00:00So, oddly enough people think of
writing as dialogue and to me
00:03writing is structure. Dialogue is the
cherry on top. The cherry on top does not
00:08support the ice cream sundae it's it's a
it's a delicious little added thing but
00:12the real story telling the real
structuring that to me is the hard part
00:16writing building the the scaffolding the
skeleton of the story if you will for a
00:20long time I tried to think out
everything and the story even though I
00:25know things would completely change as
like as I go on however now I've
00:29realized that it doesn't do me much good
to think too much past the middle I mean
00:34I might know where I want to go I mean I
write genre pieces so you have an idea
00:39what the third acts gonna be yeah you
know and Kill Bill I guess she'll
00:42probably kill Bill with him but you know
John Ruby you think you know where
00:46you're going and you're probably right
and you have an idea of how you might
00:49want the ending to end as for you know
for both a movie and for an audience but
00:54for the most part you can kind of work
out more or less what's gonna get you to
00:59the middle but to think beyond that is
kind of silly because by the time you
01:05get to the middle when you've actually
been writing it well it's a different
01:10story now it's a different thing now you
know you are the characters you know the
01:15characters things that you could never
have known before you started writing
01:19are now they're in your blood it's like
this entire month you know there is a
01:24mythology to my movies to some degree or
another not mythology is delivered as as
01:29I write and I might have a checklist of
things that I might want to do during
01:33the course of the time but some of them
they are you know
01:36become irrelevant yeah
and when other ones take their place and
01:41some things you thought could have been
a big deal while they are a big deal
01:44and some things you may be half the
reason you wanted to write it by the
01:47time you get to where that would happen
and prints for something else that's not
01:51for this but by that time you get to the
middle that's where you want to be you
01:55want to have it be this expert you want
to be in the middle of the story you
01:58want to know who these people are and
now with all this knowledge now you
02:03figure out where you want to go for the
second half I'm trying to write to that
02:06spot where I don't know what's going to
happen I'm trying to get to that trying
02:09to get off that that that that blueprint
and I'm trying to get to that place
02:14where now the characters are telling me
and the characters are exciting me I'd
02:18be being disingenuous with you to say
that I kind of can construct the story I
02:22mean I never feel like I know how to
construct the story except just like
02:27that's a great way what you just said
like yeah dumping things on a table and
02:32like spreading them around like that for
sure and hopefully getting lucky enough
02:38to kind of get enough things going in a
row that feels like something worth
02:43doing something worth telling something
worth going to shoot I open up a file
02:48final draft and I write about a page of
story beats which would be single lines
02:55so spaceship on the way to the Sun you
know seven characters or a door kind of
03:02a moment so it goes on and just single
lines and the lines are the basic beats
03:09of the story and what I've got to the
end I sort of take the cursor up to the
03:14top of the page so I've got about a page
of lines
03:16I'd say the kind of back up to the top
of the page and I've write the first
03:20scene and as I reach story beats I
delete them so eventually so the script
03:27is getting longer and the story beats
list which is only a page is getting
03:30shorter eventually I delete the last
line and at that point I've got a full
03:34script and that's it that's a first
draft and it will be crap
03:40but that's okay because I know that
there's a couple of things I get from
03:46there one is you've got something to
work with and it's getting to that point
03:51that's often the hardest yeah the
nervous does influence Lee somebody said
04:08that if the author doesn't know where
the story is going the audience can't
04:12possibly know I write really
structuralist I have to start I really I
04:17spend I spend to this the first big
chunk of time just working in little
04:22notebooks and all I do is I draw like
arcs and split them out and see like
04:26sequences I need to basically be able to
see the whole plot in my head before I
04:31can sit down and actually start writing
or I'll get lost in the weeds so I plan
04:36and plan and plan then plan and this was
like that only more so
04:40this was even more crucial for me to
have the whole thing mapped out but then
04:43you actually get into it and as you guys
who are writers you know you get into it
04:47no matter how much you plan you know
it's it's like you plan out your map
04:52through the forest looking at like the
map and in your cozy living room and
04:55then you get in there and you're
actually hacking through the forest and
04:58you figure out stuff doesn't work and
figure out new paths and so yeah it's
05:02kind of a mixture I guess I don't
outline I don't outline I was well I I
05:09mean I say that I definitely don't
outline before I start writing there is
05:14a moment when I do outline but it's only
after I have a great deal of material I
05:20find when I outlined before I write it
it's the fastest way to kill all my
05:25ideas I can't um I can somehow it makes
everything quite literal for me
05:33I've never outlined before I use index
cards it just kind of organizes my mind
05:40I've never index carded the whole movie
because I don't think I've ever at the
05:47point when I've started writing a
screenplay known everything that there
05:51is to know
about the whole movie I've figured out
05:54how it's gonna start and I have some
other things along the way but it's kind
06:00of like walking in the dark with a
flashlight you could really only see as
06:04far ahead of you as as the light goes I
think rules are great if you're in
06:08trouble and if you're not in any trouble
with what you're writing they're
06:11absolutely useless and possibly worse
than useless it may happen that every
06:17script has it has the characters
established by page 10 and it may not I
06:22don't think there's any reason to be
thinking about that when you're trying
06:25to write a script and it may be that
every successful script has a reversal
06:30and have two-thirds of the way through
and one another 1/3 of the way through I
06:33don't know it's not really an I don't
see what you're gonna I don't I don't
06:38think that kind I think that kind of
thing I think every time I read a script
06:41and it goes off it's because at that
point the script is trying to be like a
06:46script and it's not and it's at that
exact moment when it loses its
06:50individuality and it's interest I mean
what I do is I do a very detailed step
06:58out under the story and then you break
it down to like whatever all the scenes
07:01that need to be there I go and I put in
all along all the scene settings of
07:06every scene so I know where you are and
at what time you know and actually it's
07:10good to figure out so the the rhythm of
day and night in in movies I mean Little
07:15Miss Sunshine is three days most films
are like a few days and you want this
07:19rhythm between day and night you don't
want to be cutting from day to day you
07:22know from one day to the next day you
want to be moving up and down and so
07:26I'll go through and just do all the log
lines not a log lines all those scene
07:30lights log lines and just put them in
and you can see you can even see at that
07:35point if something if there's an action
sequence that's too long or if there's
07:38something that you could Oh there could
be another scene in here and once you've
07:42got all you know you got your 50 slug
lines or whatever they are your 50
07:45scenes then you just can go ahead and
put your dialogue into them and what I
07:49started doing at Pixar now is doing what
I call sequence outline which is you
07:53break the film down into you know
fifteen or twenty sequences and I do it
07:57on four pieces of paper so it is a first
act on one piece of paper which is the
08:01title of the sequence and then what
happens in it and usually you have five
08:04or six sequences in your first act
and then the second page is the second
08:08quarter of the film what you'll take you
up to your midpoint the third page is
08:12the third quarter and then the last page
and then you have your whole film is on
08:15four pages but it breaks down it by ACT
basically you know you get to the end of
08:20the first page you get the end of the
first act and you can just look at stuff
08:23and and because it's broken down by
sequence you can figure out you know
08:26this right here can go over here you
know you're able to visually see the
08:30whole film and I find that really
helpful in terms of moving stuff around
08:34but with index cards I always feel like
it's just too much it's just clutter
08:38everywhere you know on the floor of your
apartment and it's better to just be
08:42able to put four sheets of paper in
front of you and figure out why
08:46something isn't working or not I'm such
a strong believer in knowing where
08:50you're going before you start out that
hopefully once you've and inevitably
08:55things change you know I mean that's
what you just things change but
08:59hopefully you'll at least get to the end
of your first draft you know with a
09:02semblance of what you started out trying
to do it's a big deal for me
09:07I can usually look at it outline which
is usually about you know it's like I'll
09:10be able to just have scene headings you
know and know her in her office or
09:15something like that where she realizes
this or gets the first message or
09:18whatever it is and that will that will
go for about three pages you know of
09:22that and I can usually start to see the
rhythms and see what's wrong with with
09:28the piece and what needs to be thought
more about we would sit in front of a
09:34corkboard three feet by five feet with a
big thing of thumbtacks and a big thing
09:39of index cards and a whole bunch of
sharpies magic markers and we'd sit down
09:43and we say okay what's the teaser but
you know with any build it brick by
09:46brick each card represents a plot beat
not necessarily a scene but you know
09:53three or four six eight cards might
represent one scene and by the end of it
09:57you filled up this entire three foot by
five foot cork board with a teaser and
10:01and
the four act structure sitting there
10:04together or alone alone as much harder
still and figuring out each plot beat is
10:09essentially that the good analogy I
suppose is a bunch of engineers sitting
10:15around on their drafting tables or their
communal drafting table and drawing the
10:19design thus drawing the architectural
drawings for a skyscraper then you got
10:24to go build a skyscraper which is a huge
amount of man hour and labor and you
10:30know all of that but you can't build
that skyscraper unless you got the
10:35architectural blueprints to begin with
and to us an actual sitting down and
10:39writing is it's kind of carefree
compared to the breaking because I've
10:42got this outline I've got these these
index cards and I know you know what
10:47happens next so the writing is a
important part of it but it's not the
10:53hardest part and it's not to me the most
crucial part
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