Відео

I’ve never believed in the “vomit draft.” I get all my vomit out in the outline stage.

The "then you will die" is also a nice callback to sideous saying the same thing, i think in episode 6

Tell that to André Gregory and Wallace Shawn.

3:08: The take away is that as a screen writer, you should give notes on delivery.

9:21-9:31 Maybe a little too much subtext right there...🤣

Weird question, do you think subtext can be too on the nose? We can clearly see what (trinity killer) is talking about, which is great, but can that ever be TOO ham fisted or on the nose?

you know you're writing a potentially-perfect scene when you hit The Flow. it's an incredible state all writers feels sooner or later; your mind turns off, you're completely enraptured by the story you've written, the words flow freely from your fingertips, and you are not simply WRITING a scene, you're experiencing it. witnessing art in the making as the words fall seamlessly, unbidden by conscious thought... and the story writes itself.

I think the one you said about making the characters say the opposite of what they’re thinking really depends on the character. For example, a character like Sheldon Cooper, he says exactly what he’s thinking and it works perfectly *for the character*. Think about how you can use this effectively for each character in your story, without overusing it.

If you're dialogue doesn't have "deez nutz" in it, it's boring.

brother has some of the best writing advice I've ever heard this is great

@1:33 Kitana didn't say that dialog you noob. Sindel said it to Kitana.

How to turn your idea into a screenplay - tuckerberke.com/screenplay-success

I mean, I get it, but some of these examples are things I ACTIVELY avoid because I despise people who do them IRL, and I don't want to come across as condoning this type of behavior to the audience. Maybe it's because I'm autistic (like, for example, I NEVER flirt. I ask for consent like I ask for a potato chip), and I think direct speech, not making hints, not making subtle cues, should be more normalized in our day-to-day societal interactions, because...well, some of us can't process it, and you're excluding these people by doing so. It's like shouting behind a deaf person, or giving a blind person a book, letter or card that's not in Braille - you're attempting to communicate in a way that the other person doesn't have the capacity to process, and the whole point of effective communication is mutual understanding. I've had many neurotypical people be mad at me about things, being: "How can you not get the hint???" (even though I've explained to this very person, on at least 5 other occasions, why my brain cannot process what they are saying and that it's a deficiency of mine, not a skill I lack that I could simply "learn" somehow) They don't have the right to be mad at me for not getting hints as an autistic person, any more than I can be mad at a deaf person for not hearing me. You want that person to understand you, you talk to them in a way they can process. Hence, examples like the one you used from "Crazy, Stupid, Love" are things I ACTIVELY avoid, and if I were to write that scene, I would write it as Emily saying thigs EXACTLY AS THEY ARE, because I wish to see more of this in society. In fact, my recent project has a character who is an agent for a private (but still government-backed) clandestine agency that fights organized crime, and he sometimes shows up to give the characters information that they couldn't possibly have, in a similar way to G-Man from Half-Life. And what's interesting about it is that, while he does affect the characters and pushes them in a certain direction by giving them this information, he never LIES. He never twists the truth or says blatantly untrue things, and if he does, he tells the truth shortly after. He sometimes refuses to explain things in great detail and keeps the characters he's talking to on a "need-to-know-basis", but he doesn't tell them something that is UNTRUE. And this is not out of a sense of nobility, I mean, the character in question has killеd enough women and children to fill a school, and the first life he took was basically a euthanasia, so this is not the "Mr. Nice Guy" archetype. The reason he avoids lying is because he is pathologically pragmatic, almost robotic in his reasoning, and so, his philosophy revolves around effectiveness. For example, the women and children he killed - wives, daughters and sons of crime bosses. Can't leave them be, because that's a loose end, and they could potentially turn into something a-la Raul Menendez from Black Ops 2. He sees taking their lives as "erring on the side of caution", as the equivalent of a gardener uprooting weeds, he's neither ashamed by it nor does he take pleasure in it. It's just part of the job, and it's a dirty job, but someone's gotta do it. Similarly, lying is simply more of a hassle than telling the truth. If you lie, you have to come up with an alternate version of events and then make sure the people you told don't find out something that contradicts those events. It's much easier to say it like it is, sparing any information that might be sensitive (and, thus, irrelevant in the grand scheme of things).

Omg, I'm not a writer in any way what so ever (screen or literature) and just stumbled upon this on a UA-cam binge. Now I'm thinking about exposition dumping in everyday conversation. Like "hello fiancee, how was your day working as a store clerk at the store where you have worked the last five years"?

Why did you put the funniest line in cinematic history?

You look like pro pepper anyone remember that guy?

Nonsense.

Bollocks

Immediately after the “To bad you… will die” scene I was thinking if it didn’t have the pause and was said in a melancholy way it would have been fine. That is pretty much what the Vader scene did.

For the first 10-plus minutes I was convinced you had no idea what subtext is, but when you finally mentioned a specific goal around 11 minutes, I realized you do :-)

I love the Donnie Darko poster in the background.

*Every circle begins with its end.* Reflection is both key and lock. 🐲✨🐲✨🐲✨ "Before I start, I must see my end. Destination known, my mind's journey now begins..." --DD1 🐲✨🐲✨🐲✨

But earnestness is also compelling. Having characters say exactly what they're thinking, taking pains to say it as clearly as they possibly can (and perhaps failing!), can be just as exciting. It just has to carry consequences, but so should everthing that happens in your story, right?

"He's not dictating the dialog, He's LISTENING!" Fam, that hit deep. I'm going to rewrite my characters dialog with those words fluttering around the decrepit cobwebs in my head. It's violently profound, and it is EXACTLY the illusive source of the disconnect plaguing my sub-con when re-reading my work.

0:31 "to make your make your..." Sounds right

at the time of writing theres zero dislikes nice :3

"Mr. Pink is self-centered and doesn't adhere to societal norms" Me watching Reservoir Dogs: "Why are people getting mad at a perfect take? Maybe America should start adhering to societal norms."

I love how this is done in the big Lebowski. It's like a realistic dialog construed in unrealistic circmustances

Honestly I think the notion that literally everything in your story needs to move the plot forward is pretty fucking stupid. It should obviously do something, perhaps explain a character better. Whether or not this serves the plot isn’t the most important,as long as the story itself is improved that’s all you need. Like ship scenes in One Piece, it just shows some downtime and the crew having fun, yet a lot of people, including me love it.

Anakin talks and acts like this because he's trying to emulate darth vader. He's also trying not to show how angry and vulnerable he is, so he doesn't feel like a real person because he's hiding who he is. The story is about his fall to the dark side, and how bottling up his problems and the inability of those around him tonsee those problems led to him becoming who he did.

Tarrantino writes great dialogue but he sometimes falls so in love with it that he will sacrifice rhythm for one more bit of catchy prose. Imo, the Coen brothers perfectly mesh both to create tight character driven stories.

"Subtext." Yeah, sure. If only. I know some people who were utterly baffled by such an obviously profound sentence as, "I live here now."

The Darth Vader line was cringey too. It flowed slightly better because it didn't have the silly pause in Mortal Kombat. Kevin Smith writes great dialogue on paper but it doesn't always land. Problem is he also directs & execution does matter. Actors do more to sell dialogue than writers do.

I know wroter whonise subtext. They're all cowards.

Not everything is subtext. 8:39 has no subtext at all: the characters are talking about exactly what they are talking about: the divorce. Just because they aren't using the word "divorce" in every sentence doesn't magically make the divorce subtextual. Subtext is all about talking about what you aren't talking about. The conversation in Crazy Stupid Love is not about a water heater, even though that's all their words are concerned with. Meanwhile, "just sign it if you ever wanna see the kids again" is as much talking about divorce as talking about divorce can be. It hammers divorce on the nose so hard it's going to need plastic surgery if it ever wants to look the same again.

I had no idea, why I was drawn to certain movies and abhor others. Subtext?!?! Unbelievable! Thank You!

When writing character interactions I consider things like motivation, character's state of being, cadence/accent and general music of their speech. If they might talk differently with other characters, how they view themselves and others, but I don't consciously think about it. I also consider how I would react in their place. Honestly see nothing terribly wrong with the writing of the Mortal Kombat line. It's written to be larger than life and is. The delivery and execution seem off. I noticed Reservoir Dogs has no lines spoken by women. Would that line have helped? If we saw an offer for coffee or even a refill, we wouldn't be taking the character's word for it. Anywho, delivery is a lot of how the line is taken. The direction of the film is a factor. Actors chosen, takes chosen, editing and timing. Writing is pretty foundational, but there's a lot that goes into good dialogue.

Réservoir dogs?

A lot of the most famous lines - the people in question were like "THAT'S the line that everyone liked?"

"Yall got good dialogue?" "We got hype moments and aura farming, both done badly may I say"

hey man thank you soo much

Mentally disabled ? What’s the subtext there , are you stupid ?

1:15 avg dialogue of the suits

10:15 it's funny you say "shut up just set sail" after a pirates of the caribbean clip couse in one of the movies jack spearow actualy says something around those lines.

Personally I always found Anakin's cringy dialogue to be perfectly fitting. He is a teenager in an extremely convoluted situation.

Cracking advice re letting the viewer see and understand what's really going on, without needing it in the dialogue. As I watched, I realised instantly I ought to have been applying this to two of my characters and went off to make a note that will improve the scene(s) in question tenfold. Up until now I was going to have the protagonist remember a conversation he had earlier with the object of his affection, which makes him realise the prank he's pulling will impact her, so he wants to call it off. Your advice made me realise she doesn't need to have expositioned her connection to the thing he's going to destroy, and he doesn't need to recall anything she said - a prop or other visual clue could be present during an earlier interaction, linking to a visual clue he sees while setting up the prank, that connects the two, both for him and for the viewer. THANKS!

"Blood. I hope this is not Chris's blood" One of the best games ever, with one of the worst dubs ever.