I've taken a bunch of Corey's classes and they were incredible. After taking a lot of writing classes, including some really great ones in college, finding his stuff was life changing. Because he teaches actual storytelling, I realized that none of my other classes were really teaching that. It's so different from "story structure" teaching that's really just a formula. Corey's classes teach storytelling in a way that's organic and that works with any story. There's no beats or "do this at the 10% point" or anything. Really unique stuff. In the maybe eight years since I took his first class, I've never found anyone who teaches it like he does. And his other instructors are all great screenwriters in their own right who have worked in the industry, so they all know what they're doing in a real world way. 10/10 recommend to anyone.
100% agree. I've taken his classes too. Am still not there as a writer yet, but that's because of what he says about the Coens: what he teaches is super hard, but super worth it. As I see it, he's given me a course of study I can go on with, practicing structures we did once in the class over and over. A group of us from the last class I did do this together and it's tough, but you can feel your writerly muscles and understanding of scripts building all the time.
I am fascinated by how so many modern Hollywood writers went to college and know about so many tools but Hollywood can’t write a box office hit more than six times a year these days. Something isn’t clicking in the industry anymore. I’m not blaming the man in this video. I agree with all of the advice he’s giving. I just find it strange that this legitimate information he’s discussing just isn’t registering with writers well enough to show up in most films anymore. I mean, look at Disney for example. Who works there? They need help! But on a more positive note, I love Film Courage’s channel.
It's important for the audience to remember that a writer's job is to write what they are told. The studio executive approves/denies a draft until it is to their liking. A good example is Marvel's universe. The most recent MCU director for The Marvels admitted that the movie was more of Kevin Fiege's vision than her vision. Same for writers, they are told "this is what we want in this script" and the writer's job is to complete the task and receive a paycheck. It would be different if the lack of writing quality was widespread, but this year showed that the most negative received films were franchise-based films. Not independent films.
Lota folks selling picks & shovels, not that these ain't might fine ones. My advice, live a life like Hemmingway, Edgar Allen Poe, F. Scott Fitzgerald, Oscar Wilde, Becket, etc. Then take those experiences, extrapolate them into 3 or 4 Acts. String them together with each characters pathos/ethos driving their reckless abandon for pursuit of resolution, always trying to cloak their true motive/feeling, but eventually it becoming apparent as the reveal their true motive/soul in the resolution of their demons/conflict. Another words, a Tuesday for you & I.
I feel like his advice isn't some major revelation. Most writers KNOW strong conflict is necessary. The problem is actually creating believable and interesting conflict is a challenge. I'm constantly reminded of that Ira Glass quote about not being able to close the gap between your taste and your skill.
Corey's method of creating believable and interesting conflict is solid as hell and has been a revelation to me. Very difficult to master, but so worth it. It's his IP, so I don't feel like I can share it here, but it may be that you'd get it from the free offer, which I believe is still available.
Lol the parking garage storys are such great character traits lmao i def don’t wanna live thru it but hearing it thru the guy who got stuck looking for his car with jack lemmon n steve martin really illustrates like movie
“Opposition must rise to the level where we have no idea how things are gonna play out.” Picturing Corey inside a dark parking lot and the Coen brothers will only respond to his questions with 'What do you think?'
There is no “technique” or guide book to writing a good story. It takes heart, honesty and patience. If your story is not personal to you the writer, no amount of lectures is going to fix it.
Thanks Film Courage and a special Thanks to Corey. Happy Turkey Day.. Nice your throwing a bone out to us in this video. I write fair stories. I don't do Compelling conflict. This will help tremendous.
Pretty irrelevant what he did or didn't write, especially when that particular movie got completely derailed in production. No guarantee that a student could replicate the works of any teacher, even if they wanted to. And the point of art is to make your own thing, not imitate. So it makes no difference what he wrote. Much better as an artist, and as a business person, to keep an open mind about what anyone can teach you. From the advice that Corey has given away for free, it's clear that he learned a lot from his career and isn't afraid to use it as a resource to teach.
@@jonlittle5032 ??? Uh, that's just a silly joke award. It's one step above me fashioning an award from my garbage bins contents right now, and then giving it out for commercials I hate. Sorry, but that award is meaningless to me.
Obstacles, inconvenience and opposition is a really useful tool to test for compelling conflict, especially the point about it being a sudden and unexpected rise in opposition once we already understand what is important to the character and why. As well as rejecting any idea that is too easy to solve. A great free lesson. Obviously the example is basic. That's the point of examples. The way to use the advice is to take a hard look at your own work and find blind spots, not just dismiss it as advice you already know.
@@Mr.Monta77 There are a hundred or more channels that regurgitate writing advice, yeah, either listing things out, or just quoting well known creatives. Most of them don't have any industry experience, and fall broadly into one of two categories; vague advice badly explained, with poor examples that they think are good, or dogmatic and insistent outdated notions. Often they choose to insult movies or shows they don't like, or rant about creatives they don't like. There are a handful of channels where writers have actually spent time thinking holistically about the writing process and/or teaching or giving feedback, that have real insights for viewers. Examples includes Glenn Gers, Ellen Brock and Brandon Sanderson. They don't just push whatever hot take will get them views, they have concepts that they want to share, because they've identified how writers struggle, and have distilled that knowledge into comprehensive advice, and that's because they see how different elements are interconnected. Opposition doesn't just have to be there, it has to be part of character and be surprising or clever. It might seem obvious, but if every writer did that, rather than think they are doing that, there wouldn't be so many crap scripts submitted. And everything we know from the industry is that studio readers don't waste time with bad scripts and there's an endless stream of them. It takes a lot of thought and time to revise ideas and articulate them in a way that students can reinforce themselves. I know that because I've worked in teaching roles in two different industries. The people who dismiss what they're told as obvious are generally the ones who continue to make obvious mistakes and never see it. This isn't just, "scenes need conflict". It's identifying different degrees of conflict because most writers overestimate how good their ideas are. It's that opposition needs to be a surprise and a puzzle, when we already know what's at stake and why, and have a reason to care. And that opposition has to feel impossible to get out of - but can you do that every time in your writing? The sentiment is easy, yeah. But this is about mindset, not just checking off boxes, because it's part of system by someone who has identified what writers miss. And I can assume that because I've heard Corey talk about things like integration and procrastination in the past. He's not just spitting out a youtube video like those 100 channels. By all means name a channel that can comprehensively explain a concept in a few sentences while still giving context on how to use it effectively. You might know a dozen or more. And I might even agree with you. But not a hundred.
I was very curious about how people invent a good story for the movie, so I subscribed to this channel. All this is new knowledge to me and it is very interesting. Thank you so much for the great information and for your generosity, Corey.
Here's your free story structure training: Beginning: Inciting incident: Catalyst: Plot Point 1: Focus Point 1: Midpoint: Focus Point 2: Plot Point 2: Climax: Ending: Any questions?
Writing a list of beats isn't training. And writing a story with those beats doesn't guarantee a great story, or keeping the reader's attention. If it did, every crap script submitted to a studio would be accepted. Beats don't necessarily mean a story will be predictable or generic, but they don't ensure it won't, either. They don't ensure the characters are compelling, or the plot isn't episodic and repetitive. In short, this list is very little help to anyone who has ever heard, read or seen a convention story.
Story structure is absolutely liquid. You can stick with the rigid structure that everyone does, or you can actually surprise people and entertain them. After the thousands of books and movies I’ve burned through, a basic story structure is just ridiculously boring.
No, he gave a basic example of how to use the tool so that you can apply to your own writing. Because most writers have blind spots about what they write, and perceive their work as more interesting than it is. They perceive obstacles that are fairly easily resolved as being compelling. That's why most writers get their work rejected; it's not as good as they think.
@Ruylopez778 Glad we're in agreement. We all grow up reading and watching stories. If after years of that you can't discern what is interesting or not you're screwed.
@@wexwuthor1776 Of course everyone has subjective opinions. Some love 2001, some think it's boring. But watching and loving, or critiquing something is not the same as making it. It's not about identifying what is "interesting", it's about the writer being able assess his/her own work dispassionately. If it were as easy as hiring writers who "know what's interesting" then very movie and show would be amazing. What the writer *thinks* is on the page isn't necessarily there to another person. On top of that, copying an existing writer or their work isn't necessarily going to have the same impact. That's why most writers aren't finished with their screenplay when they think they are, and that's why they get rejected, or their initial outline is completely unworkable.
@@Ruylopez778 If you can't assess your own work, you're screwed. A second opinion and/or editing is fine, but you ought to know what you're writing and if it's working.
@@wexwuthor1776 And the blind spot in a writer's work is what they can't see. It's not binary whether you can completely understand your own writing objectively and pinpoint problems or not. And not every project is the same, or problem is the same. There's always room to improve, in my opinion. Dismiss his advice if you want. There's plenty of writers out there writing crap because they think it's better than it is, because they can't identify the problems with it.
Wouldn't you have adapted to it? not an obstacle if you learn to live with it. A college these days (where the scene takes place) has wheelchair access everywhere. Someone kicks you off the wheelchair and steals it, that might work.
Why do you need a class when there’s a wealth of information available for free? Outside of networking, I can’t see what is there that isn’t here, and here, and here. Just because you’re not paying for an education doesn’t mean you aren’t learning.
This is illuminating and inspiring! The esoteric process behind storytelling has always baffled me but with this video, I’m all the more determined! I’m definitely checking out the modern story tools on the website in 2 weeks, Thank you Corey Mandell and Film Courage!
What if you were locked in the classroom and cut your hand breaking out the window? Now, you are losing the precious life-giving blood needed to save your brother. When you finally arrive at your brother's side, you can still save him with the amount of blood you have left, but it will cost you your life. What do you do?
Really bad exemple : conflicts don’t have to be external. Make it personal instead, it‘s way better! As for the Coen Brothers, it‘s called „writing yourself into a corner“ and yes it‘s a thing. That doesn‘t define their style though.
I don't know if personal is better, but it is another good way to go that many writers overlook quite often. Which probably means most people wrote a boring character. I'm not sure he said it was the Choens total style. Did he? But I guess it is part of their style. That and making each character super memorable. Like you could make another film off of 90% of their minor characters. Now how do I learn to copy that??? I want to watch that video!
@@bubblybull2463 It's about you looking honestly at your own writing and seeing if your conflicts are really opposition that surprise and excite the audience, or you're just thinking that an inconvenience or obstacle is strong opposition. I don't mean you specifically, I mean 'a writer' dealing with blind spots. It's about ensuring that the conflict can't be dealt with in an easy or predictable way. "Make it personal!" Doesn't guarantee the writer makes true opposition.
He also wasn't confused or unsure about "writing yourself into a corner". He wanted to know if it was true that the Coens never compromised, and never used an idea where they found a simple way out. That means he was talking about the consistency of that tool, and integrity in their writing process. Two people can usually figure out problems pretty quickly just by discussion.
he wishes he could write like Tarantino. this is proof thar even the coolest, sexiest advice will still get you nowhere if you’re a hack. his biggest success do date was conning hollywood into making Battlefield Earth, a universally maligned flop - just be aware that more than likely, if he could find work as a filmmaker, he wouldn’t be here plugging his writing courses
What if the student came up to speak with the instructor because she found out she's pregnant? The student knows it's his baby from a few weeks back. In a low voice but a very desperate manner, she wants to know how they can navigate the situation - keeping it from her parents of which her father is the instructor's best friend since their school days. In another instance, what if it's her fiance who's the man that hired him to teach? At any rate, she's stressing out following him around as he tries to make it to the door because she doesn't know what to do and is demanding an answer? ...and then she kicks the chair in front of him to fall for good measure. LOL
I don’t much care for the Coen Bros work but have the greatest amount of respect just the same. So the one week rule is quite intriguing. When I started out, I took an online class that laid the foundation and it’s helped a lot. But my lack of confidence is a huge roadblock that keeps my tied down. There is no class that will help this.
Compare this "I'm not telling you everything, read my book" style interview, with someone like Brandon Sanderson who put his entire class for free on RUclips. Generosity is a lifestyle, and it affects your writing. I learned something here, but I was more turned off by the attitude than encouraged by the lesson. Just my take.
I think classes like this make Hollywood nowadays so uninteresting. People don’t need to know all this so called techniques to write great stories. They just need time understand the world and themself better. No one can teach those.
Yup. I know these tools provide a skeletal structure, but oh boy, aren’t most films so ‘meh’. My favourite films are full of moments, snippets of dreams. A bit of both I think makes for an interesting ride.
I disagree. Sure, people must bring their imagination, life experience, to combine with the mechanics of craft. Craft alone is enough. Nor is life experience.
These types of things are great for understanding a story. Not so much for making one. You have to find YOUR story. The things you dream about, the things you love. And then you have to let yourself be daring enough to let go of all those things you've learned about the craft and just go for it.
Nah not really. This is to help you structure your understanding of the world. Its not a set blueprint. Its for you to take or leave what works best for you and subvert what you need to
Washing dishes??? I mean there are other way to get faster.. skills n sales techniques does helps. But did writing really improved to the point of getting work?? Jst asking..
Hey! Don't knock dishwashing! You'll be at the sink and be sliding the plates into the washer and get slapped by a script your brain was working on in the background. Two scripts? How many drafts do you have per script, did you submit them to the appropriate people?
I've also taken his course(s) and have learned a lot. The truth is, no one course or book will take you from dishwasher to Hollywood screenwriter. They may speed up your learning, but it's on you to put in the work. Writing, practicing, getting feedback and improving, day after day, hour after hour. You want to compete in the Olympics, you gotta work out every day. Cheers and good luck.
![Story Is A Search For Meaning - Alan Watt [Founder of L.A. Writers' Lab]](http://i.ytimg.com/vi/tlRkSPNqORU/mqdefault.jpg)
Here is our full interview with Corey - ruclips.net/video/CWfcjN8ajHg/видео.html
I've taken a bunch of Corey's classes and they were incredible. After taking a lot of writing classes, including some really great ones in college, finding his stuff was life changing. Because he teaches actual storytelling, I realized that none of my other classes were really teaching that. It's so different from "story structure" teaching that's really just a formula. Corey's classes teach storytelling in a way that's organic and that works with any story. There's no beats or "do this at the 10% point" or anything. Really unique stuff. In the maybe eight years since I took his first class, I've never found anyone who teaches it like he does. And his other instructors are all great screenwriters in their own right who have worked in the industry, so they all know what they're doing in a real world way. 10/10 recommend to anyone.
100% agree. I've taken his classes too. Am still not there as a writer yet, but that's because of what he says about the Coens: what he teaches is super hard, but super worth it. As I see it, he's given me a course of study I can go on with, practicing structures we did once in the class over and over. A group of us from the last class I did do this together and it's tough, but you can feel your writerly muscles and understanding of scripts building all the time.
This is the best clear precise writing advice I got. For Free If I might add, I could hear him talk and geek about stories all day.
“When in doubt, have a man come through the door with a gun in his hand.”
― Raymond Chandler
That means
I am fascinated by how so many modern Hollywood writers went to college and know about so many tools but Hollywood can’t write a box office hit more than six times a year these days.
Something isn’t clicking in the industry anymore.
I’m not blaming the man in this video. I agree with all of the advice he’s giving. I just find it strange that this legitimate information he’s discussing just isn’t registering with writers well enough to show up in most films anymore.
I mean, look at Disney for example. Who works there? They need help!
But on a more positive note, I love Film Courage’s channel.
It's important for the audience to remember that a writer's job is to write what they are told. The studio executive approves/denies a draft until it is to their liking. A good example is Marvel's universe. The most recent MCU director for The Marvels admitted that the movie was more of Kevin Fiege's vision than her vision. Same for writers, they are told "this is what we want in this script" and the writer's job is to complete the task and receive a paycheck. It would be different if the lack of writing quality was widespread, but this year showed that the most negative received films were franchise-based films. Not independent films.
@@SpyJamz Wow, well it sounds like it would be better to be an independent filmmaker or write our own novels then.
Lota folks selling picks & shovels, not that these ain't might fine ones. My advice, live a life like Hemmingway, Edgar Allen Poe, F. Scott Fitzgerald, Oscar Wilde, Becket, etc. Then take those experiences, extrapolate them into 3 or 4 Acts. String them together with each characters pathos/ethos driving their reckless abandon for pursuit of resolution, always trying to cloak their true motive/feeling, but eventually it becoming apparent as the reveal their true motive/soul in the resolution of their demons/conflict. Another words, a Tuesday for you & I.
I feel like his advice isn't some major revelation. Most writers KNOW strong conflict is necessary. The problem is actually creating believable and interesting conflict is a challenge. I'm constantly reminded of that Ira Glass quote about not being able to close the gap between your taste and your skill.
Corey's method of creating believable and interesting conflict is solid as hell and has been a revelation to me. Very difficult to master, but so worth it. It's his IP, so I don't feel like I can share it here, but it may be that you'd get it from the free offer, which I believe is still available.
Lol the parking garage storys are such great character traits lmao i def don’t wanna live thru it but hearing it thru the guy who got stuck looking for his car with jack lemmon n steve martin really illustrates like movie
“Opposition must rise to the level where we have no idea how things are gonna play out.”
Picturing Corey inside a dark parking lot and the Coen brothers will only respond to his questions with 'What do you think?'
There is no “technique” or guide book to writing a good story. It takes heart, honesty and patience. If your story is not personal to you the writer, no amount of lectures is going to fix it.
write about the Jets
Thanks Film Courage and a special Thanks to Corey. Happy Turkey Day.. Nice your throwing a bone out to us in this video. I write fair stories. I don't do Compelling conflict. This will help tremendous.
I think he's talking about tension. Conflict is the scene, but tension is the intensity of that scene.
Video finally starts at 2:40
Thanks, that was helpful ☺️
Skip to 2:33 for when things actually start.
Out of context. Love all the videos. But would love to see the old thumbnail font and format. The ever nostalgic film courage OG thumbnail fonts pls 🤧
I second this! I miss the old thumbnail layout and design.
This guy was a screenwriter for Battlefield Earth! You would be dumb missing a course from him!
He got paid for it. Did you get paid for it?
@@irawangani1Good point, I guess, if he's still employed gainfully after that disaster of a movie 🤣
He didn't write the source material. That film was pretty good when you consider just how bad the book is.
Pretty irrelevant what he did or didn't write, especially when that particular movie got completely derailed in production. No guarantee that a student could replicate the works of any teacher, even if they wanted to. And the point of art is to make your own thing, not imitate. So it makes no difference what he wrote. Much better as an artist, and as a business person, to keep an open mind about what anyone can teach you. From the advice that Corey has given away for free, it's clear that he learned a lot from his career and isn't afraid to use it as a resource to teach.
@@jonlittle5032 ??? Uh, that's just a silly joke award. It's one step above me fashioning an award from my garbage bins contents right now, and then giving it out for commercials I hate. Sorry, but that award is meaningless to me.
What happens when you apply six sigma to all the advise on film courage? You get the Firm Courage Method. It took me over 3 years to perfect it.
Obstacles, inconvenience and opposition is a really useful tool to test for compelling conflict, especially the point about it being a sudden and unexpected rise in opposition once we already understand what is important to the character and why. As well as rejecting any idea that is too easy to solve. A great free lesson. Obviously the example is basic. That's the point of examples. The way to use the advice is to take a hard look at your own work and find blind spots, not just dismiss it as advice you already know.
Ruy, just want you to know that we appreciate you. Thank you.
All these basic storytelling elements are freely available in a hundred other yt channels.
@@Mr.Monta77 There are a hundred or more channels that regurgitate writing advice, yeah, either listing things out, or just quoting well known creatives. Most of them don't have any industry experience, and fall broadly into one of two categories; vague advice badly explained, with poor examples that they think are good, or dogmatic and insistent outdated notions. Often they choose to insult movies or shows they don't like, or rant about creatives they don't like.
There are a handful of channels where writers have actually spent time thinking holistically about the writing process and/or teaching or giving feedback, that have real insights for viewers. Examples includes Glenn Gers, Ellen Brock and Brandon Sanderson. They don't just push whatever hot take will get them views, they have concepts that they want to share, because they've identified how writers struggle, and have distilled that knowledge into comprehensive advice, and that's because they see how different elements are interconnected. Opposition doesn't just have to be there, it has to be part of character and be surprising or clever. It might seem obvious, but if every writer did that, rather than think they are doing that, there wouldn't be so many crap scripts submitted. And everything we know from the industry is that studio readers don't waste time with bad scripts and there's an endless stream of them. It takes a lot of thought and time to revise ideas and articulate them in a way that students can reinforce themselves. I know that because I've worked in teaching roles in two different industries. The people who dismiss what they're told as obvious are generally the ones who continue to make obvious mistakes and never see it.
This isn't just, "scenes need conflict". It's identifying different degrees of conflict because most writers overestimate how good their ideas are. It's that opposition needs to be a surprise and a puzzle, when we already know what's at stake and why, and have a reason to care. And that opposition has to feel impossible to get out of - but can you do that every time in your writing? The sentiment is easy, yeah. But this is about mindset, not just checking off boxes, because it's part of system by someone who has identified what writers miss. And I can assume that because I've heard Corey talk about things like integration and procrastination in the past. He's not just spitting out a youtube video like those 100 channels.
By all means name a channel that can comprehensively explain a concept in a few sentences while still giving context on how to use it effectively. You might know a dozen or more. And I might even agree with you. But not a hundred.
Agreed
@@Ruylopez778 agreed!!!
I’m looking forward to signing up for the workshop!
Wonderful!, thank you.
I will watch the HELL out of Corey Mandell videos! thanks as always Film Courage for your content
Still more to come!
I was very curious about how people invent a good story for the movie, so I subscribed to this channel. All this is new knowledge to me and it is very interesting. Thank you so much for the great information and for your generosity, Corey.
I feel like I learn one important lesson each of his videos
Here's your free story structure training:
Beginning:
Inciting incident:
Catalyst:
Plot Point 1:
Focus Point 1:
Midpoint:
Focus Point 2:
Plot Point 2:
Climax:
Ending:
Any questions?
Yes, one question... Is "Climax" sexist?
@@backalleycqc4790 Only when it comes from a man.
Focus point? Character focus concerning plot?
Writing a list of beats isn't training. And writing a story with those beats doesn't guarantee a great story, or keeping the reader's attention. If it did, every crap script submitted to a studio would be accepted. Beats don't necessarily mean a story will be predictable or generic, but they don't ensure it won't, either. They don't ensure the characters are compelling, or the plot isn't episodic and repetitive. In short, this list is very little help to anyone who has ever heard, read or seen a convention story.
Story structure is absolutely liquid. You can stick with the rigid structure that everyone does, or you can actually surprise people and entertain them.
After the thousands of books and movies I’ve burned through, a basic story structure is just ridiculously boring.
If someone has to tell you that you need a sufficiently interesting conflict, you're probably screwed.
No, he gave a basic example of how to use the tool so that you can apply to your own writing. Because most writers have blind spots about what they write, and perceive their work as more interesting than it is. They perceive obstacles that are fairly easily resolved as being compelling. That's why most writers get their work rejected; it's not as good as they think.
@Ruylopez778 Glad we're in agreement. We all grow up reading and watching stories. If after years of that you can't discern what is interesting or not you're screwed.
@@wexwuthor1776 Of course everyone has subjective opinions. Some love 2001, some think it's boring. But watching and loving, or critiquing something is not the same as making it.
It's not about identifying what is "interesting", it's about the writer being able assess his/her own work dispassionately. If it were as easy as hiring writers who "know what's interesting" then very movie and show would be amazing. What the writer *thinks* is on the page isn't necessarily there to another person. On top of that, copying an existing writer or their work isn't necessarily going to have the same impact.
That's why most writers aren't finished with their screenplay when they think they are, and that's why they get rejected, or their initial outline is completely unworkable.
@@Ruylopez778 If you can't assess your own work, you're screwed. A second opinion and/or editing is fine, but you ought to know what you're writing and if it's working.
@@wexwuthor1776 And the blind spot in a writer's work is what they can't see. It's not binary whether you can completely understand your own writing objectively and pinpoint problems or not. And not every project is the same, or problem is the same. There's always room to improve, in my opinion. Dismiss his advice if you want. There's plenty of writers out there writing crap because they think it's better than it is, because they can't identify the problems with it.
Make the obstacle a wheelchair.
Your own.
Wouldn't you have adapted to it? not an obstacle if you learn to live with it. A college these days (where the scene takes place) has wheelchair access everywhere. Someone kicks you off the wheelchair and steals it, that might work.
Is this the same guy who wrote Battlefield Earth?
Yes he was a writer on Battlefield Earth, here is the story ruclips.net/video/bwMcg6_AU_g/видео.htmlsi=TtoncwyRXbT6C8It
It's Christmas already :-)
Another video with Corey Mandell, yay! And what a video it is! Thank you, Mr Mandell and you, marvelous people at Film Courage!
Glad you enjoyed it!
Why do you need a class when there’s a wealth of information available for free? Outside of networking, I can’t see what is there that isn’t here, and here, and here. Just because you’re not paying for an education doesn’t mean you aren’t learning.
Right hand side of my screen cracked so I can't sign up. Though I'd need to know how much? I do not wish to welsh on a deal.
“Walter White’s not brilliant. They had 19 writers who had 3 weeks to figure it out.” LOL
Thank you Film Courage
I can't believe this guy has anything to teach about storytelling with ALL THAT MEANDERING jfc
This is illuminating and inspiring! The esoteric process behind storytelling has always baffled me but with this video, I’m all the more determined! I’m definitely checking out the modern story tools on the website in 2 weeks, Thank you Corey Mandell and Film Courage!
thank. you
im only seeing this 2 weeks late! :(
We still see the free class on his site.
Just name one movie Corey Mandell wrote that went well ?
This is the “Risk free” tip huh
Wish I'd seen this video when it dropped. LOL
6:27: What is he mumbling at that point?
What if you were locked in the classroom and cut your hand breaking out the window? Now, you are losing the precious life-giving blood needed to save your brother. When you finally arrive at your brother's side, you can still save him with the amount of blood you have left, but it will cost you your life. What do you do?
I just cmptd the offered free course and I felt it is not up to the mark.
Challenge accepted. Look for my script with chairs and complaining students at AFF.😂
Was he invited to the interview to self-publicise?
He persuaded me to have nothing more to do with him.
Hmm. That’s some legit advice.
Really bad exemple : conflicts don’t have to be external. Make it personal instead, it‘s way better!
As for the Coen Brothers, it‘s called „writing yourself into a corner“ and yes it‘s a thing.
That doesn‘t define their style though.
I don't know if personal is better, but it is another good way to go that many writers overlook quite often. Which probably means most people wrote a boring character.
I'm not sure he said it was the Choens total style. Did he? But I guess it is part of their style. That and making each character super memorable. Like you could make another film off of 90% of their minor characters.
Now how do I learn to copy that??? I want to watch that video!
"conflicts don’t have to be external"
He didn't claim that. He gave a simple example so that people can understand the principle.
@@Ruylopez778 maybe for a comedy, otherwise it‘s too simple to be of any use.
@@bubblybull2463 It's about you looking honestly at your own writing and seeing if your conflicts are really opposition that surprise and excite the audience, or you're just thinking that an inconvenience or obstacle is strong opposition. I don't mean you specifically, I mean 'a writer' dealing with blind spots.
It's about ensuring that the conflict can't be dealt with in an easy or predictable way.
"Make it personal!"
Doesn't guarantee the writer makes true opposition.
He also wasn't confused or unsure about "writing yourself into a corner". He wanted to know if it was true that the Coens never compromised, and never used an idea where they found a simple way out. That means he was talking about the consistency of that tool, and integrity in their writing process. Two people can usually figure out problems pretty quickly just by discussion.
he wishes he could write like Tarantino. this is proof thar even the coolest, sexiest advice will still get you nowhere if you’re a hack. his biggest success do date was conning hollywood into making Battlefield Earth, a universally maligned flop - just be aware that more than likely, if he could find work as a filmmaker, he wouldn’t be here plugging his writing courses
1:24
What if the student came up to speak with the instructor because she found out she's pregnant? The student knows it's his baby from a few weeks back. In a low voice but a very desperate manner, she wants to know how they can navigate the situation - keeping it from her parents of which her father is the instructor's best friend since their school days.
In another instance, what if it's her fiance who's the man that hired him to teach?
At any rate, she's stressing out following him around as he tries to make it to the door because she doesn't know what to do and is demanding an answer?
...and then she kicks the chair in front of him to fall for good measure. LOL
I don’t much care for the Coen Bros work but have the greatest amount of respect just the same. So the one week rule is quite intriguing. When I started out, I took an online class that laid the foundation and it’s helped a lot. But my lack of confidence is a huge roadblock that keeps my tied down. There is no class that will help this.
how to create conflict in a story? by SMILING and WALKING AWAY, then being MAD at him! just the basics, ma'am ...
I guess I'm smart now...
This was pointless
just tell us already lol.
Compare this "I'm not telling you everything, read my book" style interview, with someone like Brandon Sanderson who put his entire class for free on RUclips. Generosity is a lifestyle, and it affects your writing. I learned something here, but I was more turned off by the attitude than encouraged by the lesson. Just my take.
i thought the same , three minutes talking about the price and paying, bummer
Lost me at people pay me money... Not a good way to start a video
Is Scientology paying you to make videos with this guy??
He has two credits, and one of them is Battlefield Earth, which is such a bad film.
Thanks Corey!
Cheers!
youre welcome
I think classes like this make Hollywood nowadays so uninteresting. People don’t need to know all this so called techniques to write great stories. They just need time understand the world and themself better. No one can teach those.
Yup. I know these tools provide a skeletal structure, but oh boy, aren’t most films so ‘meh’. My favourite films are full of moments, snippets of dreams. A bit of both I think makes for an interesting ride.
I disagree. Sure, people must bring their imagination, life experience, to combine with the mechanics of craft. Craft alone is enough. Nor is life experience.
@@howardkoor9365you mean craft alone is NOT enough
These types of things are great for understanding a story. Not so much for making one. You have to find YOUR story. The things you dream about, the things you love. And then you have to let yourself be daring enough to let go of all those things you've learned about the craft and just go for it.
Nah not really. This is to help you structure your understanding of the world. Its not a set blueprint. Its for you to take or leave what works best for you and subvert what you need to
Wasn't this that guy who wrote that terrible movie Battlefield earth? He should be paying us to learn from someone else lol
so in other words, horton foote was a fool and robert duvall should not have been given and oscar
A screenwriter with a horrible sense of direction🤔🤣🤣
It's been a month. How many people wanted their money back? Genuine question, not sarcasm.
Im sorry but $300 to learn something that I could end up never making money.
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Fiction writers produce either unreal truths or unreal lies. You know which side of the fence this grifter stands.
Unreal truths, or unreal lies? Elaborate please?
Paid $700 to take this class... wrote two scripts ...... I'm still washing dishes. Just sayin'
What did his video say
Washing dishes??? I mean there are other way to get faster.. skills n sales techniques does helps. But did writing really improved to the point of getting work?? Jst asking..
Hey! Don't knock dishwashing! You'll be at the sink and be sliding the plates into the washer and get slapped by a script your brain was working on in the background. Two scripts? How many drafts do you have per script, did you submit them to the appropriate people?
Even with a good script, it’s a long road. I have high hopes but remain realistic. Stay positive.
I've also taken his course(s) and have learned a lot. The truth is, no one course or book will take you from dishwasher to Hollywood screenwriter. They may speed up your learning, but it's on you to put in the work. Writing, practicing, getting feedback and improving, day after day, hour after hour. You want to compete in the Olympics, you gotta work out every day. Cheers and good luck.