Guess I'm just going to have to watch both!

Thanks Scott! Keep creating!

Thanks for watching!

That is what we were hoping to achieve. Thank you for this feedback and for your support over the last couple of years!

@@filmcourage Thoroughly enjoyed it. Your content is super informative and very inspirational. Hello from Glasgow, Scotland. Keep safe. X

Cheers, you too!

🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏🙏

instablaster...

NIDELLANEUM Keep doing it!

Thanks Rishi, we are glad this video found you.

@@filmcourage you guys have been doing good work steadily. Been a subscriber since 5k, great to see you grow!

Wow! That means you have been checking in with us for 7 years. Thank you for your long lasting support! We hope you have found enough value on our channel to enrich your own work and help you on your journey. Hopefully we all have better times in front of us. Cheers!

Thanks Ahmed!

@@filmcourage You are welcome, I'm grateful for all the content you provide, especially Mr. Micheal Hauge interviews wich I rewatch to from time to time.

You got it, thanks Venky!

Thanks Sam, hopefully it helps you with your writing.

To each his own. Take from teachers what works best for you. If it stops working, revisit some of these (or other) teachers.

Hope this helps!

Glad this one was helpful Nikanyiso!

Thank you, we appreciate your kind words. Love to see you gaining insights from this one. We are actually publishing a nice companion video to this one tonight at 5pm PST entitled 11 Ways To Start A Screenplay where 11 different screenwriters talk about their first steps in writing a script. It's one to maybe keep an eye out for. Cheers!

Thank you. I will keep this in mind. :) We appreciate the positive message. We hope you're well.

Cheers Andrea!

Thank you so much tigerbunny6778!! Glad you are finding this video helpful! We recently updated this video so if you would like a little more on structure you may also benefit from this one - kzfaq.info/get/bejne/hbaoq61j3KiyhHU.html

I don't think you can tell a complex story that really needs to be a limited-run series and condense it into a half-hour sitcom without cutting a commensurate number of plot points, do you?

1. Idea 2. Story (Metaphor) 3. Plot (optional - writers use this as an excuse to tell a story/ a story is what and the plot is how) 4. Act Structure 5. Sequences 6. Scenes (inside that make up each sequence) 7. Beats (action to reaction or positive to a negative) Dialogue or actions

If you take apart enough cars and put them back together, you being to see the pros and cons of each, and the universal solutions, and incorporate that into your own thinking. It requires your own brain, of course, but it isn't a bad place to start. Picasso spent years copying the masters, mimicking the style. Without that foundation, would he have been the artist he was? Maybe, maybe not. Every artist needs to context to start with. Analysing a movie is better than just watching it, if the writer can understand the techniques that were used and why, they can use those universal techniques in their own unique way, instead of just copying.

@@Ruylopez778 Again, the situation is not analogous. A mechanic learns by tearing down cars - an engineer does not. Painters may learn by imitating existing works/ painters, but they don't do that through criticism - they do it by emulating the creative process.

@@ShootMeMovieReviews An engineer uses principles based on science. There is right and wrong way to build a bridge - even if they add their own inspiration to it. As I already said, the creative has to incorporate their own ideas into what they learn from others. That is obvious, otherwise they aren't creating. A car designer bases their designs off of a shared history of the vehicles we know. They understand why an existing design works, and apply those principles to their own designs. And there are people who start out as mechanics, and branch out to fabricating their own parts or modifying standard equipment, to building their own hand made vehicles. That is the world of fabrication, customising and modifying. Of course they don't have the resources to make a million of them, and go through the legal work, and they also have no interest in producing vehicles this way. Picasso didn't know the process of the past masters. He used conventional thinking of the time to copy the finished work of the masters. He had to look at the painting and ask why the horizon is in the middle or top or bottom, why negative space works or doesn't work, why colour therapy works or doesn't work - otherwise it would be pointless imitating artists to just learn production skills like applying the paint to the canvas, and mixing the paint. That is not creative at all, just copying. Some may do this intuitively, sure, but telling future artists the only way to learn is to instantly be intuitive doesn't make sense. Studying past work that is the foundation to understanding the craft. Understanding the craft is the key to producing consistently high quality work. That doesn't mean that intuition and experimentation isn't also important. The alternative, is consuming content until subconsciously the brain sees patterns and feeds them to us, or experiment in a vacuum, hoping to stumble on the consensus that past work can already show us. Or be born intuitively perfect at a crafting that work. People have different learning styles. That means some people don't learn the same way that you do. Telling people they are wrong doesn't make sense.

I went through film school for ten years by the way

Are movies judged by emotional value or not? What about what appears on the screen?

How come marvel is so overpowered

My favorite method for making a film is through a story cube

My favorite film in general is Peter Jackson’s King Kong

Agreed

Firstly, a lot of new subscribers maybe haven't seen this content. Secondly, there's a reason people aren't going outside and being filmed for interviews. Maybe those people are rather more concerned with their careers and looking after their family right now. Hmmmmm?

A good piece of advice I heard is when you get 'notes' from a reader/producer etc is to try and understand WHY they made that note, and what isn't working for them, rather than reject it as restrictive, or the opposite mistake, shoehorn it in without thinking. In a meeting it's better to be open and receptive to feedback and changes, since they are really interested in whether you are a writer they can work with, rather than being too protective of one project. Listening to their suggestions also gets them more engaged in the project (even if you later ignore their ideas).

@@Ruylopez778 Are you a screenwriter? You made quite a lot of compelling comments here in this comment section. Do you have any screenplays out? Any projects of a sort? I'd be interested in taking a look.

@@RenegadeShepard69 Being open to feedback and getting producers engaged by listening to their suggestions come from this long video here (I don't have a time stamp for it, sorry) kzfaq.info/get/bejne/jtGhqMh7yraqpas.html I think in most cases, in most industries, people go with individuals or teams they have confidence in, and a large part of gaining trust and respect comes from being (or appearing to be) flexible and cooperative. The super arrogant approach can also work for some people. A lot industry advice is quite universal and transferrable. Numerous sources say to focus on the *reason* behind the note rather than dismissing it, or blindly incorporating other people's ideas attempting to please everyone. Another wise piece of advice is to just suffer with the disappointment and rejection of critical feedback for 48hrs, and re-read your work before making hasty changes. Corey Mandell among others talks about the importance of making sure the reader's interpretation of the characters is what the writer intends it to be. Sometimes the story can be missing what he calls 'essential context' that disappeared from a previous draft without the writer realising. My comments are from a consensus of screenwriting advice mixed in with my personal experience of working with other people (in other industries), and working on my own writing process, and how it seems to match up with the movies and stories I enjoy or dislike. Some other notable resources (aside from Film Courage) include Writing Excuses/Brandon Sanderson, Beyond the Trailer (has some content on the business and creative side of the movie/TV industry and gossip) and various film analysis channels e.g. LFTS and LSOO. And of course film documentaries or writers and directors being interviewed on their process and projects (e.g. Kubrick, Nolan) I think it's also important to keep an open mind; George Lucas, for example, isn't great at dialogue and never claimed to be, but still drops some pearls of wisdom here and there on his process and industry. Some people will dismiss anything he says based on what they didn't like about his movies. I'm working on a novel. Though writing comments and recycling other people's wisdom is one thing, and actually incorporating that knowledge effectively in my own work is, unfortunately, quite another matter.

Theatre is different from screenwriting. That example doesn't really work.

@@hop6965 Then how do you explain the cinematic success of Hamlet performances that include the scene? Maybe Shakespeare simply understood the power of a compelling scene, regardless of the “rules.”

There are LOTS of people making (unwanted) changes in stories (producers, industry standards, etc). It ends up killing the actual good story.

Wtf is Tootsie lol

@@christinapaterno5585 The movie Tootsie. Man dresses as a woman to get acting gigs. Every person on these channels gives that example!

I think what these guys are trying to get across is 'learn the rules before you try and break them'. There is no definitive answer in these interviews, and if you can't come up with something original based on what they spoke about, then that's all on you, pal. They are not writing your screenplay for you.

A whole paragraph and you couldn't come up with anything constructive or helpful about structure for any viewers, just complaining. Firstly, "no-talent" writers? Most writers who ever made anything worth a damn will tell you it's about craft, not "talent". Secondly, Skelter isn't saying you should only take an hour to figure out your story. Obviously, you can take an idea you've been kicking around for months and plot it in an hour using that method. He's simply saying it's a way to outline WHAT you want to write that is straightforward. He isn't saying you can't spend more than an hour thinking about it. He also said, "every scene needs an emotional motivation". The problem with many movies is not that they follow a formulaic structure, but they are full of tropes we've seen before, or a variation on a tired idea, and nothing of any purpose to say. Having structure, even if it is generic, doesn't equate to an unoriginal movie. But let's not forget, producers and the studio will often change things to make it closer to what they know is already popular, because most audiences are too lazy to watch something that might challenge them. That is the reason for the lack of originality in movies today. Also a lot movies praised for their writing, "Casablanca" for example, were being rewritten during shooting. Just as an average script can be made into a great movie, a good script can be ruined. You just want an excuse to complain about the industry, rather than taking the information they are giving in context. 12:19 "If you've invested in the character, care about what they want, understand what the character wants, and you understand what's at stake if they don't get it, you're free to do whatever you want. You can play with structure, throw away structure altogether." This echoes what John August says in Scriptnotes ep 403 about focusing on thesis, anti thesis and synthesis. Or maybe you are right and the majority of writers in Hollywood are all oblivious to your amazing insight? Does that seem likely to you?

Vince Gilligan spent nearly 2-4 months a year plotting out, index card by index card the entirety of not only a Breaking Bad season, but each episode, each scene, sometimes even each minute. I think things turned out okay for him and that show.

@@purplegorilla9592 What does this video have to do with Vince Gilligan?

@@InformantNet I was giving an example of someone who I think it's safe to say is more talented than you, who absolutely followed a writing template for every season that mirrors much of what was discussed in this video. It didn't hold him back any and certainly didn't lead to any "lack of originality" or "generic, shitty screenplays".

Did you engage your brain and think about how much organisation it takes to set up interviews. They might have had to cancel a lot of planned content. Did you think that maybe these industry professionals might have to focus on their own career or family rather than make time for an interview? How about the new subscribers who haven't seen this content before?

@@Ruylopez778 Lookie here captain save a ho. I know with everything going on they're probably lockdown. But there's still ways to get new content, phone & internet interviews works. First take & David spade are still doing there shows(with guests) from the house. But that's not my issue the issue they run out of new stuff & they'll take a 7yr/5yrs old video & release & rename the same clip 20 different times. So you have the full interview, 1st clip, 2nd clip, 11 ways to structure, screenwriting 101, etc etc... all containing the same video/advice. & if any new subscriber haven't seen this yet.. get ready to see them re use clips over & over & over...

@@trambo21 Well since you have no idea how long it takes to set up the interviews or what interviews were planned or cancelled, or promises may have been made, or how many videos are still in the editing process, you shouldn't act like you are due anything, given that all this content is free. You're assuming that the channel don't have to spend all their time rescheduling future content. Perhaps there are videos timed to coincide with books they are promoting, which have had their release delayed? There's also a comment on this video saying the exact opposite; that it's good to have a range of opinions concisely edited together in one place. So clearly you are wrong in assuming that everyone wants what you want. "But that's not my issue the issue they run out of new stuff & they'll take a 7yr/5yrs old video & release & rename the same clip 20 different times." My God man!? You mean to say they release content in order to get views, subscribers and adsense?? What a nerve!

@@Ruylopez778 lol you must work for film courage. Im tired of going back n forth you wanna stay in blissful ignorance go head. Long story short yes they recycle & rename same old footage over & over & for ad revenue. They're not the only people on KZfaq that does this bs

@@trambo21 Yes! You caught me Sherlock! I must be an insider because there's no other way I could find your logic dumb is there? 'Ignorance' means not thinking that everyone wants the content you do? Oh, OK. Actually for me this was a useful recap. Making new content involves time and money. Even re-editing takes time. Of course channels are interested in more ad revenue to keep the channel going. Congratulations on revealing the mystery! Bears also defecate in wooded areas. I assume you like to work for free. Don't let the door hit you on your way out.

Thank you so much Shyina! We hope this one helps you with your stories!