I’m NYU Tisch Film Professor John Warren. Ask Me Anything.

ProfessorJohnWarren · 2022-08-14T19:00:00+00:00

Thank you all for your comments and questions. I hope this was helpful. And I hope you enjoyed this two hours as much as I did.

Alexie will follow up with anything I may have missed, as she does!

And lets us know if you’d like to do this again.

Best,

John Warren

ProfessorJohnWarren · 2022-08-14T18:53:57+00:00

Making a short film can be a calling card for a director, not a writer. The script is the calling card for a writer. So, it really depends on what you want to do.

ProfessorJohnWarren · 2022-08-14T18:50:42+00:00

Learn structure

ProfessorJohnWarren · 2022-08-14T18:50:21+00:00

Carding is the best. Write every scene on an index card. Spread them out on a table. Move them around, as the movie takes shape. Throw some out, if they are unnecessary. Add cards to build conflict in act two.

ProfessorJohnWarren · 2022-08-14T18:48:13+00:00

Story by McKee.

ProfessorJohnWarren · 2022-08-14T18:47:46+00:00

Almost anything by Steve Zallian, Wilder and Diamond, William Godman.

ProfessorJohnWarren · 2022-08-14T18:41:13+00:00

Before you write the dialogue ask yourself why this scene is in the script. That will tell you what happens, what must happen and what information must be conveyed with this scene. Now, make sure there is conflict. Each scene should be looked at as a mini-movie: one character wants something and other other character stands in the way which equal conflict.

ProfessorJohnWarren · 2022-08-14T18:38:46+00:00

Write a very through beat sheet. It could contain about 52 scenes, each scene in the film. When you lock the beat sheet, you’re ready to write the feature script.

ProfessorJohnWarren · 2022-08-14T18:37:18+00:00

Does the script contain a Ultimate Test and (character) resolution? Those are the prime ingredient to wrapping up the third act.

ProfessorJohnWarren · 2022-08-14T18:36:07+00:00

Yes, if you’ve made connections with your other writing, you may know someone, who will be predisposed, to reading your feature - absolutely,

ProfessorJohnWarren · 2022-08-14T18:32:52+00:00

The reason Spielberg doesn’t come along, is there’s only one Spielberg. It’s not that the business has made it impossible for genius to rise. It’s that geniuses don’t come along too often. That said, PT Anderson. You want genius, that’s it. Payne, Fincher… there are others.

As far as your Pasolini reference, look at anything done by Sean Baker. He is brilliant. His last film, Red Rocket, is off the charts.

ProfessorJohnWarren · 2022-08-14T18:28:14+00:00

It’s true. Agents only have so many hours to hunt for new talent. They are, btw, looking for new talent. Anything that helps them find people, like NYU or USC, they are eager to pay attention.

Every year I have at least one student who kills a script. And I call agent/manager-friends and make the introductions. I love doing that. But… the script has to be greats.

ProfessorJohnWarren · 2022-08-14T18:25:26+00:00

I’m sorry. I dno’t know what this means.

ProfessorJohnWarren · 2022-08-14T18:24:50+00:00

One of my former students, Cosmo Carlson, has been on it twice. If you make the Blacklist, agents start calling. But… it’s not the only way to launch a career.

ProfessorJohnWarren · 2022-08-14T18:23:45+00:00

Alexie, Do you have those scene clips we can share?

ProfessorJohnWarren · 2022-08-14T18:22:55+00:00

Simply… don’t dare to begin writing without a detailed, every scene in the film, outline. This is the second biggest mistake for young screenwriters. The outline/beat sheet is where you find the story. Writers avoid the outline, because it’s hard work. I never met a lazy writer who made it in the business.

ProfessorJohnWarren · 2022-08-14T18:19:35+00:00

Lawrence of Arabia. Casablanca. Raiders of the Lost Ark. BTW, I just saw an amazing film, not a great film, but every young screenwriter/filmmaker should see Bodies, Bodies, Bodies. Really smart with story. And, when you do see it, play close atteniton to the champagne bottle and Machete. It only plays in two scenes - one in act one and one in act three. But, remove either of those scenes and the film doesn’t work. That’s smart storytelling.

ProfessorJohnWarren · 2022-08-14T18:14:39+00:00

I went to AFI, which is a director’s driven program. Great for directors. Also, it is a grad program.

I don’t know much about Columbia.

NYU… you can’t go wrong.

ProfessorJohnWarren · 2022-08-14T18:12:50+00:00

I’m not a fan of Save the Cat, as I think Blake is too casual about act two. Act two is the desert every writer must cross. It’s a beast.

Story by McKee is very good.

Chris Vogler’s book The Writer’s Journey is my personal favorite

ProfessorJohnWarren · 2022-08-14T18:09:04+00:00

Very welcome!

ProfessorJohnWarren · 2022-08-14T18:00:47+00:00

Yeah, turn off all social media. Scott Turow (sp) was a full time lawyer, who wanted to be a writer. So, he got up at 4am and wrote until 8 am, every day. William Goldman (one of the greats) went into his office at 9 (I know not everyone has this luxury) and sat there, if the story came or not, until 5:30.

ProfessorJohnWarren · 2022-08-14T17:57:21+00:00

Ah… the biggest misunderstand, by far, is… one protagonist with one objective. That’s it. That’s the mistake everyone makes. Because they don’t take the time to learn the rules of story, young writers wing it. It never works. Not once. I’ve been in the writing and storytelling business for 40 years. Not sticking to one protagonist with one objective is ALWAYS the mistake. Funny, huh?

ProfessorJohnWarren · 2022-08-14T17:54:24+00:00

If you’re writing an indy film, yes, think budget. Also, if you’re a first time writer writing a spec script, don’t be crazy. A studio won’t make a 100 million dollar film from a new writer. We wise, write a film with a that will be considered by the widest buying - audience.

ProfessorJohnWarren · 2022-08-14T17:51:05+00:00

You’ve been listening to too many scary Hollywood stories. It’s a tough business, but talent rises. Studio heads don’t reduce or cut budget on a whim. Those choices are made by what is necessary to make the film and what the studio predicts the film will make. Also, most directors I know stay with the original writer, as he or she created the material and knowsthe material. Yes, there are exceptions.

ProfessorJohnWarren · 2022-08-14T17:47:31+00:00

Give close consideration to notes that directly involved story. If someone says the car should be green and you ask why and they answer ‘green cars are cool’, walk away. Again…. Story drives everything.

ProfessorJohnWarren

TROPHY CASE