*Seven Inherent Qualities* (aka Elements) *that make the Audience Care* (i.e. Emotional Investment) - 15:56 ; 16:48. 1:04:08 - Quick list of all 7 (that spell out P.R.O.B.L.E.M.; i.e. if any of these are absent, excluding the optional "meaningful" element, the story is not powerful for the audience and they will likely not care). Punishing - The problem is not big enough and not life altering enough for the audience to care. 17:06 ; 19:53. Relatable - The MC isn't relatable. The audience wants the MC relatable to care about him or her. 17:04 ; 20:15. Original - Make it specific, well observed, and real. These play into "meaningful." 1:02:59. Believable - What's going on isn't believable enough. 17:01 ; 24:50 to 27:48. Life Altering - Stakes are not life altering (enough). 17:01 ; 20:04. Entertaining - The story isn't entertaining enough to watch (or hold interest). 16:58. Meaningful - What's the underlying meaning, issues, and take-home message (for the audience)? The most optional of all seven qualities. 1:00:35. Story Structure (plotting) = Real-Life Occurrence(s) + Writer Manipulation. Real life does not have story structure. 18:59 - Definition of Conflict; i.e. a main character's problem with the situation. Force the MC to always interact with the conflict. 20:10 - Be sure to make the problem big enough and to make it matter enough for the audience to want to learn why the MC must solve the problem. 22:13 to 24:48 - Central Problem of the story. 20:45 to 22:30 - How to get an audience to care. 59:47 - Don't reinvent the genre; i.e. bring something specific, fresh, and real. 1:00:23 - New writers (to generate ideas) should focus on Blake Snyder's 10 Genres named in "Save the Cat" (Google Search).
I've said it before. I'll say it again. I love this channel. The host is such a genuine person with curiosity and excellent understanding of how to create the conditions of a great interview.
I like that he actually says the idea is important. I get so tired of professional writers saying the idea doesn't matter. There are obviously terrible ideas and good ideas.
Yeah, people get caught up in calling themselves "writers" or "artists" when the purpose of writing is to convey an idea/story. If the idea sucks, and the story isn't any good, then there's no point in writing about it.
What I took away from this is that your brain generates tons of ideas and you don't need to pay to have ideas. And then, I coupled this with another piece of advice: don't go with your first, your second, or even your third idea. Make a list of about 10 ideas and pick in the three last ones.
@@claude-alexandretrudeau1830 I wouldn’t say take the last three but I do think it’s important to let ideas marinade. Sometimes they thrive. Sometimes they rot on the vine. Sometimes they take a decade or more to produce fruit. But I do agree that the ideas are the easy part.
I believe they say the idea doesn’t matter because a good idea doesn’t mean you have a good story or can articulate one. And so many people have great ideas and that’s where it usually stops, as a writer I’m sure most of us seen this first hand. They probably just tired of hearing people say they have good ideas and that makes then think they can write a film or novella 🤷🏾♂️
I've learned more from Erik Bork in a month of coaching than I did attaining my Master's Degree in writing at USC, working for Hollywood producers for a few years, and attending years of workshops and classes on writing. I had two books published by a NY publisher, which were a decent start, but my career didn't go anywhere. After years of rejections and abandoning my manuscripts that weren't working, Erik is helping me to understand the fundamental elements of telling a story. I think a lot of writers out there might be like me, full of ideas, able to create interesting characters and scenes, but the scenes don't quite fit together, or perhaps their story starts to fall apart in the second act because they didn't set the dynamics up right to begin with... Erik's book and assistance can help with these things.
I've read Save the Cat, but probably too long ago and I've forgotten a lot. I love what Erik's saying about grabbing the audience in the first 10 minutes, how that's not about spectacle, it's about making the audience care about the character. So key.
How gorgeous are you. Thank you for bring us all these amazing people , who are so willing to sharing their knowledge, experiences and thoughts. It is so much appreciated.
I’ve read various books about film making and watched many Film Courage interviews. I thoroughly enjoyed Erick Bork’s interview discussing the “Idea” and his explanation of the PROBLEM - thesis for creating the a solid film. The quote that stood out for me was “I’m about the purity of expression and growth versus: how to get something.” That has to be key to all our work in every arena. Thank you Film Courage for your work.
The World According to Garp has a huge impact on me on so many weird ways. Always was one of my favorite movies...I was born in 78 so to my parents this was odd. Still to this day I feel connected to it on many unexplainable levels. Felt compelled to share.
I love your "problem/goal" description. I always struggle with the goal, but when I think of it as the problem to overcome, it's crystal clear. Thanks!
Thank you for this video! - - I think every new screen-writer should listen to this, through to the end of the video, through blue-tooth headphones, while having breakfast and washing last night's and this mornings pile of dishes, etc. I will listen to the last 30 minutes tomorrow morning. I did pause at times, you know? Important stuff I really needed to know! 🧑🏻JB
In order to break into the entertainment business as a writer, either, write a great script that opens doors for future work or use the back up plan of starting in the mail room and working your way up to being a production assistant to Tom Hanks. Lesson learned, always have more than one plan to reach success.
Thank you for posting this video. I enjoyed it thoroughly and found it informative and helpful. I appreciate it. Be safe, healthy and happy. God bless you.
This the best video from Film Courage yet. I especially like Erik's humility. He was on stage with Tom hanks accepting an Emmy but he has the same humility as a new writer who has never had anything published yet. Maybe having an Agent helps keep writers humble because they have a way of reminding a writer of his place in the process.
the BIGGEST problem most writers have and that is something i never understood is when some writers say "How do i come up with ideas.. or "I dont know what to write about" If u seriously dont know wht to write about then u r IN THE WRONG WRONG FIELD - U shod be OOOOZING with stories and IDEAS OUT UR EAR HOLE and u shod be like "I dont know WHICH ONE to write" - do NOT take on writing if u dont even have stuff that u cant wait to get out of ur head - that is what makes something special - but if u just want to POSE your way around to be called a WRITER then u stand no chance against the thousands of ones who ALL THEY CAN THINK OF IS WRITING AND STORIES - then maybe take a role in a technical crew or cinematography or something but trust me its like u dont SOME cards to be stacked in ur favor but if u have NOTHING then u r at a disadvantage
I would say Transformers follows the ‘Writing scripts for existing TV’ pattern, in that we already know and love the characters-AND it has the High School Misfit thing covered, AND the heroic sacrifices and very human elements that inspire us all. It’s got PROBLEM covered on so many levels
Transformation/change is the foundational principle of story. The "problem" is the causative agent of change that is either accepted or denied by the protagonist.
I LOVE that he focus on this core piece of conception. So many gurus and academics focus on execution as the Hail Mary, but the core idea has to mean something. Otherwise, the sudience will just ssk "So what?" That he has articulated the premise into an acronym PROBLEM is so tight and concise it is brilliant AND useful.
I read the book! Man, thank you! This literally changed the way I approach scripts. He literally put down in words what we all know works and doesn’t work in a story. Nothing new but great observation made of someone who got skins in the game.
Following your bliss is a very apt way to describe all manner of approaches to an endeavour, whether its screenwriting or not, because that authenticity and the access to your own improvement or achievement rests very much I believe upon you doing what you do for the love of it. To approach your "task" mechanically with a purely goal oriented approach can be a very destructive thing later when you find perhaps that you really didn't care much for the journey as much as the end goal. That aspect is what sorts the people who are supposed to be doing the task, versus someone who thought it would be an option. This is what I despair of when I see people wasting natural talent by the constraints of circumstance or pure needs for survival, and that in a way defines the quality of our societies and some of the flaws which need addressing.
When I review my own writing, I can see that the central problem wasn't extreme enough. The stakes weren't high enough. Thanks to Erik, I will make some adjustment to my approach to storytelling. Thank you for this interview, Film Courage!
@@filmcourage Thanks. Is there any way to ask Eric what are his letters for his "Please understand me" temperament and the Type Number for his Enneagram awareness ? I am INTJ and Type 5. If he is near me in that, then I have a better sense of trust in what he is advocating. If he is way different that me, then I have to adjust my understanding of what he says. Sill good. I think the two of you are doing more than just a job - Film Courage is doing an essential service.
Thank you, Alan. Not sure if we have the answer for this one. Believe Erik is on Twitter? May want to ask him there. The Enneagram is a fascinating concept. Have enjoyed watching videos about it. Thanks again!
I'm in film school and this guy seems honest, I just bought his book on Amazon. Looking forward to inspiration on the screenplay I'm currently writing.
All these lectures are great, but I think they exist more for motivation than application. Nothing replaces the hard work of putting two characters in a room and letting them talk. They're gonna rebel against your "idea", outline, and plot points, and that's fine. You have to let the dogs off the leash and pray they don't dart off on you. But sitting down to put one moment after another, progressing yard for yard is the cold hard cash of writing, everything else is credit.
This of finding the "viable idea" is so true... if you watch Pete Docter talking about the earlie process of the movies "he did", you're going to see it. But besides this, youtubers often says that find the right idea is the key for create a good video... so... I'm certainly going to listening it with full attention. And I recommend you to do that way too. PS: Search the TH-cam video titled "every Seinfeld episode based on a true story". There one writer in particular will talk about that he didn't knew what was the right idea to pitch. One more proof that yells THE IDEA IS A IMPORTANT PART OF THE PROCESS.
At last, someone admits to reading and liking 'Save the Cat'! Snyder's book seems to have been read by nobody, but then everybody seems to have read it! A bit like National Enquirer- nobody admits to reading it, but everybody has read it! That is only the second scriptwriter I have heard of or met who admits to reading 'Save the Cat' but when I mention that book, all sorts of people (who would never tell you that they have read it) can give you a detailed critique of where and why Snyder is wrong! And for those out there that are playing 'The Home Game' - get it! Read it! And when you have read it - read it again! And buy and read and keep Erik Bork's book - you need to read it BEFORE you read 'Save the Cat'. That way, the grain of sand that becomes a pearl will be a good one and give you a compelling story.
Great video interview guys! The ability to tell a compelling story is so very tied to creativity & unlocking your creative process. I host a video podcast called Convincing Creatives on my channel and a few of my past guests were just talking about this. I love seeing fellow creatives push each other to successfully make storytelling happen.
Wonderful interview. Simple question: I've written four movie scripts, and I'm the only one that has ever read them. Each has a couple of "original" scenes that really "work", for me. How do I get others to read my scripts and not steal my work?
This idea of running something past the industry bigwigs with the question “will this sell”, that deems whether a story is worth investing our time into might be why we see boring rehashing of the same old mediocre stories, franchises & prequels. With the aim of cashing in on it’s established fan base. Story telling is an art. It may be beneficial to ask one’s self: is this a second rate retelling of someone else’s story? Am I passionate about what I’m creating? Am I telling this in a way that’s fresh or interesting, in a way only I can? Does it deserve to exist or am I forcing myself to create it because it’s the new “in” narrative? One can’t honestly create in a place of fear. Hollywood has crippled its writers. Woke culture may sell but it’s rarely done well. Its lack of passion oozes out, but it sold. Media that quickly consumed & forgotten, or worse torn apart online. Be careful who you choose to take advice from. Good story telling is universal & it’s not easily charted on a business graph. Sometimes the most hollow movies are considered successes. After all, it made money, right? That was the goal! Was it good? No! It was, okay. But there was a return investment, so the artistic spiral downward persists. This Hollywood mindset revolves around taking the safest bet w the least amount of risk involved. A great story idea doesn’t die easily, it haunts you, won’t leave you alone, until you submit and lay it down on the page. Hopefully once Hollywood remembers that, perhaps we’ll see a revival in the art of story telling. But, it’s vital that writer needs to believe in their own stories potential. If it’s something worth telling. If there’s no passion for your own story, if you’re bored, you’re forcing it. Be brutally honest with yourself & as an artist you wouldn’t need to ask anyone, in Hollywood or anywhere else, Will this sell”?
Was looking forward to what experience and knowledge gentleman had to share, but it got harder when I realized he missed the fundamental context of Blake Snyder's "Fun and Games" second act state in Snyder's beet sheet list... It wasn't the literal Fun and Games the character is having Sir. It is one of the most dynamic, fun, and action filled stage of our hero trying to fit in and figure it out. Pretty much the trailer moments, and the kind of "fun and games" that are portrayed will be defined by the film genre...
25:52 I like to say that you get whatever premise you want in the backstory, but *during the film* everything that the characters have to make sense given that backstory and their characterizations. If they could do something in the backstory, they'd better be able to do it during the runtime. And if there's an obvious remedy that viewers will see, the characters probably should see that too, even if only to angst about a -- better be well justified! -- reason they can't use it.
'Put your character through hell' or 'Put your character in the shit' are the old rules of thumb, aren't they? I've really struggled with stories of mine that failed to do this and I think it's helped me, ultimately, to think about difficulties in my own life I might have preferred to ignore. Paul Schrader, who wrote Taxi Driver, Raging Bull and American Gigolo, says his every script idea is a metaphor for some problem he's going through in his own life, e.g. American Gigolo derived from a feeling of being unable to love.
Hi Blair, here is a playlist where you will hear how others have found agents or their advice on what to do - th-cam.com/video/vwLc6uX2ZSY/w-d-xo.html Also, keep an eye out we have another video on this topic going out this week.
The point Eric makes around 1:05:00 about being careful not to make your character too unlikeable in order to set up an arc - I just watched a video essay on Groundhog Day by Lessons from the Screenplay where this is illustrated. An arguably unlikeable character (though his cleverness is certainly entertaining) is confronted by such a massive problem that it does fully justify the writer’s choices. Compare this to Karl Urban’s Dredd, who is unlikeable because despite the massive problem he confronts, he still lacks any personality.
Agreed. But also Murray's delivery and charisma make his character appealing - even for someone who watches the movie without ever knowing Murray's other work. They also show how his traits are a result of, or connected to, his suffering - which goes a long way to make him relatable and likeable IMO, and therefore demonstrates he has room for growth.
His real problem isn't dealing with the Mama clan. This is practically a day in the life for him. His real issue is becoming softer hearted and learning to make acceptions. He's actually not the main character. Anderson is.
An example of a character with lots of problems who I really wanted to like was Don Draper in Madmen. But he cheated so often and was such a liar that I got sick of him and never saw the last season.
There is so much writing advice out there. Some of it contradicts other advice. The whole advice thing is confusing. One piece of advice is telling you to just start writing to get experience. Now this guy is saying be very selective about what you spend time writing on. I don't think there are any easy answers when it comes to this craft.
He sites a show like THE SOPRANOS...but, regardless of their problems, their "believability", etc, they were, essentially, awful people. I have never been able to get into any drama in which virtually everyone involved is a sleaze on one level or another, or involves people who intertwine their lives with people of low moral character and behavior. It takes a very unique situation to make that viable as dramatic entertainment into which I am willing to enter. Granted, this eliminates an awful lot of what is considered appealing on a commercial level.
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This channel is the old wise guide in my hero's journey.
Cheers!
*Seven Inherent Qualities* (aka Elements) *that make the Audience Care* (i.e. Emotional Investment) - 15:56 ; 16:48.
1:04:08 - Quick list of all 7 (that spell out P.R.O.B.L.E.M.; i.e. if any of these are absent, excluding the optional "meaningful" element, the story is not powerful for the audience and they will likely not care).
Punishing - The problem is not big enough and not life altering enough for the audience to care. 17:06 ; 19:53.
Relatable - The MC isn't relatable. The audience wants the MC relatable to care about him or her. 17:04 ; 20:15.
Original - Make it specific, well observed, and real. These play into "meaningful." 1:02:59.
Believable - What's going on isn't believable enough. 17:01 ; 24:50 to 27:48.
Life Altering - Stakes are not life altering (enough). 17:01 ; 20:04.
Entertaining - The story isn't entertaining enough to watch (or hold interest). 16:58.
Meaningful - What's the underlying meaning, issues, and take-home message (for the audience)? The most optional of all seven qualities. 1:00:35.
Story Structure (plotting) = Real-Life Occurrence(s) + Writer Manipulation. Real life does not have story structure.
18:59 - Definition of Conflict; i.e. a main character's problem with the situation. Force the MC to always interact with the conflict.
20:10 - Be sure to make the problem big enough and to make it matter enough for the audience to want to learn why the MC must solve the problem.
22:13 to 24:48 - Central Problem of the story.
20:45 to 22:30 - How to get an audience to care.
59:47 - Don't reinvent the genre; i.e. bring something specific, fresh, and real.
1:00:23 - New writers (to generate ideas) should focus on Blake Snyder's 10 Genres named in "Save the Cat" (Google Search).
You deserve some thanks!
Dan B. Thank you. 🙏🏾
Thanks Bro!
MVP!
Thanksssss
7 elements that excite everyone :
1. Punishing
2. Relatable
3. Original
4. Believable
5. life altering
6. entertaining
7. meaningful
Batmeow v Supermeow Dawn Of Kitty MVP!!!!!!
I thought everyone writer thought their work was entertaining...
Why 5, 6 & 7 start with samll letter? 😉
@@channel100tube the same reason you spell small samll. We're human.
@@rajikkali2381 hahaha you're funny
I've said it before. I'll say it again. I love this channel. The host is such a genuine person with curiosity and excellent understanding of how to create the conditions of a great interview.
Thank you, Rajik! We appreciate the kind words and for watching our videos.
By far one of my favorite interviews on the channel as of yet. Erik is a very clear and concise speaker.
I like that he actually says the idea is important. I get so tired of professional writers saying the idea doesn't matter. There are obviously terrible ideas and good ideas.
Yeah, people get caught up in calling themselves "writers" or "artists" when the purpose of writing is to convey an idea/story. If the idea sucks, and the story isn't any good, then there's no point in writing about it.
What I took away from this is that your brain generates tons of ideas and you don't need to pay to have ideas. And then, I coupled this with another piece of advice: don't go with your first, your second, or even your third idea. Make a list of about 10 ideas and pick in the three last ones.
It's not so much that ideas aren't important it's just that ideas are the easy part- for a creative professional at least that is decent at their job.
@@claude-alexandretrudeau1830 I wouldn’t say take the last three but I do think it’s important to let ideas marinade. Sometimes they thrive. Sometimes they rot on the vine. Sometimes they take a decade or more to produce fruit. But I do agree that the ideas are the easy part.
I believe they say the idea doesn’t matter because a good idea doesn’t mean you have a good story or can articulate one. And so many people have great ideas and that’s where it usually stops, as a writer I’m sure most of us seen this first hand. They probably just tired of hearing people say they have good ideas and that makes then think they can write a film or novella 🤷🏾♂️
I've learned more from Erik Bork in a month of coaching than I did attaining my Master's Degree in writing at USC, working for Hollywood producers for a few years, and attending years of workshops and classes on writing. I had two books published by a NY publisher, which were a decent start, but my career didn't go anywhere. After years of rejections and abandoning my manuscripts that weren't working, Erik is helping me to understand the fundamental elements of telling a story. I think a lot of writers out there might be like me, full of ideas, able to create interesting characters and scenes, but the scenes don't quite fit together, or perhaps their story starts to fall apart in the second act because they didn't set the dynamics up right to begin with... Erik's book and assistance can help with these things.
Love what he said about getting out of the critical mode in order into get into the creative mode where good ideas are able to come.
My absolute favorite FILM Courage interview so far. Been following the channel for 3 years and a half.
I've read Save the Cat, but probably too long ago and I've forgotten a lot. I love what Erik's saying about grabbing the audience in the first 10 minutes, how that's not about spectacle, it's about making the audience care about the character. So key.
How gorgeous are you. Thank you for bring us all these amazing people , who are so willing to sharing their knowledge, experiences and thoughts. It is so much appreciated.
Who needs a writing course at film school when you have this channel!!
Amazing information and advice.
Thank you.🙏❤️.x
I’ve read various books about film making and watched many Film Courage interviews. I thoroughly enjoyed Erick Bork’s interview discussing the “Idea” and his explanation of the PROBLEM - thesis for creating the a solid film. The quote that stood out for me was “I’m about the purity of expression and growth versus: how to get something.” That has to be key to all our work in every arena. Thank you Film Courage for your work.
The World According to Garp has a huge impact on me on so many weird ways. Always was one of my favorite movies...I was born in 78 so to my parents this was odd. Still to this day I feel connected to it on many unexplainable levels. Felt compelled to share.
...SO True !!...a very helpful insight....many times overlooked and underrated......
Great questions from the interviewer!
Thank you!
I love your "problem/goal" description. I always struggle with the goal, but when I think of it as the problem to overcome, it's crystal clear. Thanks!
Thank you for this video! - - I think every new screen-writer should listen to this, through to the end of the video, through blue-tooth headphones, while having breakfast and washing last night's and this mornings pile of dishes, etc. I will listen to the last 30 minutes tomorrow morning. I did pause at times, you know? Important stuff I really needed to know! 🧑🏻JB
I played this going to work, at lunch and then at bed time. I love it! Doing my first Pilot, btw.
Hope the pilot is going well!
Erik does a great job articulating some key and important concepts in commercial storytelling. Thanks for this great interview.
In order to break into the entertainment business as a writer, either, write a great script that opens doors for future work or use the back up plan of starting in the mail room and working your way up to being a production assistant to Tom Hanks. Lesson learned, always have more than one plan to reach success.
Thank you for posting this video. I enjoyed it thoroughly and found it informative and helpful. I appreciate it. Be safe,
healthy and happy. God bless you.
PROBLEM is extremely enlightening. I learned so much. Thank you.
This the best video from Film Courage yet. I especially like Erik's humility. He was on stage with Tom hanks accepting an Emmy but he has the same humility as a new writer who has never had anything published yet. Maybe having an Agent helps keep writers humble because they have a way of reminding a writer of his place in the process.
the BIGGEST problem most writers have and that is something i never understood is when some writers say "How do i come up with ideas.. or "I dont know what to write about" If u seriously dont know wht to write about then u r IN THE WRONG WRONG FIELD - U shod be OOOOZING with stories and IDEAS OUT UR EAR HOLE and u shod be like "I dont know WHICH ONE to write" - do NOT take on writing if u dont even have stuff that u cant wait to get out of ur head - that is what makes something special - but if u just want to POSE your way around to be called a WRITER then u stand no chance against the thousands of ones who ALL THEY CAN THINK OF IS WRITING AND STORIES - then maybe take a role in a technical crew or cinematography or something but trust me its like u dont SOME cards to be stacked in ur favor but if u have NOTHING then u r at a disadvantage
I have started watching your programmes. They are fabulous!
I would say Transformers follows the ‘Writing scripts for existing TV’ pattern, in that we already know and love the characters-AND it has the High School Misfit thing covered, AND the heroic sacrifices and very human elements that inspire us all. It’s got PROBLEM covered on so many levels
Transformation/change is the foundational principle of story. The "problem" is the causative agent of change that is either accepted or denied by the protagonist.
Just stumbled onto this interview. One of the best!
May he have lived his life deeply fulfilled, writing the most sacred dream specs that arose from the depth of his heart.
I LOVE that he focus on this core piece of conception. So many gurus and academics focus on execution as the Hail Mary, but the core idea has to mean something. Otherwise, the sudience will just ssk "So what?" That he has articulated the premise into an acronym PROBLEM is so tight and concise it is brilliant AND useful.
I read the book! Man, thank you! This literally changed the way I approach scripts. He literally put down in words what we all know works and doesn’t work in a story. Nothing new but great observation made of someone who got skins in the game.
Following your bliss is a very apt way to describe all manner of approaches to an endeavour, whether its screenwriting or not, because that authenticity and the access to your own improvement or achievement rests very much I believe upon you doing what you do for the love of it. To approach your "task" mechanically with a purely goal oriented approach can be a very destructive thing later when you find perhaps that you really didn't care much for the journey as much as the end goal. That aspect is what sorts the people who are supposed to be doing the task, versus someone who thought it would be an option. This is what I despair of when I see people wasting natural talent by the constraints of circumstance or pure needs for survival, and that in a way defines the quality of our societies and some of the flaws which need addressing.
Well said. Thanks!
Lot's of wisdom in this interview. Many thanks!
I have only listened to 22 minutes so far and you have helped me more than anyone has OMG thank you, so much
Awesome to hear Stephen. Erik is a great teacher. Glad you are finding such value here.
When I review my own writing, I can see that the central problem wasn't extreme enough. The stakes weren't high enough. Thanks to Erik, I will make some adjustment to my approach to storytelling. Thank you for this interview, Film Courage!
Great to see you working on your craft and glad to know you are finding value here. Thank you.
Thank you for sharing your story and expertise! Your book just arrived. So good!!
I enjoy binge watching this channel😎👍
Same😊
Absolutely glorious
Well, Hello Joe! Well, thank you Film Courage, love what you’ve done with the place!!
Appreciate this video. Been writing a story for some time, the PROBLEM acronym has literally helped get past a major stuck point. Thank you!!!
Great to hear! We're glad you found this one!
Karen, I think this is one of the better full interviews you have done.
Thank you, Alan! Erik Bork is awesome. We have another full one with him here: th-cam.com/video/7p-iF1Rqkk0/w-d-xo.html
@@filmcourage Thanks. Is there any way to ask Eric what are his letters for his "Please understand me" temperament and the Type Number for his Enneagram awareness ? I am INTJ and Type 5. If he is near me in that, then I have a better sense of trust in what he is advocating. If he is way different that me, then I have to adjust my understanding of what he says. Sill good. I think the two of you are doing more than just a job - Film Courage is doing an essential service.
Thank you, Alan. Not sure if we have the answer for this one. Believe Erik is on Twitter? May want to ask him there. The Enneagram is a fascinating concept. Have enjoyed watching videos about it. Thanks again!
@@filmcourage Hi Karen. I finished the other 2nd long interview and just sent him an email asking the question directly.
I'm in film school and this guy seems honest, I just bought his book on Amazon. Looking forward to inspiration on the screenplay I'm currently writing.
Thank You Film Courage, for such wonderful and informative videos! Best wishes!
Karn you ask such great questions....my God
Nice story on his journey
Wow Powerful statement he made about giving
Note to self: skip to 5:00
Ohhh thank you! This comment reeeeally deserves more likes!
And I just bought the book yesterday. I should probably read it before watching this.
@outlines In the kitchen... (waiting)
Great interview and helpful advise.
Great interview! Thanks, so much!
All these lectures are great, but I think they exist more for motivation than application. Nothing replaces the hard work of putting two characters in a room and letting them talk. They're gonna rebel against your "idea", outline, and plot points, and that's fine. You have to let the dogs off the leash and pray they don't dart off on you. But sitting down to put one moment after another, progressing yard for yard is the cold hard cash of writing, everything else is credit.
Superb work dear
This of finding the "viable idea" is so true... if you watch Pete Docter talking about the earlie process of the movies "he did", you're going to see it. But besides this, youtubers often says that find the right idea is the key for create a good video... so... I'm certainly going to listening it with full attention. And I recommend you to do that way too.
PS: Search the TH-cam video titled "every Seinfeld episode based on a true story". There one writer in particular will talk about that he didn't knew what was the right idea to pitch. One more proof that yells THE IDEA IS A IMPORTANT PART OF THE PROCESS.
This content is gold, thank you for sharing! Who is the interviewer?? She is awesome
At last, someone admits to reading and liking 'Save the Cat'! Snyder's book seems to have been read by nobody, but then everybody seems to have read it! A bit like National Enquirer- nobody admits to reading it, but everybody has read it! That is only the second scriptwriter I have heard of or met who admits to reading 'Save the Cat' but when I mention that book, all sorts of people (who would never tell you that they have read it) can give you a detailed critique of where and why Snyder is wrong!
And for those out there that are playing 'The Home Game' - get it! Read it! And when you have read it - read it again! And buy and read and keep Erik Bork's book - you need to read it BEFORE you read 'Save the Cat'. That way, the grain of sand that becomes a pearl will be a good one and give you a compelling story.
Thanks film courage!
This is such a worthwhile video. Thank you ❤️
Thanks for watching Emma!
This is great stuff. Much appreciated.
Great video interview guys! The ability to tell a compelling story is so very tied to creativity & unlocking your creative process. I host a video podcast called Convincing Creatives on my channel and a few of my past guests were just talking about this. I love seeing fellow creatives push each other to successfully make storytelling happen.
It's a lonesome process, I wish I was in a writer's room...
thank you for putting out so much excellent content.
His story was like a fairytale. He should be so proud
i got his book, this dude knows his stuff, im working on a master book wit the best on every subject 😁😁😁
after 10 years of research and books i have compressed it into a 120 page book
Sensational interview
Wonderful interview. Simple question: I've written four movie scripts, and I'm the only one that has ever read them. Each has a couple of "original" scenes that really "work", for me. How do I get others to read my scripts and not steal my work?
Thank you so much for this channel
Thanks Mandeep, glad you are finding value here!
@@filmcourage absolutely can't tell how amazed I am the level of content u have created it's worth thousands comparing to film schools...
It's amazing the number of resources and learning tools that are now available to us all online. We're just doing the best we can to contribute.
Thanks Erik 👍
This idea of running something past the industry bigwigs with the question “will this sell”, that deems whether a story is worth investing our time into might be why we see boring rehashing of the same old mediocre stories, franchises & prequels. With the aim of cashing in on it’s established fan base.
Story telling is an art. It may be beneficial to ask one’s self: is this a second rate retelling of someone else’s story? Am I passionate about what I’m creating? Am I telling this in a way that’s fresh or interesting, in a way only I can? Does it deserve to exist or am I forcing myself to create it because it’s the new “in” narrative? One can’t honestly create in a place of fear.
Hollywood has crippled its writers. Woke culture may sell but it’s rarely done well. Its lack of passion oozes out, but it sold. Media that quickly consumed & forgotten, or worse torn apart online. Be careful who you choose to take advice from. Good story telling is universal & it’s not easily charted on a business graph. Sometimes the most hollow movies are considered successes. After all, it made money, right? That was the goal! Was it good? No! It was, okay. But there was a return investment, so the artistic spiral downward persists. This Hollywood mindset revolves around taking the safest bet w the least amount of risk involved. A great story idea doesn’t die easily, it haunts you, won’t leave you alone, until you submit and lay it down on the page.
Hopefully once Hollywood remembers that, perhaps we’ll see a revival in the art of story telling. But, it’s vital that writer needs to believe in their own stories potential. If it’s something worth telling. If there’s no passion for your own story, if you’re bored, you’re forcing it. Be brutally honest with yourself & as an artist you wouldn’t need to ask anyone, in Hollywood or anywhere else, Will this sell”?
The interviewer, at times, sounds like Bones, without the weirdness, though. Cool accent. I like it.
Man this is awesome.....and I’m not even finished watching...lol lol
Tall order for a neophyte story writer to hit all seven points well but doable with honest supportive critical collaborators with a keen eye.
This was fantastic.
Interesting.
Very helpful!
Thank you!
Was looking forward to what experience and knowledge gentleman had to share, but it got harder when I realized he missed the fundamental context of Blake Snyder's "Fun and Games" second act state in Snyder's beet sheet list... It wasn't the literal Fun and Games the character is having Sir. It is one of the most dynamic, fun, and action filled stage of our hero trying to fit in and figure it out. Pretty much the trailer moments, and the kind of "fun and games" that are portrayed will be defined by the film genre...
A perfect example of this is The Fugitive with Harrison Ford.
Ok a book is coming out, which year ?
So are we never going to see the host's face?
Can a long build up in the beginning be a good thing?
Great video as always. Karen should be in videos too
25:52 I like to say that you get whatever premise you want in the backstory, but *during the film* everything that the characters have to make sense given that backstory and their characterizations. If they could do something in the backstory, they'd better be able to do it during the runtime. And if there's an obvious remedy that viewers will see, the characters probably should see that too, even if only to angst about a -- better be well justified! -- reason they can't use it.
'Put your character through hell' or 'Put your character in the shit' are the old rules of thumb, aren't they? I've really struggled with stories of mine that failed to do this and I think it's helped me, ultimately, to think about difficulties in my own life I might have preferred to ignore.
Paul Schrader, who wrote Taxi Driver, Raging Bull and American Gigolo, says his every script idea is a metaphor for some problem he's going through in his own life, e.g. American Gigolo derived from a feeling of being unable to love.
Law & Order - The Life and times of officer Lenny Briscoe, had a reality about it that was hard to ignore. ,😀
His philosophy is perfect for horror. 💀🔥
I bet my idea with my writing friends
This is Sooooo Goood!,
Lol I love this channel
Thank you for watching, Mychal!
Huh “Captain Dan”,
It’s Lieutenant Dan!
5:06 Is the list...
How would I be able to get in touch with an agent so I can sell my script?
Hi Blair, here is a playlist where you will hear how others have found agents or their advice on what to do - th-cam.com/video/vwLc6uX2ZSY/w-d-xo.html
Also, keep an eye out we have another video on this topic going out this week.
@@filmcourage Thanks; I will.
'idea' is not a pun of the word 'idea'
Really crow-barred that acronym in there.
The point Eric makes around 1:05:00 about being careful not to make your character too unlikeable in order to set up an arc - I just watched a video essay on Groundhog Day by Lessons from the Screenplay where this is illustrated. An arguably unlikeable character (though his cleverness is certainly entertaining) is confronted by such a massive problem that it does fully justify the writer’s choices. Compare this to Karl Urban’s Dredd, who is unlikeable because despite the massive problem he confronts, he still lacks any personality.
Agreed. But also Murray's delivery and charisma make his character appealing - even for someone who watches the movie without ever knowing Murray's other work. They also show how his traits are a result of, or connected to, his suffering - which goes a long way to make him relatable and likeable IMO, and therefore demonstrates he has room for growth.
His real problem isn't dealing with the Mama clan. This is practically a day in the life for him. His real issue is becoming softer hearted and learning to make acceptions. He's actually not the main character. Anderson is.
An example of a character with lots of problems who I really wanted to like was Don Draper in Madmen. But he cheated so often and was such a liar that I got sick of him and never saw the last season.
Did he just say don’t write a personal story? Yikes. Goldman says ideas are worthless. It’s all in the execution. Look at The Kings Speech. Or Juno.
What’s personal to you isn’t universal. Family and country are pretty universal. Like the Kings speech or Juno.
Bork knows human behavior.
There is so much writing advice out there. Some of it contradicts other advice. The whole advice thing is confusing. One piece of advice is telling you to just start writing to get experience. Now this guy is saying be very selective about what you spend time writing on. I don't think there are any easy answers when it comes to this craft.
17:36
He sites a show like THE SOPRANOS...but, regardless of their problems, their "believability", etc, they were, essentially, awful people. I have never been able to get into any drama in which virtually everyone involved is a sleaze on one level or another, or involves people who intertwine their lives with people of low moral character and behavior. It takes a very unique situation to make that viable as dramatic entertainment into which I am willing to enter. Granted, this eliminates an awful lot of what is considered appealing on a commercial level.
I don't give a shit what the agents think...I don't want to be a career script writter...I want to tell my stories,....not pander to hollweird