THE SECOND ONE! Netflix shows are REALLY bad for that. I recently watched this stupid netflix movie and within the first 20 minutes I knew the movie was going to be horrible because of that horrible set up they had where they didn't properly introduce the life of the character. Like I had nothing to hold onto as an audience that allowed me to care what happened to them. They did a REALLY horrible save the cat scene where the guy scoffs at a man who doesn't give money to a homeless person so he steals from that man to give to the homeless man, like it wasnt even a good robin hood style scene it was basically an immature childs interpretation of morality. Like I kept waiting for redeemable qualities that never came and without any backstory it was just impossible for me to care about the character going forward.
Hey, what would be a goal for a boy meets girl kinda love story. I have good script and characters but all these terminology confusing me a bit. I am not a trained writer.
but what if the main theme of your story is being lost? you tend to have to find micro-ways to entertain the story along the way and keep changing the characters end goal. like with Peter Pan type stories when you have the subplot of these being LOST children, it's through the development of their characters that they can become unLost but every step along the way is a new type of adventure and you see that in the scenes where the lost children are simply causing mayhem and playful adventures. Which is what childhood is, similar to Lion King where he runs off and finds Timone and Pumba in a paradise of "no worries" which is basically avoiding responsibility and refusing the call to adventure, which for children is growing up.
I was so eager for Michael Hauge's help that I hired him to critique my script's key turning points. He gave a lot of advice like he did here and pointed out that nothing worked, and he was absolutely right. Now I'm moving on to writing other scripts and really trying to learn from his advice and that experience.
@@Nautilus1972 If you have a strong need to express your inner feelings and thoughts, nothing's gonna stop you from doing that. Don't be such a narrow-minded jerk man.
@@Nautilus1972 Bullshit. Even Stephen King had a pile of rejection slips before he got anywhere in his career. Most times it's just a matter of perseverance and trying to improve by learning from your mistakes.
Wtf, damn you people are negative and aggressive. OP, write if you like. It's for you first and last. Are you having fun? That's enough. The rest is an accident.
The interviewer mentioned Rambo and it's true. The first time we see him in FIRST BLOOD, he's just this guy who wants to visit his old war buddy from 'Nam and is told by his widow that he died two years earlier from cancer and he's devastated. Now he's the only one in his unit left. You empathize immediately with him. If you just introduce him as this scary drifter walking by the side of the road, you would think Sheriff Teasle would be right not to let him into his town.
First thing I learned about writing, is not to stick to the typical Three Act structure. You're handcuffing your story if you think it has to perfectly follow just three acts. At least, this is what I learned through John Truby's book, "The Anatomy of Story". Of course, he gives examples of several successful films to support his approach. Nonetheless I love what Michael Hauge says in this video. So much to learn from him.
it's not just the story, most of what people want to see is because they want to see it, a cool situation, or an engaging world or perspective. People like to see cool things but more than that only get engaged if there's emotion. Story doesn't drive story, emotion does. Without emotion, you'll forget about in the second it ends. But emotion makes you connect, makes you experience and makes you understand.
The reason older people stop going to movies, and more younger people do, is because of the formulaic nature of movies. Once you've seen enough, you almost always know where they're going. So many remakes, sequels, and adaptations of comics or books, shows anyone interested, that true originality and creativity is a rarity in Hollywood. It terrifies them. And only happens by lucky accident when it does.
@@fleurettemvangulden7883 It is a formula. He talks about showing the protagonist's everyday life before anything else . Watch South Korean movies . They are bigger on flashback and having multiple stories within the big story. The formula he talks about here is the same formula they use on superhero movies.
That's true but it's not because there's a formula. The reason why people knows what's going to happen, and then it happens, are clichés. Still the main events have to be there (e.g. if you are walking a romantic movies the two lovers has to meet and at a certain point they need to have some sort of conflict).
@@Andrea80661 A clichéd plot can be called formulaic. Cliché and formula are not mutually exclusive; they are only distinct on the small scale, like a clichéd phrase or a clichéd action, which itself might not be formulaic in its placement.
I guess I'm an older person.... and I watch all kinds of movies every week. I started reading very early & still love to read. In fact I love all the arts, it's all about the originality and I am still awed by an artist's creation and their creativity. So don't assume and count us out, Jake.
remember your character doesn’t have to change what they believe in. They can change the people around them. Look at Lou in Nightcrawler, he has the same ideology the entire movie - he can exploit people to get what he wants.
Well put! A great example of a change-less character arch is Paddington. Paddington himself never changes his beliefs or manners, but the family and people surrounding him do change because of his arrival.
Please, everyone, stop saying sh*t like: "you must do this or your whole script will fail!" There's a big chunck of people that get to work in the industry as a middle management producer, script reader or someone's p.a. that actually believe this sh*t to be true and even think they're smart when they're parroting sh*t like this. Those people have never finished writing a first draft but have the power to block a script because 'the first act break isn't on page 25'. I'm sure any film nut can think of at least three examples that are excellent films and prove these rules are no necessity at all. What's wrong with simply stating (for example): if you want your audience to be onboard with your protagonist, one way to do that is to make his desire or goal very clear so we can track his progress through the decisions he makes to achieve it, which leaves room to explore how he makes those choices instead of why he makes those choices.
D V I Couldn’t Agree More With This, I’ve Noticed That The People Who DONT Follow The Rules Are The Ones Who Make It. I’ve Seen So Many Videos And Read So Many Articles Telling People What Not To Do To Avoid Failure Or “Do This To Achieve This”... Just GO And Learn And Keep Going.
For example, 1917 barely fits to anything the video said. The plot starts about 15 minutes into the film, and from that point the goal is obvious. *[SPOILER ALERT]* Sure, the movie sort of switches the goal when one of the soldiers die, because now instead of him wanting to save the brother, we focus on the other soldier wanting to honor that soldier by saving the soldier's brother. Still, the goal was always to save the soldiers, and especially the brother. Then, we barely see the heroes' everyday life. They leave the friendly side after about 20 minutes.
You can creatively break the rules only if you understand them. Take 5 or more movies that you think are terrible. Up to 10 max. Forget the characters and the cinematography. Then ask what specifically about the story failed and why.
It's good to revisit some basics when you go to work on a new project. Lots of times you can forget concerns that should be at the root of your work, because you're so preoccupied with the nuances.
What he describes in the very first minute is why I stopped reading fiction years ago. Far too many writers get lost in the main character's inner, emotional machinations, and their (usually weak) plot grinds to a halt, with the book ending up being more character study than story. This happens because creative plotting, far more than character development or dialogue is the most difficult element of writing or storycraft.
I disagree, you don't need a strict narrative, you don't need a hero's journey, you don't need a formula. Look at 2001 A Space Odyssey, or some of Andrei Tarkovsky's work or David Lynch or Darren Aronofsky or Terrence Malick. The reason Hollywood films are the same is they are all based on a formula. Film can be an experience, you can experience it like a dream or a piece of art.That's why great directors are different and why their work stands out... IMHO
Joshua LeonardoASMR no problem, that’s your opinion and you are entitled to it. My view is that he was the most intelligent and deep thinking of all the directors. Something I share with others like Steven Spielberg, Martin Scorsese and most film academics. For example if you don’t ‘get’ 2001 it is easily the most boring film you have ever seen. If you ‘get it’, it’s the greatest film ever made. I fall into the second category, 2001, is a work of genius and probably one of the greatest films ever made. The Vatican even gave it an award. To me he was a genius but that’s just my POV, yours maybe completely different and that’s fine.
"There Will Be Blood," "Nightcrawler," and "The Master" are a few examples of extraordinary films with protagonists that didn't evoke empathy, at least not in the first act. In "No Country For Old Men" almost nothing is established about the main characters daily lives before their outer motivation. And in "1917" they start racing towards their main goal in less than what? Four minutes into the story? These seemed great advices, but we just can't generalize. You know what they say about rules, right?
Seems to be a recurring theme in the literary world. Rules apply to everyone but the masters, but there’s a reason that’s the case. There’s only one Tarantino, Scorsese, Kubrick, etc. But I think that taking bold leaps or being innovative is just as important. I think what they mean by rule breaking is like the Wiseau approach but hey he made it work somehow too lol
they arent rules as much as they are tools. They're not supposed to be followed exactly, but you can break them or build on top of them and make your film original, and your own. Thats when you have used stuff like the hero's journey or film courage advice as a TOOL, not as a RULE
Been taking so much time to learn the formatting and basics of screenwriting. Here’s hoping within a few years we’ll have a deeper Marvel movie on Cater Slade’s Ghost Rider. Wish me luck peoples
@@flipjupiter1 I didn’t even realize I made the typo way back then lol. Carter Slade is what I meant. If you’ve watched She-Hulk at all… the wheels are churning but we take our time 🤫
i've always thought that most of the best movies usually showed the characters eating/dining and where they sleep, or at least some semblance of their home life if they have one. of course that's not possible in every movie, but that holds true in a lot of great flicks, i feel.
I agree. I think we enjoy those moments the most, because it reveals character and the small idiosyncrasies and it allows us to be empathetic towards them.
Yeah, that's part of why when they change, or they are put in a different situation, we understand why this happens or how this affects our character. Breaking Bad wouldn't work so well if we weren't shown in the first episode that he wasn't happy with his monotone lifestyle where he always felt unappreciated.
Wow. I've been struggling with my story for weeks, and because of this vid and Hauge's advice I realised what was wrong with it. Fantastic, thanks so much for posting this.
This explains why "hoops&yoyo's Haunted Halloween" works on such a high level. It's all about that through-line of motivation towards a goal juxtaposed with the character's identity vs essence.
Great video. The work I had in mind when I clicked on this video is not a movie, but a mini series that I wrote. Honestly, after watching this short video I feel more comfortable with my story. I did feel before that the story was effective as a narrative but watching the video and especially pausing it at the beginning and looking closely at the detailed chart I have a new and fresh perspective on why the story works! I love the quote about how all roads lead to the main characters outward motivation. The mini series is a satirical sock puppet play wherein all the socks are recovering alcoholics and recovering drug addicts. Thank you very much for the great video!
Here's the reality of screen writing: It's not only what you know, it's who you know. Most producers won't have the time to read your screenplay, it's your pitch. If you deliver a interesting pitch on your screenplay, they might look at it or send one of their people to read it. When you deliver your screenplay, they will either hate it or even if they seem remotely interested, they will say this has potential but we want you to change this, change that, add this, add that, take this out when basically they are taking your story and turning it into their own. And what are you gonna do??!! Say no??!! They have the power, if you don't do the changes they want, they will just move on. It's sad but producers are not gonna take that chance unless your book is a best selling novel that they want to buy the rights and turn it into a screenplay. Unfortunately today, producers don't want to take chances on new projects because they don't know for sure they will get their money back. That's why big production companies and producers are sticking with nostalgia and superhero movies.
If you have an important story to tell, write a novel. The bonus here is, you get to have your heart ripped out and trampled on in front of your very eyes when they rewrite it for the screen.
Love this interview by Michael Hauge I must reread this book. Identify problems in Act 1 first, before searching elsewhere. Beautiful and next I'd move on to that Blake Snyders beatsheet for sure to make sure all film beats are present. Love these videos Film Courage!
This channel is the shit. Really helps me clear my head and improve my script day after day. I think I leave here with something new after every interview.
I don't know but I think I just figured my story out. I knew one protagonist wasn't fitting so I made another character a second and thanks to this, I've formed the story well.
If you watch movies stop at different time points and you begin to see where thing happen how pacing works. Breaking down films is really good way to learn we did that in film school it was so helpful. Plus read as many scripts as possible!
What i find is, these interviews work best if I just take in ONE thing at the time, go to my script and implement that one thing. if i listen more, i get nothing done.
Thank you for the incredible information. I've shared it with The Film Scene via Facebook because there's terrific information in this video that needs to be shared.
Great video! Though the end goal in Inception is actually even simpler: Cobb has to pull off a risky heist that will allow him to go back to his children.
I really like the set up of the story to embody three things and I try to almost keep it under 15 pages. That's characters, what they do, and where they're going. Now I wont finish act 1 on that but I definitely like to finish act 1 with what the characters want, what stands in their way, and where they're going. And usually that propels my characters into interesting second and third acts.
The only rule in screenwriting is make the character and situations compelling.That will keep you watching and interested despite the subject matter or outcome whether it's Henry Portrait of a Serial Killer or Castaway.
I think it’s okay to bend rules when it’s for purpose. Like subverting tropes to make a subtle commentary on pop culture and/or storytelling in general, or to set-up characters has either mysterious or to reveal something about them. You just need to be careful and learn what the established rules and limits to fully thrive creatively, we all are never gonna be the next Kubrick with our first screenplay, after all.
This is some of the greatest advice you could ever get. If you just have a clear goal screenplays are a blast to write. The problem is thinking of a goal that's interesting and not cliche
I not only enjoyed the video but also the coment section is filled with intelligent and interesting coments both underlining why he's so right and also why we shouldn't follow people's advices blindly! this is very rare, go ahead and read the coments and you'll see what I mean.
What about Moonlight or The Shape of Water? What are their clear objectives? Moonlight had mystery that kept me there, and kept hitting with intimacy and reality at every scene. Water was charming from the first shot till the last shot and made love where there couldn't otherwise have been any. The empathy angle makes more sense. Emotional investment is everything. Avoid alienation, but don't be afraid to just show life on screen. Insights into human nature through beautiful expression is delicious enough to keep butts in chairs and win awards.
Shape od water was miserable. I couldn,t even finish the movie. Nothing, actually nothing about that movie appealed to me or made me care for any of the characters. The movie os very well done yes, but it was kust drsgong out and i couldn,t care less.
Hello! Sir. You have my utmost respect and admiration, further more you are brilliant! brilliant! brilliant! Thank you!! Zillion times for sharing your valuable, and priceless, Information with the public.
Sure that's Cobb's core goal but I don't think it's the core of the plot, which is much more intricate even at its most simple. The characters themselves aren't the most important part of the film, which serves in part purely as a cinematic/visual showcase of the world of dreams and our minds, and how our exterior reality can change that. The characters here really exist as vehicles to further these themes and visuals while also building momentum and tension; I don't think the writer started with the idea of a father trying to return to his kids but rather used it as a relateable human experience as a platform to demonstrate how dreams influence our reality (the spinning top question highlights this - my friends and I didn't leave the theater happy that he had reunited with his family but rather asking whether or not it was all a dream). Sorry for the long reply!
but if you try follow the phrase "a man wants to see his kids again" you could have any number of dozens of films, you could have a movie like "the santa clause" A man becoming santa clause who really just wants to be a father to his son, or you could have "honey I shrunk the kids," kids are shrunk so the father combs the yard in search, or heck you could have a prequel to guardians of the galaxy 2 told from Ego's perspective (and characterizing Ego as a better person). The key to the rule is to have the simplest phrase which guides the particular movie... You could make many minor changes here and there but at the end of the script you would have roughly the same film, not many different films.
These people are a joke. No wonder Hollywood keeps making formulaic movies that only appeal to the stupidest of people. Come up with something original.
First Blood was a fantastic movie. It's funny they picked that one though, because while he was saying all that about getting to the point quick, I was thinking Rocky did the exact opposite and was basically a masterpiece. Rocky 'didn't get to the point' until about 70% of the way through.
Dani Streay It was about the 50 minute mark actually. Rocky Balboa though is a much more layered character who it takes more time to understand. Rambo basically has trauma but a good heart, an inner conflict that plays out against his antagonists, the police. Rocky is a sensitive lonely guy eeking out an existence however he can and driven by love to achieve. By the way I don't endorse page numbered story structure by the way. They tried to tell me in college that the first act should be 25-35 pages and I switched off. The story will take as long as it takes to tell, with as little waste as possible, it's not brain surgery. I wish they would stop trying to enforce a duplicatable formula (just a writer's opinion).
Learned a lot from Michael. Looked up his 3 act formula. It's true how the character really turns into a real person and drives the story. Screenplay n books are quite different
This is some good general advice, particularly when it comes to having a clear motivation for your character early on that an audience/reader understands - this can often get lost in the exploration of character to the detriment of story overall. Even if the goal of your character is to discover their goal, or place, or purpose, or identity etc, thus making it more open-ended and not so specific, it still counts as something the movie is driving towards, whether obviously or more subtly. The general structure he proposes also is a handy reference point, but I'm sure Hauge would agree this is not a 'one-size-fits-all' formula - more of a general guideline to consider, being very common in a lot of films, when structuring your own story, whether it be a film, book, tv episode or comic book. For instance, lots of stories throw you into the thick of the action and develop character and backstory effectively later on, though I'd still say 'character establishment' has to still obviously come in the first 25% of the story, so he ain't wrong about that either.
0:23 I have this sort of motto and it goes, "if you're having story problems, I feel bad for you son. Cause I got 99 problems and a story ain't 1. Swear to god I thought that's what he was gonna say.
Love to hear it! Here is our full interview with Michael - ruclips.net/video/besI6G4p4nw/видео.html and here is a follow up we did where he breaks down A Few Good Men - ruclips.net/video/8QxxN4dBs4w/видео.html
Brilliantly explained, but I couldn’t help but think about Whiplash during the 8min interview. Simple theme, very early exposure. Or The Martian. The movie literally starts with him being left in Mars and then the journey begins. I guess there’s an exception to every rule.
How much time do you spend on the set-up of your screenplay versus Acts II and III? -- In the beginning it took forever. Now I just spend time setting up everything until it's perfect, without worrying about the time it takes. Presently, I'm smooth sailing through my set-ups. Acts II and III are rather very easy for me to complete because, I know my ending and beginning.
Simple or straightforward storytelling is more commercial but I try to write up to the audience; I'm not a great fan of attaching a negative to complexity; I often feel the opposite way but I'm increasingly altering that mindset; I'm aware most people are not overly keen on it and I'm still learning that lesson! Ultimately we are writing for others; many write for themselves but may in fact be doing it for overtly narcissistic reasons; we should concentrate on the customers that we're honing in on. The readers I have are always keen for me to establish the desires of the main character/s by page 10 but Michael tends to lean slightly away from this but everything's about balance; I strongly believe in listening and adapting; spending lots of time perfecting and getting massive feedback from contrasting script readers and consider and act on some or most of those suggestions. I also have small casts; generally no more than about 5 people in the entire stories; locations at the bare minimum that also applies to page count.
'Thank you Michael'... you mean if I keep it simple, so I know where the characters and I are going, we'll get there... I shouldn't wait for the audience to tell me where we're going? Brian Couch
Why are so many screenwriters even being given the opportunity to ruin a screenplay by Michael Hauge? Why isn't Michael keeping all of these screenplays to himself??
@Box Jabber but coming up with a ending at first has lot of advantages like the story will be solid and it can be connected well... If you let the story flow through it will have to disadvantages like you will start at one point and end it like something which can't be digested by audience but once you get the charechter to the end with a solid goal you can rewrite the script after you end the basic story.. you can change it into something solid... .. but mostly a story build with a ending in mind can be a better for example ENDGAME or the whole AVENGERS series... They had the ending in their mind... And then they build us to it... And it worked perfectly..... For proof THANOS shows up in Avengers 2 itself which is great example of foreshadowing and making us to go ready to witness the war a the end......
Depends on the needs of the particular story. Sometimes you need uncertainty of destination to help you sharpen your alertness and access a deeper level of your instincts. Other times you need the security of a certain destination. Sometimes you mix a bit of certainty with a bit of uncertainty. But then there's also preferred method. Some people lock on to one method of development and writing and that's it, they're good with that while others like to try out different approaches.
I disagree. Have a goal, sure, but if you already know how everything's gonna turn out, where's the fun in writing? It's a wonderful thing when you get surprised by your characters.
If you are doing a bank robbery movie there is a strong chance the film is either going to be about a successful bank robbery or an unsuccessful bank robbery. How you decide to get there can go a thousand different ways.
What about a movie like Se7en where the film immediately starts with the first crime scene? In the very first scene the “goal,” which in this case was to catch the killer, was established, and that goal was able be maintained for a majority of the film, but then it flipped at act III to the killer turning himself in. The goal then was not “who” but “why?” It’s almost as if the script turned this concept on its head, and it worked beautifully.
I would take the template type writers with a grain a salt. Sometimes refusing to color within the lines makes a much better screenplay. People who are willing to play around with their script could unearth new ways of writing screenplays. Still good advice, but it's not one size fits all.
I would say there is no set piece for success... everyone tries to adopt from what s worked.. you can start from anywhere and anyway you want..but making the audience connected is important.. you can tell your story the way you want it and you should... everything new is something people thought wouldn't work before.
When was the last time you've seen this movie? The first crime scene wasn't commited by the main serial killer. Actually, this scene and the whole movie play much like Hauge's structure. I don't know why people are so inclined to not believe in what he is saying.
He's a great "guru" of screenwriting. But remind me, which movies or TV shows has he written? (Hoops and Yoyo's Haunted Halloween does NOT count) I always feel there is something missing when a guru can explain story, and very well, mind you, but does not know about the process of production. Robert McKee never sold a script in his life either. I prefer Dan O'Bannon's book on screenwriting. At least HE wrote for movies that were produced. But I guess it's all six of one?
Dan O'Bannon was SO unappreciated. People still think that Ridley Scott wrote Alien. He and John Carpenter really knew how to tell a simple story, and tell it SO well.
The problem with some screenwriters is that they know too much for their own good they're so technical and good a criticism that they don't know how to think of a good idea or how to create believable dialogue/implicit language.
In my opinion, when you are writing the first draft you should forget all the rules and just WRITE. No-one is going to read the first draft except you so what does it matter if it isn't great? However, there may be a few great moments in the first draft which might have escaped you if you'd been too self-consciously hung up about characterisation and structure.
So currently I’m an aspiring film director and want to get deep into the routine of writing because later on I want to turn all my content into motion pictures, plays, and short films. I’m going to LA film school next May moving to north Hollywood to beat on my craft I’m so open to whatever it takes for me to improve my element. I suck at writing I always have been, never like English in school which made me forget a lot of the key elements to writing but I do have ideas I just don’t know how start writing them into a full blown story and watchin this guy with his perspective I’m slowly getting to understand how to really start the right way of my first story. Lately when I wanna write I’ll get stuck becuase im to involved with how is my writing gonna be intriguing or skipping to the middle of the journey of the story. I’m sometimes get insecure about it before I even hit the paper or typing on my keyboard but not stressing patience is key and I know for a fact I’ll get better and I’m coming for the top in Hollywood y’all mark my words! Wish me luck. And thanks for this video it helped a lot
I believe a writer should know the story,the character and the situations he will go through ,the other characters that he will come across during the journey as he makes progress,falters,gets up and tried again .The writer should know how the characters speak ,the mood,the atmosphere,most importantly the motive of each . If the story works,the screenplay works. Whether the film will be made or not,well,that is a different ball game.
Why does every movie have to be "the journey as he makes progress, falters, gets up and tries again." I've seen that movie a million times. Stop following formulas and come up with something original.
+The Truthful Channel Most movies goes like that, both good and bad ones. In the end it all comes down to the execution rather than thinking of something original. Name a movie that doesn't have its' ups and downs.
The Setup of a screenplay is not so much an introduction to the characters; it is supposed to Foreshadow conflict. In other words, we say 'here's X and here's Y. We layout their opposing views of life or toward their goals. This gives us the expectation that once the inciting incident strikes, X & Y are going to inevitably come into conflict with each other.' So the setup, although doesn't necessarily contain conflict; creates the expectation of conflict.
The more I watch these tips the more I realize the feature script I wrote must’ve came from the heavens cause it meets all these requirements and it came out naturally! #MysticJuna
Motivation is not enough in today's world. You need to define your situation. Call it concept or your universe, but you need to find a fresh definition of a reality to get anywhere with your audience. This leads you to a concept. It doesn't have to be sooo conceptual, but you need a fresh definition of the reality you are taking the reader through. A good example would be a serial killer, They can have many different definitions, settings, etc...That's why the film Seven was so good.
Personally, i feel the BIGGEST mistake writers make in the first act is the flashback. It is such an unimaginative way to even START a story. I understand that the writer wants to hook you right off the bat, and get your attention immediately so you don't leave his world. This is an incredibly over-used story device and it is being done to death right now. Almost 90% of modern movies have a 'grab your attention, then flashback to how it got there' mentality, showing you how that situation arose. WHY can't a writer simply start at the beginning of the story and tell it straightforward? Are we that short attention spanned that writers constantly have to use the dramatic opening, then flashback? That is one of my pet peeves and if i'm watching a new movie that starts this way, i will turn it off and never, ever go back to it. I want to see a movie simply start at the beginning and slowly build the tension and suspense-that way you are taking the journey along with the character. The first act flashback does nothing but eject you out of the story and makes you NOT care.
Most Hollywood movies are based on very simply story ideas. No, most Hollywood movies are based on already existing stories. Any Hollywood movie that isn’t based on previous work turns out to be garbage because they suck at making up their own stories.
Read scripts. Good, bad and ugly. Learn how to recognize what makes a good script "good" and a bad script "bad". You can't do this by only reading Oscar-nominated or blacklist scripts. You have to read the ones that didn't make the cut as well. Read them through just top read. Then set them down, digest them, come back in a day or so and read them again with another goal in mind: mapping. Break down the Act breaks. How were the setups established in Act 1? Did those setups pay off in Act 2.5/3? Was the hero's motivation clear? How did it evolve? Did they achieve/fail their end goal? (it's ok for them to fail, btw. Sometimes failing is an opportunity to alter their course to a new, more driving goal). Now, when you are plotting out your own script, keep these lessons in mind. MAP IT OUT before you even consider penning "FADE IN:". I've known a few established writers who don't do this, relying on a "vomit draft" where they just write steam-of-consciousness and then go back and hone the script in rewrites. Not many are able to do this. I can't. (I've tried). I would strongly suggest avoiding this method if, like me, you are a neophyte writer trying to break into the business. Remember this: STORY = CHARACTERS + CONFLICT. That's it. The magic equation for ANY genre. And it all comes down to how well you've developed the character. You can have conflict up the wazoo but if you haven't developed the characters well enough, haven't established how the conflict affects them personally as well as from achieving their goals, your story will be weak and readers won't be overly invested. On the flip side, you can have the best, most rounded characters ever written but if you don't manage the conflict as a tool to further shape and motivate them, your story will suffer. All of this starts in the same place: mapping. Admittedly, I haven't been produced yet. Had some interest from various ProdCos, places in Nicholls, but haven't actually *been paid* to write yet. But I can tell you I am closer to that goal than I was when I first set out, because of the lessons I have learned. Lessons from people like Michael Hauge. From many fellow writers and even many of those posting here. The hardest lesson I've had to learn.... the literal toughest is *don't stop writing.* It gets tough. You get discouraged. There are plenty of things you'd probably rather be doing than getting rejection letters over and over again but don't give up. When things get tough, remember why you wanted to write in the first place. If anything, this is the point in the script if your career referred to as the "all is lost" phase. Recognizing this, you know what to do from here...
Like the recent Netflix movie 'The Old Guard'. Starting right off with showing them all dead with Charlize Theron's voiceover wasn't needed to start the story. Her voice with just a black screen would have been suspenseful, because there would be no video and just a black screen and your imagination would fill in what she was talking about. OR JUST SKIPPING THE VOICEOVER ALTOGETHER, and starting AT THE BEGINNING of the story with them going about their mission. FLASHBACKS ARE A LAZY TOOL WHEN THE WRITER CAN'T THINK OF A PROPER BEGINNING. Or if it's a Director's decision to do the flashback, then that director is lazy.
My name is Jonathan Trauner. I will be 30 this May 15th 2024 in Jerusalem. I work at Mobileye in Jerusalem. I have Autism. I am a poet artist and performing artist and I love Gal Gadot and Taylor Swift. On June 18th 2023, I got hit by a huge tour bus and I only broke my left collarbone and did not die. I finished recovering end of August 2023 and my bone returned back to normal and to a completely unbroken unified state beginning of December 2023. My greatest dream come true is to become the first openly autistic poet performing artist and artist with Autism to win my Emmy Grammy Oscar and Tony film and acting awards in Los Angeles California in 2025, or in 2028 at the 100th Academy Awards. #NEVERGIVEUP. "Here's to the ones who dream, foolish as they may seem," Emma Stone, 2024 Oscar Academy Award Nominee for film "Poor Things
I'd like to add to the second point: you need to know the character so that you know how the conflict will affect him. Maybe a guy is getting fired - so what? Could be a relief for him, could be he's a chill guy and always looking for something new, could be he was already planning on leaving for a prolonged vacation ... or it could be that he desperately needs the money to pack some loan shark, maybe he was planning on asking his girlfriend to marry him or maybe he simply is on the verge of a depression ... all those different storys and infinitely more could start with this scene; guy sitting in his office, boss firing him. But we need to know the guy beforehand if we want to attach to him, we need to understand him.
@@bighands69 Well, to me it seems that the conflict is the essential part of any story. It's what seperates good stories from boring stories. Imagine it like this: "Romeo loves Juliet. Juliet loves Romeo." So what? Is there something special about this? They love each other. Good for them, I guess? What will this story be about? Do you even care what's going to happen to them? They probably get married and have kids. Wow. A different, more accurate summary: "Romes loves Juliet. Juliet loves Romeo. BUT ..." But what?! What happens to them?! Why can't they be together if they love each other? How will it eventually play out?! Those are just my thoughts and what I've read from others about that topic. There are other theories about what makes a story good or even brilliant.
Haha...there's a lot to be said about simplicity. Connection is at the heart of all things...That's life in general and we all live it so this kind of makes sense.
I like much of what this instructor has to say. But I would add that you don't always have to simplistically root for a character or to empathize with him. In Shakespeare's Richard III, you need to understand what Richard wants, and be curious to see if he gets it. In the first Star Wars movie, we learn what Darth Vader wants, the stolen plans, and are curious to see whether he succeeds. And if you try to watch the movie with new eyes, not knowing everything that happens, it is not initially clear whether the hero is supposed to be Luke, Han or Obi-Wan. I can imagine a variation of the movie where Obi-Wan is the main hero and Luke is his trusty sidekick. But one of the things that makes the film great is how Lucas complicates the basic elements but still tells a clear and simple story.
![Screenwriting Plot Structure Masterclass - Michael Hauge [FULL INTERVIEW]](http://i.ytimg.com/vi/besI6G4p4nw/mqdefault.jpg)
![Screenwriting Plot Structure Masterclass - Michael Hauge [FULL INTERVIEW]](/img/tr.png)
![Blox Fruits Dragon Rework Update [Full Stream]](http://i.ytimg.com/vi/EqDAp8udhm0/mqdefault.jpg)
1. Set a clear goal for the entire story.
2. Set-up the life of the character first.
3. Build up the story before the 25% mark.
Thank you for this
THE SECOND ONE! Netflix shows are REALLY bad for that. I recently watched this stupid netflix movie and within the first 20 minutes I knew the movie was going to be horrible because of that horrible set up they had where they didn't properly introduce the life of the character. Like I had nothing to hold onto as an audience that allowed me to care what happened to them. They did a REALLY horrible save the cat scene where the guy scoffs at a man who doesn't give money to a homeless person so he steals from that man to give to the homeless man, like it wasnt even a good robin hood style scene it was basically an immature childs interpretation of morality. Like I kept waiting for redeemable qualities that never came and without any backstory it was just impossible for me to care about the character going forward.
I always laugh at made up numbers. Why 25% and not 26 or 24? lol
@@federicou9424should’ve been 33 and 1/3
@@mem1701moviesyes, the smell of fear
Have a clear end goal throughout the story.
Don't rush the story; build it
Hey I’m l
Hey, what would be a goal for a boy meets girl kinda love story. I have good script and characters but all these terminology confusing me a bit. I am not a trained writer.
but what if the main theme of your story is being lost? you tend to have to find micro-ways to entertain the story along the way and keep changing the characters end goal. like with Peter Pan type stories when you have the subplot of these being LOST children, it's through the development of their characters that they can become unLost but every step along the way is a new type of adventure and you see that in the scenes where the lost children are simply causing mayhem and playful adventures. Which is what childhood is, similar to Lion King where he runs off and finds Timone and Pumba in a paradise of "no worries" which is basically avoiding responsibility and refusing the call to adventure, which for children is growing up.
That six stage plots structure makes WAAAAAY more sense than anything I've seen for the basic 3-act. It's so clear and doesn't mince around.
First Mistake- Have a visible goal 0:32
Second Mistake- Establish daily life 2:43
Third Mistake- Don't rush the story, build the conflict 3:53
Thank you
I was so eager for Michael Hauge's help that I hired him to critique my script's key turning points. He gave a lot of advice like he did here and pointed out that nothing worked, and he was absolutely right. Now I'm moving on to writing other scripts and really trying to learn from his advice and that experience.
If you can't write, you can't write. Don't waste money trying to do something you can't and won't ever be good at.
@@Nautilus1972 If you have a strong need to express your inner feelings and thoughts, nothing's gonna stop you from doing that. Don't be such a narrow-minded jerk man.
@@Nautilus1972 Bullshit. Even Stephen King had a pile of rejection slips before he got anywhere in his career. Most times it's just a matter of perseverance and trying to improve by learning from your mistakes.
@@Nautilus1972 You can't walk? You just fell? Too bad, little baby, but life sucks. You're just not good at it, just leave it...
Wtf, damn you people are negative and aggressive. OP, write if you like. It's for you first and last. Are you having fun? That's enough. The rest is an accident.
You don't have to empathize with the main character. You just have to find the character interesting enough to follow to the end.
To add onto that, some good stories/films start you with disliking the character but end you on sympathising with them and the choices they made
The first that came up in my mind was Thanos
@@arthur9491 great example
Anthony; PREACH IT!
Empathy doesn't mean 'like' - it just means you understand
His version of the Inception's logline is brilliant.
How many versions are there? You weren't listening to him.
🇧🇧
Which is ironic considering he said - "what's the heroes visible goal?" And in Inceptions case it is that the hero wants to go home to his children.
I totally agree.
Ridiculous to watch.
im not a writer but this feels like good advice
ThoughtGaze, lol! Same.
This is good everyday advice, really.
I am and it feels like good advice too :)
The interviewer mentioned Rambo and it's true. The first time we see him in FIRST BLOOD, he's just this guy who wants to visit his old war buddy from 'Nam and is told by his widow that he died two years earlier from cancer and he's devastated. Now he's the only one in his unit left. You empathize immediately with him. If you just introduce him as this scary drifter walking by the side of the road, you would think Sheriff Teasle would be right not to let him into his town.
Yup. It's a great setup.
Agree
jjkhawaiian your mom is a great setup.
Mokkari77 yup without the setup its a horror movie
i live at your mom's house
Today I spent 5 hours in s coffee shop writing with my co writer. It was amazing. I feel on top of the world. It was really successful today 😍
First thing I learned about writing, is not to stick to the typical Three Act structure. You're handcuffing your story if you think it has to perfectly follow just three acts. At least, this is what I learned through John Truby's book, "The Anatomy of Story". Of course, he gives examples of several successful films to support his approach. Nonetheless I love what Michael Hauge says in this video. So much to learn from him.
it's not just the story, most of what people want to see is because they want to see it, a cool situation, or an engaging world or perspective. People like to see cool things but more than that only get engaged if there's emotion. Story doesn't drive story, emotion does. Without emotion, you'll forget about in the second it ends. But emotion makes you connect, makes you experience and makes you understand.
The reason older people stop going to movies, and more younger people do, is because of the formulaic nature of movies. Once you've seen enough, you almost always know where they're going.
So many remakes, sequels, and adaptations of comics or books, shows anyone interested, that true originality and creativity is a rarity in Hollywood. It terrifies them. And only happens by lucky accident when it does.
So right! Us oldsters sigh heavily and think about leaving, regret the money...
@@fleurettemvangulden7883 It is a formula. He talks about showing the protagonist's everyday life before anything else . Watch South Korean movies . They are bigger on flashback and having multiple stories within the big story. The formula he talks about here is the same formula they use on superhero movies.
That's true but it's not because there's a formula. The reason why people knows what's going to happen, and then it happens, are clichés. Still the main events have to be there (e.g. if you are walking a romantic movies the two lovers has to meet and at a certain point they need to have some sort of conflict).
@@Andrea80661 A clichéd plot can be called formulaic. Cliché and formula are not mutually exclusive; they are only distinct on the small scale, like a clichéd phrase or a clichéd action, which itself might not be formulaic in its placement.
I guess I'm an older person.... and I watch all kinds of movies every week. I started reading very early & still love to read. In fact I love all the arts, it's all about the originality and I am still awed by an artist's creation and their creativity. So don't assume and count us out, Jake.
remember your character doesn’t have to change what they believe in. They can change the people around them. Look at Lou in Nightcrawler, he has the same ideology the entire movie - he can exploit people to get what he wants.
Hawkeye in Last of the Mohicans as well.
Well put! A great example of a change-less character arch is Paddington. Paddington himself never changes his beliefs or manners, but the family and people surrounding him do change because of his arrival.
Same thing in Parasite.
True, but that depends again on the movie.
Please, everyone, stop saying sh*t like: "you must do this or your whole script will fail!" There's a big chunck of people that get to work in the industry as a middle management producer, script reader or someone's p.a. that actually believe this sh*t to be true and even think they're smart when they're parroting sh*t like this. Those people have never finished writing a first draft but have the power to block a script because 'the first act break isn't on page 25'. I'm sure any film nut can think of at least three examples that are excellent films and prove these rules are no necessity at all. What's wrong with simply stating (for example): if you want your audience to be onboard with your protagonist, one way to do that is to make his desire or goal very clear so we can track his progress through the decisions he makes to achieve it, which leaves room to explore how he makes those choices instead of why he makes those choices.
D V I Couldn’t Agree More With This, I’ve Noticed That The People Who DONT Follow The Rules Are The Ones Who Make It. I’ve Seen So Many Videos And Read So Many Articles Telling People What Not To Do To Avoid Failure Or “Do This To Achieve This”...
Just GO And Learn And Keep Going.
For example, 1917 barely fits to anything the video said.
The plot starts about 15 minutes into the film, and from that point the goal is obvious.
*[SPOILER ALERT]* Sure, the movie sort of switches the goal when one of the soldiers die, because now instead of him wanting to save the brother, we focus on the other soldier wanting to honor that soldier by saving the soldier's brother. Still, the goal was always to save the soldiers, and especially the brother.
Then, we barely see the heroes' everyday life. They leave the friendly side after about 20 minutes.
@@magic75450 it was such an incredible film, from the story to the Cinematography
@@nickbraley5718
I thought the story was a bit weak, but it was still a great film. And it's not like the story structure was bad.
You can creatively break the rules only if you understand them. Take 5 or more movies that you think are terrible. Up to 10 max. Forget the characters and the cinematography. Then ask what specifically about the story failed and why.
Man this brings alot of clarity to a short film I've been struggling with... the brilliance here.
It's good to revisit some basics when you go to work on a new project. Lots of times you can forget concerns that should be at the root of your work, because you're so preoccupied with the nuances.
What he describes in the very first minute is why I stopped reading fiction years ago. Far too many writers get lost in the main character's inner, emotional machinations, and their (usually weak) plot grinds to a halt, with the book ending up being more character study than story. This happens because creative plotting, far more than character development or dialogue is the most difficult element of writing or storycraft.
I often find myself not giving a s*** about the plot and cant get enough of character driven movies.
I disagree, you don't need a strict narrative, you don't need a hero's journey, you don't need a formula. Look at 2001 A Space Odyssey, or some of Andrei Tarkovsky's work or David Lynch or Darren Aronofsky or Terrence Malick. The reason Hollywood films are the same is they are all based on a formula. Film can be an experience, you can experience it like a dream or a piece of art.That's why great directors are different and why their work stands out... IMHO
kubrickguy thank you !
I agree. A formula was made because there are so many idiots writing scripts they need guidance
Kubrickguy Kubrick´s stuff is a bit overrated though.
Joshua LeonardoASMR no problem, that’s your opinion and you are entitled to it. My view is that he was the most intelligent and deep thinking of all the directors. Something I share with others like Steven Spielberg, Martin Scorsese and most film academics. For example if you don’t ‘get’ 2001 it is easily the most boring film you have ever seen. If you ‘get it’, it’s the greatest film ever made. I fall into the second category, 2001, is a work of genius and probably one of the greatest films ever made. The Vatican even gave it an award. To me he was a genius but that’s just my POV, yours maybe completely different and that’s fine.
@@JLDReactions you're nuts
"There Will Be Blood," "Nightcrawler," and "The Master" are a few examples of extraordinary films with protagonists that didn't evoke empathy, at least not in the first act.
In "No Country For Old Men" almost nothing is established about the main characters daily lives before their outer motivation.
And in "1917" they start racing towards their main goal in less than what? Four minutes into the story?
These seemed great advices, but we just can't generalize.
You know what they say about rules, right?
Made to be broken
The rules still apply. However, you must learn the rules first so that you can break them *properly.*
@@Hot18Shot Precisely.
Seems to be a recurring theme in the literary world. Rules apply to everyone but the masters, but there’s a reason that’s the case. There’s only one Tarantino, Scorsese, Kubrick, etc. But I think that taking bold leaps or being innovative is just as important. I think what they mean by rule breaking is like the Wiseau approach but hey he made it work somehow too lol
they arent rules as much as they are tools. They're not supposed to be followed exactly, but you can break them or build on top of them and make your film original, and your own. Thats when you have used stuff like the hero's journey or film courage advice as a TOOL, not as a RULE
She’s a brilliant interviewer. Love hearing her thoughts and ideas along the way. Storytelling interview.
Great interview conducted by a great interviewer. Film Courage is a blessing.
Been taking so much time to learn the formatting and basics of screenwriting. Here’s hoping within a few years we’ll have a deeper Marvel movie on Cater Slade’s Ghost Rider.
Wish me luck peoples
you don’t need luck to make a marvel movie you just need plastic fans for those plastic movies
@@jrviade85
They are not plastic nor are they plastic fans. What does any of that actually mean?
Its been 3 years. Wheres the movie? And who the hell is cater slade?
@@flipjupiter1 I didn’t even realize I made the typo way back then lol. Carter Slade is what I meant. If you’ve watched She-Hulk at all… the wheels are churning but we take our time 🤫
I love this guy. He knows what he is talking about and tells us clearly.
i've always thought that most of the best movies usually showed the characters eating/dining and where they sleep, or at least some semblance of their home life if they have one. of course that's not possible in every movie, but that holds true in a lot of great flicks, i feel.
I agree. If we don't know who these characters are, we're less likely to care about what happens to them.
I agree. I think we enjoy those moments the most, because it reveals character and the small idiosyncrasies and it allows us to be empathetic towards them.
Yeah, that's part of why when they change, or they are put in a different situation, we understand why this happens or how this affects our character. Breaking Bad wouldn't work so well if we weren't shown in the first episode that he wasn't happy with his monotone lifestyle where he always felt unappreciated.
As long as you don't start the movie with them getting out of bed :)
That might be the weakest qualifier of what makes a great movie I think I've ever read.
Wow. I've been struggling with my story for weeks, and because of this vid and Hauge's advice I realised what was wrong with it. Fantastic, thanks so much for posting this.
Its been 3 years. Did you finish your story? Im guessing, no.
This explains why "hoops&yoyo's Haunted Halloween" works on such a high level. It's all about that through-line of motivation towards a goal juxtaposed with the character's identity vs essence.
Great video. The work I had in mind when I clicked on this video is not a movie, but a mini series that I wrote. Honestly, after watching this short video I feel more comfortable with my story. I did feel before that the story was effective as a narrative but watching the video and especially pausing it at the beginning and looking closely at the detailed chart I have a new and fresh perspective on why the story works! I love the quote about how all roads lead to the main characters outward motivation. The mini series is a satirical sock puppet play wherein all the socks are recovering alcoholics and recovering drug addicts. Thank you very much for the great video!
So true - all of it - so simple and yet so true - Michael Hauge's one of the best,
thanks for great post.
Here's the reality of screen writing: It's not only what you know, it's who you know. Most producers won't have the time to read your screenplay, it's your pitch. If you deliver a interesting pitch on your screenplay, they might look at it or send one of their people to read it. When you deliver your screenplay, they will either hate it or even if they seem remotely interested, they will say this has potential but we want you to change this, change that, add this, add that, take this out when basically they are taking your story and turning it into their own. And what are you gonna do??!! Say no??!! They have the power, if you don't do the changes they want, they will just move on. It's sad but producers are not gonna take that chance unless your book is a best selling novel that they want to buy the rights and turn it into a screenplay. Unfortunately today, producers don't want to take chances on new projects because they don't know for sure they will get their money back. That's why big production companies and producers are sticking with nostalgia and superhero movies.
that is why I produce my own movies. Sure, it means no budget, but at least I get to make stuff!
@MT
It is the exact same thing with being an author in that the right person has to seen the work. Tell us something new.
If you have an important story to tell, write a novel. The bonus here is, you get to have your heart ripped out and trampled on in front of your very eyes when they rewrite it for the screen.
Ameen
I do so love it when the advice I see/read just reaffirms the work I've already done!
Love this interview by Michael Hauge I must reread this book. Identify problems in Act 1 first, before searching elsewhere. Beautiful and next I'd move on to that Blake Snyders beatsheet for sure to make sure all film beats are present. Love these videos Film Courage!
One of the biggest problems is writers thinking one guru knows all the answers...
DOG FACED GODS \m/ true😂😂😂
I have heard these words said differently but conveying the same concepts from many successful screenplay writers.
Only good comment here.
If your films has no real structure to it within the first 25% of the movie it is going to suffer.
This channel is the shit. Really helps me clear my head and improve my script day after day. I think I leave here with something new after every interview.
I don't know but I think I just figured my story out. I knew one protagonist wasn't fitting so I made another character a second and thanks to this, I've formed the story well.
I enjoyed his advice at 3:00 - 3:50, because it's literally the first rule I'm gonna break consciously
Michael Hauge is Great! He be dropping jewels....
Eddie G Q
He just don't be dropping movies based on scripts he wrote.
If you watch movies stop at different time points and you begin to see where thing happen how pacing works. Breaking down films is really good way to learn we did that in film school it was so helpful. Plus read as many scripts as possible!
Thank you for these Michael Hauge clips. Much appreciated. And thank you, Mr. Hauge!
Been trying to write a film and this video really helped me out thank you so much!
Really like the throughline point
This gives me a much better way to write my first act. Thank you!
Loved him as Gregory on the Walking Dead, and also for directing True Lies
What i find is, these interviews work best if I just take in ONE thing at the time, go to my script and implement that one thing. if i listen more, i get nothing done.
Thank you for the incredible information. I've shared it with The Film Scene via Facebook because there's terrific information in this video that needs to be shared.
So helpful, I learned a lot from this channel.
Thank you!
Love to hear it Ishay! Keep writing!
Great video! Though the end goal in Inception is actually even simpler: Cobb has to pull off a risky heist that will allow him to go back to his children.
The outer goal is tied to the inner journey. You cannot delve into your character without showing us how this journey is changing him on the inside.
Yes, we've all read Campbell. Or at least I hope so.
I really like the set up of the story to embody three things and I try to almost keep it under 15 pages. That's characters, what they do, and where they're going. Now I wont finish act 1 on that but I definitely like to finish act 1 with what the characters want, what stands in their way, and where they're going. And usually that propels my characters into interesting second and third acts.
Best one yet. Thank you. So clear and helps me so much. Yes!
The only rule in screenwriting is make the character and situations compelling.That will keep you watching and interested despite the subject matter or outcome whether it's Henry Portrait of a Serial Killer or Castaway.
I think it’s okay to bend rules when it’s for purpose. Like subverting tropes to make a subtle commentary on pop culture and/or storytelling in general, or to set-up characters has either mysterious or to reveal something about them. You just need to be careful and learn what the established rules and limits to fully thrive creatively, we all are never gonna be the next Kubrick with our first screenplay, after all.
This is some of the greatest advice you could ever get. If you just have a clear goal screenplays are a blast to write. The problem is thinking of a goal that's interesting and not cliche
I not only enjoyed the video but also the coment section is filled with intelligent and interesting coments both underlining why he's so right and also why we shouldn't follow people's advices blindly! this is very rare, go ahead and read the coments and you'll see what I mean.
What about Moonlight or The Shape of Water? What are their clear objectives? Moonlight had mystery that kept me there, and kept hitting with intimacy and reality at every scene. Water was charming from the first shot till the last shot and made love where there couldn't otherwise have been any. The empathy angle makes more sense. Emotional investment is everything. Avoid alienation, but don't be afraid to just show life on screen. Insights into human nature through beautiful expression is delicious enough to keep butts in chairs and win awards.
Shape od water was miserable. I couldn,t even finish the movie. Nothing, actually nothing about that movie appealed to me or made me care for any of the characters. The movie os very well done yes, but it was kust drsgong out and i couldn,t care less.
Moonlight was about a man finding an ex lover and Shape of water was for a woman to save her lover
Great explaination, especially about the rushing the first act turning point, especially that.
Thank you! Sounds like a very clear simple idea. Now to implement...
Hello! Sir. You have my utmost respect and admiration, further more you are brilliant! brilliant! brilliant! Thank you!! Zillion times for sharing your valuable, and priceless, Information with the public.
Inception is even simpler than what he described if you get "down to its core"; it is about a man who wants to see his kids again.
Sure that's Cobb's core goal but I don't think it's the core of the plot, which is much more intricate even at its most simple. The characters themselves aren't the most important part of the film, which serves in part purely as a cinematic/visual showcase of the world of dreams and our minds, and how our exterior reality can change that. The characters here really exist as vehicles to further these themes and visuals while also building momentum and tension; I don't think the writer started with the idea of a father trying to return to his kids but rather used it as a relateable human experience as a platform to demonstrate how dreams influence our reality (the spinning top question highlights this - my friends and I didn't leave the theater happy that he had reunited with his family but rather asking whether or not it was all a dream). Sorry for the long reply!
but if you try follow the phrase "a man wants to see his kids again" you could have any number of dozens of films, you could have a movie like "the santa clause" A man becoming santa clause who really just wants to be a father to his son, or you could have "honey I shrunk the kids," kids are shrunk so the father combs the yard in search, or heck you could have a prequel to guardians of the galaxy 2 told from Ego's perspective (and characterizing Ego as a better person).
The key to the rule is to have the simplest phrase which guides the particular movie... You could make many minor changes here and there but at the end of the script you would have roughly the same film, not many different films.
While that is overly simplistic, it is also a good idea to get it down to that short of a premise. The simpler you can make it, the better it will be.
Wrong!
@ zan ahmad that's a bit over simplified.
Like Rambo.
I assumed she was joking but apparently not haha
These people are a joke. No wonder Hollywood keeps making formulaic movies that only appeal to the stupidest of people. Come up with something original.
Lol that line came out of nowhere. But it actually makes sense. Consider Rambo 1.
First Blood was a fantastic movie. It's funny they picked that one though, because while he was saying all that about getting to the point quick, I was thinking Rocky did the exact opposite and was basically a masterpiece. Rocky 'didn't get to the point' until about 70% of the way through.
Dani Streay
It was about the 50 minute mark actually. Rocky Balboa though is a much more layered character who it takes more time to understand. Rambo basically has trauma but a good heart, an inner conflict that plays out against his antagonists, the police. Rocky is a sensitive lonely guy eeking out an existence however he can and driven by love to achieve.
By the way I don't endorse page numbered story structure by the way. They tried to tell me in college that the first act should be 25-35 pages and I switched off. The story will take as long as it takes to tell, with as little waste as possible, it's not brain surgery. I wish they would stop trying to enforce a duplicatable formula (just a writer's opinion).
Learned a lot from Michael. Looked up his 3 act formula. It's true how the character really turns into a real person and drives the story. Screenplay n books are quite different
You can put a crew together from the commenters on these videos and a make a film.
This is some good general advice, particularly when it comes to having a clear motivation for your character early on that an audience/reader understands - this can often get lost in the exploration of character to the detriment of story overall. Even if the goal of your character is to discover their goal, or place, or purpose, or identity etc, thus making it more open-ended and not so specific, it still counts as something the movie is driving towards, whether obviously or more subtly.
The general structure he proposes also is a handy reference point, but I'm sure Hauge would agree this is not a 'one-size-fits-all' formula - more of a general guideline to consider, being very common in a lot of films, when structuring your own story, whether it be a film, book, tv episode or comic book. For instance, lots of stories throw you into the thick of the action and develop character and backstory effectively later on, though I'd still say 'character establishment' has to still obviously come in the first 25% of the story, so he ain't wrong about that either.
0:23 I have this sort of motto and it goes, "if you're having story problems, I feel bad for you son. Cause I got 99 problems and a story ain't 1. Swear to god I thought that's what he was gonna say.
Yes!!
I vould listen to this guy for hours. The wealth of knowledge he must have...
Love to hear it! Here is our full interview with Michael - ruclips.net/video/besI6G4p4nw/видео.html and here is a follow up we did where he breaks down A Few Good Men - ruclips.net/video/8QxxN4dBs4w/видео.html
Really dig his thoughts on Inception and not losing sight of a simple finish line.
Brilliant!! Thanks for the post!
Brilliantly explained, but I couldn’t help but think about Whiplash during the 8min interview. Simple theme, very early exposure. Or The Martian. The movie literally starts with him being left in Mars and then the journey begins. I guess there’s an exception to every rule.
How much time do you spend on the set-up of your screenplay versus Acts II and III? -- In the beginning it took forever. Now I just spend time setting up everything until it's perfect, without worrying about the time it takes. Presently, I'm smooth sailing through my set-ups. Acts II and III are rather very easy for me to complete because, I know my ending and beginning.
Simple or straightforward storytelling is more commercial but I try to write up to the audience; I'm not a great fan of attaching a negative to complexity; I often feel the opposite way but I'm increasingly altering that mindset; I'm aware most people are not overly keen on it and I'm still learning that lesson! Ultimately we are writing for others; many write for themselves but may in fact be doing it for overtly narcissistic reasons; we should concentrate on the customers that we're honing in on. The readers I have are always keen for me to establish the desires of the main character/s by page 10 but Michael tends to lean slightly away from this but everything's about balance; I strongly believe in listening and adapting; spending lots of time perfecting and getting massive feedback from contrasting script readers and consider and act on some or most of those suggestions. I also have small casts; generally no more than about 5 people in the entire stories; locations at the bare minimum that also applies to page count.
'Thank you Michael'... you mean if I keep it simple, so I know where the characters and I are going, we'll get there... I shouldn't wait for the audience to tell me where we're going?
Brian Couch
F--king Rocky.
Great story.
I'm glad I found this channel!
My motto is "keep it simple."
You can add complexity in edit.
Why are so many screenwriters even being given the opportunity to ruin a screenplay by Michael Hauge? Why isn't Michael keeping all of these screenplays to himself??
Smart man. Spoke to him at the 2017 Great American Pitchfest.
I've always said come up with your ending first. You have to know where you're going.
@Box Jabber but coming up with a ending at first has lot of advantages like the story will be solid and it can be connected well... If you let the story flow through it will have to disadvantages like you will start at one point and end it like something which can't be digested by audience but once you get the charechter to the end with a solid goal you can rewrite the script after you end the basic story.. you can change it into something solid... .. but mostly a story build with a ending in mind can be a better for example ENDGAME or the whole AVENGERS series... They had the ending in their mind... And then they build us to it... And it worked perfectly..... For proof THANOS shows up in Avengers 2 itself which is great example of foreshadowing and making us to go ready to witness the war a the end......
Depends on the needs of the particular story. Sometimes you need uncertainty of destination to help you sharpen your alertness and access a deeper level of your instincts. Other times you need the security of a certain destination. Sometimes you mix a bit of certainty with a bit of uncertainty.
But then there's also preferred method. Some people lock on to one method of development and writing and that's it, they're good with that while others like to try out different approaches.
I disagree. Have a goal, sure, but if you already know how everything's gonna turn out, where's the fun in writing? It's a wonderful thing when you get surprised by your characters.
If you are doing a bank robbery movie there is a strong chance the film is either going to be about a successful bank robbery or an unsuccessful bank robbery. How you decide to get there can go a thousand different ways.
What about a movie like Se7en where the film immediately starts with the first crime scene? In the very first scene the “goal,” which in this case was to catch the killer, was established, and that goal was able be maintained for a majority of the film, but then it flipped at act III to the killer turning himself in. The goal then was not “who” but “why?”
It’s almost as if the script turned this concept on its head, and it worked beautifully.
I would take the template type writers with a grain a salt. Sometimes refusing to color within the lines makes a much better screenplay.
People who are willing to play around with their script could unearth new ways of writing screenplays.
Still good advice, but it's not one size fits all.
I would say there is no set piece for success... everyone tries to adopt from what s worked.. you can start from anywhere and anyway you want..but making the audience connected is important.. you can tell your story the way you want it and you should... everything new is something people thought wouldn't work before.
@@sumanthgowda8512 g
You can go backwards etc depends on how you want to tell visually the story, you have to know the rules so you cant adapt them or break them.
When was the last time you've seen this movie? The first crime scene wasn't commited by the main serial killer.
Actually, this scene and the whole movie play much like Hauge's structure. I don't know why people are so inclined to not believe in what he is saying.
He's a great "guru" of screenwriting. But remind me, which movies or TV shows has he written? (Hoops and Yoyo's Haunted Halloween does NOT count)
I always feel there is something missing when a guru can explain story, and very well, mind you, but does not know about the process of production. Robert McKee never sold a script in his life either. I prefer Dan O'Bannon's book on screenwriting. At least HE wrote for movies that were produced. But I guess it's all six of one?
Dan O'Bannon was SO unappreciated. People still think that Ridley Scott wrote Alien. He and John Carpenter really knew how to tell a simple story, and tell it SO well.
Walter Hill turned it into a great script, though.
The problem with some screenwriters is that they know too much for their own good they're so technical and good a criticism that they don't know how to think of a good idea or how to create believable dialogue/implicit language.
In my opinion, when you are writing the first draft you should forget all the rules and just WRITE. No-one is going to read the first draft except you so what does it matter if it isn't great? However, there may be a few great moments in the first draft which might have escaped you if you'd been too self-consciously hung up about characterisation and structure.
A first draft that is failed is still a failure and the second draft has nothing to do with it.
So currently I’m an aspiring film director and want to get deep into the routine of writing because later on I want to turn all my content into motion pictures, plays, and short films. I’m going to LA film school next May moving to north Hollywood to beat on my craft I’m so open to whatever it takes for me to improve my element. I suck at writing I always have been, never like English in school which made me forget a lot of the key elements to writing but I do have ideas I just don’t know how start writing them into a full blown story and watchin this guy with his perspective I’m slowly getting to understand how to really start the right way of my first story. Lately when I wanna write I’ll get stuck becuase im to involved with how is my writing gonna be intriguing or skipping to the middle of the journey of the story. I’m sometimes get insecure about it before I even hit the paper or typing on my keyboard but not stressing patience is key and I know for a fact I’ll get better and I’m coming for the top in Hollywood y’all mark my words! Wish me luck. And thanks for this video it helped a lot
Good luck brother. Same here.
His first comment on a thicket - that has been me! Probably a core issue for writer's block.
I believe a writer should know the story,the character and the situations he will go through ,the other characters that he will come across during the journey as he makes progress,falters,gets up and tried again .The writer should know how the characters speak ,the mood,the atmosphere,most importantly the motive of each . If the story works,the screenplay works. Whether the film will be made or not,well,that is a different ball game.
Why does every movie have to be "the journey as he makes progress, falters, gets up and tries again." I've seen that movie a million times. Stop following formulas and come up with something original.
I couldn't agree more.
The Truthful Channel write the story you are talking about 🤷🏻♀️
+The Truthful Channel Most movies goes like that, both good and bad ones. In the end it all comes down to the execution rather than thinking of something original.
Name a movie that doesn't have its' ups and downs.
The Setup of a screenplay is not so much an introduction to the characters; it is supposed to Foreshadow conflict. In other words, we say 'here's X and here's Y. We layout their opposing views of life or toward their goals. This gives us the expectation that once the inciting incident strikes, X & Y are going to inevitably come into conflict with each other.' So the setup, although doesn't necessarily contain conflict; creates the expectation of conflict.
He looks like the older brother of James Cameron and Michael Haneke.
A bearded James Cromwell.
Great information. Thank you, Mr. Hauge.
The more I watch these tips the more I realize the feature script I wrote must’ve came from the heavens cause it meets all these requirements and it came out naturally! #MysticJuna
Motivation is not enough in today's world. You need to define your situation. Call it concept or your universe, but you need to find a fresh definition of a reality to get anywhere with your audience. This leads you to a concept. It doesn't have to be sooo conceptual, but you need a fresh definition of the reality you are taking the reader through. A good example would be a serial killer, They can have many different definitions, settings, etc...That's why the film Seven was so good.
That's exactly what I've come to realize after 10 years of writing.
Personally, i feel the BIGGEST mistake writers make in the first act is the flashback. It is such an unimaginative way to even START a story. I understand that the writer wants to hook you right off the bat, and get your attention immediately so you don't leave his world. This is an incredibly over-used story device and it is being done to death right now. Almost 90% of modern movies have a 'grab your attention, then flashback to how it got there' mentality, showing you how that situation arose. WHY can't a writer simply start at the beginning of the story and tell it straightforward? Are we that short attention spanned that writers constantly have to use the dramatic opening, then flashback? That is one of my pet peeves and if i'm watching a new movie that starts this way, i will turn it off and never, ever go back to it. I want to see a movie simply start at the beginning and slowly build the tension and suspense-that way you are taking the journey along with the character. The first act flashback does nothing but eject you out of the story and makes you NOT care.
Most Hollywood movies are based on very simply story ideas.
No, most Hollywood movies are based on already existing stories. Any Hollywood movie that isn’t based on previous work turns out to be garbage because they suck at making up their own stories.
this is so incredibly helpful!! thank you!!
Read scripts. Good, bad and ugly. Learn how to recognize what makes a good script "good" and a bad script "bad". You can't do this by only reading Oscar-nominated or blacklist scripts. You have to read the ones that didn't make the cut as well. Read them through just top read. Then set them down, digest them, come back in a day or so and read them again with another goal in mind: mapping. Break down the Act breaks. How were the setups established in Act 1? Did those setups pay off in Act 2.5/3? Was the hero's motivation clear? How did it evolve? Did they achieve/fail their end goal? (it's ok for them to fail, btw. Sometimes failing is an opportunity to alter their course to a new, more driving goal).
Now, when you are plotting out your own script, keep these lessons in mind. MAP IT OUT before you even consider penning "FADE IN:". I've known a few established writers who don't do this, relying on a "vomit draft" where they just write steam-of-consciousness and then go back and hone the script in rewrites. Not many are able to do this. I can't. (I've tried). I would strongly suggest avoiding this method if, like me, you are a neophyte writer trying to break into the business.
Remember this: STORY = CHARACTERS + CONFLICT. That's it. The magic equation for ANY genre. And it all comes down to how well you've developed the character. You can have conflict up the wazoo but if you haven't developed the characters well enough, haven't established how the conflict affects them personally as well as from achieving their goals, your story will be weak and readers won't be overly invested. On the flip side, you can have the best, most rounded characters ever written but if you don't manage the conflict as a tool to further shape and motivate them, your story will suffer. All of this starts in the same place: mapping.
Admittedly, I haven't been produced yet. Had some interest from various ProdCos, places in Nicholls, but haven't actually *been paid* to write yet. But I can tell you I am closer to that goal than I was when I first set out, because of the lessons I have learned. Lessons from people like Michael Hauge. From many fellow writers and even many of those posting here.
The hardest lesson I've had to learn.... the literal toughest is *don't stop writing.* It gets tough. You get discouraged. There are plenty of things you'd probably rather be doing than getting rejection letters over and over again but don't give up. When things get tough, remember why you wanted to write in the first place. If anything, this is the point in the script if your career referred to as the "all is lost" phase. Recognizing this, you know what to do from here...
Like the recent Netflix movie 'The Old Guard'. Starting right off with showing them all dead with Charlize Theron's voiceover wasn't needed to start the story. Her voice with just a black screen would have been suspenseful, because there would be no video and just a black screen and your imagination would fill in what she was talking about. OR JUST SKIPPING THE VOICEOVER ALTOGETHER, and starting AT THE BEGINNING of the story with them going about their mission. FLASHBACKS ARE A LAZY TOOL WHEN THE WRITER CAN'T THINK OF A PROPER BEGINNING. Or if it's a Director's decision to do the flashback, then that director is lazy.
My name is Jonathan Trauner. I will be 30 this May 15th 2024 in Jerusalem. I work at Mobileye in Jerusalem. I have Autism. I am a poet artist and performing artist and I love Gal Gadot and Taylor Swift. On June 18th 2023, I got hit by a huge tour bus and I only broke my left collarbone and did not die. I finished recovering end of August 2023 and my bone returned back to normal and to a completely unbroken unified state beginning of December 2023. My greatest dream come true is to become the first openly autistic poet performing artist and artist with Autism to win my Emmy Grammy Oscar and Tony film and acting awards in Los Angeles California in 2025, or in 2028 at the 100th Academy Awards. #NEVERGIVEUP. "Here's to the ones who dream, foolish as they may seem," Emma Stone, 2024 Oscar Academy Award Nominee for film "Poor Things
I'd like to add to the second point: you need to know the character so that you know how the conflict will affect him. Maybe a guy is getting fired - so what? Could be a relief for him, could be he's a chill guy and always looking for something new, could be he was already planning on leaving for a prolonged vacation ... or it could be that he desperately needs the money to pack some loan shark, maybe he was planning on asking his girlfriend to marry him or maybe he simply is on the verge of a depression ... all those different storys and infinitely more could start with this scene; guy sitting in his office, boss firing him. But we need to know the guy beforehand if we want to attach to him, we need to understand him.
Why is it about conflict?
@@bighands69 Well, to me it seems that the conflict is the essential part of any story. It's what seperates good stories from boring stories. Imagine it like this: "Romeo loves Juliet. Juliet loves Romeo." So what? Is there something special about this? They love each other. Good for them, I guess? What will this story be about? Do you even care what's going to happen to them? They probably get married and have kids. Wow.
A different, more accurate summary: "Romes loves Juliet. Juliet loves Romeo. BUT ..."
But what?! What happens to them?! Why can't they be together if they love each other? How will it eventually play out?!
Those are just my thoughts and what I've read from others about that topic. There are other theories about what makes a story good or even brilliant.
Yeah, we need more movies about hitmen. And another Batman movie, too.
I love his ideas on structure. Still, my favorite movie is Inland Empire.
Haha...there's a lot to be said about simplicity. Connection is at the heart of all things...That's life in general and we all live it so this kind of makes sense.
Sarah Forest
Oh. My. God. This is so incredibly helpful
I like much of what this instructor has to say. But I would add that you don't always have to simplistically root for a character or to empathize with him. In Shakespeare's Richard III, you need to understand what Richard wants, and be curious to see if he gets it.
In the first Star Wars movie, we learn what Darth Vader wants, the stolen plans, and are curious to see whether he succeeds.
And if you try to watch the movie with new eyes, not knowing everything that happens, it is not initially clear whether the hero is supposed to be Luke, Han or Obi-Wan. I can imagine a variation of the movie where Obi-Wan is the main hero and Luke is his trusty sidekick.
But one of the things that makes the film great is how Lucas complicates the basic elements but still tells a clear and simple story.
Wow, devastatingly on point for me. This guy's incredible.