Knowing which character is which from just their dialogue when you remove their names is such a good idea and something that I definitely need to work on.
30+ years of experience in production here. From my perspective, yes, that is a fairly crucial element of storytelling. If you READ a line on a page with no name attached, and you think "Ohhh my, that's definitely Han Solo" or "that's Anton Chigurh" or whatever... from my perspective, this signals some exemplary work with the words. The worst projects are when any given line could be given to any character in the room, and no difference nor distinction would exist. 🙄
I really enjoy Tarantino’s dialogues even when the intention is to make the conversations sound a bit off of reality ,and I love the Rhythm in Aaron Sorkin’s writing
There was definitely an Aaron Sorkin phase in my life. I even credit 'The Social Network' for improving my English. But ever since 'Steve Jobs', that phase has waned off. It's like a plain attempt to replicate 'The Social Network' and characters just bounce snapy remarks at each other. Also my problem with early Tarantino. Sometimes, the characters feel like dispensers for punchy dialogue than actual characters.
No one is a hundred percent honest, even the one or to the one you trust the most. That much honesty is usually reserved for a climax. That's what's subtext is for. I don't remember where I got this, but I've writing with it ever since.
Probably the hardest thing to nail correctly for me is dialogue. There are many things going on in my mind that makes me wonder what will a character say, so I try to write down a cool line of dialogue, a philosophical musing, or conversation that just sounds normal in the context of the story without it coming off as overly witty, scripted, or stating things outright. Reading Robert McKee’s Story, reading other screenwriting books, and watching videos like these helps me to have better clarification and to actively apply what I’ve learned, so that I can improve as a writer and screenwriter.
You just gave me a great idea. I'm writing a thriller short film full of subtext. I'll first write the dialog like they are saying exactly what they truly mean, and then "cover" it with the real dialog that will be used. Thanks.
iranian movies are stunning at conversations. nearly at every iranian movie, I've felt like I was watching a documentary. It was as if I was witnessing a real event unfolding in front of me. Per requests, here are some that I really liked (except quite known movies such as "a separation", "close-up" etc...): Where Is the Friend's House? (1987), leila (1997), the circle (2000), crimson gold (2003), fireworks wednesday (2006), about elly (2009).... and a hidden gem: "chess of the wind". this movie was filmed at 1976, only screened once because of bad reception, banned after 1979 revolution, original negatives were deemed lost, an original copy found in a junk shop in 2014, restored in 2020 and released by Criterion (who else!) in 2022. it is a stupefying movie. watch it!
This is a complete audiovisual encyclopedia about How to write Dialogue in Movies! Thousand Thanks StudioBinder for this Inspiring video. Best Continuation to come for you StudioBinder.💯💯💯
The dialogue in Silence of the Lambs is incredible, particularly the scenes between Clarisse and Lecter. The first time I saw the actual silence of the lambs conversation, my recollection is that I had to remind myself to breathe. Brilliant writing and, of course, brilliant acting.
12 Angry Man has the best dialogue, I’ve seen, every word matters in that film. You should have included the film, in the video @studiobinder Anyway, compelling video as always.
Just as the more you read, the better your writing will become, the more you listen, the better your dialogue will become. Being an eavesdropper is essential to homing in on realistic speech patterns. There's almost a music to everyone's speech, unique to them. Rhythms, patterns, rising and falling, all are an individual's speech music. And just as with musical instruments, their tone can change. Violins can be soothing and dreamy, or they can shriek like Norman Bates attacking Marion in the shower.
Dramatic writing is rarely equivalent to what reality demonstrates. After 30+ years of acting, writing, directing, editing, and so forth, I've never once encountered ANYTHING that was realistic. And that's a good thing; film & storytelling are about the *illusion* of reality, not actual reality. True reality is extremely messy, confusing, and most people just aren't intelligent enough to converse efficiently. #copium 🐲✨🐲✨🐲✨ "Before I start, I must see my end. Destination known, my mind's journey now begins. Upon my chariot, heart and soul's fate revealed. In time, all points converge; hope's strength, resteeled. But to earn final peace at the universe's endless refrain, we must see all in nothingness... before we start again." 🐲✨🐲✨🐲✨ --Diamond Dragons (series)
It requires years of experience. That, and really understanding the throughlines of every character well, and the B, M, and E of every scene. 🙂 Why are we here? What is at stake? What is being accomplished? If not forward progress, then... what? Knowing the answers to these is pretty important PRIOR to writing content or interactions.
Another great video. I am currently writing revisions for my feature screenplay. I’m a fan of most of the writers mentioned here and am truly grateful for the amount of knowledge delivered in this video. Keep them coming!! Love this channel
It’s a lot to unpack, will there be or is there an article on the subject we can read as well that allows us to take in some of this at our own pace? A very valuable resource either way, not just for filmmakers, i’ve been using these videos to further my understanding of storytelling for my graphic novel (which I see as film on page), it’s the kind of stuff I wished i’d been taught in English classes. The part that resonated with me especially was that viewers will lose empathy the more you try and over explain for convenience, I suppose in doing so you’re in a sense turning a character into more of a narrator than an actual person. This is why I admire the “show don’t tell” technique which I feel is the key to bringing in the reader or watcher to the story as if they are experiencing whatever is going on alongside the characters.
As an aspiring filmmaker, when I write script I review my dialogues countless times because I know that this is what the audience will judge my flicks on
Hello Studio Binder I love you’re content and you’re channel, can you please, do a video about : how to make a great gangster - mafia movies like Coppola , Scorsese…
I just analysed your all videos and count words used. You used word scene nearly 1000 and camera 600 times but music 1860 times! It is so interesting that you are focused on cinematography and talking about scene generally but music still is dominant concept
WOW!!! Lots to unpack but I will try to keep it brief. First, thank you StudioBinder for FANTABULOUS Lesson! Second, I feel dialogue serves a dual purpose: move the story and communicate to the audience. What people sometimes fail at dialogue is to treat the characters like real people. In fact, they are real people within the universe of imagination and they have so many voices and so many feelings that we in this universe convey everyday. One of the best ways of developing dialogue for characters is to listen to how people speak in your life. A school teacher speaks to his/her student in a different tone than a barber to a customer. The interactions are similar but very different. So if your character is a barber and a school teacher and if you listened to such people, interactions and dialogue won't be so jarring. Also, this is an important lesson from Harrison Ford while working on the original trilogy. When George Lucas wrote the dialogue, it was cumbersome and clumsy. Harrison Ford said to Lucas, you can write this stuff but you can't say this stuff. Even Mark Hamill said, "George, please change this line, no one talks like this!" As briefly touched on in the video, a table read brings the dialogue to life. Although the writer has noted how a character talks and the "tonality", it is the actors who bring it to life and in many cases, add something to the dialogue to make it vibrant. In many projects, actors add their notes and opinions to dialogue that should be considered serious and not dismissed out of hand. Well, I shall stop here, I ran over a bit, but this is a great video. Thank you and have safe and blessed day.
Great video. I also think sometimes a tone of privilege seeps into dialogue. Whenever I detect it while watching a movie it kind of takes me out of the movie whenever the movie isnt about privilege. For that reason I also think dialogue has to convey sincere emotion. I think more and more modern audiences are detecting this in movies and shows. Its another reason why diversity and collaboration is very important in the filmmaking process.
A movie that comes to mind whose success in keeping the audience's attention almost exclusively through dialog is "Locke". I never thought a movie with one person carrying the entire movie and taking place in a car over several hours would be intriguing enough to keep my interest. But Tom Hardy as Locke blew me away!!!
The "dia" in "dialogue" actially comes from the Greek root "di" meaning "two"- as in two people are talking. Compare this with the word "monologue", which has the Greek-based prefix "mono" meaning "one"- as in one person is talking.
@Studiobinder - Suggestion here. Having consumed zero media surrounding the film.. that one short scene from Longlegs @ 1:41 caught me so off guard & intrigued that in itself has practically served the purpose of a traditional trailer. Every aspect across the board is absolute tonal perfection here.. so other than the obvious answers could you help us understand… What Makes an Effective Trailer?
3:07 Yes, but actually no, or at least not fully. It's shocking how similar people can speak according to culture, social group and inspiration. We learn to talk with people around us after all. But i get that on paper is crucial for the reader to know who's who.
There's a scene in Hurricane Heist where the two groups of bad guys meet. The leader of one group is confronting the leader of the other and is yelling exposition to him. The other guy responds with "Why are you telling me that?! I was there!"
i always write dialogues as if my charecters are saying it. But sometimes, i just even change my story, including charecters just because they dont satisfy me. it feels off. I think, dialogues (and charecters who say it in which way they say it) are what that makes a film great, before the plot.
Asking if she's interested in returning...Here's a possible scene. "Oh, Arrrrrchie. You can date another woman. I won't mind. And if you'll remember our wedding vows said, 'til death do us part.' (Archie's expression says, 'I hadn't thought of that.") and cue the canned laughter.
When writing dialogues, how can we tell if the writings are not chunky. Sometimes it make sense to speak naturally, but others don’t understand it. For example, George Lucas wrote expositions or chunky dialogues in Star Wars films (especially in Episode II where Anakin confesses his love to Padmé). The monologue sounds simple, but easy to understand for me. Other complains that this needs more “hidden” lines that don’t need on the nose or that needs to rewrite naturally. I can definitely relate to him. What do you think?
It's difficult, for sure. And subjective - what you think is effective dialogue might come off as clunky to a reader. This is especially true when you're the writer because it makes sense in your head but somehow it's not coming across on the page. Definitely read your dialogue out loud because it does take on a new life as "spoken words" and not just "words on a page." Have other people read it too. And, less is more when it comes to dialogue - when in doubt, remove some words and let the actor fill in the rest with their performance.
One suggestion commonly given - make it simple if everything else is complex, add complexity if things overall are simple. Big scale events in the story - specifics like dialogue can be made simple. If the overall plot is simple, daily life stuff - can look for more layering and complexity in dialogue. Not always applicable, but possibly will often work
Where the bulk of writers go wrong is providing too much exposition. They assume that the audience is too daft to understand without being told. There should be somebody on TH-cam who rips the exposition out of otherwise decent films, and posts the clean versions.🥰
I disagree. Unfortunately, the average moviegoer or "reader" of 202x is barely capable of comprehending even the most rudimentary aspects of dramatic structure, character archetypes, thematic underpinnings, etc. "Blade Runner 2049" (Villaneuve's direction) is an excellent example; most viewers were lost. 🙄 It's embarrassing. And that film was almost a decade ago, IIRC.
Stop writing monologues about small things and copying your idols. Then, mix it with action and get on with your plot. There: you're already better than 80% of the writers out there. Also, 17:45 - Midnight Run (1988) did this dialogue scene first.
Dialogue is SO key to a good movie. Would Deadpool have been as good w/o Reynolds snappy witisms? No. The interesting thing is, in a age where conversation is dying and people aren't connecting or talking as much/ or at all?/ how will the movies reflect that and how will it affect them for enjoyment. Are young people going to care about dialogue? This is a very interesting angle of thought. All is lost is epic simply for the fact that there is NO dialogue?! I personally Love Quientens movies and they DO focus on that- but I'm 54 so that isn't saying anything. I think young people will probably kill all of the things that movies used to be, b/c they can't tolerate anything racey or avantgarde w/o getting offended. I feel sad for them- they only want everyone to be the exact same, they are killing all of the things that make us unique and different so as to be easily digestible. River Rocks, that's all we produce in this country now= river rocks. The edges of us are what define us and make us unique, I'm glad I kept mine and feel sorry that they ostracize anyone who doesn't want to be sanded down. Generation Stepford.
Just a QUITE important difference about writhing. One thing is Writing a screenplay. Another thing is writhing a Book or any other type of literature. Just a hint.
@@Music-or1dl You can study David Mamet's dialogue for 10000 hours, you'll never be able to write like David Mamet, unless you are already good at it yourself. And lay off that Freud nonsense. Not everybody who says something of controversy "projects" something.
@@user-cq5sg9cb4t No not everyone, just you ;) Also, you shouldn't be aiming to write like others. You take what's useful and apply it to your own unique style. This won't be achieved overnight but with enough practice it can be done. Your "talent-only" outlook is simply loser talk and should be kept to yourself.
@@Music-or1dl thanks for the insight, Billy Wilder, but that "unique style" that you're talking about is exactly "the talent" that I'm talking about. You can't develop "unique style". You either have right from the get go (even if it's still underdeveloped and uncooked) or you don't. If you do, you can reveal it further, grow and get better, but if you don't, you can only continue on wasting your time deluding yourself that you can in fact write dialogue.
@@user-cq5sg9cb4t A unique style isn't talent tho... I feel like you're just moving the goal posts now but you know what, we''ll agree to disagree. You believe what you want and I'll believe what I want. So far my outlook has benefit me so I'll continue about my business and I'm sure yours will continue to help you. Adios.
@@StudioBinder I was thinking I was a computer with control over a nations entire nuclear arsenal, but if you prefer I could be a creepy doll riding a tricycle.
Knowing which character is which from just their dialogue when you remove their names is such a good idea and something that I definitely need to work on.
30+ years of experience in production here. From my perspective, yes, that is a fairly crucial element of storytelling. If you READ a line on a page with no name attached, and you think "Ohhh my, that's definitely Han Solo" or "that's Anton Chigurh" or whatever... from my perspective, this signals some exemplary work with the words.
The worst projects are when any given line could be given to any character in the room, and no difference nor distinction would exist. 🙄
I really enjoy Tarantino’s dialogues even when the intention is to make the conversations sound a bit off of reality ,and I love the Rhythm in Aaron Sorkin’s writing
There was definitely an Aaron Sorkin phase in my life. I even credit 'The Social Network' for improving my English.
But ever since 'Steve Jobs', that phase has waned off. It's like a plain attempt to replicate 'The Social Network' and characters just bounce snapy remarks at each other.
Also my problem with early Tarantino. Sometimes, the characters feel like dispensers for punchy dialogue than actual characters.
Those two guys in particular really take the art of dialogue seriously.
I think "why am I Mr. Pink" was better than the diner scene.
No one is a hundred percent honest, even the one or to the one you trust the most. That much honesty is usually reserved for a climax. That's what's subtext is for.
I don't remember where I got this, but I've writing with it ever since.
That's a great point!
A writer once told me "Only lunatics say exactly what they mean".
This is amazing advice
@@nigelgould-davies6950 When people are extremely angry they say truth (i.e.exacly what they mean).So they are lunatics when they are angry. maybe.
@@nigelgould-davies6950and autists 😉
Probably the hardest thing to nail correctly for me is dialogue. There are many things going on in my mind that makes me wonder what will a character say, so I try to write down a cool line of dialogue, a philosophical musing, or conversation that just sounds normal in the context of the story without it coming off as overly witty, scripted, or stating things outright.
Reading Robert McKee’s Story, reading other screenwriting books, and watching videos like these helps me to have better clarification and to actively apply what I’ve learned, so that I can improve as a writer and screenwriter.
It's the toughest part and a separate skill from just writing the plot. Have you checked out McKee's "Dialogue" book yet? It's great.
@@StudioBinder no I haven’t, but I’d like to eventually.
You just gave me a great idea. I'm writing a thriller short film full of subtext.
I'll first write the dialog like they are saying exactly what they truly mean, and then "cover" it with the real dialog that will be used. Thanks.
The characters draw us in but the dialogue keeps us glued there
Thanks Studio Binder crew
That's a great line!
Characterization, Dynamics, Motivation, and Rhythm is what makes great dialogue. Thank you, StudioBinder.
Thanks for watching!
iranian movies are stunning at conversations. nearly at every iranian movie, I've felt like I was watching a documentary. It was as if I was witnessing a real event unfolding in front of me.
Per requests, here are some that I really liked (except quite known movies such as "a separation", "close-up" etc...): Where Is the Friend's House? (1987), leila (1997), the circle (2000), crimson gold (2003), fireworks wednesday (2006), about elly (2009).... and a hidden gem: "chess of the wind". this movie was filmed at 1976, only screened once because of bad reception, banned after 1979 revolution, original negatives were deemed lost, an original copy found in a junk shop in 2014, restored in 2020 and released by Criterion (who else!) in 2022. it is a stupefying movie. watch it!
could you recomend some? id love to watch them
Yeah, share some examples!
This is a complete audiovisual encyclopedia about How to write Dialogue in Movies! Thousand Thanks StudioBinder for this Inspiring video. Best Continuation to come for you StudioBinder.💯💯💯
You're very welcome!
I like the way you've put it.... "audiovisual encyclopedia".
If you want conversations to sound "real", 50% of the dialogue should be "wait, what?", "what did you say?", "I wasn't listening, what?".😉
The dialogue in Silence of the Lambs is incredible, particularly the scenes between Clarisse and Lecter. The first time I saw the actual silence of the lambs conversation, my recollection is that I had to remind myself to breathe. Brilliant writing and, of course, brilliant acting.
Direction, sound, editing, and many other factors contribute to that feeling as well.
12 Angry Man has the best dialogue, I’ve seen, every word matters in that film.
You should have included the film, in the video @studiobinder
Anyway, compelling video as always.
Just as the more you read, the better your writing will become, the more you listen, the better your dialogue will become. Being an eavesdropper is essential to homing in on realistic speech patterns. There's almost a music to everyone's speech, unique to them. Rhythms, patterns, rising and falling, all are an individual's speech music. And just as with musical instruments, their tone can change. Violins can be soothing and dreamy, or they can shriek like Norman Bates attacking Marion in the shower.
Dramatic writing is rarely equivalent to what reality demonstrates. After 30+ years of acting, writing, directing, editing, and so forth, I've never once encountered ANYTHING that was realistic. And that's a good thing; film & storytelling are about the *illusion* of reality, not actual reality. True reality is extremely messy, confusing, and most people just aren't intelligent enough to converse efficiently. #copium
🐲✨🐲✨🐲✨
"Before I start, I must see my end. Destination known, my mind's journey now begins. Upon my chariot, heart and soul's fate revealed. In time, all points converge; hope's strength, resteeled. But to earn final peace at the universe's endless refrain, we must see all in nothingness... before we start again."
🐲✨🐲✨🐲✨
--Diamond Dragons (series)
I really appreciate your channel, been learning about film making through you for years, next year I’ll be making my first short films 🎉
FINALLY!!!!! I’ve had so much trouble writing dialogue lately
It requires years of experience. That, and really understanding the throughlines of every character well, and the B, M, and E of every scene. 🙂 Why are we here? What is at stake? What is being accomplished? If not forward progress, then... what? Knowing the answers to these is pretty important PRIOR to writing content or interactions.
This is exactly what Ive been having problem with in my script, thank you so much for covering Dialogue! Stellar video as always
You're very welcome!
“Hes got space dementia” almost made me spit out my tea
Another great video. I am currently writing revisions for my feature screenplay. I’m a fan of most of the writers mentioned here and am truly grateful for the amount of knowledge delivered in this video. Keep them coming!! Love this channel
Keep these coming. Love them all.
Especially this narrator.
Will do!
thank u so much . u heard my suggestion .love u studiobinder . was waiting for this
Most welcome 😊
It’s a lot to unpack, will there be or is there an article on the subject we can read as well that allows us to take in some of this at our own pace? A very valuable resource either way, not just for filmmakers, i’ve been using these videos to further my understanding of storytelling for my graphic novel (which I see as film on page), it’s the kind of stuff I wished i’d been taught in English classes.
The part that resonated with me especially was that viewers will lose empathy the more you try and over explain for convenience, I suppose in doing so you’re in a sense turning a character into more of a narrator than an actual person. This is why I admire the “show don’t tell” technique which I feel is the key to bringing in the reader or watcher to the story as if they are experiencing whatever is going on alongside the characters.
Sorkin's work in The Social Network, is of the highest lexical quality. It's so smooth to hear and great readability.
As an aspiring filmmaker, when I write script I review my dialogues countless times because I know that this is what the audience will judge my flicks on
That's a good idea! And get the actors' feedback as well.
As a huge Admirer of Satyajit Ray and an Aspiring film maker who is about to start in a few weeks, thanks for the quality content!
Hello Studio Binder I love you’re content and you’re channel, can you please, do a video about : how to make a great gangster - mafia movies like Coppola , Scorsese…
You're my Guru Sir ♥️♥️♥️
Love from Odisha, India ♥️♥️♥️
❤
Commenting for the algorythm... I wish one day this videos get to my students at film school LOL
Great knowledgeble video...and What a DIALOGUE Delivery by a narrator! Thanks Studiobinder Team
I just analysed your all videos and count words used. You used word scene nearly 1000 and camera 600 times but music 1860 times! It is so interesting that you are focused on cinematography and talking about scene generally but music still is dominant concept
Alfonso Cuaron would agree. As an editor, I guess me too.
@@AnessaSellsHouses as an amateur ı would expect scene or shot to be dominant :(
That's very interesting. 🤔
Thank you Studio Binder. Your videos are stories unto themselves. Beautifully edited and narrated.
Thaaaaaanks for this video. Was waiting for this!
Me too. I like this topic 'dialogue'.
This video made a tough topic much easier to understand!
I've used you to get into L.a is such a devastating line of dialogue full of compulsion by mr.driver
WOW!!! Lots to unpack but I will try to keep it brief. First, thank you StudioBinder for FANTABULOUS Lesson! Second, I feel dialogue serves a dual purpose: move the story and communicate to the audience. What people sometimes fail at dialogue is to treat the characters like real people. In fact, they are real people within the universe of imagination and they have so many voices and so many feelings that we in this universe convey everyday. One of the best ways of developing dialogue for characters is to listen to how people speak in your life. A school teacher speaks to his/her student in a different tone than a barber to a customer. The interactions are similar but very different. So if your character is a barber and a school teacher and if you listened to such people, interactions and dialogue won't be so jarring. Also, this is an important lesson from Harrison Ford while working on the original trilogy. When George Lucas wrote the dialogue, it was cumbersome and clumsy. Harrison Ford said to Lucas, you can write this stuff but you can't say this stuff. Even Mark Hamill said, "George, please change this line, no one talks like this!" As briefly touched on in the video, a table read brings the dialogue to life. Although the writer has noted how a character talks and the "tonality", it is the actors who bring it to life and in many cases, add something to the dialogue to make it vibrant. In many projects, actors add their notes and opinions to dialogue that should be considered serious and not dismissed out of hand. Well, I shall stop here, I ran over a bit, but this is a great video. Thank you and have safe and blessed day.
Thanks for all of that! Some great insights and tips.
I love Studiobinder and everybody behind ❤👑
Love you too!
Great video. I also think sometimes a tone of privilege seeps into dialogue. Whenever I detect it while watching a movie it kind of takes me out of the movie whenever the movie isnt about privilege. For that reason I also think dialogue has to convey sincere emotion. I think more and more modern audiences are detecting this in movies and shows. Its another reason why diversity and collaboration is very important in the filmmaking process.
Interesting. Audiences are definitely finely tuned to the emotional quality of acting and dialogue.
Another style of writing is from David Mamet. Also known as Mamet speak, very literal, and fast pace.
A movie that comes to mind whose success in keeping the audience's attention almost exclusively through dialog is "Locke". I never thought a movie with one person carrying the entire movie and taking place in a car over several hours would be intriguing enough to keep my interest. But Tom Hardy as Locke blew me away!!!
Wow what a great materia/tutoriall! love it so much! one of your best videos 😍
The "dia" in "dialogue" actially comes from the Greek root "di" meaning "two"- as in two people are talking.
Compare this with the word "monologue", which has the Greek-based prefix "mono" meaning "one"- as in one person is talking.
This was very well timed. Thank you Studio Binder!
Glad it was helpful!
Thanks for this video
Tarantino and Woody Allen are some of the best examples🙌
No doubt!
Can you please make a video on how to write a best and unique conflict between 2 groups?
thank you for the video studio binder. can you please make a video on 'SUBTEXT' and 'SYMBOLISM' too.
Symbolism is on the list but we already got you covered for subtext: th-cam.com/video/wrR8ggeD4h4/w-d-xo.htmlsi=vNhqOeklWp70fPiW
Shut up! I love the craft of Screenwriting! It's so eye opening!
Another one, thanks studio binder❤
Glad you like them!
Can you please make a video on the directing styles of Greta Gerwig... please 🙏🙏
Btw..... Your videos are great❤❤❤❤keep it up
@Studiobinder - Suggestion here.
Having consumed zero media surrounding the film.. that one short scene from Longlegs @ 1:41 caught me so off guard & intrigued that in itself has practically served the purpose of a traditional trailer. Every aspect across the board is absolute tonal perfection here.. so other than the obvious answers could you help us understand… What Makes an Effective Trailer?
15:21 The Room JUMP SCARE 😂😂
I need more videos like this.
More to come!
StudioBinder, could you make a What Is video on drama films? I’m trying to define my story and I’m a little loss on the genre.
“He’s got space dementia.” 1:57
I hope theres an upcoming video solely about exposition and how to do it right.
"As you all know..."
Quentin Tarantino is the one who deserves to be in the thumbnail ❤💯
He's certainly in the Top 5!
3:07 Yes, but actually no, or at least not fully. It's shocking how similar people can speak according to culture, social group and inspiration. We learn to talk with people around us after all.
But i get that on paper is crucial for the reader to know who's who.
Great dialogue
Diablo Cody
Pick one.
Great video.
Thank you 🙏...
By: Jan Diada😔
Im creating bad dialogue for the good people
Beauty. Just beauty.
Thanks!!!
Please make a video about how to make trailers!
There's a scene in Hurricane Heist where the two groups of bad guys meet. The leader of one group is confronting the leader of the other and is yelling exposition to him. The other guy responds with "Why are you telling me that?! I was there!"
i always write dialogues as if my charecters are saying it. But sometimes, i just even change my story, including charecters just because they dont satisfy me. it feels off.
I think, dialogues (and charecters who say it in which way they say it) are what that makes a film great, before the plot.
That's true, even if you have your plot set, dialogue can change the tone and direction of the scene/plot very easily.
I did not expect to see Billy Madison in a discussion about cinematic dialogue.
Superb video
Thank you so much 😀
Great voiceover , what is the name of the voiceover narrator, please?
Please make a video about park chan wook and his direction style
Thank you 🎉
You’re welcome 😊
Is there anyway Studiobinder can make a video about writing a love triangle? If all possible.
Asking if she's interested in returning...Here's a possible scene. "Oh, Arrrrrchie. You can date another woman. I won't mind. And if you'll remember our wedding vows said, 'til death do us part.' (Archie's expression says, 'I hadn't thought of that.") and cue the canned laughter.
When writing dialogues, how can we tell if the writings are not chunky. Sometimes it make sense to speak naturally, but others don’t understand it. For example, George Lucas wrote expositions or chunky dialogues in Star Wars films (especially in Episode II where Anakin confesses his love to Padmé). The monologue sounds simple, but easy to understand for me. Other complains that this needs more “hidden” lines that don’t need on the nose or that needs to rewrite naturally. I can definitely relate to him. What do you think?
It's difficult, for sure. And subjective - what you think is effective dialogue might come off as clunky to a reader. This is especially true when you're the writer because it makes sense in your head but somehow it's not coming across on the page. Definitely read your dialogue out loud because it does take on a new life as "spoken words" and not just "words on a page." Have other people read it too. And, less is more when it comes to dialogue - when in doubt, remove some words and let the actor fill in the rest with their performance.
One suggestion commonly given - make it simple if everything else is complex, add complexity if things overall are simple. Big scale events in the story - specifics like dialogue can be made simple. If the overall plot is simple, daily life stuff - can look for more layering and complexity in dialogue.
Not always applicable, but possibly will often work
Where the bulk of writers go wrong is providing too much exposition. They assume that the audience is too daft to understand without being told. There should be somebody on TH-cam who rips the exposition out of otherwise decent films, and posts the clean versions.🥰
I disagree. Unfortunately, the average moviegoer or "reader" of 202x is barely capable of comprehending even the most rudimentary aspects of dramatic structure, character archetypes, thematic underpinnings, etc. "Blade Runner 2049" (Villaneuve's direction) is an excellent example; most viewers were lost. 🙄 It's embarrassing. And that film was almost a decade ago, IIRC.
Stop writing monologues about small things and copying your idols. Then, mix it with action and get on with your plot. There: you're already better than 80% of the writers out there.
Also, 17:45 - Midnight Run (1988) did this dialogue scene first.
You should do a video on uses of pathetic fallacy.
woody allen dialoges are good too
Finally! Someone calls out the horrible BigHero6 exposition!
We can't say we're the first but that line is a pretty rough.
I find it hard to beat American Psycho for an opening that establishes the sense of a character --albeit monologue, not dialogue.
Godfather I. In 5 minutes you know exactly who the Don is.
Dialogue is SO key to a good movie. Would Deadpool have been as good w/o Reynolds snappy witisms? No. The interesting thing is, in a age where conversation is dying and people aren't connecting or talking as much/ or at all?/ how will the movies reflect that and how will it affect them for enjoyment. Are young people going to care about dialogue? This is a very interesting angle of thought. All is lost is epic simply for the fact that there is NO dialogue?! I personally Love Quientens movies and they DO focus on that- but I'm 54 so that isn't saying anything. I think young people will probably kill all of the things that movies used to be, b/c they can't tolerate anything racey or avantgarde w/o getting offended. I feel sad for them- they only want everyone to be the exact same, they are killing all of the things that make us unique and different so as to be easily digestible. River Rocks, that's all we produce in this country now= river rocks. The edges of us are what define us and make us unique, I'm glad I kept mine and feel sorry that they ostracize anyone who doesn't want to be sanded down. Generation Stepford.
Just a QUITE important difference about writhing. One thing is Writing a screenplay. Another thing is writhing a Book or any other type of literature. Just a hint.
Spoiler, you can't write good dialogue unless you have the ear, the talent for it. That's it. Thank you for watching, like and subscribe.
Incorrect, please don’t project. Like many skills, it can be learnt.
@@Music-or1dl You can study David Mamet's dialogue for 10000 hours, you'll never be able to write like David Mamet, unless you are already good at it yourself. And lay off that Freud nonsense. Not everybody who says something of controversy "projects" something.
@@user-cq5sg9cb4t No not everyone, just you ;)
Also, you shouldn't be aiming to write like others. You take what's useful and apply it to your own unique style. This won't be achieved overnight but with enough practice it can be done. Your "talent-only" outlook is simply loser talk and should be kept to yourself.
@@Music-or1dl thanks for the insight, Billy Wilder, but that "unique style" that you're talking about is exactly "the talent" that I'm talking about. You can't develop "unique style". You either have right from the get go (even if it's still underdeveloped and uncooked) or you don't. If you do, you can reveal it further, grow and get better, but if you don't, you can only continue on wasting your time deluding yourself that you can in fact write dialogue.
@@user-cq5sg9cb4t A unique style isn't talent tho... I feel like you're just moving the goal posts now but you know what, we''ll agree to disagree. You believe what you want and I'll believe what I want. So far my outlook has benefit me so I'll continue about my business and I'm sure yours will continue to help you. Adios.
The "what kind of American are you" scene was really the whole movie Civil War in a scene.
Everything around that scene is just dressing.
I love this man's voice
💯
Waiting for 10th and last Tarantino film
Same!
Best dialogue in a movie?
Clerks by Kevin Smith
Aww this looks cute. Like Friday the 13th.
Should I have expected The Room @15:21 to be in a video about how to write Great Dialogue? 😅
Definitely.
Narrator reminds me of the Umbrella Academy 😮
He's the best!
Great shlt! keep it coming
wow, a video about dialogue. no subtitle.
They should be working now.
Nobody writes conversations better than Trantino.
What shot to take when the unexpected happens.....?
activen los sutbtitulos de este video plz
They should be working now.
I bet he didn’t even read one single full ton.
❤❤❤
If you are talking about rhythm of the dialogue, I'm surprised that you didn't mention David Lynch films
Good stuff but so many of these video's don't ever give you genuine tips to write good dialogue!
The most annoying thing about dialogue in movies is how they call characters by their first and last name almost all the time. Very unrealistic
👍🏻
One of the things im most concerned about not sucking at.
Well said! Keep writing and you won't be concerned for long.
Someone forward this to George Lucas please
Mamet is great!
Do you want to play a game?
Depends. Are you a creepy doll riding a tricycle?
@@StudioBinder I was thinking I was a computer with control over a nations entire nuclear arsenal, but if you prefer I could be a creepy doll riding a tricycle.