What goes into writing a great movie script?
Last Updated: 26.06.2025 08:32
The DSM 5 is a wonderful character compendium.
To develop a unique voice for each character, try interviewing your characters.
Don’t direct from the page. Everyone, from the director on down, wants to be part of the process of making movies. Let them do their work.
If you could go back and rewrite the Legend of Korra, what would you change, and why?
Outline everything. Use story beats. Keep character’s mouths taped up, until they absolutely MUST speak. Write the script and the dialogue at the last minute, after you’ve revised the hell out of the outline.
Learn to tell a story orally and not through writing. Try telling your story to a friend.
Actors give better feedback than writers do.
Maintain a slush pile/idea file. When you are ready to write, choose the best seeds to plant.
People choose what to see based on the high concept. Make sure to deliver an ending consistent with the high concept -- it is what the audience paid for.
All rules are made to be broken, but you damn well better know WHY you’re breaking them.
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Research the facts and then throw away the research.
What you leave unwritten is as important as what you write. SUBTEXT.
A scene should change valence from beginning to end. Up to down, down to up.
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Conflict is your power source; without it you have no drama and hence no script.
Cut everything that is not a payoff, or a setup for a specific payoff. “Omit needless words.” Think about the sparseness of joke telling, or Grimm Brothers.
Only God gets it right the first time. Rewrite everything.
Why do men like low maintenance women?
Get up there yourself. Be in a movie. Take some acting (not writing) classes. Learn how a trained actor approaches a text. Learn why actors take roles. They do as much if not more than the writer does.
A critical function of storytelling is wish fulfillment. This is why video games are so popular. “That protagonist is JUST LIKE ME.”
Leave holes. Write and unwrite. Put it in, take it out.
Use status to help drive conflict. King Lear/fool. Upstairs/downstairs.
Your primary job is to create situations. Modern actors will fuck up your dialogue, despite whatever your contract says.
Primary characters must change polarities. Secondary characters can change less.
Audiences are smarter than you think. Something about turning down the house lights makes their IQs go up.
Make sure to pack enough explosives into the rocket.
Write in reverse time. Major characters need to change polarity; minor characters may remain the same at the end.
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