michael Haneke.
A bearded James Cromwell.
Michael Hauge is Great! He be dropping jewels....
Eddie G Q
He just don't be dropping movies based on scripts he wrote.
I enjoyed his advice at 3:00 - 3:50, because it's literally the first rule I'm gonna break consciously
The only rule in screenwriting is make the character and situations compelling.That will keep you watching and interested despite the subject matter or outcome whether it's Henry Portrait of a Serial Killer or Castaway.
Learned a lot from Michael. Looked up his 3 act formula. It's true how the character really turns into a real person and drives the story. Screenplay n books are quite different
This is some of the greatest advice you could ever get. If you just have a clear goal screenplays are a blast to write. The problem is thinking of a goal that's interesting and not cliche
Smart man. Spoke to him at the 2017 Great American Pitchfest.
Like Rambo.
I assumed she was joking but apparently not haha
These people are a joke. No wonder Hollywood keeps making formulaic movies that only appeal to the stupidest of people. Come up with something original.
Lol that line came out of nowhere. But it actually makes sense. Consider Rambo 1.
First Blood was a fantastic movie. It's funny they picked that one though, because while he was saying all that about getting to the point quick, I was thinking Rocky did the exact opposite and was basically a masterpiece. Rocky 'didn't get to the point' until about 70% of the way through.
Dani Streay
It was about the 50 minute mark actually. Rocky Balboa though is a much more layered character who it takes more time to understand. Rambo basically has trauma but a good heart, an inner conflict that plays out against his antagonists, the police. Rocky is a sensitive lonely guy eeking out an existence however he can and driven by love to achieve.
By the way I don't endorse page numbered story structure by the way. They tried to tell me in college that the first act should be 25-35 pages and I switched off. The story will take as long as it takes to tell, with as little waste as possible, it's not brain surgery. I wish they would stop trying to enforce a duplicatable formula (just a writer's opinion).
...Indeed, to fit the multi-levelled into the simple is THE premise for a masterpiece. Simplicity is no simple task in any form of art...
Such a smooth explanation.
This is so helpful!
I don't know but I think I just figured my story out. I knew one protagonist wasn't fitting so I made another character a second and thanks to this, I've formed the story well.
So currently I’m an aspiring film director and want to get deep into the routine of writing because later on I want to turn all my content into motion pictures, plays, and short films. I’m going to LA film school next May moving to north Hollywood to beat on my craft I’m so open to whatever it takes for me to improve my element. I suck at writing I always have been, never like English in school which made me forget a lot of the key elements to writing but I do have ideas I just don’t know how start writing them into a full blown story and watchin this guy with his perspective I’m slowly getting to understand how to really start the right way of my first story. Lately when I wanna write I’ll get stuck becuase im to involved with how is my writing gonna be intriguing or skipping to the middle of the journey of the story. I’m sometimes get insecure about it before I even hit the paper or typing on my keyboard but not stressing patience is key and I know for a fact I’ll get better and I’m coming for the top in Hollywood y’all mark my words! Wish me luck. And thanks for this video it helped a lot
Good luck brother. Same here.
Oh. My. God. This is so incredibly helpful
He's a great "guru" of screenwriting. But remind me, which movies or TV shows has he written? (Hoops and Yoyo's Haunted Halloween does NOT count)
I always feel there is something missing when a guru can explain story, and very well, mind you, but does not know about the process of production. Robert McKee never sold a script in his life either. I prefer Dan O'Bannon's book on screenwriting. At least HE wrote for movies that were produced. But I guess it's all six of one?
Dan O'Bannon was SO unappreciated. People still think that Ridley Scott wrote Alien. He and John Carpenter really knew how to tell a simple story, and tell it SO well.
Walter Hill turned it into a great script, though.
The problem with some screenwriters is that they know too much for their own good they're so technical and good a criticism that they don't know how to think of a good idea or how to create believable dialogue/implicit language.
F--king Rocky.
Great story.
I'm glad I found this channel!
My motto is "keep it simple."
You can add complexity in edit.
Thanks a lot, Sir.
Simple or straightforward storytelling is more commercial but I try to write up to the audience; I'm not a great fan of attaching a negative to complexity; I often feel the opposite way but I'm increasingly altering that mindset; I'm aware most people are not overly keen on it and I'm still learning that lesson! Ultimately we are writing for others; many write for themselves but may in fact be doing it for overtly narcissistic reasons; we should concentrate on the customers that we're honing in on. The readers I have are always keen for me to establish the desires of the main character/s by page 10 but Michael tends to lean slightly away from this but everything's about balance; I strongly believe in listening and adapting; spending lots of time perfecting and getting massive feedback from contrasting script readers and consider and act on some or most of those suggestions. I also have small casts; generally no more than about 5 people in the entire stories; locations at the bare minimum that also applies to page count.
I disagree, you don't need a strict narrative, you don't need a hero's journey, you don't need a formula. Look at 2001 A Space Odyssey, or some of Andrei Tarkovsky's work or David Lynch or Darren Aronofsky or Terrence Malick. The reason Hollywood films are the same is they are all based on a formula. Film can be an experience, you can experience it like a dream or a piece of art.That's why great directors are different and why their work stands out... IMHO
kubrickguy thank you !
I agree. A formula was made because there are so many idiots writing scripts they need guidance
Kubrickguy Kubrick´s stuff is a bit overrated though.
Joshua LeonardoASMR no problem, that’s your opinion and you are entitled to it. My view is that he was the most intelligent and deep thinking of all the directors. Something I share with others like Steven Spielberg, Martin Scorsese and most film academics. For example if you don’t ‘get’ 2001 it is easily the most boring film you have ever seen. If you ‘get it’, it’s the greatest film ever made. I fall into the second category, 2001, is a work of genius and probably one of the greatest films ever made. The Vatican even gave it an award. To me he was a genius but that’s just my POV, yours maybe completely different and that’s fine.
@@JLDReactions you're nuts
Great apply to someone life and goal.
Brilliantly explained, but I couldn’t help but think about Whiplash during the 8min interview. Simple theme, very early exposure. Or The Martian. The movie literally starts with him being left in Mars and then the journey begins. I guess there’s an exception to every rule.
I think it’s okay to bend rules when it’s for purpose. Like subverting tropes to make a subtle commentary on pop culture and/or storytelling in general, or to set-up characters has either mysterious or to reveal something about them. You just need to be careful and learn what the established rules and limits to fully thrive creatively, we all are never gonna be the next Kubrick with our first screenplay, after all.
His first comment on a thicket - that has been me! Probably a core issue for writer's block.
How much time do you spend on the set-up of your screenplay versus Acts II and III? -- In the beginning it took forever. Now I just spend time setting up everything until it's perfect, without worrying about the time it takes. Presently, I'm smooth sailing through my set-ups. Acts II and III are rather very easy for me to complete because, I know my ending and beginning.
Great advice!
Inception is even simpler than what he described if you get "down to its core"; it is about a man who wants to see his kids again.
Sure that's Cobb's core goal but I don't think it's the core of the plot, which is much more intricate even at its most simple. The characters themselves aren't the most important part of the film, which serves in part purely as a cinematic/visual showcase of the world of dreams and our minds, and how our exterior reality can change that. The characters here really exist as vehicles to further these themes and visuals while also building momentum and tension; I don't think the writer started with the idea of a father trying to return to his kids but rather used it as a relateable human experience as a platform to demonstrate how dreams influence our reality (the spinning top question highlights this - my friends and I didn't leave the theater happy that he had reunited with his family but rather asking whether or not it was all a dream). Sorry for the long reply!
but if you try follow the phrase "a man wants to see his kids again" you could have any number of dozens of films, you could have a movie like "the santa clause" A man becoming santa clause who really just wants to be a father to his son, or you could have "honey I shrunk the kids," kids are shrunk so the father combs the yard in search, or heck you could have a prequel to guardians of the galaxy 2 told from Ego's perspective (and characterizing Ego as a better person).
The key to the rule is to have the simplest phrase which guides the particular movie... You could make many minor changes here and there but at the end of the script you would have roughly the same film, not many different films.
While that is overly simplistic, it is also a good idea to get it down to that short of a premise. The simpler you can make it, the better it will be.
Wrong!
@ zan ahmad that's a bit over simplified.
The outer goal is tied to the inner journey. You cannot delve into your character without showing us how this journey is changing him on the inside.
Yes, we've all read Campbell. Or at least I hope so.
Great stuff! I do have a question though about getting the story moving ASAP. It seems like the Bourne Identity did exactly what Hauge said you couldn't do. It established immediately the main character's outward goal: to find out who he is. It sustained this goal to the end though the character never achieved his goal. Thoughts?
Nobody knows, just write what you want
Haha...there's a lot to be said about simplicity. Connection is at the heart of all things...That's life in general and we all live it so this kind of makes sense.
Sarah Forest
Thank you, God bless,
Man, I always feel super weird when people put ground rules down and start throwing solutions at general problems. It's all super contextual and everything depends on the type of story you're going after and the way you're trying to execute it. Waiting till Act 2 begins to kick in conflict is just... man, this is just dangerous advice. Problems don't stem from not following these tips, problems stem from following these ideas blindly because everything you do has an effect, it's a tool, and using tools without knowing their actual function will lead to a dysfunctional story. Like, using Act 1 to make your audience empathise with the lead in Nightcrawler would work as well as integrating the three-act structure into Pulp Fiction. Don't learn the rules, learn the actual tools.
Think you will enjoy tonight's video. It goes live in 6 minutes...
Saw the title: Love you.
Cheers!
I write with instinct and everything he said, I do naturally. Some of the best musicians can't read music. Follow your gut.
Sorkin talks about writing being like music. Feel the rhythm. If your forcing it, you may need to try something else...
Mega Pixel Productions I think you mis understood what he said. He never says to wait until act 2 to kick in conflict. He actually says the opposite. Around the 5.09 he literally says you should build in conflict as soon as you can. He advises to not have the hero pursue the outer goal until Act 2.
This will improve my screenplay immediately. Thanks!
Love to hear it, glad you are finding value here.
This is an interesting contrast to the admonition to "Start at the beginning, but not before."
Like the recent Netflix movie 'The Old Guard'. Starting right off with showing them all dead with Charlize Theron's voiceover wasn't needed to start the story. Her voice with just a black screen would have been suspenseful, because there would be no video and just a black screen and your imagination would fill in what she was talking about. OR JUST SKIPPING THE VOICEOVER ALTOGETHER, and starting AT THE BEGINNING of the story with them going about their mission. FLASHBACKS ARE A LAZY TOOL WHEN THE WRITER CAN'T THINK OF A PROPER BEGINNING. Or if it's a Director's decision to do the flashback, then that director is lazy.
That's exactly what I've come to realize after 10 years of writing.
I love his ideas on structure. Still, my favorite movie is Inland Empire.
I vould listen to this guy for hours. The wealth of knowledge he must have...
Love to hear it! Here is our full interview with Michael - czcams.com/video/besI6G4p4nw/video.html and here is a follow up we did where he breaks down A Few Good Men - czcams.com/video/8QxxN4dBs4w/video.html
I believe a writer should know the story,the character and the situations he will go through ,the other characters that he will come across during the journey as he makes progress,falters,gets up and tried again .The writer should know how the characters speak ,the mood,the atmosphere,most importantly the motive of each . If the story works,the screenplay works. Whether the film will be made or not,well,that is a different ball game.
Why does every movie have to be "the journey as he makes progress, falters, gets up and tries again." I've seen that movie a million times. Stop following formulas and come up with something original.
I couldn't agree more.
The Truthful Channel write the story you are talking about 🤷🏻♀️
+The Truthful Channel Most movies goes like that, both good and bad ones. In the end it all comes down to the execution rather than thinking of something original.
Name a movie that doesn't have its' ups and downs.