The Stakes In Every Story Are Always Life And Death - Alan Watt [Founder of L.A. Writers' Lab]
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- čas přidán 14. 07. 2019
- In this Film Courage video interview, Alan Watt [Founder of L.A. Writers' Lab] on The Stakes In Every Story Are Always Life And Death.
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Alan Watt is an LA Times bestselling author and winner of France's Prix Printemps for best foreign novel. He is the writer/director of the feature film, Eddie, Kill the President. which won 4 Best Feature awards at US Film Festivals, and the Filmmaker Visionary award at The Boston Film Festival. He founded L.A. Writers' Lab in 2002 where he teaches his process of marrying the wildness of your imagination to the rigor of story structure in his online 90-Day workshops for novel, memoir and screenplay, to writers around the world. His book, The 90-Day Novel is a national bestseller and was Amazon's #1 book on writing for five months. He has taught his method everywhere from maximum security prisons to Stanford University. His students run the gamut from first-time writers to A-list screenwriters and Pulitzer prize-winning journalists. His motto is, start where you are, trust the process, and let the thrill of creation be your reward.
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#writing #screenwriting #screenwriting101 - Krátké a kreslené filmy
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Desire. Surrender. Transformation. Ooh! Great one!
We really enjoy Alan's teachings.
@@filmcouragesee question below
@filmcourage he can't actually believe that "no one cares unless the stakes are life and death" ...in what context. There are many things that arnt life and death stakes that work lol he lost a ton of credibility by generalizing like that.
I read it as Steaks and Dimentia.
Wow. Need to get eyesight checked.
A masterclass in itself.....
Here's where I think he avoided the question about stakes; and went on to dilemma (since he already covers this topic multiple times in other interviews)and where I think he could have expanded more upon the STAKES always being about LIFE and DEATH, because he's right; but this is how I see it.
For those TWO examples, it's about being a part of the "in-crowd" and having or keeping that "high status".
We are social animals. It's how we (the ego) evolved. From hunter gatherers to being part of a "tribe".
The ego wants these material things and status because it will help us *survive* in comparison to others.
There's a whole list of reasons why being in the popular or remaining high-tier in my group of friends could give me benefits.
Just listing random examples: information for what's in style and following a trend as soon as it's out, rather than being second and potentially being too late to the 'new thing' will result in being JUDGED: i.e. made fun of, not invited, or worse; cast out of the 'tribe' entirely; and that's not a bad thing. That's just how we survive as social animals, because being on the higher rung of the ladder as it were means better meals, better mates, first come first serve, your success in survival means your judgement of others will be trusted more because it has been held to be accurate. Because people (our ego) have evolved to organize things into patterns and that means we need to constantly compare; to JUDGE things either "good" or "bad" in order to climb the social ladder and survive (higher you are the better chances of survival you have in the world/setting, i.e. classroom, friend group, college, work, etC).
So if you don't make the in crowd or you are in the in crowd that you desire but are new, perhaps you won't be paired up with someone in your crowd because resources are always finite (friends or otherwise) and now Jenny picked Matt so you're left to fend for yourself and lo-and-behold the only person available is someone your friends have JUDGED and you consider to be lower on the rung, or doesn't recognize the rung at all, which will then change you to see there is no 'in-crowd' and it's all an illusion of identification of thought.
Furthering that example of perks:
Perhaps that "in-crowd" has parent's that don't have to work the 9-5 and so are more available to give lifts, or are out more so they can throw house-parties.
Remember? House parties are a thing of status. That's the world of high-school right? So think about your world. What are the perks of status?
I could go on to give you a plethora of benefits.
But what are the stakes?
Not being in the in-crowd means you have lower status (which means people's EGO's on higher status LOVE to put you down in order to RAISE themselves up) because it's a self-confirmation that they hold the power. So maybe you get the dirty table at the cafeteria since all others are taken (and your own ego self-affirms that that is what you deserve) (perhaps you've been told this repeatedly so is has to be true because that's your form of self-identification; which is GREAT for you because now you know where you are, half the battle is understanding that; our ego needs to understand because the unknown is scary, it's not safe... so we will package ourselves by recognizing the patterns in order to survive in our own low-status because there is always something lower; remember, you're still comparing lol; well, at least I'm not garbage boy!) (the other thing about understanding is the ego WANTS to understand things so they can get something; i.e. power, one up on the universe, whatever it is you will get something!; think about it; why are you READING THIS?!! So that you may understand story better and tell a better story; or know how to navigate the world and not be hurt; which is not a bad thing, it's just how the ego survived. so to understand something is to have power over it; and by not knowing you have power; but actually in spiritual terms the reverse is true: when you give up understanding and allow things to be you will feel and just be as well---- (One more tangent: I remember a writer once said that the END RESULT of any great scene always accumulates with one CHARACTER telling another character HOW They are BEING, it always comes back to being: in a nutshell: I want this, well I want this too, wow; you're a jerk.) Anyways!
So higher on rung means less danger, less chance to be bullied; and being lower means you'll potentially be tripped in the hall, even by accident, no one will help you or that will lower their status, or you will be helped but in secret and you want to understand if they are your friend now, OMG there is just so much juice to these stakes to evolve the story, but yeah; it's all about life and death.
When you don't identify with that thought of being a loser, poor, etc; being small for example: what do these term mean? Being small might mean I'm not good at sports, but it's the little guy who doesn't know he's little that's the fastest on the lacrosse team and he's jumping over big kids; I mean, YOU ARE A CREATOR; YOU MAKE the meaning out of it or not! So when you identify with thought you give power to others to make meaning out of it; and when you don't identify with thought you can just be and not worry; but it's our mind (thinking thoughts) just as our heart beats; that is just an organ helping you to survive by offering or auditioning thoughts for your attention that you can say "yes that works" or "No, that's stupid" whatever lol. But when you no longer identify as the cool girl or the smart boy, that form dies, until a new thought-form comes and you are born again into that new thought. And the cycle continues. Life and death; the wheel of karma; the reincarnation into thought-forms. Gonna stop there before I roll into spiritually haha; but it's all connected so hope this has helped!
Just to let you know, ain’t nobody reading all that shit.
You know, there is a scene in The Warriors, were a brown female on a train moves to fix her hair (she's sitting in front of privileged white kids going to prom who are all dressed up) and her gang member boyfriend lightly pulls her hand away from her hair. That scene said everything you just said with no dialogue.
Dilemma:
1. a situation in which a difficult choice has to be made between two or more alternatives, especially equally undesirable ones.
2.(logic) an argument forcing an opponent to choose either of two unfavorable alternatives.
such an amazing content like this should definitely get more attention than just 3k views.. Every single video from this channel helps me more that a week in screenwriting classes in film school
Makes sense.
he's talking about misconception, no dilemma. There's no choice in misconception.
Yes there is; you choose to stop deluding yourself; climate change caused by humans is real, why, because of the planet Venus; we know what happens to a planet when you have too many greenhouse gasses in the atmosphere. The only climate change conspiracy, is oil companies brainwashing people to forget about one of the planets in our solar system so they can make money. Venus is not going away, nor can you make it, but you can decide to ignore it, or, you can choose to stop deluding yourself and accept that if the earth ends up with the same level of greenhouse gasses as Venus, we'll get as hot. Either way, Venus stays hot as hell.
Do this help you with the dilemma in the story you are working on now?
Yeah. Except in my script the character is suffering from a sense of false destiny (if you will called it that). And I'm still struggling a little with the execution though.
I don't remember an example of it in my script. See I love the characters who want one thing but end up doing something with in the boudaries of that same theme. But complitely different. In my film I'm Not Even Human. The boy just doesn't like to be in the orphanage ( kids market ) he doen't like to be owned and wants to escape. But in the end he proves that he is worthy by killing somebody. He becomes a vilian of the movie for one scene. And we gladly agree with him, because of his situation.
absolutely f#*$&? yes !!! besides I'm so glad he used "The Social Network" as an example because is my favorite movie
Malik Arran ...??? What do you mean...please elaborate...maybe you’ve got a valid pint and we can all learn.
Definitely.
This is the first writer (that I have heard) who vividly spoke about dilemma and it's difference from a problem.
It really made a difference for me.
Wow, simply wow.
perfect, needed to hear this
Yess!!!
Great.
awesome explanation !! great job as usual Film Courage
Thanks Jose, we appreciate you watching.
Great video. I have learned much. Thank you.
Glad you found this one Heather!
Brilliant
Thanks Frank!
It helps. TY.
Cheers!
I just bought his book. Love film courage.
Awesome, thanks for the support!
Yes it does, along with the other two videos I just watched: Dilemma is the Source of a Story and Story Structure in Three Words. All three were an education from start to finish. To paraphrase Elmore Leonard, You left out all the parts the parts the viewers skip. Thank you Alan Watt and Film Courage. I'm going to dust off that half finished manuscript now.
I get the dilemma, kinda like when, hey when i rob the bank then i can buy what i want & ill have freedom in this world.. but then i get captured and thrown into jail, having even less freedom then i had before. now instead of spending money, im spending time in jail.
@Film Courage how do story creators walk the fine line between using existing stories as inspiration and creating something unique?
Hhhmm...good question. Any ideas out there?
For a practical application side of your question (IRL-practice to SEE it happen)... I'd suggest you take up a TTRPG of choice, and start roleplay sessions with a couple friends...
I'm a LONG time GM (Game Master)... SO I can assure you, there are actually about six legitimately different plots/stories in the world.
1. Murder/assassination
2. Revenge
3. Kidnap
4. Delivery/Escort
5. Hunt/Search
6. Escape
Pretty much EVERY story in the world (in history) is either a derivative, or some combination of those six plots. That's really all you get. Revenge is NOT always murder, which is what sets those two apart, just like Murder or Assassination is NOT always motivated through Revenge... You can go ahead and assign things like extortion and blackmail or racketeering to kidnap-plot because it's the theme of holding someone/thing precious over someone else's financial or social head... AND so on... {just illustrating how very simple it is on principle}
This is basic "101" storytelling stuff... SO the founding principle that you can not possibly create a story that is completely unique stands firm. JUST take the time to wrap your head around that, remember to breathe, and get a laugh out of those "haters" who can't possibly just enjoy something created for them to enjoy...
How do you avoid over-implementing the inspiration from an existing work???
Write or create YOUR work to completion. Make a single complete unit of the thing... THEN go back and re-consume the "source of inspiration" before returning to edit your own... You'll see where you're probably "straying beyond that gray area"...
...AND if you're in doubt, try working by the principle, "Best to err on the side of avoidance".
Okay, so what happens when trying to avoid the obvious overlap is going to "break" the story/arc you've got in some significant and important manner???
PARODY... If you really have it "stuck" to a point you can't possibly avoid a mirror of something and you're that worried "everyone's gonna notice that"... Make a joke. Insert a comical reference. That one comical break isn't going to derail your work unless you've already done shoddy work to begin with... You can recover a serious plot from a bit of antics... even a jab at existing "masterpiece" craft. ;o)
@@gnarthdarkanen7464 That's ALL your world consists of? Those 6 plots?
@@cristysmith8230 The fact is that pretty much EVERY "other" plot is some derivative or combination of those six, no matter who wrote it or in what world... unless of course you want to include outright porn, which is also WAY over-rated as far as plot is concerned.
You might suggest I'm short-changing the writing world?
Maybe you want to suggest some scintilating torture plot?
Torture has a purpose, either to kill (murder plot) or to extract something, whether information or a depraved version of self satisfaction... (theft plot, in either case)...
I've not just studied the writing...I've been a practicing GM (Game Master) for decades, so it's kind of my bread and butter to work out new twists at every possible junction...
AND you might even suggest that I'm narrow mindedly railroading the definitions of plot-writing... Hardly so.
Once you understand the principle that there really isn't anything "that new" to be made... You can cut through any self-indulgent crap and work on the essence of creating this stuff... letting go of micro-chasms between your super special storyline (which should be more layered than A plot anyway) and what's been written before... and just put your own style and twist to your work.
Let go of the rest. It's only going to bog you down into a spiral of perfectionist fantasy. ;o)
All stories are existing. No story is unique. It is the author's worldview, experiences, and emotions that he brings to a story that presents a story in a unique way. The presentation is unique, not the story. ''There is nothing new under the sun.'' to quote Ecclesiastes.
Does this help with the story on which I am writing now? You bet. Even the example of Sally; especially Sally. Thank you.
Cheers Daniel!
@@filmcourage Thank you for this series and your project. After years of struggling with writing of all sorts, I decided I have to return to basics. When I have something to show, I will; until then I am a loyal follower. A dilemma, actually, since facing one problem, I am inundated with others.
Cheers to you, too.
Excited to see you are back on a writing path. Hope you discover the process that works best for you and that it enables you to create those stories that only you can create.
@@filmcourage Me, too.
Oh my god this interviewer just wanted to ask a simple loaded question about race and *all* this author had to do was confirm the view she was feeding him - easy! Instead he goes off on a long, deep exploration of what makes a good story.
The cheek of it!
Hehe
Make sure to include class and social hierarchy, too. Thank you for watching.
What about rom coms?
The stakes? It is always the Polis in danger.
I written the script already. Actually MY favorete movie of all time ( AI Artificial Intelligence ) has this kind a thing. David want Monika to love him. In the end HE GET'S IT. And it's is weird. To the point that I always cry.
If you are talking about the US prison system where countless people are imprisioned for no reason or unjustly how does what you have just said make sense? It makes no sense you silly little man.
It's a hypothetical based on *one individual's* dilemma. For that individual to turn themselves in, that's a choice based on their own moral compass turning the tide. Also: We're talking about movies, not documentaries.