Over the last decade of learning and practicing the craft of writing, I’ve learned that the only things required for something to work are: 1) KEEP PEOPLE ENGAGED; whether that be interested, intrigued, captivated, thrilled, curious, stumped, angry, excited, mystified etc. Keep them watching until the end where you... 2) LEAVE THEM SATISFIED; pay off your set ups, reveal your mysteries, tie up your loose ends, weave together your threads, and make them feel something (EMOTIONAL) that is clear and specific. Tie this all to a beautiful or powerful idea, and you’ve won. Now, this is clearly easier said than done, but I really do believe that is the simplest way to wrap your head around the endless, wonderful mystery of storytelling. ❤️
Hi. Wonderfully said. A question? There r alot of books on Screenwriting. Could u recommend the Top 5. I would really appreciate that since you a have a decade of Experience and i think u r the right person to ask.
@@nawabi2 Absolutely! My personal philosophy on studying story is to really understand why the stories you love worked for you, and also to understand why the most successful stories worked on that grand scale (Star Wars, Pixar films, Schindler’s List, etc). I say this because there are vast seas of opinions on what stories are and how they work best, so I think for you as someone beginning to study stories/screenwriting, it’s very useful for you to identify what qualifies as great storytelling to you personally while also taking into account what seems to be effective storytelling on the broad, human scale. Plus, finding the overlap between what was commercially/critically successful and what you personally love will likely guide you to telling the kind of stories you naturally love in ways that will connect with the most people possible. I will suggest a few books, but I would also direct you to some really amazing content online, as podcasts and video essays can be even more distilled versions of book data, which can often be quite laborious and take longer to understand the bigger picture of what the book is actually trying to express. Just to mix it up, I won’t start with the “classic” responses to this question, even though those books absolutely have their place. Also, I think there are better ways to start grasping bigger concepts before really getting into the nitty gritty details of structure and beats and all that stuff. “Beginnings” & “Endings” - Videos by Michael Arndt (Writer of Toy Story 3, Little Miss Sunshine, The Force Awakens) - these two videos are my absolute most favorite resource I’ve found to date, (besides the Film Courage interviews, not even kidding, Film Courage is such an incredible hub of knowledge), but these videos were the most *singularly* eye opening resource I’ve found. LINK: www.pandemoniuminc.com/video - I can’t overstate how amazing these videos are. Proven emotionally impactful wisdom and commercially/critically successful philosophy. Lessons From The Screenplay (TH-cam Channel) - This youtube channel is amazing. Particularly, I love the videos on The Dark Knight and The Matrix. LINK: th-cam.com/channels/ErSSa3CaP_GJxmFpdjG9Jw.htmlvideos Just Write (TH-cam Channel) - This youtube channel is more hit or miss for me, but the videos on the Lord of the Rings, Death Note, and Avatar the Last Airbender are game changers. LINK: th-cam.com/video/OrAT0cD4pvA/w-d-xo.html Dan Harmon’s Story Circle - I would just suggest watching any video you can find about this. The “Studio Binder” TH-cam channel has a great one, but Tyler Mowery’s TH-cam video on it is fantastic. My favorite of these is Will Schoder’s video LINK: th-cam.com/video/LuD2Aa0zFiA/w-d-xo.html - He also has links to more written information in the video description. Finally, I would be amiss not to recommend the three classics: “STORY” by Robert Mckee, “The Anatomy of Story” by John Truby (I would recommend starting with Film Courage’s interview with him: its wonderful), and of course, “Save The Cat” by Blake Snyder. You just can’t go wrong with having these books under your belt, so long as you don’t come to think you can plug & play the story beats and come out with a good story. Just because I’m completely obsessed, I’m also going to give a few further recommendations. -THIS WEBSITE OMG. Terry Rossio is probably my greatest writing hero. He and Ted Elliot are absolute masters of entertaining stories. His website is here: Wordplayer.com Highly recommend reading the Columns. - KM Weiland has some really, really amazingly clear information about protagonists I would highly recommend. PARTICULARLY the info about Dynamic vs Static Protagonists. www.helpingwritersbecomeauthors.com/choosing-a-protagonist/ - Story And Star Wars by Alastair Stevens. This podcast is really amazing at demystifying the mechanisms that made Star Wars so simple and so effective. I would recommend the one where he breaks down “A New Hope” first. pointnorthmedia.com/category/podcasts/story-and-star-wars/ And beyond these specific books/links, I would really recommend finding articles and videos breaking down Star Wars, The Matrix, The Dark Knight, Avatar the Last Airbender, Pirates of the Caribbean, and any Disney movie from the Disney renaissance (Aladdin, Lion King, etc), as these are all incredibly clear stories that are simple on the surface (always the goal) but mechanically complex underneath. EDIT: Here is my personal playlist of excellent TH-cam videos on writing which I have put together over the years: "Writing" th-cam.com/play/PL6O6mgkoVkCn4vtCUf5gBJx_p68292hni.html My final thoughts on the journey of screenwriting I will leave you with today is to REALLY study Protagonists. What a Static protagonist is and what a Dynamic protagonist is. If I had known that this was the most important aspect of storytelling (the kind I am passionate about), it would have saved me literal years of confusion. Put simply, here’s a cheat code: Dynamic protagonists ARE CHANGED by the world around them. Static protagonists CHANGE the world around them. Dynamic protagonists are human heroes that we relate to (Neo, SImba, Spiderman); Static protagonists are icons, the heroes that we aspire to become (Maximus, Naruto, Jack Sparrow). I hope this is helpful! I will just say that if I had this resource of data at the dawn of my journey, it would have saved me many years of fumbling in the dark. All the best on your learnings! - Chris
@@ChristopherCopeland Wow Man, just Wonderfull. You are Ocean of Knowledge when it comes to Story and Screenplay Writing. I just cannot thank u in words. I am Speechless. Thank you Man a Trillion Times. I am gonna start reading, listening to all of them. Wish u all the Luck and Success in your Life. Cheers.
It's like saying: make an airplane that has engines on the wings, and a fuselage. It's that simple. That's the only two rules for airplanes. Then it's easy. Go ahead.
Two screenwriting rules for me: 1) Write the very best first draft you can possibly make; 2) write for your target demographic---not for yourself---if you want to sell anything.
@@filmcourage If you're writing for kids, cater to their interests (e.g. comedy), but make it accessible for people of other ages as well. Age isn't the only demographic one can shoot for, of course.
His two rules were good but his best advice came at the end. Be nice; a great rule for everyone, every time, in every aspect of your life. A great man once said, “why don’t you knock it off with them negative vibes.” DS aka Oddball
Tell a story and be entertaining. I've seen movies that are entertaining and beautiful but there is no story. I have seen movies that have a story, but it wasn't good or entertaining, it felt like a meeting. My goal is to tell a story the best way I can while being entertaining, and if I'm good at it I can slip a message in as well.
I love and appreciate what the writing/creating process does for me . The ideas i present i only hope ,that it helps make the process better for everyone in the community whos interested and those we serve. Thank you for creating and sharing this content. Really helps .thanks
I'm reading a book "747" which is about the plane's development authored by the man who led the project. He said early on "if it does not look right, it won't fly." This apparently was a core principle of aeronautic engineering 90 years ago. Seppala here is saying the same thing, but applied to screenplays.
First, once you get it written... set it aside... Don't come back until you have "fresh eyes" to read it. I have this one for just about every bit of craft, actually. It usually takes about three days... It's amazing what YOU will see in YOUR OWN work after three days completely away from it. Whether you just briefly skim through, or (better) if you pour over every page like it's the first time you've seen it... With more visual media (painting, leathercraft, or what have you) then it's amazing how it takes on it's own sort of life, after you've given yourself a chance to refresh from it... AND no good having the thing sitting around where you can see it or picking it up everyday... I mean GET AWAY FROM IT... just three days to breathe and break from that. Obviously, you're not me, so you're results may require a different time. The point is to put it down without any going back or trying to fix anything, no reading or repeating it... just go do ANYTHING else. Second, and it's come up recently... It makes sense. "You can't get to a professional level if you've never even SEEN professional level work. Emulate the pro's if you want to be successful. Use them as you're guides." BIG caveat here. This doesn't mean "copy" anyone. You still have to find your own voice and style. BUT if you've never opened and read a script that ACTUALLY sold... You've already crippled your chances at making up a script that has a chance of selling. You don't know what it looks like... what it reads like... how long it is for the movie you're trying to make... and what came of it... or where the writer's control notes left off, and the director's decisions started taking over the "power to create". It's worth it to read whatever genre or style of film you plan to get into. Read LOTS from it. Emulate what you find appealing and useful... AND suspiciously experiment with the rest before "trimming out" the useless. I think it's likely to be a BIG eye opener for aspiring writer-producer-directors to look at the original scripts that sold, and even (if possible) get to some copy of the one with the scribbling and highlighter splattered through it, rewrites stapled to the fringes or folded and tucked between pages... sketches and diagrams of how the stunts should look... lenses, angles, etc... just soak all the information added to this thing before it went from abstract ideals scripted out in a book... to whatever the director thought "is too cool not to add it in"... or whatever. I'm sure there are at least a couple videos around here about the same thing... This is just one I recently had to argue with someone about, so... it's kind of on the top of my conscious mind. ;o)
I’ve submitted my script for the first time. I was called back for a meeting to discuss it. They loved it but.... Told me it was to black. Huh???? It’s 2020 and we still on that? So, rule #1: Don’t write from your life if it doesn’t work with the mainstream.
Obviously you would want to be the one to actually make a good movie if they think there’s no good movies coming out. Personally, I agree. Movies are not the focus in Hollywood at the moment. I think television shows are where it’s at right now.
I think these are some great rules to go by another interesting interview I haven't Written enough screenplays to have a really valid opinion but i'd say don't make things longer than necessary and try to keep it interesting
Hey question. Im sure some introduced or presented the idea or vision for it , but . (Every thought or attempted to use or explore the use of "A.I" artificial intelligence bots for screenwriters producing or sturggling to find affordable and adequate help(AI actor bots) to produce Low & High budget films and productions? I hope i explained or described this idea comprehensively and simple enough to atleast thi k about .if it has already been on the R&D list of the top player's already. Thank you.
1. Don't use 8 words when 4 will do. 2. You only have so much time on this Earth before it's gone: use it to communicate something that will last far, far beyond that short time.
1. Everything must have a payoff or purpose. Don’t waste the paper that tree died to produce. 2. Don’t give people what they think they want, give them what they need. They’ll fill in the blanks.
Number one, no one cares what I say about Hollywood, so there's that. Number two, J.J. Abrams will never see my screenplay, or direct one of my screenplays. (But if you do, sorry about raking you over the coals with the Star Trek reboot...)
@@filmcourage How many hours does that come to now? It is all substantial and probably relevant to most writers, but there is a time when you just need to write. I know I am a tryout but I would put the rule zero which is to just write whatever even if it is total crap at the very top of the list.
Okay, don't say out loud when you dislike some works, stay polite but the "don't talk trash" thing is dangerous because: where do we stop to say what we really think? What's the purpose of making a film if we cannot think correctly? Remind that we think in words, we have words in our heads and form thoughs with them. When we block words, we limit ourselves to think.
Dear Writers: Don't listen to this guy, Travis Seppala. People like Travis, who suffer from delusions of grandiosity like to lecture (limit) fertile and creative minds on the "rules" of screenwriting. Travis, and Producers like him, would toss a Coen Brothers script. Write your story, let your characters show you the way, let them speak, let your creative voice shout. Join a writer's group, get notes from honest people who know a thing or two. Get coverage from a credible reader. Do a table read. Make changes. Shoot for a 3-page coverage piece with a Recommend. Then shop the synopsis in the coverage document. That's one way. There are many more. With so many platforms, concurrent Digital and Theatrical release windows, 3-8 episode limited series, etc. the filmmaking world is being rewritten. Help with the rewrite. I'm an Exec Producer, Producer and Writer working in Film and Television.
Objectively speaking, no matter how small or big a town is, you should stand up for what is right. Being critical - not trash talking *but* critical - is a GOOD thing. Otherwise what's the point of being a screenwriter or filmmaker? Money, fame, notoriety? To steal from the great Richard Walters: *"it's all about story."*
#1. I write shot lists which outline stories instead of scripts (because I don't need to write for anyone else). #2. I trash everyone in my scripts. But it's usually allegorical so usually they don't get it. But it makes me feel better. ;)
1:25 in- " I'm not going to sit and watch a movie with two guys talking for an hour and a half". Well I did and it's one of my fav films of all time- " my dinner with Andrea". Each to their own I guess"
Over the last decade of learning and practicing the craft of writing, I’ve learned that the only things required for something to work are: 1) KEEP PEOPLE ENGAGED; whether that be interested, intrigued, captivated, thrilled, curious, stumped, angry, excited, mystified etc. Keep them watching until the end where you... 2) LEAVE THEM SATISFIED; pay off your set ups, reveal your mysteries, tie up your loose ends, weave together your threads, and make them feel something (EMOTIONAL) that is clear and specific. Tie this all to a beautiful or powerful idea, and you’ve won. Now, this is clearly easier said than done, but I really do believe that is the simplest way to wrap your head around the endless, wonderful mystery of storytelling. ❤️
Hi. Wonderfully said. A question? There r alot of books on Screenwriting. Could u recommend the Top 5. I would really appreciate that since you a have a decade of Experience and i think u r the right person to ask.
@@nawabi2 Absolutely! My personal philosophy on studying story is to really understand why the stories you love worked for you, and also to understand why the most successful stories worked on that grand scale (Star Wars, Pixar films, Schindler’s List, etc). I say this because there are vast seas of opinions on what stories are and how they work best, so I think for you as someone beginning to study stories/screenwriting, it’s very useful for you to identify what qualifies as great storytelling to you personally while also taking into account what seems to be effective storytelling on the broad, human scale. Plus, finding the overlap between what was commercially/critically successful and what you personally love will likely guide you to telling the kind of stories you naturally love in ways that will connect with the most people possible. I will suggest a few books, but I would also direct you to some really amazing content online, as podcasts and video essays can be even more distilled versions of book data, which can often be quite laborious and take longer to understand the bigger picture of what the book is actually trying to express.
Just to mix it up, I won’t start with the “classic” responses to this question, even though those books absolutely have their place. Also, I think there are better ways to start grasping bigger concepts before really getting into the nitty gritty details of structure and beats and all that stuff.
“Beginnings” & “Endings” - Videos by Michael Arndt (Writer of Toy Story 3, Little Miss Sunshine, The Force Awakens) - these two videos are my absolute most favorite resource I’ve found to date, (besides the Film Courage interviews, not even kidding, Film Courage is such an incredible hub of knowledge), but these videos were the most *singularly* eye opening resource I’ve found. LINK: www.pandemoniuminc.com/video - I can’t overstate how amazing these videos are. Proven emotionally impactful wisdom and commercially/critically successful philosophy.
Lessons From The Screenplay (TH-cam Channel) - This youtube channel is amazing. Particularly, I love the videos on The Dark Knight and The Matrix. LINK: th-cam.com/channels/ErSSa3CaP_GJxmFpdjG9Jw.htmlvideos
Just Write (TH-cam Channel) - This youtube channel is more hit or miss for me, but the videos on the Lord of the Rings, Death Note, and Avatar the Last Airbender are game changers. LINK: th-cam.com/video/OrAT0cD4pvA/w-d-xo.html
Dan Harmon’s Story Circle - I would just suggest watching any video you can find about this. The “Studio Binder” TH-cam channel has a great one, but Tyler Mowery’s TH-cam video on it is fantastic. My favorite of these is Will Schoder’s video LINK: th-cam.com/video/LuD2Aa0zFiA/w-d-xo.html - He also has links to more written information in the video description.
Finally, I would be amiss not to recommend the three classics: “STORY” by Robert Mckee, “The Anatomy of Story” by John Truby (I would recommend starting with Film Courage’s interview with him: its wonderful), and of course, “Save The Cat” by Blake Snyder. You just can’t go wrong with having these books under your belt, so long as you don’t come to think you can plug & play the story beats and come out with a good story.
Just because I’m completely obsessed, I’m also going to give a few further recommendations.
-THIS WEBSITE OMG. Terry Rossio is probably my greatest writing hero. He and Ted Elliot are absolute masters of entertaining stories. His website is here: Wordplayer.com Highly recommend reading the Columns.
- KM Weiland has some really, really amazingly clear information about protagonists I would highly recommend. PARTICULARLY the info about Dynamic vs Static Protagonists. www.helpingwritersbecomeauthors.com/choosing-a-protagonist/
- Story And Star Wars by Alastair Stevens. This podcast is really amazing at demystifying the mechanisms that made Star Wars so simple and so effective. I would recommend the one where he breaks down “A New Hope” first. pointnorthmedia.com/category/podcasts/story-and-star-wars/
And beyond these specific books/links, I would really recommend finding articles and videos breaking down Star Wars, The Matrix, The Dark Knight, Avatar the Last Airbender, Pirates of the Caribbean, and any Disney movie from the Disney renaissance (Aladdin, Lion King, etc), as these are all incredibly clear stories that are simple on the surface (always the goal) but mechanically complex underneath.
EDIT: Here is my personal playlist of excellent TH-cam videos on writing which I have put together over the years: "Writing" th-cam.com/play/PL6O6mgkoVkCn4vtCUf5gBJx_p68292hni.html
My final thoughts on the journey of screenwriting I will leave you with today is to REALLY study Protagonists. What a Static protagonist is and what a Dynamic protagonist is. If I had known that this was the most important aspect of storytelling (the kind I am passionate about), it would have saved me literal years of confusion. Put simply, here’s a cheat code: Dynamic protagonists ARE CHANGED by the world around them. Static protagonists CHANGE the world around them. Dynamic protagonists are human heroes that we relate to (Neo, SImba, Spiderman); Static protagonists are icons, the heroes that we aspire to become (Maximus, Naruto, Jack Sparrow).
I hope this is helpful! I will just say that if I had this resource of data at the dawn of my journey, it would have saved me many years of fumbling in the dark. All the best on your learnings! - Chris
@@ChristopherCopeland Wow Man, just Wonderfull. You are Ocean of Knowledge when it comes to Story and Screenplay Writing. I just cannot thank u in words. I am Speechless. Thank you Man a Trillion Times. I am gonna start reading, listening to all of them. Wish u all the Luck and Success in your Life. Cheers.
nawabi2 Of course! So happy to help 🙏🏻 you are most welcome. All the best!!
Dr. Uncanny I’m so glad to hear that! Hope you enjoy it 🙏🏻🙌🏻
1:20 "I'm not gonna watch a whole movie of me sitting here talking to you." (Host remembers Film Courage's 90-minute+ content) *GULP!*
Hahaha! You must have heard my throat clear. : )
@@filmcourage I'll watch them do not worry!
I guess it's true. 1. Write correct format. 2. Write a story people want to read/watch.
It's like saying: make an airplane that has engines on the wings, and a fuselage. It's that simple. That's the only two rules for airplanes. Then it's easy. Go ahead.
DE Fiverr I’m glad this comment is here.
Another rule: Tension is the opposite to boredom, so bring on the tension!! (How do you create tension? Well its the moments before the ACTION)
Two screenwriting rules for me: 1) Write the very best first draft you can possibly make; 2) write for your target demographic---not for yourself---if you want to sell anything.
We like those, thanks for posting Dan!
@@filmcourage No problem. Sorry, I was editing to make it readable.
Interesting to hear you point out the target demographic.
@@filmcourage If you're writing for kids, cater to their interests (e.g. comedy), but make it accessible for people of other ages as well. Age isn't the only demographic one can shoot for, of course.
Very best first draft? How about just getting the first draft written! Then take a dozen or so passes through the successive drafts?
His two rules were good but his best advice came at the end. Be nice; a great rule for everyone, every time, in every aspect of your life. A great man once said, “why don’t you knock it off with them negative vibes.” DS aka Oddball
Tell a story and be entertaining. I've seen movies that are entertaining and beautiful but there is no story. I have seen movies that have a story, but it wasn't good or entertaining, it felt like a meeting. My goal is to tell a story the best way I can while being entertaining, and if I'm good at it I can slip a message in as well.
Every line of every dialog is a message.
Yeah got to get the balance right
Best advice ever
Short and to the point. :)
My two rules:. 1. Don't be boring. 2. Be professional.
I love and appreciate what the writing/creating process does for me . The ideas i present i only hope ,that it helps make the process better for everyone in the community whos interested and those we serve.
Thank you for creating and sharing this content. Really helps .thanks
I'm reading a book "747" which is about the plane's development authored by the man who led the project. He said early on "if it does not look right, it won't fly." This apparently was a core principle of aeronautic engineering 90 years ago. Seppala here is saying the same thing, but applied to screenplays.
Go me!
First, once you get it written... set it aside... Don't come back until you have "fresh eyes" to read it.
I have this one for just about every bit of craft, actually. It usually takes about three days... It's amazing what YOU will see in YOUR OWN work after three days completely away from it. Whether you just briefly skim through, or (better) if you pour over every page like it's the first time you've seen it...
With more visual media (painting, leathercraft, or what have you) then it's amazing how it takes on it's own sort of life, after you've given yourself a chance to refresh from it... AND no good having the thing sitting around where you can see it or picking it up everyday... I mean GET AWAY FROM IT... just three days to breathe and break from that.
Obviously, you're not me, so you're results may require a different time. The point is to put it down without any going back or trying to fix anything, no reading or repeating it... just go do ANYTHING else.
Second, and it's come up recently... It makes sense.
"You can't get to a professional level if you've never even SEEN professional level work. Emulate the pro's if you want to be successful. Use them as you're guides."
BIG caveat here. This doesn't mean "copy" anyone. You still have to find your own voice and style. BUT if you've never opened and read a script that ACTUALLY sold... You've already crippled your chances at making up a script that has a chance of selling. You don't know what it looks like... what it reads like... how long it is for the movie you're trying to make... and what came of it... or where the writer's control notes left off, and the director's decisions started taking over the "power to create".
It's worth it to read whatever genre or style of film you plan to get into. Read LOTS from it. Emulate what you find appealing and useful... AND suspiciously experiment with the rest before "trimming out" the useless.
I think it's likely to be a BIG eye opener for aspiring writer-producer-directors to look at the original scripts that sold, and even (if possible) get to some copy of the one with the scribbling and highlighter splattered through it, rewrites stapled to the fringes or folded and tucked between pages... sketches and diagrams of how the stunts should look... lenses, angles, etc... just soak all the information added to this thing before it went from abstract ideals scripted out in a book... to whatever the director thought "is too cool not to add it in"... or whatever.
I'm sure there are at least a couple videos around here about the same thing... This is just one I recently had to argue with someone about, so... it's kind of on the top of my conscious mind. ;o)
This video should end at 1:32 -- points have been very clearly made by then.
You know, I had a feeling I was talking for too long. lol Sorry, it was my first time being interviewed like this.
I’ve submitted my script for the first time. I was called back for a meeting to discuss it. They loved it but.... Told me it was to black. Huh???? It’s 2020 and we still on that? So, rule #1: Don’t write from your life if it doesn’t work with the mainstream.
Mango Steel sounds like the wrong producer more than wrong script
Stuart yeah you might be right.
@@LikeAGentlemanPlease good luck finding the right one :)
Obviously you would want to be the one to actually make a good movie if they think there’s no good movies coming out. Personally, I agree. Movies are not the focus in Hollywood at the moment. I think television shows are where it’s at right now.
I think these are some great rules to go by another interesting interview I haven't Written enough screenplays to have a really valid opinion but i'd say don't make things longer than necessary and try to keep it interesting
Hey question.
Im sure some introduced or presented the idea or vision for it , but .
(Every thought or attempted to use or explore the use of "A.I" artificial intelligence bots for screenwriters producing or sturggling to find affordable and adequate help(AI actor bots) to produce Low & High budget films and productions?
I hope i explained or described this idea comprehensively and simple enough to atleast thi k about .if it has already been on the R&D list of the top player's already. Thank you.
Rule #3 don't suck.
rule 3: everyone is pitching bullshit
What are two screenwriting rules you live by?
1. Don't use 8 words when 4 will do.
2. You only have so much time on this Earth before it's gone: use it to communicate something that will last far, far beyond that short time.
1. Everything must have a payoff or purpose. Don’t waste the paper that tree died to produce.
2. Don’t give people what they think they want, give them what they need. They’ll fill in the blanks.
1.This is just a hobby
2. Hollywood has a lot of good people, you probably won't meet a mobster.
Love these two!
Begin with the end in mind.
Finish the script.
Number one, no one cares what I say about Hollywood, so there's that. Number two, J.J. Abrams will never see my screenplay, or direct one of my screenplays.
(But if you do, sorry about raking you over the coals with the Star Trek reboot...)
4:46 Thats what people who protected people like Weinstein for decades said and ended the careers of countless women and men.
This is so pointless
1. Make your screenplay into a screenplay format
2. Make your screenplay good
Two Rules, 1. watch all the full-length interviews on Film Courage. 2. Watch them again.
Thanks Mac! Those are two great rules to follow ; )
@@filmcourage How many hours does that come to now? It is all substantial and probably relevant to most writers, but there is a time when you just need to write. I know I am a tryout but I would put the rule zero which is to just write whatever even if it is total crap at the very top of the list.
and don't forget to actually write something using all the tips
Okay, don't say out loud when you dislike some works, stay polite but the "don't talk trash" thing is dangerous because: where do we stop to say what we really think? What's the purpose of making a film if we cannot think correctly? Remind that we think in words, we have words in our heads and form thoughs with them. When we block words, we limit ourselves to think.
Dear Writers: Don't listen to this guy, Travis Seppala. People like Travis, who suffer from delusions of grandiosity like to lecture (limit) fertile and creative minds on the "rules" of screenwriting. Travis, and Producers like him, would toss a Coen Brothers script. Write your story, let your characters show you the way, let them speak, let your creative voice shout. Join a writer's group, get notes from honest people who know a thing or two. Get coverage from a credible reader. Do a table read. Make changes. Shoot for a 3-page coverage piece with a Recommend. Then shop the synopsis in the coverage document. That's one way. There are many more. With so many platforms, concurrent Digital and Theatrical release windows, 3-8 episode limited series, etc. the filmmaking world is being rewritten. Help with the rewrite. I'm an Exec Producer, Producer and Writer working in Film and Television.
Objectively speaking, no matter how small or big a town is, you should stand up for what is right. Being critical - not trash talking *but* critical - is a GOOD thing. Otherwise what's the point of being a screenwriter or filmmaker? Money, fame, notoriety? To steal from the great Richard Walters: *"it's all about story."*
Lol Tell that to all of us who watch Joe Rogan in one place for a feature length.
#1. I write shot lists which outline stories instead of scripts (because I don't need to write for anyone else). #2. I trash everyone in my scripts. But it's usually allegorical so usually they don't get it. But it makes me feel better. ;)
Would you please, kind sir, also mention what planet you intend to sell these 'scripts' of yours.
@@souldissolve He doesn't write for anyone else. Probably shoots his own films himself, so his rules can work for him.
This is interesting info! I see no problem to talk about someone's work but manage to encourage to be productive
1:25 in- " I'm not going to sit and watch a movie with two guys talking for an hour and a half". Well I did and it's one of my fav films of all time- " my dinner with Andrea". Each to their own I guess"
Write the darn story and make sure it looks like a script.
Writte a script.
Don't not writte a script.