something at least. and though those writers names may not even appear in the credits is essential for each and every film or t.v. show and sometimes way higher than the act so what does it take to become a really good how does this sacred process look from the inside to asking them on. their world famous screenwriter and writing lecturer robert mckee. when the american writers guild went on strike in two thousand and seven it was a disaster for the entertainment industry it lost about one point five billion dollars in just a few months proving screenwriters are sometimes even more important than directors and actors this idea is something robert mckee has always tried to promote he's screenwriting consultant to major t.v. studios like paramount twentieth century fox and disney and he's also one of the

most sought after lecturers on rioting in the world mr mchugh. include thirty five academy award winners and almost one hundred seventy award winners many hollywood screenwriters regard him as their mentor and inspiration. to make him welcome to the show it's my great pleasure thank you very much for being with us it's a privilege and first of all i decided to talk to you when i when i read in one of your interviews you said i am starving for great movies. i already. know what what makes us angry and the absence of food and we get used to good food and then we do we think we need something more what is it really . you know i think we. least growing up and our generation of mine we were i was used to say every two weeks. twenty five times

a year i would go to a film i'd see many more than that i see two or three films week but every two weeks some of them do a casablanca i ask every every story that come out of a film whether it's hollywood or from europe or asia and while while write and i'm lucky i think we're all lucky if that happens once or twice a year now where you just come out well fantastic. and so there's good stories and there's satisfying stories certainly being told but that that sense of something so deep and so beautiful and so brilliant is rare very rare now you know my latest impression of modern cinema i watched woody allen's midnight and i'm going to fad of woody allen and myself never being but this what is it about the power door. at the at the cannes festival so i went to watch it and it's not worth half of the

backs of the few ships people because back to the future is better i mean it's for kids but it is better why is it happening what do you know that he is a classic what is the story what do we what does that woody allen was in his day one of the great iron it's. certainly great social and. personal. masters of. the difference between appearance and reality and his films are very complex and fascinating and even if i were in the seventies yeah it was you know those days are past and so you lost him he's lost. but he's woody allen and he makes films are very low money less than ten million dollars and they always make money because of the momentum of his reputation and so he's struggling and has for years that i think the last. satisfying woody allen i saw was bullets over broadway you know that was thirty years ago maybe twenty

twenty years ago yeah and so but you know so it's just business just as it is this is sad isn't this it wasn't for me for me personally only if it's movies are very personally i think you you agree it all started with a movie called the war of world by kevin costner i watched it in london and i was i was down on the seaside and somebody called me said i've got tickets let's just put in the premier you must make it the most friday the traffic jams which i will so i made it and i watched it and now was i mean it was a shock no downloads no story only what will but very beautiful everything very beautiful and and very sexy kevin costner well then it went all the way down this is happening all the way down to avatar to turn town no story at all the technology business now would i would agree one hundred percent with that ten ten i understand have a seat at but i think we're probably agreed we should not see it. but avatar yeah

in terms of i think a very well told story the problem with avatar is that it is yet another rendition of the fascist myth you know good times and bad guys mean yes and that society is weak and it has to be rescued by lone heroes we've been telling that story since forever and so and so it's a recycling of cliches as if the if you were ten years old going to avatar it would be new and very exciting for you and the storytelling would be very memorable but we've seen all this stuff oh yes yes i saw it maybe this is personal it may be that it may be that they're making films but not for us but for but for a much much younger or two or three generations ago. we're now the generation that's making we want stuff is so i don't exactly know right love and we don't see that all the we've seen other so is it true that today people prefer the city to

similate to harm it is in effect. yes but it's never been different and the idea i think it's an overstatement to think that there was a time when hamlet was actually popular culture maybe it elizabeth in england when shakespeare wrote it ok but there's always been a certain cultural elite that has enjoyed works of that kind and then there's always it for example in the nineteenth century was the century of the novel and great russian novels great french novels great english language almost german german certainly. even american and even occasionally american and i don't know big melville and so. there was an outpouring of novels i would think there was one hundred years i would think at least a thousand novels a year that's one hundred thousand novels in that century you can put the best of them on one shelf. and so it's always been like this there's always this little

spectrum of greatness and then the great tsunami of mediocrity you are called the most influential theorist of writing skills since our wrists. don't have to really tell the press has anything changed. in the sense that it's what we need we do under we understand story. a greater depth or with a greater precision that aristotle did but he was looking at the very first works and he had homer and he had escalus and sophocles repartees to guide him but we now understand the difference between conscious and unconscious desires we understand the mechanisms of turning points and the rush of insight we understand set ups and pay offs i mean the world has achieved much more support. rich technical understanding of story but the essence of it has not deepened sincerest he

understood it in its essence as well as you know as well or better than anyone since and so there's more technical understanding but it doesn't mean that we've actually got a depth of understanding. how you think i suspect that people are discussing new movies today he says seriously because movies are really cinema is really replacing literature i mean in the culture is it true or more than that i mean there was a time when the society had for great wisdoms there was a time when we used to read philosophy to answer aristotle's great question how should a human being lead their life but today who is waiting for a loss of feed that doesn't have an exam to pass we used to we used to study theology. but today in many places religion is become an even jellicoe joke we thought that science would solve all of our problems but now as we realize

science creates more talk city then. and and we had art. but since these other ways of understanding life are interest in disrepute where do people go to get an answer to that great question do they go to the movies god help them so there's nothing bad about it well in the case that the movies are good that they really have to say they are saying something not only showing pictures telling stories that this is what you teach and that what i teach is to write the truth to tell a story and then step back from what you've written presuming that it moves you as a writer and ask yourself is this an honest expression of what it is to be a human being and if the answer is yes then passionately do everything you can to get this story into the world but if the answer is no if you don't actually believe in the meaning of what you've written that this is why god gave us the delete key.

you know keep it but you know their own control. but in a in a world of lies and liars. writers unfortunately keep adding to the to the to the lives and so i've always been on a campaign to above all master the craft so you could express yourself beautifully but believe in the truth of what you do but i get an impression that today in times of big business when produces run run the show when so much technology so millions are pumped into cinema screenwriters authors have to fight their way in to get into the movies because nobody invades the real you know they they they often use the expression have to break into hollywood as if you were committing a burglary right. but that's nonsense because in fact if you write

with a real superior quality if you write of a work of surpassing quality it will be recognized in hollywood. or anywhere they make films in the world and it's not as if people are just reading that say well it's brilliant and then throwing it aside may i just isn't true says robert mckee the well famous screenwriting teacher spotlighted will be back shortly after we take a break so we'll continue this interview delgado's de way you. cut sure is that so much of a lot of people at my area will balance it all tell a different what does the year tree house and twelfth hold for the world will be distributed it's the year before who will set the trends who will stay in power and

. right to clean those. squandered money. abandoned mine. what is. your new sixty square kilometers an environmental devastation and those who are still surprisingly alive i'm finding we're just there it's getting bad out here. but not saying hardly any birds squirrels you know. ducks yes you know i don't know what's going on here. concrete monarchy. welcome back to spotlight i'm algor nothing just

a reminder that my guest on the show today is robert mckee the world famous screenwriter and screenwriting teacher professor who is lecturing now in my. and we have an opportunity to interview him here in this studio well robert your book your screenwriters bible as they call it is called story substance structure style and the principles of screenwriting in russian and it was published in translated as story worth a million doing this translation is it really what you teach just didn't seem to make big bucks but oh well i will bet a million was a measure of quality money but. no no no i'm something i can't promise that nobody can promise a thing like that. do you think that somebody may become well it's not great but a decent screenwriter after. reading and really learning is a book presuming they have talent ok and there are geniuses and then there are

people with great talent and they're people with modest insanity manual somebody presuming they have some talent all right. i certainly think that understanding and mastering the craft maximizes whatever talent you were born with and so you can't you can't. succeed without talent but but talent without a mastery of the craft is paralyzed if you have great talent great imagination but you don't really understand story then what will you do you copy unconsciously you imitate other writers that you know because you're not free to to take the elements of story and play with them and improvise and experiment and do brilliant things with them and so what i try to teach people is that how to understand these elements their relationships and then give you the freedom to do with them as you will because if you don't have that understanding and you haven't mastered these

pieces then then you will be a slave to to every cliche that comes along but the movies like movies like are the times of a. an extreme when women sixteen really extremely expensive and really really great show something to see the other extreme is what they sometimes called the the art house movies and what like the low budget movies where the self-expression of the director is the really what matters nothing else matters photography the story what's your attitude to these and there are degrees of but we just said take for example the film that starred george clooney called up in the air. you know there are no this is a very beautiful film and it's a it's very beautifully written and it's not about a director trying to express their vision but instead it's about the writing of a story about a man who comes to realize that his life is meaningless and over the course of the

story tries to find meaning and ultimately fails but at least he now understands that what he thought was a wonderful life is meaningless and so there are there are all kinds of very beautiful films. that are not art movie difference for the sake of difference nor are they slavish really following commercial imperative but there's a great middle ground where people come together to collaborate the writer the director the actors the designers the camera they all come together to produce a work and the work becomes the important thing not their egos not their. vanity but the work and they devote themselves to achieving accidents in the film itself a couple of words about a shot well they call you the guru but when talking about gurus he lets you like speaking that check off. did russian literature checa for example he who you say

was a genius did they really somehow influence you as though he was mislead really enormous what why the russians well because. first came stanislaw ski he wasn't a writer he was directing it so lots of acting he taught acting and he went when you understand what what what what stance lawsky was teaching primarily was that there's a whole inner life that exists inside of a character underneath what they're saying and doing the sceptics the subtext so once you understand that you can do shakespeare better than you would ever do it it isn't just reading the law it's beautifully but bringing a character to life from underneath and once you understand the concept and you that the end can execute subtext everything gets much better and check off of course absolutely demands subtext. so you think he was an impressionist like an

electrician yes yeah he was a minimalist and an impressionist and the stories are very powerful and very beautifully told but it's all in the subtext and at the actors don't bring the subtext to life then check off seems bay now when they bring it to life it's it's overpowering and the differences and subtext is so stanislaus through checkoff because stanislaw ski learned this because he was directing chekhov and he was trying to find a way to make check off work well we'll check up didn't only do the short stories but he also did he plays born to do you think he would make make a good writer fulfill for modern movies even live today oh yes baby yet salute me but he would write a film like on the air like company he'd write a film like up in the air where a character is going through their day. and dealing with the sort of problems on the surface and we see through that surface to realize my god this man is leading a meaningless life. why don't contend for the russian movies. some of which i do

like why didn't they get the international screen well they do i mean i think i saw. i saw house of pools three times i saw it in los angeles i saw it elsewhere in the world and so there are many russian films that do reach the world. but when you say the world i just had this discussion just the moment that it was sort of what you mean is north america europe now we don't mean that because. if if russian filmmakers were really concerned about getting their films to italy to spain to germany's french president to telly and yet they'd and and they would be played in these and these cinemas all over europe or asia or australia but when people talk about getting films into the world they. i mean that they mean having critical success in their own country and they get into north america where

the money is and so the question is he would get films to north america because i don't think europeans care that much about watching other european films well it's like with ice hockey everyone everywhere you go in there you better than the n.h.l. they're doing here because even sally is going to mean they're going to be able to get what i want to be the atlanta braves and that's unfortunate and wrong to me believe and i'd like your all over the world been lecturing a great deal in south america these people love us they go to films constantly why aren't russians trying to get their films into the south america is the interesting thing when the russians including me sometimes what's contemporary movies they say the soviet movies would bet ten give us back the old seventy and some people like my dad they think there was censorship in communist times they would do wouldn't let the direct to do whatever you want and they they watched what he did and the movies are better do you think this without you think peter long distances should

sometimes do better things than when they're absolutely free to start fresh and you hear exactly the same thing about hollywood the films of the thirty's and forty's and fifty's were better because there was censorship it was called the hays office and there was censorship and so writers had to figure out ingenious ways to imply subtext subject and they had to use allegory right and so under the pressure of censorship they had to be more creative now i don't think tyranny and censorship are good things at all. what should happen is that the artists should impose creative limitations on themselves. they should not allow themselves to do it the easy way they should say i'm going to do this story in a way that really forces me to be a be creative and to solve creative problems ingeniously and there's for example

there was never any censorship on ingmar bergman. and yet he is the greatest screenwriter who ever lived and created almost forty films that are the worst of them the least of them are better than most what we watch today but there was no censorship except by baird he forced himself to demand the highest standards of himself and so if artists become indulgent when there's no censorship whatever that they produce pablum about when something when they set standards when someone set standards then they have to be creative you talking about stories about the necessity of stories all your life but. sometimes i see that interpretation for cinema off classical literature doesn't always become a success no stories may be greats what is that well be for for a lot of reasons not the least of which had the power and the beauty of

a novel is the drama does ation of inner conflict. but you cannot photograph thought. so it's not a mad every novel can become a great movie no no holes because. crime and punishment is all taking place and where hunt is going to head there has never been a good overview of crime and punishment how could there be because the whole story takes place in his mind and and so it's perfect that way. and to try to adapt at discrete i people have done film adaptations of james joyce's ulysses some people in france write yeah right so. great literature cannot be adapted it has to be reinvented and when i don't when somebody like james ivory or with his great writer roots project bala when they take classics they don't adapt they reinvent to keep the spirit of the world. and if they can

manage to do that if they if it feels like e.m. forster and yet is a reinvention nobody complains well i'll try to guess i think your favorite movie of all time says alice i wonder. how my clones then that that's a great story who made a great movie a great mom my favorite one my favorite was than the. hopes of a great star it's a wonder i don't want to live on the fulfilled makes every kid who writes terrified thank you very much thanks very much for being with us and just to remind that my guest today was robert mckee the world famous screenwriting teacher professor and screenwriter in south that's it for now for more on our spotlight will be back until then take care to stay on thank.

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you. barack obama also rises a little giving the military more power to detain people indefinitely without charge or trial classed as terror suspects critics cried foul claiming the new bill violates basic democratic why the u.s. seeks to trump and elsewhere around the world. warning to the west as a grand success but it testifies long range missiles during naval exercises in the persian gulf republic sets of paris triggered by the times this comes as the u.s. imposes photo sanctions targeting the. wild tehran threatens to all supply routes in response. to the conflict in syria takes a new twist as arab league observers say the regime has pulled its also the bomb from flashpoint opposition strongholds has demanded a new peace deal with the ones that snipers are still shooting at protesters

killing at least one hundred fifty people since tuesday. as the headlines up next a moment about his guests predicts also a stall for the world in two thousand and twelve stay with it so i would call stock is up. and. lo and welcome to cross talk of people about what does the year two thousand and twelve hold for the world will be as trivial and as the year before.