I am fan of you in China, i want to ask a question.how long will the book of Story 2 come out? Will there be one?

Thanks

I think there's a contradiction between the idea that life is intrinsically meaningless yet there is still this habit of "creating" meaning and conveying it through story. There must be SOME kind of meaning that belies the motivation to discover meaning. Otherwise why would anyone do anything? Why make a story? Why discern a good story from a bad story? Why distinguish up from down? Modern people answer this by saying everything is relative. Okay, so it's relative. That doesn't change the fact that the meaning exists, it just exists in between perceptions rather than sourced from perceptions.

What's sad is that what he's saying not to do (break rules solely for the sake of being different) is exactly what modern woke filmmaking does. "What if the character was a black woman when it's normally a white woman? What if there are trans characters, because they are normally never represented?" On and on with meta-political agendas that do not serve the story.

Aesthetic experience isn't empathy with a character. First off, not all art or aesthetic experience, involves characters. It is an intense feeling associated with art or any image/event/idea/sound etc. It takes you over and makes you feel, to varying intensities. You aren't inside the mind asking 'why'. It isn't an 'understanding'. That is cerebral. It is an experience, hence the name, that is happening inside the body. It obviously goes through the mind but it is beyond the analytical mind. You don't create from rationality and you don't experience from there either.

Having no feelings and feeling numb are two different states. Having no feelings is indifference and doesn't feel like anything. Numbness is a protective mechanism from feelings that are too intense for the mind to handle and feels like sitting outside of everything as it is happening in front of you. It's like a dullness. It is a negative emotion as opposed to no feelings, which is neutral.

You can control them. Just stop identifying with the 'self' and the idea of who you are and what events 'mean'.

The evil protagonist must be funny to attract the audience or suffer adversity from those around him so that he appears better than the others, see Alex from A Clockwork Orange or Cody in White Heat or Travis in Taxi Driver, Richard III of L. Olivier, Michael Corleone etc ..., on the contrary a good character to attract must have hidden evil qualities, No one likes a character who is only bad or only good...

Fascinating! Cant wait for story 2

I used to really struggle with finding the meaning of the series vs. the individual book. Does it have both? And while there is usually this grand kind of meaning the story has, I found that each book really works best when it has its own unique controlling idea and if a "series" has a bigger idea, that's usually found as the controlling idea of the last book in that series. That's when you really deliver the series/season "meaning". A lot of these controlling ideas have gradients. So an entire series can be about "love vs. other values" and each book/episode makes that controlling idea tangible in a very specific/unique by exploring a different facet of that same idea.

These videos are great! Thank you! 🎉

If I can stop one heart from breaking, I shall not live in vain; If I can ease one life the aching, Or cool one pain, Or help one fainting robin Unto his nest again, I shall not live in vain. - E. Dickinson

Thank you sir

Thank you

1. **Identify the Protagonist**: Determine who the protagonist is by looking at the character making the crisis decision at the climax. This character often appears most frequently but might share the spotlight with others. 2. **Understand the Character's Desires**: Analyze what the protagonist consciously wants and explore any subconscious desires that may contradict their conscious goals, leading to inner conflicts. 3. **Analyze Choices and Antagonism**: Study the protagonist’s actions and the sources of antagonism they face, which can stem from inner conflicts, personal relationships, societal issues, physical struggles, and core values like truth, love, and justice. 4. **Examine Core Values and Themes**: Identify the essential values at the heart of the story and determine how the absence of these values would affect the narrative. Look for the story’s core value that drives the plot. 5. **Track Changes and Turning Points**: Observe how the protagonist’s situations and values shift from positive to negative or vice versa throughout the story. Analyze the turning points in each scene and recognize the setups and payoffs that showcase the writer’s technique.

Mr. Mc Kee, what a great explanation. It`'s good to know that the story we tell must confront both those who tell it and those who will later see it.

I know McKee doesn't want to be love, but man, it's so hard not to do so ❤

The way I interpreted the question, and perhaps I’m projecting, is what is the first step or two you need to take after you have inspiration and even a good start fleshed out?

I believe that rhythm works like music as per story mode.

Incredible insights. But I do rank you. I rank you higher than most in teaching your craft. 👍 Thanks much

What is the difference between main idea and controlling idea? They are sometimes used interchangeably?

Absolutely perfectly true and unambiguosly wise. McKee has a wise voice.

Brian Cox is amazing

Thank you so Much!

Great Advice! Thank you!

I've looked far and wide on the internet and youtube... This is by far the simplest explanation that is helpful. Thank you!

When the inside is like the outside and outside like the inside

Wow

So well spoken

I'm worried about Russell's current work. He seemed to be a left leaning guy olive branching to the right, but lately he seems to pander to the right, maybe even sincerely changed his politics. It's odd.

Where exactly did Aristotle say this? Because I can't find it.

Future writer and director here

So true, they can’t be ranked. It’s a fallacy. It’s wrong to do so.

Thank you sir

This is so great because in act III the movie is kinda like if charlies brothers had written it

Is this who norm macdonald and drake sather took a class from?

Listen marjorie, that story about your son dying. Kind of a yawner

All movies start with Once Upon a Time.

Fascinating.

"Writing a text while imagining the subtext doesn't work" -- Robert Mckee

"Dialogue is an action that characters take to get what they really want" -- Robert McKee

Per me è davvero importante perché è un'idea che mi "perseguita" da 30 anni e per paura, procrastinazione, codardia e molto di più, è un progetto che ho relegato nei meandri più reconditi del mio subconscio. Ora voglio affrontare il TUTTO...sara' comunque un successo!

Sounds like McKee feels the bar is low for character arc in horror. Especially in slashers.

Thank you sir.

Remembered the Adaptation scene when Nicolas Cage asks McKee almost the same question.

Damn it. Really needed to hear this. Thanks!

love jazz

Comedy writing is indeed a brilliant art form.

Thank you sir

0:58 fantastic