Screenwriting: The Sequence Approach - Paul Joseph Gulino [FULL INTERVIEW]
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- เผยแพร่เมื่อ 6 พ.ค. 2019
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#writing #screenwriting #screenplay - ภาพยนตร์และแอนิเมชัน
![Go Into The Story: Screenwriting 101 - Scott Myers [FULL INTERVIEW]](http://i.ytimg.com/vi/Bt3XiZmFuX8/mqdefault.jpg)
![Go Into The Story: Screenwriting 101 - Scott Myers [FULL INTERVIEW]](/img/tr.png)
Over 2 decades Ive read most screenwriting books. But this guy and his book is what stuck and helped me.
Beginning grants a nice foundation, worth listening to, but the Sequence starts around 23:00.
Thanks !!!
Thanks dude
Appreciate it!
thank you, Pathfinder
thanks
The idea of looking at psychology to improve storytelling isn’t new, but his explanation of it in the brief sections that he touches on it here are quite thought provoking. I’ve used psychology to write better characters (like researching how narcissists act), but I haven’t looked at it to help create cool plots based on our expectations and what our brains are primed to look for (although, come to think of it, that’s probably the basis of good storytelling). Now I’m going to explore psychology and maybe even contemporary philosophy with that intent in mind.
52:52 amazing example of playing with the "rules". Thank you for all this knowledge.
14:30 thereabouts - people wanting explanations of all the things that make the story suspenseful and interesting - this is exactly what I’ve just been through with a current novel draft until I found myself a) shadow boxing and b) watching my suspense flush down the toilet. I went back three versions and shut them out. Thanks for validating that! ❤
I enjoyed this. Film courage, more like a film college cos after every video i grow and understand things better. Keep it up guys!
We love to hear it. Keep learning and keep creating!
Thank you for uploading this entire interview. I've been stalking the channel since I saw some of his clips. What a great teacher this guy is.
We are happy to see our viewers connecting with Paul. We are hoping to talk with him again in the near future. Please let us know what other areas you would like to hear him talk about.
The 8 sequence template stuff begins at 23:00 if thats what you are looking for
Starts slowly but builds up steam. Well worth watching and note-taking. Thank you.
Superb interview which I found right when I needed to hear ALL of this.
Thank you.
I'm glad I listened to the Paul Joseph Gulino interviews, there are some gold nuggets to be found.
I'm looking at his book right now, probably a Christmas present for me, it's 30 bucks on Amazon, but about 12 on Kindle.
Strong approach to screenwriting. It can create humor when the writer can put things on the page which take audiences in one direction and then flip the outcome. I would say it is a good science when psychology is in a screenplay. More like reverse psychology to create irony. Fanatical reverse irony.
This man is the man! Thanks so much for this! Learned so much from these two interviews
We are glad these found you!
AWESOME INTERVIEW!!! THANKS!! GUYS
Been waiting for the full interview thanks... Adding this content to the Film Courage Best Practices XD
Thanks Mac, we're glad to have this one up.
Thabks for uploading this is an excellent interview, his advice was incredibly practical
We appreciate it. Thanks for watching.
This lady is definitely a pro interviewer 🥰🙂
20:41 In my opinion, regarding the still image of the nursed Rached I think that the interpretation of her look depends a lot on the Kuleshov Effect and Gestalt Psychology that of the psychological constructivism... anyway i agree with everything he said. I love it
i love his book!
I love this guy.
What do you think was the script he read in 83 that was finally filmed in 2003 and was a disaster?
What do you think about films like ‘Chunking Express’ where there was essentially no script and in a sense no structure. The story seems to just meander around in a continuous flow. But is dream-like and surreal to the point that its poetry supersedes the necessity of story or plot.
Someone once said something about this (a famous director I think) which was very profound. He said something along the lines of: “I fell asleep watching it, but I enjoyed falling asleep to it.”
Good interview 🙏🙏
As always, thank you Howard. We appreciate the comments.
Sequences are just the group of scenes that belong to the individual characters. So the sequence related to your protagonist and antagonist will hold more scenes than other characters. And you can structure the sequences so that they are staggered. You introduce a character then later on, after telling your main thread further, show that character again and reveal more information about them. So you're bouncing around between each sequence. You of course have to organize it in a logical way, but the secondary sequences, which might be called subplots, really fill out your story, because each secondary sequence ties into your main thread in some way. They aren't just floating out there randomly.
What is the title of the Boardman book her referred to?
23:00
47:10. Let me tell you the only tip that I'd share without taking money from you. To connect to a fictional, non-existing entities, a character, if you will, the writer has to make the character suffer a LOSS at the very beginning. This loss can be rejection, deprivation, kidnapping, loss of freewill, loss of limb, loss of rights, loss of justice, whatever. It has to be LOSS. We, the observer, immediately can relate to the feeling/emotion of LOSS. This loss gels us with this thing that does exists, because that loss evokes the feeling in us, and we don't want loss in our own lives, and we hate loss, and we sympathize with loss and those who go through it. So, great stories, immediately establish a loss of some form or nature, for the lead. And the opposite is true for a villain. To HATE the villain, the villain has to be the agent of causing the loss to the main character, if not, the identical loss to another insignificant character. As long as the villain makes someone lose something, even if it's not the lead, we would hate them. Eventually, the villain and the lead will cross paths. This is the essence of "making the audience" connect with the leads and hate the villains. Now, it's a matter of creativity, to come up with a small cause and effect to make this happen. Taken does it with a kidnapping, Jaws does it with eating a human being, Hamlet does it with loss of his dad. Loss. I charge from this point on, for any more tips.
I've been watching a lot of Gulino's videos lately, he seems great. Also, if anyone has tips for getting any kind of video work in LA, I just moved here on the last of my savings and am living in my car, so let me know! You can see my work on my channel.
Info dump question is a good one. How not to bore the audience?
Also, watch David Mamet's Masterclass. He is one of the best to tell you. There's no substitute for Mamet.
Can you provide link to that please?
@@devangtewari masterclass.com
@@defiverr4697Thanks!
We can focus three to five minutes before our attention begins to...squirrel! They do realize this is an hour long video? Lol.
for the Paul-Meister:
th-cam.com/video/Oextk-If8HQ/w-d-xo.html
Peeeeeeeaaaace? Nooooo peeeeeaaace.
The sequence approach was really the creation of early writers, from 1915s, in Photoplays, and Blake Harris twenty five years ago highlighted this approach. The problem is that 99% of the books that teach screenwriting don't know the parts of the sequence. Big movies have intuitive writers and editors that make up the parts of the sequence, in the reshoots, editing and so on. So to know the actual parts of the sequence and mixing montage out of the sequence is the key to screenwriting. There's no such thing as a screenwriter. They really should be called Information Management Systems engineers, to show the information in a sequence, but in its proper parts. And I'll bet nobody knows the parts. These parts are in Hamlet, Macbeth, plays, great movies and so on. But they are the basic structure of a sequence. Now, to watch the parts and the best sequence, it can be see in Terminator: 2, Sarah Conner escape sequence, starting from her asylum room, all the way to them driving off. Cameron masterfully creates that sequence, and has these parts almost, every 5 seconds, and that's the master information/story teller. He doesn't always keep to that rule, but it's there. It also appears in the opening T2 sequence, from the "arrival" to the driving on a motorcycle. That sequence too has the parts of the sequence, and that one takes place very 30 seconds. The pacing is different in that one compared to the Escape sequence. Now go watch these two sequences on YT and you'll know what I mean.
Rip QUIBI
Those who can't do, teach, and those who can't teach, teach gym.
dude i just re watched school of rock like 10 minutes before tumbling on this comment and jmust wanted to mention it here
@@redpandarepresent6380 it's a woody Allen line.
35:35. First of all, the first cut of the Star Wars was shit. Lucas brought so many people to watch, DePalma, Spielberg and alike. And they thought it was shit, because of information flow. Then the editors said, gives us some time, and they went back and edited the same footage, in a different sequence, and had another screening. Then the story gelled. In reality, editors are as much screenwriters in terms of structure and sequencing, but not in terms of plot and character. They can't change the latter two, but have total control over the former two. Regardless, watch this. th-cam.com/video/GFMyMxMYDNk/w-d-xo.html. But the writer should be the foremost chief information officer and creator of the characters, not the director. Again, all of this comes from Hamlet. Every movie should be Hamlet, in it's character and sequence, but every movie should follow the subparts of a sequence as Terminator 2, Sarah Conner escape scene. If one just studies these two, one becomes a very very good screenwriter. The only thing left is consistency and creativity. For that, you'd need cocaine, aderall, Ritalin and acid. Can't sell those at a bookstore or in a video.
Sorry, but you're spreading misinformation.
Lucas imagined SW as a silent movie, shot in documentary style. It was always intended to have one character introduce the next character/location because that's how visual storytelling works.
Here is the livestream from SW Theory with Paul Hirsch (2021), with his uninterrupted account of SW:
(from 10m00 to 14m30)
“June George and Marcia flew in to NY to watch a screening of Carrie.
2 weeks later Marcia called to say they were overwhelmed. They had fired the guy who did the cut in England because they were so unhappy.
They had hired Richard Chew in California, but they had to recut from the beginning to end. And Marcia was asked with building the end battle sequence, which was full time job for many many weeks."
"So Richard was recutting the film and wasn’t going fast enough so they needed extra help.”
About the Academy Awards:
“I worked on the picture for more months, so they put my name in first position {for the award].”
The second draft of SW, Lucas had the story follow the droids and introduce the Lars homestead. Luke wasn't introduced until p28.
The inclusion of Luke near the start was added to the 3rd draft and stayed in the 4th draft (shooting script). This was likely because friends told Lucas he needed to introduce Luke sooner - and it was always his intention to remove those scenes, if possible (which Jympson, who edited the rough cut, didn't know).
You are saying that even though Lucas and Marcia hated the Jympson cut in June, and had Chew and Hirsch editing the movie, that in Feb '77, they still hadn't changed the order, and instead they changed it between Feb and May '77?
What De Palma and Spielberg saw in Feb '77 was the cut of the movie as it was in theaters, but without 90% of the effects finished and without Williams' score. De Palma did help rewrite the opening crawl. Spielberg enjoyed the cut, and there's video of him saying such. De Palma was always scathing - that was just his manner, and that's what Lucas wanted. Before the screening, they screened if for the Fox executives - some of them didn't get it, and some of them loved it. It moved one of them to tears. Marcia Lucas left the SW production after Xmas '76 to edit New York, New York. So clearly, you can see what you think isn't based on actual events.
Now, read this scifimoviepage .com/art_screen.html, the SW wikipedia page, and go rewatch the garbage video you linked, and you'll see it's full of fabrication. It's not your fault you didn't bother to fact check that video, and took it at face value, but it's naive of you to think they didn't make a clickbait video for views.
But, is he "Harry Potter Friendly?"
He takes sooooooo long. and is so verbose that it takes forever to get to point. He is trying to impart EVERYTHING he knows and can't get to a concise lesson.
I think it's possible that he cares a great deal about context. I also think it's possible that he knows a great deal about writing because he's been doing it for a long long time. Finally, I think he's delivering all of that in this video, which is incredibly generous of him. Impatience is a stumbling stone. Pick yourself up, and give it another try.
@@corlissmedia2.0 Great reply.
He might be helpful but Jesus is he rude and obnoxious
In what way?
Yeah, In what way?
Are you delusional or just looking for attention?
No, he's the exact opposite of rude and obnoxious!
Yeah, and he speaks so loud and keeps bragging about the scripts he did.