Screenwriting: Writing the 10-minute Short | Sarah Zucker | Skillshare

Screenwriting: Writing the 10-minute Short

Sarah Zucker, Screenwriter

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7 Lessons (1h 21m)
    • 1. Trailer

      1:18
    • 2. Three Act Structure & the Anatomy of a Short Film (8:06)

      7:57
    • 3. Character Development (4:15)

      4:07
    • 4. Writing a Treatment (3:04)

      2:56
    • 5. Elements of Style for Screenwriting (2:33)

      2:24
    • 6. Writing Visually (3:08)

      3:07
    • 7. Rewriting and Seeking production

      59:18
36 students are watching this class

About This Class

Short films are the ultimate calling card in the movie industry, and can be your ticket to an agent, a contract, and even (yes!) an Oscar. In this class, you will learn how to write the screenplay for a ten minute short film, which you can then use as a writing sample or to pursue production.

This class is for anyone wishing to learn the basics of screenwriting in a supportive space. Drawing from my own professional screenwriting experience, I'll teach you how to pitch, outline, write and workshop a 10-minute short film.

This class covers:

  • The basics of storytelling: three-act structure and the clockwork of compelling stories
  • Elements of Style for screenwriting: how to format it on the page
  • The anatomy of a good short film
  • How to write a treatment, or synopsis, of your idea
  • Developing character: making it seem real
  • How to effectively process feedback without feeling dejected
  • Seeking production and professional advancement

How it will be taught

The course will be taught as a series of pre-recorded lecture videos that introduce the concepts and how-tos of storytelling and screenwriting.

Students are able to seek feedback from one another by uploading their work to the Project Gallery. 

Students will also have access to a Q&A forum where they can find answers to their questions, should they get stuck. 

Hope you enjoy! 

Transcripts

2. Three Act Structure & the Anatomy of a Short Film (8:06): - Hi. - Welcome to screen writing. - Writing the 10 minute short, - I'm your instructor, - Sarah Zucker, - and over the next four weeks, - I'm going to teach you how to pitch, - outline right and workshop your own short screenplay. - Each week, - I'm going to go over different aspects of the screenwriting process and provide you with - examples and handouts that you can explore in your own time. - I'll go over our assignment for the week and how it fits into the screenwriting process at - the end of my lectures. - In this lecture, - we're going to talk about three act structure in the anatomy of a short film. - Three. - X Structure is the most common plot format for a Hollywood film. - 99.9% of all stories in the Western canon follow three act structure, - Or at least they try Teoh. - Even those that break three act structure do so willingly. - Three extractor dates all the way back to the Greeks and starts with Aristotle's poetics. - Aristotle's the guy who came up with the idea that every story has to have a beginning, - a middle and an end. - If you want to learn everything you ever wanted to know. - About three act structure and a lot more. - You should take a look at Aristotle's poetics before I get started talking about three act - structure. - There are a few key terms we need to go over. - The first of these is plot. - When I say plot, - I'm talking about the series of actions that comprise the main story of the film. - The next time you're gonna hear me use his theme. - When I'm talking about theme, - I'm talking about the greater human concept that the film is about now. - The last term you'll hear me use is character. - When I talk about character, - I'm talking about the people or creatures who inhabit the world of the film and take the - actions that comprise the plot. - I'm gonna get Mawr into character development in a later lecture, - but you're going to hear me use the word protagonist a lot. - The protagonist is the main character in your film. - They don't necessarily need to be the most likable or the most interesting and often times - they aren't going to be. - But the protagonist is the central character whose actions comprise the plot. - We need to have a strong protagonist so that we can follow the threat of the film. - There are different schools of thought on how to teach writing, - and I emphasize plot over character because I think generally you're gonna write what you - know. - So the characters were gonna come to you a little bit easier. - The plot is the clockwork that makes your piece tick, - and that's the part you're gonna have to keep practicing until you get it right. - Three Act Structure is the most tried and true clockwork for a Hollywood film. - It's easily recognizable and can be illustrated by a simple triangle. - We start one place with a character who wants something. - The tension mounts as they go after what they want, - and there's a point in the middle where their quest becomes clear or something changes. - Then the tension begins to deflate. - As we work towards a resolution at the end, - we've resolved the question of the story. - Another way to look at it is to break the structure down into its individual parts. - We start with Act one and Act one. - We start with the character who wants something in their world. - In the case of Wizard of Oz, - we start with Dorothy Gale, - who lives on a farm in Kansas and is unhappy with her humdrum life. - Then there's something called the inciting incident. - The inciting incident is something that occurs that sets the character on their quest. - In the case of Wizard of Oz, - it's very clear it's a tornado. - Then we have act to Act two is gonna comprise the meat of your film. - In the case of the Triangle, - Act two is pretty much the whole upper part in Act two of Wizard of Oz. - Dorothy reaches Oz and then realizes she must go see the wizard to get home. - That's that whole tension mounting part when she meets the wizard and learns that she has - to kill the wicked Witch of the West. - That's where we now learn how she's gonna finish her quest, - as she does that the tension begins working towards its resolution. - When Dorothy kills the Wicked Witch of the West. - That's the climax. - The climax is the point where the protagonist either accomplishes their quest where - something happens to nullify the quest completely. - After the climax, - we have Act three. - Act three is where we show the resolution. - We show what's happened now that the character has gone on their quest. - In the case of Dorothy Gale, - Act three is after she's killed the witch and she gets her metal from the wizard and he - sends her home. - You can refer to the handout I've provided to learn more about three act structure, - and we're going to talk about the anatomy of the short. - There are many reasons a person might want to make a short film. - A short film can act as a great calling card to have in your portfolio. - For a writer, - a director and actor or really anyone in the filmmaking business, - a short film can garner interest in a feature, - which is another reason a person might want to make one. - There are also many competitions for short screenplays, - so it's a great thing to start with if you're looking to get into screenwriting and garner - some interest in your work now, - the thing to remember is that short films simply don't have the time to explore things that - feature length films do. - So short films need to be laser focused. - Generally, - we follow one character and one theme. - A good way to think about this is like the difference between a poem and a novel. - A poem is a lot shorter than a novel, - but it doesn't necessarily mean it's saying less. - It just means it has to choose its words a lot more carefully and is generally much more - focused on a single topic. - Now it's important to remember that just because it's shorter doesn't mean it shouldn't - have structure. - They're surprisingly very little difference in the structure of a short film and a feature - length screenplay. - When you're writing a short, - remember, - you still need to have a beginning, - a middle and an end. - Good narrative. - Shortz almost always incorporates three act structure. - We start with a character who want something. - They go after what they want, - experiencing problems and escalations. - Then there's usually some sort of climax or twist, - and then we reach a resolution. - You send your character up a tree, - you throw rocks at them and then you find a way to get them back out of the tree again. - In this form, - out of storytelling, - the most important thing is having a character who wants something. - Once you have a character who wants something, - they could go after what they want. - The next most important thing is conflict. - Once you have your character wanting something, - you have to think of the rocks you're gonna throw at it. - You have to think of the obstacles that are going to get in its way. - You can think of these two pieces. - You already have the basis of a story you have to assignments for this week. - The first assignment is to watch the Maidan in the Princess, - an award winning short film by Ali. - Sure, - we're going to watch the maiden in the princess, - and then we'll discuss its structure in our office hours next week. - Your second assignment is to come up with three pitch ideas for a short film. - Well, - I know this might seem like a lot to come up with three ideas. - I want you to get the hang of coming up with a basic story element. - Thes pitches don't need to be fully fleshed out. - They really just need to be more like those sketches of what your story is gonna be. - To give you an example, - I'm gonna pitch the Wizard of Oz to you. - Unhappy with her life on the farm. - A young girl from Kansas wishes she could be anywhere else. - When a tornado comes and sweeps her away to a magical land, - she comes to realize that there's really no place like home with a rag tag band of a - scarecrow, - a tin man, - the lion and her little dog, - Toto. - She goes to seek the help of a wizard and must defeat an evil witch so that she can find - her way back. - That's all for this week. - I hope you have fun doing your assignments and I'll see you next. 3. Character Development (4:15): - I think in this lecture I'm going to go over how we can develop interesting and believable - characters. - The first character we're going to talk about, - which we've already talked about a little bit, - is the protagonist. - The protagonist is the main character of your story, - and the actions of the protagonists are what comprised the plot of your screenplay. - The second character we're going to talk about is the antagonised. - The antagonised is a character whose actions and motives are in direct opposition to the - protagonist. - Now the best antagonised are ones who are not sheer villains but rather are people whose - motives are ones we can understand and believe in. - That just happened to be opposed to the protagonist. - In the case of a short film, - your antagonised doesn't even necessarily have to be a person. - It could be in a opposing force or an opposing system. - If your character wants to fly, - a good antagonised for them would be gravity. - Another character you might want to use in your screenplay that is, - by no means necessary is a character foil. - A foil is a character whose secondary to the plot, - whose main purpose is to serve as a contrast to the protagonist. - If you do choose to use a foil, - they can be useful because you can show what your protagonist is by showing precisely what - they're not. - Another thing you might want to employ when you're developing your characters are character - archetype. - It's an archetype. - Is a type of person a sort of greater theme. - We could have the archetype of a mother or of a father or of a child. - All of those are specific roles within society that dictate the way a person behaves. - It's good to start with archetypes and then flesh them out so that they become more and - more believable. - A humans. - If you want to learn more about archetypes and find ones that you can use for yourself, - I recommend TV tropes dot org's. - It's a list of all of the contemporary character archetypes you'll see on TV screen video - games anywhere. - It's a great resource, - and it could be a good jumping off point if you're not sure where to get started. - While archetypes can be very helpful in developing plots, - I will say it's important that you add enough of your own details to make them seem - realistic. - There are many different ways you can develop interesting and believable characters, - and that's something that you pretty much have to find for yourself. - But since you're just getting started, - I've provided you with the character development worksheet. - This worksheet asked you the kind of questions you should ask of your characters before you - even get started writing so that you make sure you really know who they are and what their - story is. - A great little nugget of wisdom, - I once learned, - is that a person's greatest virtue is often also their greatest vice in excess. - This is just one way you can start thinking about characters to make sure that their - nuanced and seem like actual human beings. - Another way to make sure your characters are compelling and believable is to write good - dialogue. - A lot of writers struggle with dialogue, - but it doesn't have to be that difficult characters or just people. - So you have to think of the way people talk. - A great thing to do with dialogue is make sure you understand the background of the - character, - what time period they live in, - where they grew up, - what their socioeconomic background is. - All of these things factor into the way they talk and what is known as their dialect. - First, - make sure you understand the dialect of the character. - The next best piece of advice I can give you in writing dialogue is to speak it out loud to - yourself. - Well, - this is by no means necessary, - and there are a lot of writers who don't do this. - I find speaking the dialogue out loud while you write it makes sure that the character - sounds like a person and not just like words on the page. - In the next lecture, - I'm going to tell you about writing a treatment and a little bit more about your assignment - . 4. Writing a Treatment (3:04): - this'll lecture. - I'm going to tell you about how and why to write a treatment of your short film so that - you'll be prepared for this week's assignment to do precisely that When I say a treatment, - what I mean by that is a synopsis of the story of your screenplay. - Now the treatment for a future film can usually run from about 8 to 15 pages, - but the treatment for a short film should be 1 to 2 pages. - Max. - When you write your treatment, - essentially, - what you want to get across is the who, - what, - why and where of your film. - The reason I'm having you write the treatment before I have you write the script of your - film is that way. - You have a guideline. - When you go into the scripting process, - you already have the treatment in hand. - You already know what the main plot of your film is, - so you are going to get lost on a tangent when you get into the scripting process. - This is not necessarily standard, - and some people prefer to write a treatment after they've written the script of their film - . - But I prefer to write a treatment beforehand because it makes sure that I keep focused on - what it is I'm trying to write about. - The appropriate format for a treatment is to be written in present. - Tense in paragraph format should be written in a normal font, - a 12 point and single spaced. - I'm going to get more into the elements of screenwriting and another lecture. - But when you're writing a treatment generally, - when we introduce a character for the first time, - you put their name in all caps. - This can optionally be followed by their age and their gender in parentheses. - This helps you get that information out quickly. - In writing your treatment. - Make sure you include a title at the top. - This doesn't have to be your working title. - This doesn't have to be the title you settle on, - but you need to have a title so that people know what to refer to. - Your film adds. - A treatment differs from an outline, - which is usually a breakdown of each scene that would occur in a film. - A treatment is more often used to garner outside interest in your film. - For people who aren't going to read the script right away, - an outline is usually an internal document that the writer and the writers partners use to - make sure they know specifically what's going to happen in the course of the film. - Well, - you're not required to write an actual scene breakdown for this course. - You may find it helpful to break the scenes down in paragraph form before you try and - script them. - But for now, - I want you to think about the treatment and how you would say not size the plot elements of - your film. - Your assignment for this week is to write your own treatment of the short film idea you - selected from your three pitches. - I've provided a sample treatment from a feature film for you to use as an example. 5. Elements of Style for Screenwriting (2:33): - thing in this lecture, - I'm going to go over the elements of style for screenwriting. - Which is to say I'm going to tell you how to format your screenplay correctly on the page - so that it looks like a screenplay and not something else. - This is what a screenplay will look like on the page. - Please refer to the Elements of Style handbook I've provided with you that will tell you - what each of these different elements are and how you use them. - This is what a finish screenplay should look like. - It always has a title page on the front, - formatted like this. - It will be three hole punched on the side and it's gonna have brass fasteners or Brad's in - the top in the bottom holes only. - I have asked a 1,000,000 people why this is and I still don't know, - But this is how you make sure it looks professional when you're finished. - Now that you're ready to begin the scripting process, - you're going to want to use screenwriting software. - I recommend final draft, - which is the industry standard software. - There are other Softwares out there like movie magic screenwriter or Celtics, - to name a few, - but you'll find that most screenwriters use final draft and that most people assume you're - using final draft. - When you write your screenplay, - there are major benefits to using Final draft. - It has a bunch of hot keys built in, - and it understands all the elements of style for screenwriting, - so it makes it a lot quicker when you're ready to start the scripting process. - It also has templates built in for TV playwrighting and all the various different kinds of - screenplays, - which could be especially useful when you're getting started. - You're not required to use final draft for this course, - but I do highly recommend it. - If you need advice on what to use is a work around for final draft, - please refer to the handout I've provided as it provides some simple solutions to writing - screenplays in a standard word processor. - Your assignment for this week is to write the first draft of your screenplay. - Keep in mind that each page equals about a minute, - so a 10 minute screenplay should be about 10 pages long. - Have fun writing and I'll see you soon 6. Writing Visually (3:08): - this'll lecture. - I'm going to talk about writing visually in the mode of writing you use when you're writing - a screenplay. - When I say writing visually, - what I mean by that is to always keep in mind that you're not writing words. - You're writing pictures. - A screenplay is essentially a blueprint for a film. - It's not meant to be read by anyone but the people making the film. - It's not like a novel which is going to be given to its readers. - Just a zit is need to always keep in mind that what you're writing is going to be used by - the director and the other crew members to inform what will end up being the final product - . - When you write a screenplay, - you generally want there to be more action than dialogue. - This is not true of plays or TV shows, - which tend to be more like filmed plays than like films themselves. - Filmmaking is a visual medium, - so even in a dialogue driven screenplay, - you need to make sure that in your action you describe every single thing that the audience - is going to see. - While directors generally get most of the credit, - it's the screenwriter who originally comes up with the pictures that comprise the film. - A great example of this is the Hitchcock film North by Northwest, - which contains a famous scene where a crop duster playing chases Cary Grant through an open - field. - Hitchcock always gets all of the credit for this, - and it was actually the screenwriter Ernest Lehman, - who first put the idea on to paper. - If you read the screenplay for north by Northwest, - you can almost see the scene exactly as it exists when you read it on the page. - Another piece of advice for writing visually is to avoid adjectives and cliches. - While it's necessary to use adjectives at some point, - you want to be as sparing as possible. - While you could describe a character as tall, - dark and mysterious, - you could get the same idea across if you described him as Byronic or brooding. - It shows that you're a better writer and that you're making better use of the space you - have when you're writing. - Also, - be wary of using cliches. - You should always try and find your own way to say something and not relied too heavily on - overused expressions. - This is something that could really make the difference between good writing and bad - writing. - The best advice I can give you for writing your screenplay is to read the screenplay for - films you've already seen. - When you do this, - it becomes much easier to see the correlation between a screenplay in the film that gets - made of it. - I've provided as many screenplays is I could find for your resource so that you can read - them on your own time and better understand how filmmaking works from script to screen. - Good luck as you begun writing your screenplay this week and always keep in mind, - you're trying to write pictures and not words. - Thanks for listening to my lectures, - and I'll see you in office hours next. 7. Rewriting and Seeking production: - Hold on a sec. - Let me get my headphones on here. - All right. - So, - um, - congratulations to those of you who have completed your first draft. - I bet you feel great about it. - Um, - and for those of you who are still working, - you haven't posted them yet. - Um, - I think I know I've said this before, - but ah, - the structure of the class I've given you is a very, - ah sort of loose guideline to try and give you, - ah, - appropriate amount of time to do these things. - Obviously, - I give you a week to write a first draft, - and I also give you a week to write. - You know, - your treatment. - And I'm well aware that a first draft takes can take longer to write than a treatment. - But I've found, - especially with a short that spending too much time on it can is the easiest way to make it - kind of fizzle out. - Um, - so I hope I hope that went well. - But But the point of this is that for those of you that haven't finished your first draft - yet, - haven't been able to post it yet. - Please do. - There's still time. - I am going to read the work of every person who's been who's been following along with this - course. - Um, - and I think I mentioned this in my post about office hours that I am myself fell behind - this weekend with keeping up with my reading for all of you, - which I apologize for, - um, - because I had a sudden opportunity pop up to pitch something this week and just I had to - spend the weekend kind of hammering a bunch of stuff out. - So, - um, - if you can if you can bear with me and the fact that I I set deadlines for myself that I - don't always meet, - then I, - of course, - will do the same for you. - So, - um, - if you haven't posted that first draft yet, - just, - you know, - get it up there when you can. - I think, - according to the syllabus, - um, - next Monday is my deadline for your first rewrite. - I rewrites taken, - take forever. - So I fully expect that for a lot of you, - you might not get your first draft posted until next week. - And, - um, - you know, - it's really only going to be the overachievers who actually meet that deadline. - I get that. - I asked you guys to do this quickly. - But really, - by next week, - what I want is, - uh, - but by Monday of next week, - you need to have your submission, - which is your final submission for this class to me, - if you want it to be considered for the grand prize, - which is a one on one feedback session. - Um, - so So, - yes. - So that deadline is next Monday. - I believe that's April 1st, - um, - I think. - And, - um and right. - So what? - Whatever you have on your project by next Monday is what I am going to consider when I - choose my three selections for the best screenplay. - Um, - and then by the following Monday, - I will have read everything, - um, - and like a central get feedback to everyone. - Um, - but three people who whose scripts I think are I say the best. - I You know, - I don't want you to think if I don't pick your screenplay, - that I don't think your script is good. - I I think probably I will be choosing along the criteria of the three screenplays that I - think are most viable. - A short films. - So, - you know, - that's that's what you are in the running for And I encourage you, - even if you haven't met all of the deadlines to still submit, - Really? - All that's gonna matter in terms of what I choose, - uh, - is what I see on your project on Monday of next week. - Um, - so with that little bit of business out of the way, - um, - I wanna start getting into some of the questions that we had this week. - Um, - our first question is one that I can wax poetic about for a good long while on I will try - to be distinct. - Um, - Dia Pilarczyk asked. - She was wondering, - she said, - after after my comments of last week about getting exposure online water, - my thoughts on Amazon studios is Is this a good way for unknown writers to get feedback and - exposure? - Or do you open yourself up to problems with essentially giving your rights away? - And for those of you who have been following the discussion threads, - this is on the discussion thread for for my quite the questions for this week's office - hours, - um, - I gave you two. - I posted two articles by Craig, - Mazen and and John August respectfully, - who pretty much say what I would say about Amazon studios better than I can. - But JP Lewis pointed out something very important, - which is that Amazon and studios reviewed or revised their terms, - which I I fully admit I was not aware of. - So, - um, - I did a lot of research. - I reviewed their new terms and, - um well, - here's what I'll tell you. - Here's what Here were my initial thoughts when I was still going off of their initial terms - that I had first been made aware of and kind of was like, - You know, - who would want to do that? - Um, - Amazon Studios, - when they initially launched, - launched with this this idea? - Um e I think it was kind of hot off on the heels of Kickstarter and how the idea of - crowdsourcing had become this big knowledge is, - um, - that everyone was using. - And so they basically said, - What if we could crowd source movies and TV and they they launched this platform kind of - similar to their self publishing for books, - E books platform this platform for screenwriters to submit their ideas, - submit their full length screenplay and then have just the world, - Have anyone just kind of like make revisions, - make updates And then there were all these different ways in which Amazon could option the - screenplay from you. - And it was all done very much, - uh, - in the paradigm of a contest, - like they made it sound. - And then again, - I'm reminding these were the initial terms. - They've since changed that. - But initially it was all very Ah, - it wasn't geared towards professional writers. - That much was clear that it was sort of It was like if they're trying to get people who - write for a living, - people who write for a living know enough to know that they're getting a very bad deal out - of this, - which is that your work would be just out there publicly so any person could steal it. - And And people were welcome and encouraged to make, - like revisions and changes and all this stuff. - Um, - and they sort of were selling it with this idea of like, - if we option your screenplay, - we'll give you $10,000 on. - And it was like hoping, - you know, - hoping people would serve it like, - Oh my God, - $10,000. - Well, - you know, - $10,000 is not even a year's worth of us of a decent salary and will be gone very quickly. - And that is not that it's not nearly the level of funding you should get if if a major - studio which Amazon is now becoming eyes optioning your work. - So it felt very much at the beginning the fact that they even were approaching it like it - was a contest. - Always kind of, - I think, - left a bad taste in writers mouths from amounts from the get go because it it was sort of - this this odd approach to anyone can be a writer, - which yes, - I mean, - that is true. - Anyone can be a writer, - but it is still it is a profession, - and there are a lot of, - ah, - you know, - concerns that go into it and a lot of possibility for exploitation. - So it seemed very much at the start, - like it was a very exploitative, - uh, - scenario. - But I have not done my research. - I've seen that they've revised their terms and have taken notes to share with you. - Um, - that before it was that they would they would option your work from you. - They would pay you all your work up front or pay you for all your work up front, - and then they would retain an 18 month option on your work so they might pay you, - you know, - $600,000. - But then, - if they end up turning that into ah, - you know, - a movie that makes millions you wouldn't get more, - you wouldn't get more from that. - And they've now they have now changed that, - um, - that now you will get you'll get right profits from your rights, - which is huge. - Aiming to me, - that's like, - the biggest one that now, - Now they're saying the original author of something will get 100% of the profits even - though they're trying to keep this this kind of crowd sourcing idea. - If other people make changes or make like, - a trailer of your movie or do this other stuff, - it will it will increase their clout, - their social media clouds, - and it will give them, - you know, - the glory of having their work seen, - But they can't make money off of you know of what you came up with now, - um, - and sort of tied to that, - um, - they, - uh what was What was I gonna say? - Oh, - tied to that. - They used to be non union, - and that was that was the biggest red flag for everyone, - any. - And that's that's why those articles I posted, - those guys were kind of ripping it apart, - saying, - like for us hard, - his writers have fought toe have, - you know, - workers rights. - So why on earth would they suddenly start undermining themselves in this way on the - Internet on? - And so they've Amazon studios has since become a WG a signatory. - That's the Writers Guild of America, - which means now that if they option your work, - you now have the option of having a Writers Guild contract which has all of its Mary out of - protections for you, - Um and and largely largely protect your rights if they if they go forward with it. - Um, - but, - you know, - I personally like I I'm writing for the Internet and I and that's where I'm hoping to get, - You know, - a lot of my work my recent work is is probably gonna be seen on the Internet and not on TV - . - We're on a film screen, - so this is the stuff I keep up on, - and I think about a lot and the thing that strikes me still The reason why I think you - should still be wary of using Amazon studios is, - um, - they are very much setting themselves up as a big production company as a zbig contender - here in L. - A. - And I know people are going through their agents to go pitch to Amazon studios like that. - People are following the traditional route of of going and pitching and then signing these - WG A deals with them. - So it kind of makes me it to me. - There's there's still this sort of disparity then between. - Yes, - of course, - Amazon studios wants high, - you know, - they want high quality content that they can make that they so that they can then be a big - contender in these sort of media wars. - So, - to me, - the whole the whole part of what they do, - that's crowd sourced the whole the whole component of it. - That's online and social media based. - First off, - I've been looking through their site. - I don't think they're being very. - I don't think they're very successful. - It seems like whatever community they got at the start felt so abused by their system of - like letting people just it feels awful. - Have someone rewrite your work and butcher it. - And so they basically created. - They created the feast book of Have Someone Butcher Your work is all They Did. - Like I they completely misunderstood the idea of crowdsourcing. - They completely misunderstood the human concept that it comes from, - which is that we understand the hive mind is great. - More minds are better than one. - But they misunderstood that to mean that that art the art doesn't still come from a - singular perspective that I think storytelling is one of those things that, - well, - it's interesting to see what the hive mind can come up with. - So much of a story is a person's unique perspectives. - So if you take away this idea of the one person perspective, - well, - you end up with the kind of movies we see coming out now where if you really do some - research on him, - you see that they had about eight writers in the course of the film. - This is very standard right now that on a big Hollywood studio film they'll have. - They'll buy the screenplay from the person who wrote it, - and it might be great, - like usually when they when they buy something that's already written. - It's like some great screenplay they found from a big film festival or through, - you know, - through submissions. - And then in the course of making that movie, - they will hire on, - you know, - 5 to 8 new writers to do rewrites. - And that's why you end up at the end with what you heard about in, - You know, - if you if you read variety, - if you read the trades, - you'll you'll see you'll be like, - Oh, - yeah, - I remember hearing about how they were gonna make that movie. - It sounded so fascinating. - And then when you see it actually come out, - you're like It is this horrifying Frankenstein of a nothing movie that has no point. - And it's a classic example of too many cooks in the kitchen when that happens, - and I think that that is what the social media component of Amazon Studios is doing. - It's sort of making it so that every movie that they're gonna end up with ends up being the - sort of Frankenstein hybrid. - Um, - so so my suggestion, - Tito, - all of you, - as my students is I think it's worth signing up for Amazon studios, - if for no other reason and to poke around and see what's going on on Amazon Studios because - it is. - It is, - if nothing else, - a harbinger of what's to come. - It. - They are basically the first ones out of the gate, - and that's then that's what's happening Here is the reason why I don't think it's viable - and fair to writers. - Even still, - I don't I Something about it just doesn't quite sit right with me. - Um, - because, - like I said when they launched it, - so much of it was coming from a complete misunderstanding of how good stories get made. - Um, - that, - uh, - I think it's a classic example of because there's been this race.