Does a Character Need To Change In a Comedy?
Robert McKee discusses why comedic characters don’t need to change, using BRIDESMAIDS as a key example.
How to Get Away With Breaking the Comedy Principle: “Nobody Gets Hurt”
Robert McKee discusses how despite the violence used in SOUTH PARK, the comedic principle remains intact.
How Do Forces of Antagonism Apply to An Education Plot?
Robert McKee discusses the 1983 film TENDER MERCIES and how the forces of antagonism plague the protagonist, pushing him to the end of the line.
Do You Have to Develop the Story Arc for the Entire Life of a TV Series?
Robert McKee discusses the key factors to consider when designing the major dramatic question of your TV series.
The Rise of One-Act Films
Over the last few years there seems to be a trend or at least a drift toward minimalism and a focus on inner conflict. More and more well-regarded films are being told in just one act.
I, TONYA and MOLLY’S GAME (2017)
A study of exemplary stories pushed from the past.
Should I Submit My Script to an Agent or Try and Make the Film Independently?
Robert McKee discusses trying to get your script made independently, agents and the subject of taste and judgement.
Does the Expression of Emotion in Storytelling Differ Depending on Your Culture?
Robert McKee discusses clichés, false storytelling, and why certain stories do not travel between cultures.
THE SHAPE OF WATER (2017)
With THE SHAPE OF WATER, Guillermo del Toro has simply recycled his previous hit into a clichéd, toothless echo.
How Do You Stop Writing a Story?
Robert McKee discusses a unique form of writer’s block, and the difficulty in knowing when your story is finished.
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (2017)
What makes this film exceptional is McDonagh’s insight into the human psyche and the new twist he puts on an ancient subject.
How To Use Story Form To Express Your World View
Robert McKee discusses three story designs (Classical, Minimalism and Anti-Plot) and how each relates to the particular worldview of a writer.