What goes into writing a great movie script?

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

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

Actors give better feedback than writers do.

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

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

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

Why wasn't Queen as successful in America as in other countries? Then, after Radio Ga Ga, they couldn't even get into the top 40 in America even when these songs were top 10 hits everywhere else in the world.

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

All rules are made to be broken, but you damn well better know WHY you’re breaking them.

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

How did you become popular in school?

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.

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

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

What do you think about wearing sheer pantyhose?

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

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

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.

What is the best comeback you used on someone?

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

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

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.

Do you think it is likely that Maegor was presented a young dragon at some point, almost to the point of full-bonding, only to scorn it for Balerion in the end? If so, which one could it have been?

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

The DSM 5 is a wonderful character compendium.

Make sure to pack enough explosives into the rocket.

What is the most clever way you have seen someone respond to road rage?

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.

Research the facts and then throw away the research.

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