The 90 Day Screenplay: From Concept To Polish - Alan Watt [FULL INTERVIEW]
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- Опубликовано: 12 июн 2024
- BUY THE BOOK - THE 90 DAY SCREENPLAY: From Concept To Polish
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Alan Watt is an LA Times bestselling author and winner of France's Prix Printemps for best foreign novel. He is the writer/director of the feature film, Eddie, Kill the President. which won 4 Best Feature awards at US Film Festivals, and the Filmmaker Visionary award at The Boston Film Festival. He founded L.A. Writers' Lab in 2002 where he teaches his process of marrying the wildness of your imagination to the rigor of story structure in his online 90-Day workshops for novel, memoir and screenplay, to writers around the world. His book, The 90-Day Novel is a national bestseller and was Amazon's #1 book on writing for five months. He has taught his method everywhere from maximum security prisons to Stanford University. His students run the gamut from first-time writers to A-list screenwriters and Pulitzer prize-winning journalists. His motto is, start where you are, trust the process, and let the thrill of creation be your reward.
In this Film Courage video interview, author, screenwriter and founder of the LA writer's lab Alan Watt on 90-day screenplay: from concept-to-polish.
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#screenwriting #screenplay #writing 
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I learned about screenwriting in prison, from another inmate. Most of the guys appreciate when someone treats them as if they're human. I wonder if people realize how a few words of encouragement can change someone's life. I received a letter from Dave Trottier, author of The Screenwriter's Bible, while incarcerated (still have it). When I'm struggling to do something constructive, I reread it. Love the video, and even more so, I love your attitude. Thanks.
Thank you for the comment, Dennis. That's a great story about the letter. :)
❤
*This is not a complete outline.* Instead, just some points I thought are good. 31:22 Info on the 90 Day Screenplay. 46:59 to 49:31 Trust in the process. 56:38 to 57:21 The importance of craft. 01:00:38 Great info on *False Hope* (what the MC sees the issue as a problem, but it is only a dilemma; 1:11:50 talks about Want vs. Need and provides an example of Dilemma of Faith) requirement to the hero's journey (Groundhog Day is a great example of this). (Backstory starts at 1:04:13) 01:08:23 talks of the *GOAL OF BACKSTORY* to storytelling. For me, this includes the "misbelief" the MC has to transform in the revelation he / she gets in the third act. 01:10:04 The "reluctant" hero. 01:25:11 The fastest way to learn screenwriting. 01:31:42 Why writers get "stuck."
Arent u an angel!
Alan Watt has an accompanying video for more on Dilemma where he speaks of story structure = Act I (desire), Act II (surrender), and Act III (transformation). He defines dilemma as a problem (misbelief) that cannot be solved without creating another problem (i.e. transformation must occur, or the misbelief / problem will perpetuate itself). This is the story behind Groundhog Day, for example. I recommend the addendum video (after watching this one): ruclips.net/video/juWZbDf-_6E/видео.html --- As a side note, Brandon Sanderson defines a structure box as the total of plot, character, and setting (and the conflict that exists between each element). This is not the same as story structure.
@@danbee998 Wow.....thanks.....
Thank you
Full-length interviews from Film Courage are the best videos on youtube. XD
What I’ve discovered from this channel and the guests who have shared is that the most masterful story tellers are the ones who can express the art of storytelling. Who can teach it expansively and from their pov.
Alan Watt is a masterful writing teacher. I used his book The 90-day Novel to write my first novel. With each chapter, he seemed to know what I needed to hear wherever I was in the process.
Yuck he’s a bullshitter who steals people’s money
I'm so glad to hear him talk about reversal and about if it's going to sell.
Mr Alan Watt.
Sir, your words are what I needed.
Thank you
And thank you for the channel
I actually got emotional towards the end. Its so beautiful letting your characters drive you trough the structure and you can just relax to the panick ❤
I just bought 90-day screenplay and it's fucking amazing! Thank you! I thought I was done buying screenwriting books, but this came highly recommended by some WGA produced screenwriters. I love it. Huge help. And now this kick ass interview.
this interview is gold. thank you film courage and alan for this
That boy about dilemma vs problem when Captain walks by is really illuminating.
I was fortunate to take an in-person workshop with Alan. Best money ever spent, and I've had many teachers since -- none compare to what he tries to help his writers understand about writing. Wish I could afford another in-person workshop or time with him.
I’m sorry to hear you waisted so much money
* Wasted
Just ordered his book based off this interview. Excited to dive in.
Very cool. Hope it give you a creative boost.
This was fantastic.
33:13 "A dilemma is a problem that can't be solved without creating another problem. You know you've got a story when what your protagonist wants is impossible to achieve based on their current approach."
33:39 "When you think about problems you think about 'I have a flat tire, I call AAA, they solve my problem'. Not an interesting story."
This was a great segment!
The story he told about teaching prisoners in maxim security is in itself a good start for a screenplay.
I have the book. I gotta say it's even better than Syd Field's Screenwriter's Workbook and also the Nutshell Technique.
I agree. The 90 day book is amazing.
Disgusting
Bought the book, read the first few chapters, on day one of the writing exercises. This book has helped me rethink my way of writing and I love it. one down eighty-nine to go. Thank you Alan for your guidance. Also reading Diamond Dogs. It's great.
@1:36:04 it's worth noting that The Firm was only Grisham's second novel, so I imagine he was still getting his sea legs under him.
Superb description of story
Glad you enjoyed this one Yvette!
Yes, you can expand on delimma much better than problem... That alone has helped me greatly😊
@1:12:52 Bing! Summed up my whole life in just a couple sentences. Thank you.
I'm over the hump now (I think... i.e. I'm not discounting the possibility of future crises of faith), but it's a tough journey when you feel you must get there of your own volition.
Good talk. Now I have to find some of Al's standup material
I bought his book. There's lots of great lectures on film courage and but this one's the best. I can relate to what he's saying from personal experience and he comes off as non dogmatic and willing to struggle with the nuances of the writing process.
And make some GOOOD money selling shit ideas to idiots
I'm trying to follow his method but I have trouble not outlining when I think of a story. After you understand your characters and their motivations, is it ok to proceed with the outline? I know it's in the book as well, I just have trouble separating the outline from the story.
After a month, it started sinking in... you're not crafting a story, you're crafting the transformation of your character.
Those questions. Oy!
He says he's not dogmatic, but he is with his comment about the midpoint reversal. Let him apply his own rule: Does the midpoint reveral work? Hell, yes! If he doesn't understand it as he admits, then he shouldn't attack it out of ignorance. However great your paradigm may be, some stories will defy it. Storytelling is art, not physics. I like his term "surrender". But do self-destructive characters surrender to the truth in cautionary tales? No, they don't. I find his term "surrender" handy in stories where the hero has a redemption arc. But the term is no more precise or relevant than "reversal". And not every story theorist is just an analyst. Some are writers like K. M. Weiland and the late Blake Snyder of "Save The Cat". He is neither the first, nor the last story guru to coin his own term and question the theories of others. Just teach your approach. We can judge all story paradigms for ourselves, including yours.
yay! CRT in a scripting video....amazing the decisions of what to leave in lol....
Great interview though I would have edited out the discussion on being a comic as its interesting but not a good fit to topic.
- speaking of comics, there are a few movies, some good, with comics as protagonists so being a comic is def a source of material contrary to what AW stated. The lesson is to do things where you interface with humans besides yourself -- at a minimum- and engage in the human drama.
- I got the FC interviewer's repeated point about how to reply to strong opinions/contrarians: Teachers should be able to defend or explain their POV. Sometimes the argument is simply the questioner trying to understand the idea in socratic style.
- to minkya: I think AW may have overstated the idea that story comes from characters. Without a storyline , your characters are just sitting around. Without characters, deeply understood, you just have a plot. A good story requires both.
If you have a story, outlining it broadly is reasonable and useful. For some genres, its essential. The idea is to not get overly wedded to it - a story evolves as written., and that's part of the fun. But without any direction you end up with .....Keouac's On the Road of which Truman Capote said " that's not writing, that's typing"
Time to tend the berries...Get crackin!
1:15:00
34:27 😍
“If your a screenwriter, you’ll be replaced , the exec just wanna cover there ass”
- wow ; (
Whose this guy?
Moriarty is that you ?
Yes?
Great interview, other than the weird political stuff the interviewer kept trying to inject.
"Weird" is my favorite kind of political. :) Thank you for watching, Matt.
@@filmcourage Yall are the best screenwriting channel on RUclips, so happy to be a subscriber.
@@LifeOutward Thank you! Glad you're enjoying the videos. Appreciate the sub! :)
Camel, lion, child.