I’ve watched everything on you tube. I’ve read all the screenwriting books ( like AG says none of them are really useful) and I’m a professional in the Industry (not in writing) and this channel stands alone. Brilliant brilliant insights. I could listen to Andy all day long with the way he thinks and talks about storytelling. I actually feel like I’ve been doing a film course with this series. I wish there was more! I’ll now go back and watch them all again. Gold. Just gold.
Thank you for these videos, Andy! Really enjoying your work. Appreciate you reminding me about Allen's "Crimes & Misdemeanors". Had a different thought about the issue of Landau character's "guilt" and "confession": what if the question he's trying to answer is about the very nature of sin and guilt? What if he's trying to figure out why he doesn't feel guilty about such a heinous crime? If he feels no guilt, and there have only been positive outcomes for him... perhaps he's telling a total stranger about it to get an "everyman ethic" perspective. Allen's character expresses "but he has to carry it around/ how could he live with himself" issues - and is Landau DOESN'T have those issues! His sin has NO consequences for him. Crime has actually, literally PAID in his case. Like a King smiting a troublesome adversary, expanding his empire , and being lauded. It goes beyond feelings of guilt. It strikes at the very question of justice and morality in the world. Very Woody Allen. Cheers, amigo! Salutations from a fellow traveler in the Valley of Saint Fernand!
Yeah, adapting a novel to the screen is in some ways harder than just writing an original screenplay. But best of luck with it, and I hope the series is helping.
Thank you! 44:40 Ricky Jarveis is a very interesting actor. And after his performance at the Golden Globes, everyone knows him now. I saw his show "After Life." It has high ratings on imdb, but I'm pretty sure the reason for the high ratings is respect for him as a person and the sincerity of the show itself, not the quality of the work done. I was very sad to give it a low rating. Anyway... Maybe you'd be interested in not only analyzing examples of how to write a good script, but also analyzing failed attempts. Sometimes I realize that scenes don't work, but I don't immediately understand why. I'm a beginner. I think failed examples can teach people a lot too.
@@jimjo8541 Not a bad thought, but I'm not big on trashing other peoples' work online. I've done enough lousy TV to not want to do that to anyone else (The last CURB YOUR ENTHUSIASM) has a quick HERMAN'S HEAD joke, a show I created).
@@TheGoDraft See? Like a Wise Uncle. You masterfully exemplified the point in the episode you mentioned a couple young actors improvising the "you're-kinda-cute-without-the-glasses" scene, from one of your shows. Or in the ending and final scene of "Leave the World Behind" (totally agree, though I hint at what they tried to resonate with: something so mundane can be so important for some folks -- but again, so what?), or when you explained 'holding up information' using "Lost in Translation" -- "barely a script". Speaking of which... Have you seen/ read "Nightcrawler"? I suppose you'd have a word or two on the matter ;)
as someone just starting out in screenwriting, this lesson is hugely helpful with such great insight. I have what i need to go back and rewrite my subtext between my two characters. I’ll be watching your other episodes too ! Thank you Andy !!
I've tried to write subtext before, but it comes across as text. Any rules of thumbs to make it do its job? Do you have to provide something like a map key? Clues for the audience. Obviously you have given some (like the ex-wife on a trip with her lover) - but do you have any more tips what the proper set-up should be? Thanks!!
@@themightymattp Start with reality. How do YOU and others you know show your truth without saying it? Try acting out the scenes, so you can feel how awkwardly and stilted scenes play when they're written without subtext. It may also help to take an acting class, which will help you get in touch with your character's inner truth.
@@TheGoDraft I have taken acting classes, which is great advice. It is riveting when actors act in opposition to what is spoken, or incongruent to it. I would say inner truth is revealed in body language, voice and in the eyes. It's like the great actors use dialogue to paint a picture that only they can see instead of stating the words' obvious meaning - and by doing so it activates their physicality and inner life. But it seems like for subtext to work, the audience needs to "know" the character. I would think the writer needs to setup the subtext by informing, suggesting, or showing the audience what the character wants (what would make them happy or solve their problem) and then impede that achievement with inner & outer obstacles. Then write actions that contradict/contrast or be incongruent to the dialogue. The actions speak the truth, not the dialogue. Too actorly?
@@themightymattp I humbling suggest: you might look at GlenGary GlenRoss. Lot's of subtext. From every single well drawn character. Lemmon's character (groveling desperation (he never says he's desperate) .. with Spacey's character...(in my opinion he's a rule follower bureaucrat... policy follower- which he say's it "I'm given policy" ...but subtext is he thinks Lemmon's character is groveling... and Spacey's character enjoys see Lemmon's at this level- begging- desperate...
Mahalo for sharing your insight of your personal story with us. Subtext is key in writing and as an actor, I'm unearthing and mining the pathology of the characters to feed my character's behavior. love your series.
I love this series and I really like the film examples you include. Would you ever do an episode where you look at the actual scripts rather than what made it on film?
It's a great idea. The tricky part is finding a genuine draft of the screenwriter's reading script and/or the shooting script. Anything else is not helpful. But I'll look into it.
Thank you so much for this amazing content. I would love to see a video on your personal general workflow for writing a screenplay from start to finish. Thanks
I'd love to see your take on Joseph Campbell's heros journey. The 17 steps not the condensed 12 or 8. I FEEL like i have firm grasp on it, but I'm sure you'd shed more light on the subject.
Well, as I've stated, I'm not a big believer in formulas, and Campbell's dissection of story is the ultimate formula. It's ruined more storytellers than it's helped, by encouraging them to try to force their stories into his paradigm. No doubt he's correct most of the time, but I never advise anyone to try to START writing using his template. It's a surefire way to make your story forced and formulaic.
@@TheGoDraft Thanks for your response. I absolutely see where you're coming from. At the same time, it is undeniable that there's an ordinary day, a call to adventure, and so on an so forth.
Gold as always. I can't tell you how helpful your content is. Maybe a silly question, but shoukd characters say what they mean, or should it really be all subtext. Does that generally equate to a better script, when done well of course. Thank you
No, scenes don't always have to be subtextual, but the moments when the characters have clarity about why they're doing what they're doing should be rare and at key moments, often at or near the climax of the story.
The phrase "breaking a story" just means getting the story right, so you know what the basic beats are going to be. Almost always broken down into 3 acts, often with more specificity than that, with all the major moves laid out. S it can "look" like anything: index cards on a corkboard, using the outlining functions on Final Draft, organizing the story beats on a whiteboard, scribbles on a legal pad, whatever helps you "see" the story laid out before you start writing. Hope that helps a little.
Hi. Thank you for the episode. Just a thought after the episode. What if I want to use the subtext to be funny in a comedy but also meaningful, is there anything I need to pay attention to?
Act it out and see if it feels truthful. If you can, get some friends (preferably with some acting experience) to table read the script when it's close to being "done."
Should a writer finish their draft then go back to add in subtext or is it something you think about from the start and put into your draft as you write?
Robert Duvall said that Wilford Brimley said that the worst thing for an old man is an old woman. But Wilford also liked animal fights and so obviously had a cruel streak in his wiring.
Great video. Also to the point of it being fun for a dramatist for expose a character's hidden agenda -- would you say alternatively it can be fun to have an agenda and find a way to aptly hide it in a character??
Brother, what do you consider a success in the industry today? 1. Budget: $10M; Revenue: $10M+ 2. Budget: $10M; Revenue: $20M 3. Budget: $10M; Revenue: $100M+
So, the minimum ratio is 2 to 2.5 just to break even. I meant that if a studio chooses to film screenplay A rather than B, C, or D, it is also aware of the missed opportunity in B, C, and D. So, what's a reasonable revenue to justify that decision? (1x, 2x, or 10x of the breakeven point)@@TheGoDraft
Andy you have the best channel on TH-cam thank you for your wisdom.
Kind words. Thanks for watching.
I’ve watched everything on you tube. I’ve read all the screenwriting books ( like AG says none of them are really useful) and I’m a professional in the Industry (not in writing) and this channel stands alone. Brilliant brilliant insights. I could listen to Andy all day long with the way he thinks and talks about storytelling. I actually feel like I’ve been doing a film course with this series. I wish there was more! I’ll now go back and watch them all again. Gold. Just gold.
Thanks for the kind words.
Loved this series. Glad to know it’s not over.
Thanks. And no, I'll keep doing them as long as I'm upright.
@@TheGoDraft Thanks Andy! That's good to know. I went to the top film school in the UK, but you're series is the best teaching I've had.
Thank you for these videos, Andy! Really enjoying your work. Appreciate you reminding me about Allen's "Crimes & Misdemeanors". Had a different thought about the issue of Landau character's "guilt" and "confession": what if the question he's trying to answer is about the very nature of sin and guilt? What if he's trying to figure out why he doesn't feel guilty about such a heinous crime? If he feels no guilt, and there have only been positive outcomes for him... perhaps he's telling a total stranger about it to get an "everyman ethic" perspective. Allen's character expresses "but he has to carry it around/ how could he live with himself" issues - and is Landau DOESN'T have those issues! His sin has NO consequences for him. Crime has actually, literally PAID in his case. Like a King smiting a troublesome adversary, expanding his empire , and being lauded. It goes beyond feelings of guilt. It strikes at the very question of justice and morality in the world. Very Woody Allen. Cheers, amigo! Salutations from a fellow traveler in the Valley of Saint Fernand!
Your interpretation is every bit as legitimate as mine, or anyone's. That's one reason why it's an important movie.
I'm revising my novel and you've shown me that DAMN I have a long way to go. And I thank you, Andy, for handing me the mirror.
Yeah, adapting a novel to the screen is in some ways harder than just writing an original screenplay. But best of luck with it, and I hope the series is helping.
Thank You. That was very educational and opened my eyes in other ways for screenwriting.
Glad it's helping. Thanks for watching.
Incredible episode.😊
Kind words. Two to be precise. Thanks!
Great epidose, as usual. Im eager for the next one!
Thanks. Glad you're enjoying it.
Thank you!
44:40 Ricky Jarveis is a very interesting actor. And after his performance at the Golden Globes, everyone knows him now.
I saw his show "After Life." It has high ratings on imdb, but I'm pretty sure the reason for the high ratings is respect for him as a person and the sincerity of the show itself, not the quality of the work done. I was very sad to give it a low rating.
Anyway... Maybe you'd be interested in not only analyzing examples of how to write a good script, but also analyzing failed attempts. Sometimes I realize that scenes don't work, but I don't immediately understand why. I'm a beginner. I think failed examples can teach people a lot too.
I’d love to also see some bad examples. That way I can see how to avoid writing like that!
@@jimjo8541 Not a bad thought, but I'm not big on trashing other peoples' work online. I've done enough lousy TV to not want to do that to anyone else (The last CURB YOUR ENTHUSIASM) has a quick HERMAN'S HEAD joke, a show I created).
@@TheGoDraft See? Like a Wise Uncle. You masterfully exemplified the point in the episode you mentioned a couple young actors improvising the "you're-kinda-cute-without-the-glasses" scene, from one of your shows. Or in the ending and final scene of "Leave the World Behind" (totally agree, though I hint at what they tried to resonate with: something so mundane can be so important for some folks -- but again, so what?), or when you explained 'holding up information' using "Lost in Translation" -- "barely a script". Speaking of which... Have you seen/ read "Nightcrawler"? I suppose you'd have a word or two on the matter ;)
as someone just starting out in screenwriting, this lesson is hugely helpful with such great insight. I have what i need to go back and rewrite my subtext between my two characters.
I’ll be watching your other episodes too !
Thank you Andy !!
You're very welcome. Good luck.
Best video on subtext I've ever watched and I've watched so many. Thank you. Can't wait for more videos.
Thanks. More are on the way!
Another day of film school! Thank you. I can't wait for the comedy/drama distinctions and dialogue.
I've tried to write subtext before, but it comes across as text. Any rules of thumbs to make it do its job? Do you have to provide something like a map key? Clues for the audience. Obviously you have given some (like the ex-wife on a trip with her lover) - but do you have any more tips what the proper set-up should be? Thanks!!
@@themightymattp Start with reality. How do YOU and others you know show your truth without saying it? Try acting out the scenes, so you can feel how awkwardly and stilted scenes play when they're written without subtext. It may also help to take an acting class, which will help you get in touch with your character's inner truth.
@@TheGoDraft I have taken acting classes, which is great advice. It is riveting when actors act in opposition to what is spoken, or incongruent to it. I would say inner truth is revealed in body language, voice and in the eyes. It's like the great actors use dialogue to paint a picture that only they can see instead of stating the words' obvious meaning - and by doing so it activates their physicality and inner life. But it seems like for subtext to work, the audience needs to "know" the character. I would think the writer needs to setup the subtext by informing, suggesting, or showing the audience what the character wants (what would make them happy or solve their problem) and then impede that achievement with inner & outer obstacles. Then write actions that contradict/contrast or be incongruent to the dialogue. The actions speak the truth, not the dialogue. Too actorly?
@@themightymattp I humbling suggest: you might look at GlenGary GlenRoss. Lot's of subtext. From every single well drawn character. Lemmon's character (groveling desperation (he never says he's desperate) .. with Spacey's character...(in my opinion he's a rule follower bureaucrat... policy follower- which he say's it "I'm given policy" ...but subtext is he thinks Lemmon's character is groveling... and Spacey's character enjoys see Lemmon's at this level- begging- desperate...
Mahalo for sharing your insight of your personal story with us. Subtext is key in writing and as an actor, I'm unearthing and mining the pathology of the characters to feed my character's behavior. love your series.
Thanks. Glad it's working for you. Best wishes.
Valuable insights as always
Thanks. Glad it's helping you.
I love this series and I really like the film examples you include. Would you ever do an episode where you look at the actual scripts rather than what made it on film?
Good idea. I second this
@@OtoLivingston I'll look into it.
It's a great idea. The tricky part is finding a genuine draft of the screenwriter's reading script and/or the shooting script. Anything else is not helpful. But I'll look into it.
@@TheGoDraft How do you mean? Scripts are available. You mean like a first draft (or a spec script)?
Can't wait for the next one!!!
Coming soon!
Thank you. I've found your videos enormously helpful.
That's exactly why I do them. Glad they work for you.
Thank you so much sir. You have made it available for India too. You have answered our call sir. Thank you so much.
Thanks for watching!
Top stuff, Andy
Glad it's of help to you.
Thank you so much for this amazing content. I would love to see a video on your personal general workflow for writing a screenplay from start to finish. Thanks
Glad it's working for you. I'll put your idea in my plans for future episodes.
Thank you for another wonderful video.
You're very welcome. Enjoy.
This has to be the best youtube channel, what a gem!
Have you considered doing a live Q&A?
I will look into it, but I'm still a working writer, so my time is limited. Will seriously consider it, though. Thanks for the nice words.
Your work is inspiring! Cheers Andy!!
Glad it's speaking to you.
I'd love to see your take on Joseph Campbell's heros journey. The 17 steps not the condensed 12 or 8. I FEEL like i have firm grasp on it, but I'm sure you'd shed more light on the subject.
Well, as I've stated, I'm not a big believer in formulas, and Campbell's dissection of story is the ultimate formula. It's ruined more storytellers than it's helped, by encouraging them to try to force their stories into his paradigm. No doubt he's correct most of the time, but I never advise anyone to try to START writing using his template. It's a surefire way to make your story forced and formulaic.
@@TheGoDraft Thanks for your response. I absolutely see where you're coming from. At the same time, it is undeniable that there's an ordinary day, a call to adventure, and so on an so forth.
Gold as always. I can't tell you how helpful your content is.
Maybe a silly question, but shoukd characters say what they mean, or should it really be all subtext. Does that generally equate to a better script, when done well of course.
Thank you
No, scenes don't always have to be subtextual, but the moments when the characters have clarity about why they're doing what they're doing should be rare and at key moments, often at or near the climax of the story.
@@TheGoDraftThanks
@@TheGoDraft Neat.
Thank You Andy!
You're welcome!
Thank you!
You're very welcome. Hope they're helpful.
Could you talk about breaking a story, and what that might look like? Not as an analyst, but as a writer?
The phrase "breaking a story" just means getting the story right, so you know what the basic beats are going to be. Almost always broken down into 3 acts, often with more specificity than that, with all the major moves laid out. S it can "look" like anything: index cards on a corkboard, using the outlining functions on Final Draft, organizing the story beats on a whiteboard, scribbles on a legal pad, whatever helps you "see" the story laid out before you start writing. Hope that helps a little.
Hi. Thank you for the episode. Just a thought after the episode. What if I want to use the subtext to be funny in a comedy but also meaningful, is there anything I need to pay attention to?
Act it out and see if it feels truthful. If you can, get some friends (preferably with some acting experience) to table read the script when it's close to being "done."
THANKYOU.
Backatcha. Thanks for watching.
Should a writer finish their draft then go back to add in subtext or is it something you think about from the start and put into your draft as you write?
No, I advise you to start thinking that way from the first moment you attack the scene.
My problem is my conversation escalates too fast and there’s no way to come down, so afterward I’m like why do they still talk to each other?
That's a common problem. Acting the scene out often helps to sense when you're peaking too soon. If you recognize the problem, it's correctable.
Robert Duvall said that Wilford Brimley said that the worst thing for an old man is an old woman. But Wilford also liked animal fights and so obviously had a cruel streak in his wiring.
Not sure how that relates to me, other than the fact that I'm old, but thanks for watching!
@@TheGoDraft oh it was in reference to the scene where the guy defend dating younger women
Great video. Also to the point of it being fun for a dramatist for expose a character's hidden agenda -- would you say alternatively it can be fun to have an agenda and find a way to aptly hide it in a character??
Sure. It's always fun playing puppet master.
49:26
What’s the time stamp for?
Brother, what do you consider a success in the industry today?
1. Budget: $10M; Revenue: $10M+
2. Budget: $10M; Revenue: $20M
3. Budget: $10M; Revenue: $100M+
Not sure this is what you mean, but as a very general rule, it used to be that the revenue needed to be 2 and 1/2 times its budget to break even.
So, the minimum ratio is 2 to 2.5 just to break even.
I meant that if a studio chooses to film screenplay A rather than B, C, or D, it is also aware of the missed opportunity in B, C, and D. So, what's a reasonable revenue to justify that decision? (1x, 2x, or 10x of the breakeven point)@@TheGoDraft
Drama sounds like a democrat arguing with a republican.
Or 2 Democrats arguing with each other.