I'm relieved that I actually have these 4 elements in my scripts. Happy to see a shout-out to one of my favourite movies, His Girl Friday. Thank you for the video.
The four stories: 1) Central character moving towards a goal: the Plot. 2) Central character overcoming their flaws. 3) Central character creating or mending a relationship which is important to achieve the goal. 4) Story of the antagonist.
How wonderful are these words. Very helpful. I've often thought of these four elements as separate characters like strands of a rope. I tend to be drawn to the exchange relations between characters rather than what's within characters.
Great point! For example, Disney has destroyed Marvel, Star Wars, Indiana Jones, Willow, snow white, and more and hollywoke has destroyed most everything else. Something like half of shows watched now are from before the current woke Era.
@thereccher8746 'The girl boss' narrative, being super narcissistic, Anti male and anti white are all things Disney and hollywoke have done, and they are all woke agendas.
In a detailed conversation on storytelling and screenplay structure, Paul Chitlik, an author and screenwriter, shares his perspective that every movie typically includes four main stories. He begins by explaining the fundamental elements of these stories: The Plot: This is the central narrative thread where the main character pursues a specific goal. This goal drives the action of the story forward and serves as the backbone of the screenplay. The Personal Journey: Here, the focus shifts to the internal conflicts of the protagonist. This story explores the character's personal flaws, fears, and internal obstacles that hinder them from achieving their best possible life. The Central Emotional Relationship: Every compelling story features a key relationship that the protagonist must either forge or repair. This could involve family members, friends, or even new acquaintances. The dynamics of this relationship are crucial to the character’s development and often pivotal to achieving the overarching goal. The Antagonist’s Story: Contrary to the protagonist's objectives, the antagonist pursues their own goals, creating necessary conflict in the narrative. This character must be well-developed, presenting a formidable challenge to the protagonist, ensuring a gripping conflict that holds the audience's interest. The antagonist’s actions and motivations are not merely obstacles but are integral to the plot, mirroring and challenging the protagonist’s journey. Chitlik emphasizes that while these stories are essential, the art of screenwriting does not strictly bind a writer to a set formula. Instead, these elements serve as guidelines to help structure a compelling narrative. He likens screenplay writing to building a car - certain fundamental components like wheels, an engine, and a steering wheel are necessary, but the design can vary widely, from a Ferrari to an SUV. The essence lies in understanding these components well enough to innovate effectively. Furthermore, Chitlik touches on the importance of understanding screenplay conventions to craft stories that resonate with audiences. He cites films like "The Wizard of Oz" and "Memento" as examples of movies that, while unconventional in many respects, adhere to fundamental storytelling principles in intriguing ways. In "The Wizard of Oz," for instance, Dorothy’s journey is not just about returning home but also about her growth from adolescence to adulthood, reflecting the multifaceted nature of screenwriting. In conclusion, Chitlik argues that mastering the traditional structures allows writers to manipulate them in creative ways. By knowing the rules, a screenwriter can choose to adhere to or deviate from them, crafting unique and memorable stories. His insights provide both aspiring and experienced writers with a framework to explore their creative boundaries while ensuring their narratives remain engaging and cohesive.
I agree with him. The first 10 Scripps I wrote I had an insufficient model of setup, conflict and resolution which I loosely followed. When I started studying the mythic structure I realized how far off I was. It's true if you don't follow the rules or some structure all your left with is a bunch of situations that don't amount to any story. It's like having a boat without a rudder. You never get to the other side.
The question I have: Does the antagonist have to be a physical one? I have a script where we find out the protagonist was actually the antagonist. I have another where there is a human protagonist. I am working on a script where there are a couple of minor antagonists, but the main battle is the protagonist's self-imposed demand to live up to his (now dead) mentor's reputation. No one else expects it and they feel him mad. But, his main battle is someone's reputation, or himself- depending how you see it.
Who is the antagonist in Hitchhikers guide to the galaxy? I am struggling to think of who would fill that role because if it is Prostetnic Vogon Jeltz then doesn't he disappear rather quickly in the story?
Aunty em isn't even in 9/10s of the story, purely setup scenes and closing and she counts? I thought this was going to be a gotcha moment, attacking how many setup chapters or something. 😅
Well he said you can break the rules once you've grown as a writer. If you're experienced, do that. But a new writer should develop the basics before attempting the tragic arc.
Limerick's are the highest? :) Seriously, watch Andrey Rublev and tell me you still feel that way. Or maybe try Satantago, if you can hang in there for 7hr plus. So when a complete version of Hamlet is directed by a solid British director who also stars in the lead role, presumably that's not the lowest form of story telling... Or do i strike you as impertinent? lol.
Our previous video with Paul - ruclips.net/video/CK-5QEOhXVc/видео.html
I'm relieved that I actually have these 4 elements in my scripts. Happy to see a shout-out to one of my favourite movies, His Girl Friday. Thank you for the video.
The four stories:
1) Central character moving towards a goal: the Plot.
2) Central character overcoming their flaws.
3) Central character creating or mending a relationship which is important to achieve the goal.
4) Story of the antagonist.
Dramatica theory of story shares the similar concept of 4 throughlines to create a complete story. But it is much much more detailed.
I noticed how this was so similar to Dramatica
"If there's one thing I hate, it's the movies. Don't even mention them to me." - Holden Caulfield
His Girl Friday is one of my favorite movies. It's HILARIOUS. Great interview and I'm ordering his book.
Thank you!! I've always been confused about how the plot works in romantic comedies. Now this makes so much sense
Have you ever thought about these 4 stories when you are writing?
How wonderful are these words. Very helpful. I've often thought of these four elements as separate characters like strands of a rope. I tend to be drawn to the exchange relations between characters rather than what's within characters.
Looking forward to an episode about the collapse of Hollywood and what indie filmmakers should do next
Indie filmmakers should bootstrap and lean into ai
Great point!
For example, Disney has destroyed Marvel, Star Wars, Indiana Jones, Willow, snow white, and more and hollywoke has destroyed most everything else.
Something like half of shows watched now are from before the current woke Era.
@@LeviathantheMighty “woke is bad” makes you sound dumb
@@LeviathantheMighty They ruined their products with shit writing, oversaturation and poor planning. "Woke" has zero to do with it.
@thereccher8746 'The girl boss' narrative, being super narcissistic, Anti male and anti white are all things Disney and hollywoke have done, and they are all woke agendas.
Very useful and easy to understand. Thanks again guys
Thanks Chance! We like this one a lot.
@@filmcourage Paul Chitlik seems pretty knowledgeable but also very good at teaching the basics of film for sure.
This is one of the best breakdowns of script writing I’ve heard in a long time. Film Courage always delivers the best advice and interviews.
Never got a pen out so fast. Thanks for this!
In a detailed conversation on storytelling and screenplay structure, Paul Chitlik, an author and screenwriter, shares his perspective that every movie typically includes four main stories. He begins by explaining the fundamental elements of these stories:
The Plot: This is the central narrative thread where the main character pursues a specific goal. This goal drives the action of the story forward and serves as the backbone of the screenplay.
The Personal Journey: Here, the focus shifts to the internal conflicts of the protagonist. This story explores the character's personal flaws, fears, and internal obstacles that hinder them from achieving their best possible life.
The Central Emotional Relationship: Every compelling story features a key relationship that the protagonist must either forge or repair. This could involve family members, friends, or even new acquaintances. The dynamics of this relationship are crucial to the character’s development and often pivotal to achieving the overarching goal.
The Antagonist’s Story: Contrary to the protagonist's objectives, the antagonist pursues their own goals, creating necessary conflict in the narrative. This character must be well-developed, presenting a formidable challenge to the protagonist, ensuring a gripping conflict that holds the audience's interest. The antagonist’s actions and motivations are not merely obstacles but are integral to the plot, mirroring and challenging the protagonist’s journey.
Chitlik emphasizes that while these stories are essential, the art of screenwriting does not strictly bind a writer to a set formula. Instead, these elements serve as guidelines to help structure a compelling narrative. He likens screenplay writing to building a car - certain fundamental components like wheels, an engine, and a steering wheel are necessary, but the design can vary widely, from a Ferrari to an SUV. The essence lies in understanding these components well enough to innovate effectively.
Furthermore, Chitlik touches on the importance of understanding screenplay conventions to craft stories that resonate with audiences. He cites films like "The Wizard of Oz" and "Memento" as examples of movies that, while unconventional in many respects, adhere to fundamental storytelling principles in intriguing ways. In "The Wizard of Oz," for instance, Dorothy’s journey is not just about returning home but also about her growth from adolescence to adulthood, reflecting the multifaceted nature of screenwriting.
In conclusion, Chitlik argues that mastering the traditional structures allows writers to manipulate them in creative ways. By knowing the rules, a screenwriter can choose to adhere to or deviate from them, crafting unique and memorable stories. His insights provide both aspiring and experienced writers with a framework to explore their creative boundaries while ensuring their narratives remain engaging and cohesive.
Great summary, thanks!
I agree with him.
The first 10 Scripps I wrote I had an insufficient model of setup, conflict and resolution which I loosely followed.
When I started studying the mythic structure I realized how far off I was.
It's true if you don't follow the rules or some structure all your left with is a bunch of situations that don't amount to any story. It's like having a boat without a rudder. You never get to the other side.
Thank you for this video! One of the most helpful clips I've seen on breaking down the core aspects of what makes a story work. =)
Very nice, especially including the examples. That helps to bring alive the "theory" being discussed. It shows application of the principles.
😎♥✝🇺🇸💯
The question I have:
Does the antagonist have to be a physical one?
I have a script where we find out the protagonist was actually the antagonist. I have another where there is a human protagonist.
I am working on a script where there are a couple of minor antagonists, but the main battle is the protagonist's self-imposed demand to live up to his (now dead) mentor's reputation. No one else expects it and they feel him mad. But, his main battle is someone's reputation, or himself- depending how you see it.
12:10 Gulch is a bully. Dorothy's growth is to stop relying on adults to protect her from the bully and thus become an adult herself.
Love this page. Also, I'm the 111 like and 11 comment. Synchronicity
Nice!
informative content
This is some excellent asmr
Who is the antagonist in Hitchhikers guide to the galaxy? I am struggling to think of who would fill that role because if it is Prostetnic Vogon Jeltz then doesn't he disappear rather quickly in the story?
9:14
I'm trying to build a Ferrari screenplay, but it keeps breaking down like a Jeep.
Aunty em isn't even in 9/10s of the story, purely setup scenes and closing and she counts? I thought this was going to be a gotcha moment, attacking how many setup chapters or something. 😅
I thought it had 3 main stories. 4 feels to many.
Not sure about overcoming their flaws, that rules out tragedies.
Or trying to overcome their flaws but failing?
Well he said you can break the rules once you've grown as a writer. If you're experienced, do that. But a new writer should develop the basics before attempting the tragic arc.
The story of attempting to overcome the flaw still exists, it's a tragedy when the end of this story is failure or choosing not to grow past the flaw
he forgot THEE MOST important and ( heavilyrelates to screenplay writing...). THE CHASSIS. !!!!!1
These arent stories to me as much as what MAKES a story.
Movies are the lowest Form of storytelling
What are the highest forms?
Limerick's are the highest? :) Seriously, watch Andrey Rublev and tell me you still feel that way. Or maybe try Satantago, if you can hang in there for 7hr plus. So when a complete version of Hamlet is directed by a solid British director who also stars in the lead role, presumably that's not the lowest form of story telling... Or do i strike you as impertinent? lol.
3:26 - Sauron and Darth Vader in a new hope says hello.....