What goes into writing a great movie script?

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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.

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.

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Actors give better feedback than writers do.

Make sure to pack enough explosives into the rocket.

Leave holes. Write and unwrite. Put it in, take it out.

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Research the facts and then throw away the research.

Only God gets it right the first time. Rewrite everything.

Audiences are smarter than you think. Something about turning down the house lights makes their IQs go up.

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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.

Conflict is your power source; without it you have no drama and hence no script.

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.

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Use status to help drive conflict. King Lear/fool. Upstairs/downstairs.

To develop a unique voice for each character, try interviewing your characters.

The DSM 5 is a wonderful character compendium.

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Maintain a slush pile/idea file. When you are ready to write, choose the best seeds to plant.

Learn to tell a story orally and not through writing. Try telling your story to a friend.

A critical function of storytelling is wish fulfillment. This is why video games are so popular. “That protagonist is JUST LIKE ME.”

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What you leave unwritten is as important as what you write. SUBTEXT.

Write in reverse time. Major characters need to change polarity; minor characters may remain the same at the end.

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.

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Primary characters must change polarities. Secondary characters can change less.

Your primary job is to create situations. Modern actors will fuck up your dialogue, despite whatever your contract says.

A scene should change valence from beginning to end. Up to down, down to up.

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