The Nutshell Technique: Crack the Secret of Successful Screenwriting - Jill Chamberlain
HTML-код
- Опубликовано: 16 дек 2019
- BUY THE BOOK - THE NUTSHELL TECHNIQUE: Crack the Secret of Successful Screenwriting - amzn.to/2X3Vx5F
DOWNLOAD THE NUTSHELL TECHNIQUE FORMS
www.jillchamberlain.com
Jill Chamberlain is the author of one of the highest rated screenwriting books on Amazon entitled The Nutshell Technique: Crack the Secret of Successful Screenwriting.
MORE VIDEOS WITH JILL CHAMBERLAIN
bit.ly/2lPYJ3i
CONNECT WITH JILL CHAMBERLAIN
www.jillchamberlain.com
/ jillchamberlainauthor
/ jillchamberlain
BECOME A FILM COURAGE MEMBER
/ @filmcourage
CONNECT WITH FILM COURAGE
www.FilmCourage.com
#!/FilmCourage
/ filmcourage
/ filmcourage
/ filmcourage
BUSINESS INQUIRIES
bit.ly/22M0Va2
SUBSCRIBE TO THE FILM COURAGE RUclips CHANNEL
bit.ly/18DPN37
LISTEN TO THE FILM COURAGE PODCAST
/ filmcourage-com
PROMOTE YOUR MOVIE, WEBSERIES, OR PRODUCT ON FILM COURAGE
bit.ly/1nnJkgm
SUPPORT FILM COURAGE
/ filmcourage
Stuff we use:
CAMERA - This is the camera we have used to film 90+% of our interviews (over 200 interviews and counting) It continues to be our workhorse - amzn.to/2u66V1J
LENS - Most people ask us what camera we use, no one ever asks about the lens which filmmakers always tell us is more important. This lens was a big investment for us and one we wish we could have made sooner. Started using this lens at the end of 2013 - amzn.to/2tbtmOq
AUDIO
Rode VideoMic Pro - The Rode mic helps us capture our backup audio. It also helps us sync up our audio in post amzn.to/2t1n2hx
Audio Recorder - If we had to do it all over again, this is probably the first item we would have bought - amzn.to/2tbFlM9
LIGHTS - Although we like to use as much natural light as we can, we often enhance the lighting with this small portable light. We have two of them and they have saved us a number of times - amzn.to/2u5UnHv
COMPUTER - Our favorite computer, we each have one and have used various models since 2010 - amzn.to/2t1M67Z
EDITING - We upgraded our editing suite this year and we’re glad we did! This has improved our workflow and the quality of our work. Having new software also helps when we have a problem, it’s easy to search and find a solution - goo.gl/56LnpM
*These are affiliate links, by using them you can help support this channel.
#writing #screenwriting #screenplay 
Кино
![How Movies Work - Peter Russell [FULL INTERVIEW]](http://i.ytimg.com/vi/Vi6XG-JlIg0/mqdefault.jpg)
(When I write my first successful script)
Interviewer: Where did you learn to write?
Me: Film Courage
🤣
Go get 'em!
@@filmcourage ❤
👈Now Enrolled.
Me too !!! 🙋♀️
Had the pleasure to have Jill analyze my script... she's an absolute Pro! Get her book if you haven't already.
@@edwardamaral6819 I understand where you are coming from...if you are familiar with how Hollywood operates you know that people are often Ghostwriters and script doctors and do not receive WGA credit or imdb credit. That is what Jill does.
@mark haapala how much did you pay?
Yes! The Full Interview!
Finally got this one up.
Jill's book is so good! Definitely a great place to make sure you are telling a story rather than a situation. The 30 movies that she "nutshelled" are great to skim over for structure, especially character arc structure. Found Jill through this channel and immediately bought the book. The language is accessible and easy to read and the font is larger than other books, again making it very easy to read and re-read. Highly recommend!
(you can never have too many scriptwriting books right?)
love listening to her speak. gets really deep. so grateful. thank you! :D
Jill is brilliant! I've read so many books, done webinars and masterclasses for script and playwrighting, but she gets to the real heart of the problem. I hate formulas and beats. I truly believe storytelling is not clinical and rigid. Her method is so liberating and I think it's the best tool for this creative profession. I wish Film Courage would do another interview with her to break down a couple of good and bad examples of episodic projects.
Yes your right °• I'm signing up for her class tomorrow°•
I 💯 agree with you Cynthia, I listen to a lot of how to write books but I am getting hers first.She is a life saver.I am writing my debut novel and she just put 💯 new wings on my writing voice.
Epic. I absolutely love the way Jill thinks and speaks!! Super valuable and usable info
I bought the book Jill is good fire
Her book changed my life. ❤
I just now ordered the book on amazon. I have a weakness for cookie cutter approach and want to give it a serious try.
Wow. Obsessed with this. Thanks to Film Courage and Jill Chamberlain for bridging the gaps 🎞 🎥 ✏️
The Michael Hauge interview is why I decided to binge watch the Film Courage channel, and his percentage breakdown absolutely applied, but this full interview here is the *one* I needed because the character is based on a real person who existed so there are limited facts & it is indeed a tragedy. The Interviewer really asks the right questions to reveal the best information. Jill mentioned both of my situations/hurdles in this interview and allowed me to discover that I was focused on highlighting the wrong flaw 💡
I have it..her book.its good ...buy it. Use a highlighter...i love the form too.
How gorgeous is she. She is truly amazing.. Thank you for always bringing the most amazing people to your you tube channel. ❤
Thank You..
Will be buying the Book
I started reading her book today, and stumbled on this video today as well. I highly recommend her book.
Having watched the clips, and then this full interview, I ordered and have now read the book. Many thanks Jill, and I just love this channel BTW. Good job guys!
I read many books that helped me but this book helped me find the story within my story, thank you Jill Chamberlain!
Full interview!! What a nice Christmas gift 🎁✨
Merry Christmas Lawrence! We put a little extra work in to get this full interview up tonight. Hope you enjoy.
So sensible and informative. Kudos!
I just bought her book to help me with story structure. Thanks for posting this.
Cheers Tommy, hope it helps!
Thanks for this :) Always valuable content, I love it.
This has been very informative. Thank you for doing this show and bringing the guest Jill Chamberlain.
Jill, your book is gold. Honestly until now, I've been a bit lost with structure but your nutshell technique is exactly what I've been looking for. Thanks.
That's awesome Paul! Great to see you finding the right tools to help you with your process. Thanks for posting.
Thank You!!!!!!
When she said that about Tootsie I knew immediately that was the difference. The whole purpose of the film was the character arc and showing how difficult it is to be a woman and that’s what Dustin Hoffman said he learned in playing that character and that’s what his character was supposed to learn. I haven’t seen that movie in over a decade but I still remember that because I don’t think I’ve ever seen or heard of a movie that dealt with things like that before and Dustin spoke a lot about how it affected him and what he learned and that resonated with me and I never forgot it. My rule when I write stories or anything is it must have a purpose. Some people call it theme. I call it purpose. It must bring some sort of revelation, that brings validation, comfort, healing, to the audience. I believe strongly in writing for character. One of the major reasons Friends was and still is such a successful popular beloved show is because of the six very specific and unique yet relatable different characters. And they each go through their own journeys of change.
This was a very good interview. I don't own her book but I did d/l the worksheets and look at some blog posts about her approach. She presents a method for the big overview. Is your story balanced? Do story elements from the set up connect to the conclusion? Are you clear about your character's flaws? So, this is in contrast to McKee, who provides a good method at the scene and sequence level. But his approach breaks down big picture. And Truby, who is somewhat in between Chaimberlain and McKee. I have read McKee and Truby, many many times. My copies of those two books are well worn and covered in notes and highlighter. BUT... one thing to note, all three of them base their approaches on Aristotle's Poetics. In contrast with Snyder and the other beat sheet and monomyth approaches, which are much more rigid in keystone events and pacing. I will buy Chaimberlain's book. Even if it has not much more in it than what's available, simply because I think her ideas are relevant in contrast with McKee and Truby. But I"d say if you've watched all two hours of this, you really ought to crack open a book or two as well.
thanks for this
I always felt like Uncle Jesse is secretly the main character in full House. Everyone thinks it’s an ensemble show and the cute kids carried it but secretly it was Uncle Jesse’s journey that kept that show interesting. Rachel is the one in FRIENDS in the beginning of the show.
Wow she is a genius!
First, great interview. I learned a ton, but I still want to get the book.
One problem I have with script consultants/doctors/gurus is that they all have the same story: "I was studying hundreds of movies and I noticed this one thing..." Michael Hauge talks about things that happen near a certain page, Eric Edson has his "stunning surprises" and his twenty some odd reversals and Jill has her nutshell. (The nutshell seems the best for me, since it is less formulaic and more about insuring key elements are present.) Even though they all have the same story to finding their technique, the technique is always different. How am I to know which technique is the best or at least the best for me?
It would be nice if there were a standard set of movies to analyze such that everyone who claims to have found the secret sauce, must prove it against the standard set. Christopher Vogler had a nice set to test the Hero's Journey that included Star Wars and Pulp Fiction. Given the names mentioned here, we could toss A Few Good Men, Pretty Woman and Groundhog Day onto the list. Maybe the list could be shortened guru's choice for one to show the best light and Pulp Fiction to show that it still works even when the movie isn't as traditional.
Film Courage, don't take any of my comments to imply that I think you are doing anything less than a stellar job. I haven't found any place with so many teachers on the subject of screenwriting and film making with such a diversity of opinions and experience as you have here. If anything, my problem is that there is such a wealth of knowledge available that I need to work to discern what is most applicable to my writing.
Maybe you don't have to choose just one guru. Perhaps if you apply all of these masters' techniques to your projects it'd be like wearing the screen writer's infinity gauntlet.
They all have important things to say. Some resonate more for each of us. Writing is the thing.
Having gone to film school, I can say this; all of these techniques, are just that techniques. Is like playing an instrument, after you learn all of the basics and some music theory, you can reach pro level by mastering several techniques that serve your song. Is the same in writing. All of these people are right and they can all find their techniques within movies because movies (just like songs) use different types of techniques. I’d say first, learn the basics of storytelling and the 3 part structure. That’s all theory (not a technique).
@@Josev-TVwhat are some good sources for learning basic storytelling ?
Thank you.
Great interview
Hearing her talk about Sunset Boulevard was great. Really cool how she broke down what was actually tragic about that.
Very Informative!!
Glad it was helpful!
"Fat" Tootsie = Shallow Hal
Shallow analysis. Shallow Hal's pursuit of the fat woman challenged his internal flaw and in the end he had to overcome it.
Jill brings the journey of the protagonist with these worksheets, but I was wondering... If the protagonist follows the path of the comedy, is it right to say that the antagonist will probably follow the path of tragedy? Because their wishes should be exact opposites, so when one is triumphing, the other one is in crisis. The hero learns with his flaws and goes towards strength while the villain goes worse in his flaw. Does it make sense?
Film Courage, if you haven't seen Humphrey Bogart especially flawed in a movie then you haven't seen either The Caine Mutiny or In a Lonely Place, both total treats. Arguably, the same goes for The Treasure of the Sierra Madre and The African Queen, but the first two are the starkest examples. In particular, he's not reserved at all in Caine. His career's not all Philip Marlowe, Sam Spade and Rick Blaine, you know. // By the way, I _totally_ disagree with Jill about Casablanca. Bogart won't let us feel his pain? Come on. It's all there in 'You played it for her, you can play it for me,' and 'Or aren't you the kind that tells?' It's in his bitterness in other words, and it's raw and it's perfect. Oh, and the reason he doesn't have to struggle to make the decision to give Ilsa up to Laszlo and join the resistance is, he's already achieved what he needed to: he's gained a new perspective on the pain of Ilsa leaving him and understands that she never stopped loving him. His flaw had been that he was carrying around that bitterness and the resulting cynicism and couldn't see it any other way. // Oh, but other than that, great interview, _very_ helpful to me. Thank you both!
Caine Mutiny is so good
@@markothwriter Yup. Essential viewing.
1:47:29 "She's going to save something that's about to be discarded...a fetus."
Scene #109: "Juno looks at the baby in awe, then her eyes begin to
flutter"
Fetus never appears in the script. No one thinks "I want to save this fetus." It's a baby. They write baby/kid/children dozens of times in the script. She contrasted it with saving a chair -- not saving pieces of wood nailed together. Wood becomes a chair because of our intention and use for it. A baby is a baby. That's the emotional gravity of the film. The scriptwriters knew that.
Other than that, solid interview.
I'm at the halfway point of the interview and am in love with the nutshell technique. It'll be invaluable as pre-work for revising my novel.
What I'd love to hear from her is how to convert a novel into a screenplay. While of course she'd whip out her nutshell worksheet, there's a bunch more to it I'd like to learn.
We also love this interview with Jill! Don't believe she talks about adaptation in our interview? We do have clips from other writers who share their thoughts on this topic here: buff.ly/3PSDCZD - Thank you for watching!
@@filmcourage Thanks! I'll check it out.
I get my book tomorrow. I will start saving for a script review XD
This interview gets off track when Jill is questioned about writing a book proposal. This is supposed to be about her screenwriting method.
Jill: 99% of screenwriters make this mistake. They don’t write a story, they write a situation.
Quentin Tarantino: We writers don’t write stories. We write situations.
An interesting quote.
Although it bears mentioning that Tarantino's "situations" don't deviate from Jill's definition of stories in that protagonists' character growth are well tied to the plot progression, unlike what she refers to as "situations" without proper stories.
Blue Rabbit Quentin can’t fully explain his genius
True: Tarantino´s stories are like that. And that´s why I am not a fan of his. When I finish a Tarantino movie, I am left thinking "well, where´s the meat and potatoes in this story"? I don´t feel satisfied.The only film of his that satisfies me is Pulp Fiction. I feel that his movies are a series of interwoven vignettes that are little stories in and of themselves but that don´t contribute to a bigger picture.
@@fernandoreynaaguilar1438
What about Django ? He won an oscar for that screenplay 🤔
She use 'You Know' a lot!
I got the book for Christmas (you can improve your odds of this by hinting at only one thing). I read it. Here are my thoughts:
This is not a difficult book, but it isn't a book for beginners. This book will not help with formatting, so you should get those skill elsewhere. I recommend having some notion of story structure, such as the hero's journey, prior to reading this book. Where this book will help is in connecting your beginning with the end. I have often written stories about a character in a situation who do things and change, but I get to the end and it is sort of goodish, but something is missing. I'm hoping that as I implement the nutshell technique, I'll have a beacon at the end of story to help guide me into port.
In my earlier comment, I wanted better examples to test the technique. The book is loaded with examples. One might expect her to cherry-pick the examples that prove her right, but she gives a range of examples. She even mentions a specific movie that she was unable to nutshell. She stands by the technique, believing that certain successful movies would have been better if elements were tied together better. Even though this is her technique, she makes no claim of being the ultimate practitioner of the technique, often crediting others for seeing something she missed.
Some commenters are put off by her calling "he and she" as "antiquated". Frankly, she could have omitted that statement and nobody would notice. She uses the neutral "they" when referring to a hypothetical character of unknown sex. When referring to specific characters from specific stories, she uses the customary pronouns. I didn't find any of the wording to be even slightly awkward.
I requested the worksheets from her website. I thought I was being ignored until I mentioned the problem to someone who is a bit more tech savvy (my wife). It turns out that my email sent the response into a different folder than the one I was expecting.
If enough great movies are made using this technique, I see it or something close to it being incorporated in a more comprehensive work maybe ten or twenty years down the road. Until then, I'd recommend using this as a method to make your current structure sharper.
Nice to hear you got what you wanted for Christmas Lon! Thanks for sharing your thoughts here. It looks like it is already positively impacting your work.
Thank you so much Jill. This interview helped me already. Just wondering when you coach and read scripts is there a non disclosure agreement signed ? In the workshop how are scripts protected from others copying them ? I've been super protective of my story and wouldn't want someone to steal my idea.
Nice sunset in the background, but must be one of those scenery windows as the sky doesn't change throughout the two-hour interview.
I don't know what _je ne sais quoi_ is, but Chamberlain is chock full of it. Her organization of thought and delivery is absolutely wonderful. I bet she can deliver a bullshit extemporaneous disquisition on the fine art of flower arranging, and I'd hang on every word, just an iota shy of being certain that she's talking shit.
Five bucks says she's a great person to be friends with.
Sorry what's the movie reference for the screenplay structure she mentioned? (at the first half)
Thank you ❤
I love this woman! She's highly knowledgeable and a brilliant teacher! 34:44 I think we all need to avoid this and have a happy ending.
According to her, films like Charlie Chaplin - The Kid, are situations not stories . or am I wrong? :)
So there is a Movie out there called Amila, it's a Spanish movie and I think it's on Netflix but the storyline is a bunch of situations put together the opposite from what advice she's giving. but the movie itself is one of those slices of life movies and the story itself is really good. The scene is situation after situation like an episode almost and I loved it. I'm disregarding her advice but rather adding on to it the a film could be made despite it only having situations.
How much does Jill charge for a 60-90 min consult?
Not trying to be mean just genuinely wondering cause I can’t find anything. What has she really done in turns of script consulting? Like what scripts has she consulted on that I can read myself.
Hunter Hancock nothing... she just does interviews
Check her imdb
Script doctors are often uncredited. Their work is "for hire." Crediting them, most times, would be akin to a painter crediting his most influential instructor on the placards underneath his paintings.
@Jill: Very insight- and helpful book. And I disagree with the following: "By the end of Act 1, the screenwriter has given the protagonist their
SET-UP WANT in the POINT OF NO RETURN." This would mean the film is over! Because every movie is about a man/women who is after something they trying to get. At the end they will get it or not. Movie over.
I know this is probably verboten to say, but people should really take a look at the work and career of Max Landis.
The guy is an absolute ideas machine, and his scripts are always compulsively readable. Granted, a few of the movies made from those scripts haven't been great. But in terms of sellable ideas and solid execution he's one of the best.
At 1:33:00, she claims that there's only one protagonist. A film can have 0, 1, 2, 3, 4... active decision makers. Hans Gruber in Die Hard is a definitely someone with a plan, but he changes his plan as the story progresses. Even Mr. Takagi (played by the late, great, Hawaiian actor, James Shigeta) was a decision maker--someone with agency. It's because costars like Powell, Holly, Karl, and Ellis make decisions as the story progresses, making this character-driven story one of the greatest Christmas movies ever.
What about 12 Years a Slave? He is a victim, not a contributor... Does this script have a flaw according to nutshell technique?
I wonder if she did apply the nutshell technique to write her own book...
How can I contact with you .I am an old persian writer and have written a few novels , script s plays , Short story s and essays.
Re. Groundhog Day - "I don't want to spend more than 24 hours in Punxutawny"... I really doubt that the screenwriters were setting up anything but the comedic irony that Murray's character, your basic cad, is spending wayyy more than 24 hours in the town. All of these deconstruction techniques are useful, but sometimes something just works without a perfect fit to any particular deconstructionist mold.
funny how according to the definition, most people's lives are Aristotelian tragedy - most people never change
Most of what she says you will just naturally do anyway. What kind of story doesn't have an incident that happens to the main protagonist(s) fairly early on anyway? To hijack a phrase - You know more than you think.
My Story Can Beat up Your Story by Schechter, and Snyder's Save the Cat series, you can't beat them!
she's the kind that if it does not work "it's your fault" rather than maybe her system is too stiff or some things are just subjective. yet, i appreciate all the thinking she has put into it, it's clearly a lot and very thoughtful;.
The Hellmouth has played a substantial and intentional role in America's decline. And listening to these videos you start to understand how it's done that.
' Greetings in today Folks,
She uses the Tootsie example to define the difference between a "situation" and "a story". But all she's really saying is the tootsie movie has a moral to it where the "fat suit" tootsie doesn't. But this idea that movies or stories have to have a moral is considered passe by many literary authors and experts. In the 30s and 40s it was considered necessary but nowadays no. What is the moral of "Sharknado?" or "Kill Bill" or the twilight zone episode of the gremlin on the wing of a plane?
Not sure I want 2 watch two hours from someone whose first credit on imdb is "The Tell-tale Vibrator". Earlier I heard a long analysis of the movie "Tootsie" and why the premise and plot worked so well.
Wow. I looked up her IMDB and she really has no credits. That's insane.
@@mrRambleGambleScript doctors usually don't. Sometimes it takes a dabble in one field to realize you're better in another. I personally wouldn't want to hobnob and chase producers all the livelong day, either.
When did uour channel become a platform for infomercials?
'
lol, just want to say that "he/she/her/him" are not outdated words like she says in her book. They definitely have use even in today's language. I am sure she doesn't go to a "they" bathroom
GoreQuill NachoVidal I mean a family restroom or a home restroom is a hey bathroom, technically speaking 😜
@@lawrencescales9864 ha, yeah, but she really said him and her are antiquated words...ugh...yes, I am reading her book...
GoreQuill NachoVidal You should refer her to Darren Aranofsky’s Mother! script :)
@@bluerabbit1236 oh no no no no no
I have no clue why someone decided "he" and "she" were offensive. The English language is right around 600 years old and we've been just fine all this time 😂
Batman vs Superman was an incredible peace of scenewritten garbage
And, I imagine, screenwritten garbage as well as scenewritten garbage. You deserved it if you selected a movie with that title, and not your kid.😃
If you don't learn to write a better script after watching this, you're just playing around.
"The Verdict": He punches her in the face for good reason... it's not part of his flaw.... it's part of his healing!
All characters are victims huh...explains why so many movies have been crap for the last few years.
Not victims. I believe she said flawed.
I don’t understand Casa Blanca and it was very boring to me because I didn’t know what was going on at all and saw very little emotion from the characters and when they did I had no idea why they were emotional so I never felt I connected to them.
The most overrated movie in the history of cinema: it is poorly written, has plain dialogue, the actors have no chemistry whatsoever, and the worst thing is the portrayal of the war: Nazis had already been murdering people in concentration camps for years, but in Casablanca no one seems to care: they wear freshly-ironed white clothes and have fun, Laszlo looks well-fed (after a whole year in a concentration camp!). There's one thing that disgusts me the most: while in Paris Sam drinks champagne and says: That (the beverage) takes the sting out of being occupied, doesn't it? People were dying horribly, and the screenwriter thought that this was a funny thing to say? I've seen Casablanca three times trying to understand what's so good about it, but there is nothing except for Ilsa's fancy clothes. It has no soul
I fail to see how the main characters using the same line on women at party in the movie tootsie makes him sexist? Is the argument that he doesn't create special individualized lines for each woman and therfore he is an uncaring and just objectifing women for his sexual pleasure? Because I would just say that his using the same line is more lazy considering he is supposed to be super famous and therfore relying on on that.
Isn't it being judgemental to say your characters have flaws and weaknesses?
I am not judgemental.
Isn't saying "I'm not judgmental", judgmental?
If you can't do it then teach it.