INTERVIEW WITH HOLLYWOOD STORY CONSULTANT

CHRISTOPHER VOGLER

MARVIN:Firstofall,goodmorning.ThisisMarvinAcunafromtheBusinessofShowInstitutewithourmonthlyteleseminarmembershipseriesentitledShortcutstoSuccess:MeetingwiththeMasters.This

morning’sguestisChristopherVogler,whichwearesopleasedtohaveherewithus.

Afewhousekeepingissuestobeginwith:First,theteleseminarwillbe60minutes,nomorethanthat.ThefirstpartofthecallwillbemyselfandChrishavingjustafewquickexchanges,somequestionsIhave.Andthen,we’llmovereallyquicklytotheQ&AbecauseIwanttoaddressasmanyquestionson

wecanonthecall.Whateverquestionswe’renotabletoaddress,ChrisandIwillfindawaytogetthoseaddressedandouttoeachofyouindependently.

Next,thereplayoftheteleseminarwillbeavailablenolaterthanMonday,soeachofyouwillhaveaccesstothat.Finally,attheendofthephonecall,Iwillhaveacoupleofquickannouncementsto

make;soholdoutthere.

So,Chris,firstofall,thankyouverymuchfortakingtimeonFridaymorningforus.Let’sbeginbyjust–whydon’tyougiveusabriefhistory.Everybody’shadtheopportunitytoseeyourbio,butmaybe,youknow,someofthedetailsthatthebiosnevercapture.Ifyoucansharesomeofthatwithus,we’d

appreciateit.

CHRISTOPHER:Yes,I’dliketodothat.Goodmorning,everyone.WhatI’llbelookingforasIgivethisquickreviewismaybesomeprinciples,becauseI’mallaboutthat–aboutfindingunifyingprinciples,guidelines,rules‐of‐thumb–andIhadsomeofthoseinmycareerpath.

Basically,I’mfromtheMidwest,sametheSt.Louisarea.IstudiedjournalismattheUniversityof

Missouri.Ineverreallypracticedasajournalistbutitwasagreatbackgroundinwritingandevenstorytelling–intellingshortstories.

Then,IwassentouttoLosAngelesintheU.S.Force;IwasanAirForceofficerthroughtheROTC

programandtheyflewmeouttoL.A.Idon’tknowifIwouldhaveevermadethejumpmyselffromtheMidwest,buttheAirForcetookcareofthatforme.Imadesomedocumentaryfilmsforthemonthespaceprogram–theearlydevelopmentofthespaceshuttle,theGPSsystem–soIwas,inaway,onthe

groundfloorofthosethings.

Then,IwentontheG.I.BilltotheUniversityofSouthernCaliforniatotheUSCFilmSchoolthere.Twobigthingsthatshapedmycareerthere:OnewasaclasscalledStoryAnalysisforFilmandTV.Thistaughtmeajobareaforme–somethingthatIknewIcoulddo–whichisreadscriptsandwriteevaluationsof

them.Youknow,Ihadagoodsenseofcriticalwritingandjustagoodinstinctfortroubleshootingstories–figuringoutwhatwaswrongwiththem,diagnosingtheminanarticulatewayandwritinggoodmemos.Sothatwasonething.

TheotherthingwasmycollisionwiththeideasofJosephCampbell,andI’vebeenlookingforsomething

to–likeaunifiedfieldtheoryofstory–soIwantedthat,andCampbellsuppliedthatbystudyingtheMythsoftheAncientWorld.He’scomeupwithsortofamasterplotthathesaid,allstoriesarereallythesame.They’realldescribingthehumanjourneyandherearethemajorstages.SoItookthatball

andIranwithit;Ifounditveryexciting.IstartedapplyingthatasIgotmyfirstjobsintheindustryasareaderorstoryanalystatfirst,UnitedArtist,andthenmanyothercompanies.Eventually,Igotintothe

Unionbecausethereisaunionforthis,theStoryAnalystGuild,nowpartoftheEditorsGuild.

Alltheway,IwasapplyingtheseJosephCampbellideas,andIthoughtitwasreallyuseful.Iwassortofinfectedwithit;itwaslikeavirusthathadgottenintomysystem.Iwasreallyexcitedaboutit.Iwanttotalktopeopleaboutitandgetsomedialoggoing.

So,atacertainpointwhileIwasworkingforDisney,IsteppedbackandIsaid,let’smakethisintoa

system.Let’sreallythinkaboutthisandwriteitdownandmakeitusefulforpeople.Becausethat’soneofmyprinciples–tobeuseful–andalwaysfollowedthatinthestudiosystem;Itriedtomakemyselfuseful.IwentoffandIwrotethisseven‐pagememo,whichdescribedCampbell’sideasandjustreplaced

hismythologicalexampleswithfilmexamples–fromclassicfilmsandcontemporaryfilmsatthattime.

Thatlittlememohadmagicpowers.Itwaslikeamagiccarpet.Itwentoffallonitsown.ItgotXeroxed;itgotspreadallovertown.Itwasthehotthingofthemoment.Everyjuniorexecutivehadtohavethisthing.Thatwaslikethemasterkeytostoryplot;that’swhatpeoplethought.Apparently,Iwassaying

somethingnobodyhadreallyarticulateduntilthen.ThatledeventuallytoteachingatUCLAwhileIcontinuedmyreadercareer.Itactuallygrewintomybook,TheWriter’sJourney,whichmostofyouprobablyhaveheardoforhavehadaccessto.

Soalongtheway,oneofmyprincipleswastojustbeexcitedaboutthings,tobeenthusiasticabout

things;thethingsIliked,whichwasmycategory–sciencefiction,history,children’sliterature,fantasy–thingslikethat.Iwouldclaimthoseprojects;Iwouldgetexcitedaboutitandsay,oh,Iwanttoworkonthat.Thatwassomethingthatspreadaround.Thewordgotaround,here’sthisguy.

Also,Iwasquickatanalyzingalotofmaterials.Icouldascriptquicklyandtellyouwhatwaswrongwith

itorwhatwasgoodaboutit.Icouldlookatabodyofresearch,awholearea,andtellyouwhatwasimportantandwherethemovieswouldbeinthat.Thoseskillsreallyhelpedmealongtheway.

TheotherthingIjustsaidwhenIwindupthiscareerdescriptionisthatIjustsortofanointedmyselfasa

consultant.Atacertainpoint,Isaid,I’mmorethanareader.Ihaveotherskills.So,I’mnowaconsultant.Andthatwasajumpinperceptionforme–it’sallaboutperception–andIsortofcreatedmyownself‐perception.

Sonow,I’mworking,sometimeswithParamount;that’ssortofmyhome‐base.Butalso,Idoalotof

freelancingforwritersanddirectors;IworkedwithDarrenAronofskyontheWrestler.Hereadmybookincollegeandcametome.That’swhat’shappeningnow.Rolandcametomeon10,000B.C.WillSmithhascometomeonacoupleofhisprojects.Sothatwordeventuallyhaspercolatedaroundandalotof

peopleknowwhoIamandwhatIcando.Soit’skindofa‘goldenage’formerightnow.Thatwouldbringyouuptospeedonthecareerthingsofar.

MARVIN:Well,I’lltellyouthis.OneofthethingsthatIlovethatyoujustsaid–I’mahugebelieveronthispersonallyandIbelievethatit’ssomethingthatissoimportantandsocriticaltoanyonewhohasa

dreamorapursuitorapassion–thatyoudeclaredwhatyouwere.Youmadethedecisionandsaid,that’swhatIam.Period.Endofthestory.Therestkindoffollowed.

Ibelieve,personally,thatifyoueverdream,theonlywayyou’regoingtostepintothepictureofthat

dreamistojustdeclarethatyou’realreadyinit.

CHRISTOPHER:Yeah.

MARVIN:That,Ithink,isoneofthemostpowerfulthingsthat’sbeensaidonanyofourteleseminars.It’sjustasidethatfits,hey,youknow,Ibelievescreenwriters,Ibelieveproducers,actors,directors–theonesthataresuccessful–justmadethedecision.Period.

CHRISTOPHER:Yeah.I’llbackyouuponthatahundredpercent.Ithinkthattheypayattentiontowhat

yousayaboutyourself.Arealadjustmentorabigstepforwriters–andIwentthroughthismyself–isgoingfrom,I’mtryingtobeawriterorIwanttobeawriterorI’mgoingtobeawriter,andjustsay,I’mawriter!That’sabigstepforpeoplesometimes.

Iwouldalsopointoutthatdreamsaretrickyanddangerous,becausethey’reveryseductive.WhatI’ve

seeninmyselfandotherpeopleis,sometimes,theyprefertocherishthedreamratherthanhavingtherealitythatthedreamrepresents.Becausetherealityisdangerous–youcanfail,youcanbeembarrassedandhumiliated,andallofthat.Soratherthanactuallystepupandmakeitreal,people

choosetoremaininthedreamworldwhere,oneday,I’mgoingtodothis.Oneday,I’mgoingtobefamous.Oneday,I’mgoingtomakemymark.Then,they’recontentwiththat.That’sokay,butnotifyoureallywantthething,ratherthanjustthedream.

MARVIN:Abso‐freaking‐lutely.Absolutely.Icouldn’tagreemorewithyouonthat.Soletmeaskyoua

questionbecauseoneofthethingsIthinkmostaspiringwritersneedtoreallywraparoundtheirmindsisbeingatastudio,workingatthestudiosystem,being,thatthey’repursuingtheagent,manager,

producer–oneofthethingsthatobviouslymostofthemdoisthatfirstphase,theysendoutthesequeryletters.

I’mahugebelieverthatmostquerylettersshouldjustliterallygofromyourownemailtoyourowndeleteboxbecausethey’renotverywellcrafted.Ithinkthereareanumberofthingsthatpeoplecando

inaqueryletter,butoneofthethingsthatIthinkisabsolutelycriticaltoaqueryletteristheloglinebecausethatbegins,thattellssomeone,hey,IcansellthisorIcannotsellthis.

Iwonder,doyouhaveanyspecifics?Becauseobviously,Iknowthatincraftingtheanalysis,apartofthat,whenyousubmitittowhomeveryou’reworkingon,obviously,there’sgottobesomelogline

you’recraftingbasedonthatstory,ismyassumption.EvenfromlookingatcoveragesthatI’vereceivedorhaveprobablyslippedincirculatingaroundtown.Aretherespecificthingsorkeyingredientsthatyoufeelaloglineshouldhaveinordertoexcitepeople?

CHRISTOPHER:Yes.We’retalkingmaybetwodifferentthings:Theloglineis,insomeways,atechnical

thingthatthestudiousesliterallytologintotheirbooks,sothatinthefuture,theycanlookbackandquicklyfindout,what’sthegistofthatstory?Sothattakesacertainformulaicshape,whichisX

characterwithXqualities–zany,crazydetectiveorcowboy,orwhateveritis,meetssomebodywhoalsohasanadjective–asexyguy,dangerousally,mysteriouswomanorsomething–meetssomebody

andthen,theyhavetofightXandovercomeit.

Buttheloglineyou’retalkingaboutismoreasellingtool.WhatIfound,thisisjustatip:ausefulthingistothinkintermsofacertainrhetoricaldevice,whichIcall‘notonlybutalso.’Thisisagreatformforpitching,agreatmechanismforpitching,whichistosaytothelistener,youalreadyknowthis,butdid

youknowthataboutit?Likeeverybodyknowsthatairportsareahassle,butdidyouknowthatbehindthescenesatairports,there’sthisincredibleunderworld.

Soyou’regivingthemabasethattheyalreadyknow,butthentellingthem,aha,Igotyouhookednow;youknowaboutthatbutIknowsomethingelse,andI’mgoingtotellyouaboutit.Sothatlittle

techniqueisveryuseful.

MARVIN:Thatishuge!

CHRISTOPHER:Yeah,it’sbig.It’swhatIcallarhetoricaldeviceoralittletrickthatyoudo,butit’sagreatwaytogetintoapitch,tosay,youknow,didyoueverhavethatthingwhereyouwakeupfromadreamandyoudon’tquiteknow,wasIdreamingornot?Well,whatif–andthen,youlaunchinto,onceyou

gottheplatform,thenewinformationorthe‘twist’thatyou’regoingtodeliverinyourpitchoryourlogline.

MARVIN:Listen,Ithinkthat’ssopowerful,becausetherealityofitis–andIwanttoechowhatyousaid–it’sasellingtool.It’sapieceofthepuzzle.Now,ifyougetthatright,usingscriptbrokersthatare

online,orsubmittingyourownqueryletterstopeople.Ifyoucanmakethateffective,youwillfindaresponse.

Ofcourse,atthatpoint,yourmaterialneedstobefullyevolvedandexecutedaroundthatloglineand

theme.Butonceyou’vedonethat–it’saboutgettingpeople’sattention–andIthinkthatcanbeveryhelpful.

CHRISTOPHER:OnemorethingI’daddtothatisthatit’sgreatifthatistransferrable,sothatsomebodyyoujustpitchedittocanturnaround,pickupthephone,orrundownthehallandpitchitjustthatway,

inthatlogline,tosomebodyelse.Soithastobetotafiedinanicememorableform.

I’lljustgiveyouaquickexample.WhenIwasatFox,Ipitchedanoldshortstory,sciencefictionshortstory,tomybossthere.Isaidit’saboutadyinghomelesswomaninapatheticcondition,terriblemedicalproblems.Theygiveherashotofaserumthatallowsyoutoadapttoanythingalmostinstantly,

andovernight,sheturnsintothemostbeautiful,powerfulanddangerouswomanontheplanet.TheexecutiveIpitcheditto,literally,pickedupthephoneandcalledNicoleKidmanandtoldherexactlywhatIhadjustsaid,andhookedheronbeinginvolvedinthatproject.

Sothisishowthingsgetignited–whenyougetsomethingputdowntothatkindofacapsule,itcan

spreadthen,itbecomesthisviralformthatcanmoveon.

MARVIN:Youknow,whatIloveaboutitis,andIthinkmostaspiringwritersorwritersunawareofthat,whoeverissittingatthatdesk,thatyouneedtothengoinandhavethisdiscussionwith,hastheir

phoneringing.It’saboutahundredphonecallsadaythey’rereceiving,peopleseekinganswers.Theyhavereadorhavehadreadseveralscreenplaysthatevening.Theynowhavecoverageorotherexecutivescomingintotheirpost,tellingthemaboutwhatthey’reexcitedabout.

So,youhavetohavesomethingsocontainedandyetsopowerful,thattheycandothat.Theycanpick

upthephone.Becauseiftheycan,itmakestheirlifeeasierandifyoucanmakelifeeasyforthesefolks,youwillrewardyourselfbydoingso.

CHRISTOPHER:Yeah,absolutely.Asaworkerwithinthesystem,Ialwaysthoughtmyjobwastomakemybosslookgood,andtogivethemgoodammunitionforexactlythosekindofphonecalls.Andasa

salespersonofmyownmaterial,it’sthesamething.Youwanttomakeiteasyforthem.That’sexactlyright.

MARVIN:LetmebeginwithBrettMore.He’sfromSpring,Texas.ThisisBrettfromSpring,Texas,andhisfirstquestionisI’vespentthelastmonthreadinghundredsofrecently‐soldorfilmedspecscreenplays.

I’mamazedatthelackofconsistency,nonstandardformatting,anddownrightbandwriting.Whyarethesescriptsselling?AmItheonewhoneedstochange?IreadWanted,orhe’ssaying,readWantedandyou’llknowwhatImean.Sohisquestionis:Whyarethesescriptsselling?

CHRISTOPHER:It’sagoodquestion.It’soneofthethingsthatdrivesuscrazy,becausefollowingallthe

rulesorworshippingatthealtarofthescreengoddess,orwhateveritis,doesn’tguaranteeyouanything.Themachineryissoflukey,thatifyoulookatthat,youwillgoinsane.It’sjustmaddeningbecauseyouthinkI’mdoingeverythingright,sowhyamInotgettingthereward?Andmineiseven

better!Obviouslybetterthanwhatjustgotbought.Sowhat’sgoingonhere?

Theansweris–oneoftheanswersis–Ithinktherearetwokindsofpeopleinthesystem:peoplewhoknowwhat’sgoodandpeoplewhodon’thaveanyideawhetherit’sanygoodornot.Thosepeopleare

sometimesinpositionsofdecision‐makingandbuying,andthey’rebuyingforallkindsofreasons–mostofthem,political–thatdon’thaveanythingtodowiththequalityofthescriptorisitgoingtomakeanymoney.

It’smoreabout,well,you’refatherhelpedmykidgetintoHarvardandI’mgoingtohelpyou.OrIowe

youfortheotherthing,whereyouagreedtodothepicture,sonowwe’regoingtoletyoudothispicture.Somanyoftheavailableslotsaretakenupwiththesesortsofthings,whereyoufeellikeit’sfixedandthedealwasriggedsomehow–anditis.

Butyoucan’tletthatstuffdiscourageyou.Iwouldsay,onceyou’vedonethatprocess,whereyou’ve

readabunchofscriptsandhadallyourillusionsshattered,thenabsolutelyforgetaboutitandjustdothebestonscriptyoucando.Behappywiththatandletalltherestofthatflukey,crazymakingstuffgetoutofyourhead,becauseitwilldriveyouinsane.

MARVIN:Well,absolutely.Irememberonetime,Iread–infact,thisisintheveryearlydaysofmycareer–Irememberreadingapieceofmaterial,andIwasjustsodisturbedbywhatIhadread.Because

Ithoughttomyself,thisisjust,Ican’tevenimagine,maybeI’mnottrainedtoread.Islippeditintoaproducerfriendofmine,whoIdidrespect,gaveittothem,thinkingtheywouldcomebacktomewithsomesortofresponseof,no,Marvin,you’vemissedit.Theyturnedtomeandsaid,Iagreethisis

terrible.ButthenIsaid,I’mgoingtotellyouthis.Thisisaprojectthatissetupforthestudio,thathasJuliaRobertsattached.Andhesaid,well,listen,there’ssomethingaboutthescriptorsomethingabouttherelationshiptothescript.

CHRISTOPHER:That’sright.

MARVIN:thatcausedthepersonwhopurchasedittopurchaseit.Theyhavetheresourcestodoso.So

that’stheonlyanswerthatwouldmakesenseinthiscase,becauseobviouslythematerialdoesn’t(serveitself?).

ButIagreewithyou,onceyou’veembracedthat,youjustneedtocontinuemovingforwardandrecognizethat,hey,okay,well,that’spartofthebusiness.Itdoesn’thavetobemypartofthebusiness.I

willfindthoserelationshipseventuallythatwillrespondtomywriting,orultimatelybeinapositiontoserveme.

Here’saquestionfromConstantinefromCalgary,Canada.WhatmadeyouwriteasystemforanalyzingstoriesbasedontheworkofJosephCampbell,TheHero’sJourney?

CHRISTOPHER:Well,Iwasverymovedtherebythematerialitself.Ihadbeen,asIsay,onaquest,

lookingforsomerules.Iknewtherehadtobesomekindofguidelines.I’mnotfromHollywood.Idon’thavefamilyorconnectionsofanykind;I’masonofacementmasonfromSt.Louis,Missouri.Ineededtofindtheguidebooksomeplace.Atthetime,Iwasgoingtoschool,therewasn’tanything;there

weren’tanyscreenwritingbooks.Therewasn’tasinglebookthatyoucouldsay,hey,thatwillteachmehowtowriteascreenplay.

SoIhadtodoit.IwassoluckythatIfoundCampbell’swork,anditwaspurelyoutoftheenthusiasm

andtheexcitementandthedesiretorundownthehall,andsay,hey,didanybodyelseknowaboutthis?Didyoueverhearofit?Didyoueverreadthisbook?Itwaspurelyenthusiasm,justthatdesiretogetotherpeopleinvolvedinthisconversationwithmeaboutit.Soitreallycameoutofthatjoy.

Ithinkalso,maybegenetically,IhaveamixoftheIrishsidefrommymother’sside,sothere’savery

poeticanglethere.ButalsoaGermanandFrenchandthissortoforderandthings‐should‐be‐neat‐and‐tidythatcameouthere.Thatlet’smakeitasystem;Ijustlikesystematicthinking,andIfoundagoodhomeatDisneybecausetheyhadjustbeentakenoverwhenIgottherebynewmanagement,Eisner

andKatzenberg.Katzenberg,particularly,isaverysystematicthinkerandjustdoesallhisbusinessoperationsinaverylogicalway.Itwasagoodfitforthecompanytobringoutthatsystematthattime.

MARVIN:Youstruckachord;Iloveit.Now,there’saquestionfromShannonofVancouver,Canada.Whatisthemosteffectivewaytobeefupasmallercharacterroleinordertoattractastarforthatpart?

CHRISTOPHER:Ah,that’savery,verysmartquestion,becauseIlookateverythingIdo–everytreatmentorscriptorlogline–anythingIdoisbait.AwayIthinkofthescriptisit’sanactor‐attractor

andalsoadirector‐attractor.Thesearethingsthat,youknow,they’resupposedtobe‘magnets,’sothatwhensomebodyreadsit,they’lljustsay,I’vegottodothis;Ihavetoplaythatpart.

Soyouwanttothinkaboutwhatarethegreatthingstogiveactorstodointhiscase.Amongthoseare,ofcourse,crying,actingcrazy,losingyourmind,havingsomekindofviolentoutburst–thosearekindof

theobviousthings.

ButIthinkalso,eventheminorcharactersshouldbewhattheycall‘three‐dimensional.’Youknowitinascriptwhenthecharacterisflatandeitherone‐dimensionaloronlytwo‐dimensional.Itmeanstheyonlyhavetwothingsthattheydo,twocharacteristics.Likethey’realwayslateforeverythingandtheyare

forgetful.Andthatisnotenoughtomakeitpuffintothree‐dimensions.

Theremustbeathirdelement,sometimesmaybeabackstorything,likethereasonhe’salwayslateforeverythingisthathehaslowself‐esteembecauseofsomethingthathappenedalongtimeago.Andmaybethat’sonthescreenandmaybeit’sjustinyourheadasthewriter,butthatcanhelpgiveitthat

fleshedoutthree‐dimensionalquality.Solookfortwo,orbetterthreeorfour,littlequirksorthingsthattheydocharacteristically,andletmeseethem.ThefirsttimeIseethemcomeonstagefully‐blowndoingthatcharacteristicstickandthatwillbecompellingforactors.They’llsay,Igettodosomething

coolorIhaveacharacterherethatIcanactuallyworkwith.

MARVIN:Ilovethat,theactor‐attractor.That’spowerful.

HereisaquestionfromGalafromSouthAfrica.Herquestionis:Talentisneverenough.WhatexercisesinskillwouldyourecommendifIwanttogetfitbeforestartinganewproject?

CHRISTOPHER:Brilliant.Brilliantquestion.Iwouldsay,youhavedifferenttoolsyouareusing,different

organsofthebodythatyouhavetotrain.Youdohavetodevelopthesethings.ThegreatAmericanbasketballcoach,JohnWooden,talksaboutthis,thattheremustbepreparationandconditioningwhateveryou’redoing.Ifyou’remakingkeysinahardwarestoreortraininghorses,it’sdifferentkindof

conditioning.

Andforthewriter,oneofthemajororgansisyourear.Youhavetotrainyourear,andthatmeanslisteningverycarefully–onthebus,onaplane,inadoctor’sofficewaitingroom–listeningtopeopleandmentallyjottingdown.Youareananthropologist.Ananthropologistlearnstotakenotesinthe

dark,insidetheirpockets,sothattheirsubjectswillnotknowandchangetheirbehavior.Theycanmakelittlenotesonwhatpeoplesaid,eithermentallyorinsecret.Soyou’redoingthat;you’rejustspongingupallthisstuff.AndIsay,nothingiswasted;nothingyou’veeverexperiencedorheardorseenis

wasted,andit’sgoingtocomeoutofyourscriptsomeday.Sothat’sjustone;onemuscle–yourearmuscle.

TheotherthingIthinkisreallyimportant,forme,isactiveimagination.Ijustdidaproject;I’mtryingtoprepsomethingtogivetoWillSmith,anactor‐attractorforhim.Ispent,literally,dozensofhoursina

deeptrance,sittinginmycomputerwithmyheaddownandmyeyesclosed,lookingwaydowninsidemygutssomewhere.I’venowbuiltanelevatorinsidemyselfandInowcangetin,pressthebutton,go

down20floors,wherethatimaginativestuffhappens.

Sothesearethingsthatdon’tjusthappen.Youhavetodevelopthatmuscle.Thosearetwothings.

MARVIN:Howfantastic!Thatisgreat!Youknow,listen,IhadreadastoryaboutDanielDay‐Lewis,whoactuallyhasaroominhishome,thatnooneisallowedtoenter.Ifheisinit,theycannotknockonthedooruntilhecomesout.

CHRISTOPHER:That’sgreat.

MARVIN:Yeah,andhejustsitsthereandallhedoesisimagine.

CHRISTOPHER:Yeah,thisisgreat.Ithink,youknow,(VirginaWalts?)Saidthatoneofthethingsawriter

needsisaroomofone’sown.Iabsolutelyagreewiththatideaofbeingabletoshutthedoor.Itcouldbeaverysmallspace,butthat’syouraltar;that’swhereyoupray,that’swhereyoumakesacrificeofyourtimeandyourmentalenergyandyourfingertipsbleedasyoutypeaway.Butthat’sabsolutely

necessary.

MARVIN:Now,here’saquestionfromCarmenofCarlsbad,andshewrites.Herquestionis:Inwritingactionscripts,shouldwemakeeachsceneabusinessdealfromtheverybeginningscene?Couldyouprovideexamplesonhowtomakethesceneabusinessdealwhenwe’reintroducingcharactersand

settingupthestory?

CHRISTOPHER:Yes,itlookslikeCarlahasread,somehow,she’sgotaholdofoneofmyrecentThoughtBubbles,whichwasaboutastorybeing,everysceneinthestorybeingsomekindofabusinesstransaction.That’ssomethingIlearnedveryearlyincareer.Astoryeditorcalledusin,allusreaders,and

said,you,guys,don’tevenknowwhatasceneis.Isaid,yeah,sure,it’saunitofactionwithinthescript,somepieceofinformationisgivenorsomeactionhappens.Andshesaid,wrong,it’sabusinessdeal.

Everysceneissomekindoftransaction,whereatthebeginningCharacterAwantssomethingCharacterBdoesn’thimtohave,andintheend,there’sadifferentdeal,anewdealhasbeencut.Inromance,orwhateveritis,there’salwaysthispattern,andthat’showyouknowisdone–whenthedealhasbeen

transacted.

ButIwouldsay,yeah,ineveryscene,ineveryactionscene,thereissomekindofpowerexchangeforsure;that’sthebusinesstransactionthat’sgoingonthere.Youknow,somebodyhastheupper‐handatthebeginningofthescene;andthey’resurprised,theotherguyhassomeweaponsalso.Attheendof

thescene,thelittleguymaybehasknockedthebigguydown.Sothere’sbeenareversaloffortune.Ithinkthesereversalsandtwistsandups‐and‐downsmakethescript,especiallyanactionscript,dynamic.

I’mworkingwithaverygoodwriterrightnow,withthestudio,withParamount.It’samazingbecause

everysceneis,he’sup!He’sdown.He’sup!He’sdown.Andontheonepage,there’llbe,thisisthebiggestandmostimportantandhappiestinthischaracter’slife.Andbytheendofthepage,thisisthe

worstdayofmylife.Youknow,thosedynamicrangesreallymakethestuffexcitingtoread.It’skindofbreath‐taking.

MARVIN:Ilovewhenwritersjustgrabyou.Theyjustgrabyoubythethroatanddon’tletyougo.I

mean,it’sjustsopowerful.

Here’saquestionfromBernardoftheU.K.:Ifeelthataheroneedsenoughtests,obstaclesbeforewinningtheday.Toofewwouldtendtoleadathinstoryline.Ontheotherhand,I’veseenfilmswithconstantaction,anever‐endingseriesofobstacles.Wheredoyoudrawtheline?

CHRISTOPHER:Well,Ithinkthatisasensethatyoudevelopasyoureadanumberofscriptsandasyou

re‐readandre‐readyourownscript.ThewayIoperate–andIthinkmostpeopledo–isinaseriesofwhatIcall‘passes,’makingapassoverthescript.Thisisrelatedmaybetotheideaofbullfighting,wheretheycallthempasos,whereeverytimethebullgoesbyyou,youmakeaflourishwithyourcape,oryou

turnsomehow.That’sapasoandthat’sabigmomentfortheaudiencetoenjoythoselittlemovements.

Butwithascript,it’samatterofgoingoverittimeandtimeandtimeagain.Anothermetaphor–I’mbigonmetaphors,obviously–isyou’remakingaboat,andthatboatneedsakeelanditneedsribsanditneedsplanksanditneedsasail,andallthatstuff.Butpartofitissandingthehauldownsothatitgoes

smoothlythroughthewaterandtherearenoprojectionsthatstopyou.

Sowhatthequestionerisaskinghereisabout,youknow,howdoyousanditdownandnotsandittoosmooth,butstillhasthataerodynamicquality.Thatjustcomesfromreadingitoverandoveragain,andyougetasenseof,thisistoomuch,orthisisevenslowingmedownorit’snotquite.Ijustthinkthese

areinstinctivethingsthatcomefromrepetition.

Oneofmyhugeprinciples,somethingI’veobservedinmycareer,isthebenefitofrepetition.Theysay,inbusiness,youdon’tdotenthousandthings;youdotwelvethingstenthousandtimes.Youdothesame

thingsoverandoveragain,andwhenyou’vedonethattenthousandtimes,youbecomeamasterofthat.SoIwouldsaytheanswertothisoneisjustpractice,practice,practice.Readalotofscripts,observemoviesandseewhere,youknow,oh,thatonewastoomuch,orthatonewasnotenough,and

usethattocomparewithyourownwork.

MARVIN:Oneofthemostsuccessfulandmostrecognizedsalesprofessionalsintheindustry,he’soneofthebiggestconsultantsintheworldformarketingandadvertising–that’shisexactphilosophy–youknow,youdon’tdotenthousanddifferentthings;youdotwelvethingstenthousandtimes.AndI

couldn’tagreewithyoumoreonthat.

Here’sthenextquestion.ThisisfromMarkinLosOsos,Ibelieveitis,Ihaven’tactuallybeenthere.Ifyoudon’thaveanagentorknownname,whatwillgetyounoticedsothatsomeonewillreadyourscript?

CHRISTOPHER:That’sgood.Thisisvery,verytoughforpeoplewhoareontheoutsidelookingin.Ihave

aphraseIuseaboutmypublisher,theMike..PublishingCompany,whichisthattheyturnoutsidersinto

insiders–that’swhatyou’retryingtodohere–bygivingthemtheinformation,bygivingthemthetoolsintheformofthebooks.

Sothat’smyadviceonthatone,todistinguishyourselfsomehow,thisisanotherthingIhavetodo.Asa

coginthewheelofthestudiomachinery,therewerealotofpeopledoingwhatIdo.TherewereatleastahundredpeopleinTheUnionwhodidthesameexactthingIdo.Ihadtodifferentiatemyself.Ihadtosetmyselfapartasaspecialguywhodoesspecialthings.SoIthinkyoufigureoutwhatyou’re

particularlygoodatorparticularlypassionateabout,andemphasizethat.

Alotofpeoplecanwriteascript,butcantheywriteascriptthatisasinspiredasyoursorasenthusiastic?

MARVIN:Ofcourse,Ican’tagreemorewithyou.Imean,therealityofitis,thinkaboutitthisway:Whenyouwalkintoagrocerystoreormarket,youwilllookontheshelf.Onthatshelf,youwillseea

varietyofpotatochips.Youlookatthosepotatochipsandthere’sareasonyou’redrawntooneofthem.Muchofthathastodowithbecauseit’srecognizabletoyou,andobviously,themarketingofthathascomeintoplay.Orsomethingaboutthechip–it’sanall‐naturalchip;it’sanorganicchip.Theyhave

distinguishedthemselvesfromthegroup,fromthepack.Asaresult,that’swhythey’regettingtheattentionandrecognition.SowhatChrisisgivingyouasadvicehereisyouneedtostandout,andthewayyoustandout–Ithink,goingbacktothefirstposition,whichis,makeadecisionastowhoyouare.

Declarethat.Onceyou’vedeclaredthat,theneverythingelsewilljusttruly,trulyjustfollow.

Here’saquestionfromAmyfromIrvine.Whatarethemostcommonissuesyoufindyourselffixingwhenyou’rebroughtinasastoryconsultantonascriptwrittenbyanA‐listscreenwriter?

CHRISTOPHER:Ohokay,sowiththebigshot.Youknow,ingeneralforeveryone,everyscripthasadifferentsetofproblemsordifferentsetoflimitations.Butevenwiththebigshots,peoplearelimited

bytheirowncharacterandbytheirownpersonality.Nobodyhasalloftheskillsthatyouneed.That’swhypeoplearemystifiedbythis,butit’swhythereissomuchrewritingofpeople’swork,andwhyeven

thebigA‐listers,whoeveritis,thoseguysarealmostalwaysrewrittenbysomebodyelse,becausetheydon’thavethefullpackageoftheskills.So,they’llbelimitedinsomething,likemaybetheywritegoodfemalecharacters,maybetheirdialogisnotassharpasitcanbe.Sosomebodyelseisbroughtinto

punchitup.

Tothatquestion,thethingIfindmostcommonlyisthatthewriters,theA‐listers,willflingthemselvesatthesubject,andjustkindofblastitout.Butthere’saninnerstructuretoitthatisthere,buttheyhaven’trecognizedityet.IrecognizethatstructureandIsay,look,youalreadyhavethescenehere,but

youhavetomakethatscenebigger.Oryouneedtoplantthatsceneearliersothatitmakestheoverallstructureworkforyou.Mostofthetime,it’snotchanginganythingsomuchaschangingtheemphasisonthings.

I’mjustgoodatlookingatthethingfromaMartianpointofview,lookingdownontheEarthandgoing,

oh,thisbelongshere,thatbelongshere.Youknow,ifyouhadthatscenemovedonesceneover,itwill

havemoreimpact.Soit’samatteroftuning,andseeingthebigpicture,becausewritersgetlostintheenthusiasmofscene‐by‐scene.Andthat’saparticularskill–thevisionofthewholething.

MARVIN:ThenextquestionisfromKennyofSagHarbor,NewYork.Kenny’squestionis:I’vebeentold

thatmyscripthastoomuchdescription,notenoughaction.Inmystory,therearequiteafewsceneswithnodialog,onlyaction,includingacomplicatedcarchasethatIdescribedindetail.Idon’tknowhowtogetaroundthis.IhavecutthedescriptiondownasmuchasIpossiblycanwithoutwritingshorthand,

whilemaintainingtheessentialelements,suchasaction,poetryandmood.Canyougivemetipsaboutthat?

CHRISTOPHER:I’lltry.Youknow,onethingI’dsayis,thisistowardsunderstandingthepersonwhoreadsthismaterial,thetypeofpersonwhoreadsthismaterial.Asyoupointedout,Marvin,thispeople

areincrediblystressedfortime,andtherearemanythingsgrabbingtheirattention.Soyouhavetomakeiteasyforthem.Oneofthethingsthatyoufindis,youcantellalotaboutthescriptjustbyrifflingthroughit.Youcantellalotaboutitbyheftingitinyourhand.Youknow,Icanpickupascriptandgo,

oh,myGod,thisis20pagestooheavy.SoIknowthewriterhasoverwritten.Or,thisfeelskindoflight;thisiswhat,about90pages.Yeah,thisguyhasn’treallydevelopeditenough.

Sotothatexactquestion,Ithinkifyoulookatanypageatarm’slengthacrosstheroom,youcantellifit’sout‐of‐balanceinthewayhe’stalkingabout.Ifit’sasolidblockoftypepageafterpage,orevenon

onepage,there’ssomethingwrong.Ifit’sasolidrunofdialogandthere’snoaction,evenhewalksacrosstheroom,there’ssomethingwrong.Sothingshavetohavealittlebitofbalance,evenvisually,atadistance.Youneedtoseethere’ssomedialogandsomeactiononjustabouteverypage.

Now,whenyougettotheactionsequence,Iwouldjustgiveyouthisrecommendation.I’veseen

professionalwriters,bigshots,dothis.They–unlessit’sreallyvitaltocharacter‐developmentwithinanactionscene,thatherealizessomethinginthemiddleoffightinghisenemy–theywilljustshorthandit,

andtheywillusethatshorthandofsaying,andthenIturneditovertothespecialeffectscoordinatorandthestuntcoordinator,letthemworkout.It’sthemostamazingcarchaseyoueversawinyourlife.Andattheendofit,thecarfliestothewallofthewarehouseandlandsontheshowroomfloor.

Ithinkitisatemptation–youwanttotellthemeverythingandshowthatyougotitallworkedoutin

yourmind–butthisisanarea,andmaybeyou’resteppingontheirtoes,andleavethemsomelatitude.SoI’dsaybackoffalittlebitandseeifthatmakesitabetterread,makesitreadfaster.That’sthekeything:Youwantittoflythroughthehandsandbeforetheeyesofwhoeverisreadingit.

MARVIN:Iloveit.Iworkedforagentlemanmany,manymoonsago.Wheneverwritersdeliverscriptsto

us,thefirstthinghewoulddoisgrabthescript,he’dliftitinhishands,he’dweighitinhishands,anditwasalways,therewereoccasionswhenhe’dgo,that’stooheavy,itneedsarewrite.

CHRISTOPHER:Right.

MARVIN:Here’sKenWhitefromModesto,California.Hisquestionis:AlthoughI’vebeentoldHollywoodisnotcurrentlylookingforperioddramas,doyouthinkascreenplayaboutaformativeperiodinJoseph

Campbell’slifewouldstillbeofinteresttoproducers?

CHRISTOPHER:Mycommentonthisoneis,oh,screwthem,whoeversaidthat–thatwedon’tdothisorwedon’tdothatorHollywoodisnotlookingforthisorthat.Ican’ttellyouhowmanytimesIhavehearditwithinthestudio,youknow,MichaelEisnerjustsaidwewouldneverdoanythingaboutVikings

orwewouldneverdoanythingnativeAmericans.Hesaid,nothingbutdustinit,noWesternsoranythinglikethat.Andthen,sixmonthslater,we’relookingforVikingpicturesandpictureswithlotsofdustand,youknow,abouttheAmericanWest.Sowhatevertheytellyou,it’seitherdeadwrongnowor

it’sgoingtobewronginsixweeks.Sodon’tletanythinglikethatstopyou.Ifyouhaveagoodstory,it’sagoodstoryfortheages.

Certainly,somethingaboutJosephCampbellwouldbetough.That’snotaneasysell,becauseyouhaveobstaclesofwhoisheandwhyshouldIcareandallthat.Butyouknow,Icertainlyknow,thatthere’s

greatdramaticmaterialthere.It’sjustamatteroffindingtherightpeople.Soputitoutthere.

MARVIN:Absolutely.Imean,look,therealityofitis,andI’mabelieverofthis,thatcertainly,youshouldpursueanythingthatyou’repassionateabout.Youcertainlyjustneedtounderstandthatthemorenarrowyourstorymayverywellbe,youknow,itmaytakeandrequireyoutobeevenmoreaggressive

inyourmarketingofthematerial.

CHRISTOPHER:Ormoretargeted,youknow.

MARVIN:Exactly.Abow‐and‐arrowapproach,aswhatIliketosay.

CHRISTOPHER:That’sright.VeryGood.

MARVIN:ThisisCarmenfromSanDiego.Carmen’squestionis:I’mstartingmynewscript.WhatisthebestwaytoorganizetheentirescriptbeforeIsitdowntowriteit?Doyoubelieveinthe40‐notecard

system?

CHRISTOPHER:Icantellyou,WillSmithcertainlydoes.Ispentaweekendwithhimdoingabsolutelynothingbutstaringataglasswindowonwhichhehadpastedthe40cards.Idon’tknowifitwas40,butyouknow,25‐40cards.That’sallwedidfortwoandahalfdays,itwastostareatthatwindowand

rearrangethosecards.SoIamahugebelieverinthatkindofpre‐preparation.

Iwouldsay,everybodyhasadifferentchannelforlearningandoperating.Somepeopledoitinthecomputerinvariousprograms.Somepeoplehavetohavethephysicalcards.Iwilleventhrowthemonthefloorandwalkaroundthem,becauseI’mthattactile,Ineedthatphysicalityaboutit.Ialmostmake

alabyrinthoutofthemandwalkaroundinitasakindofwalking‐meditation.IdoallsortsofthingsbeforeIeversitdowntowrite.

Iwillthrowthetarotcardsforthecharacters–that’salittletrick,technique–justtogetsomeinsightorgetsomerandomthingsintomythinkingaboutthecharacters.Becauselifeisrandom–youknowsome

thingsbutsomeofitisjustlikecardsthataredealttoyou.Sothoseareafewtricks,butIstronglyrecommenddoingwhateverkindofprepyoucanbeforeyousitdown.Itwillenrichthething.

MARVIN:IsoappreciateyourveryZenmetaphysical,verygrandapproachtocharacterdevelopmentto

thestorystructure.Ithinkit’sabsolutelypowerful;very,verypowerful.

CHRISTOPHER:It’snotgoingtoworkforeverybody.That’sjustme;thatwhatworksforme.

MARVIN:SuzannefromIndiana.Herquestionis:Whenyouhavelimitedfunds,andyouknowthatyouhaveanexceptionalscript,whatisthebestwaytogetitintotherighthands?

CHRISTOPHER:Well,nobodycananswerthatoneinageneralway,becausethepathisdifferentforeverysinglestory.Everyprojectfindsitsownpathway.Ithinkwhenyou’restartingfromzeroandyou

havenoconnections,youdon’tknowanything,againyoumustdifferentiateyourselffromthecrowdsomehow.Soanykindofrecognitionatthatstageisgood,andthatspeakstoenteringitinlocalscreenwritingcompetitions.Evengettingthirdrunner‐upintheNottingham,Englandscreenwriting

competitionisadistinction.Itsetsyouapartfromalltheother200entrants,whodidn’tgettheirplace.Soeverylittleadvantagelikethatcangiveencouragementtopeopletogiveyouachanceandtakealookatit.

Ithink,too,packagingisveryimportant,becauseitisasuperficialbusiness,soithastolookgenerally

likealltheotherscripts.Ithastobeprofessionallyputtogetherandlooklikeyoucared.Thatdoesn’tmeananembossedlettercoverforthescript.Itjustmeanswell‐boundandnicelytyped,andallofthat.

Anothercallerhasmentionedalreadythattheformatsareallovertheplace.That’snotwhatI’mtalkingabout.I’mjusttalkingabout,youknow,somethingthatdoesn’thavecoffeestainsonitandisa

professionalproduct.

MARVIN:Aprofessionalpresentation,absolutely.Andbytheway,Iwouldaddthat,asascreenwriterinIndianaorwhereveryoulive,ifit’soutsideofLosAngeles,andevenifyouliveinLosAngeles,bepartof

screenwritinggroups.Bepartofphysicalscreenwritinggroups,butbepartofscreenwritinggroupsonline.Iwouldsaythat,frommyexperience,writershelpwriters.Writers,generally,helpotherwriters.

Inadditiontothat,Iwouldsaythatyoushouldparticipateinthingslikethis,andofcourse,moreimportantly,ifyoucanparticipateonanyone’sfilm.IfIlivedinIndiana,I’dlookuptheFilmCommission

inIndiana,andI’dvolunteer,ifnecessary,tospendsometime,becausetherearepeoplewhoarecontactingtheFilmCommissionfromLosAngeles.It’sjustaway,youknow,inessence,toplantseedandnurturethemforthefuture.

CHRISTOPHER:Yeah,I’dsay,whereveryou’refrom,andIdealwithpeoplefromallovertheworld,it’s

reallyagoodtechniquetobeoutstandinginyourownbackyard,inyourownterritory,becausethatwillallowyoutostandoutalittlebitonthelargerscale.Soyouwantto,asyousaid,absolutelyright,ifthere’sanythinggoingonaroundyou,evencommunitytheaterisaveryimportantpartofgetting

yourselfintothiswholeworld.Whateveryoulearntherewillnotbewasted.Itmightonlybeseenby

fiftypeoplebutthat’sactuallyhuge.Thatisabigdeal.Thatwillalleventuallypourintoyourbagoftricks.

MARVIN:Absolutely.AndI’vegotafewmorequestionsthatIwanttodiveinyourend.Iknowwegota

littlelateofastart,butthen,we’llwrapup.Letmegiveafewmorequestionshere.We’vegotJohnfromLosAngeles.John’squestionis:DoyoueverlookatTheHero’sJourneystructuretocreatewhatissupposedtocomenextinthestory?Ordoyoutendtouseitmoreasaneditingandstrengtheningtool?

CHRISTOPHER:Iwouldsaymorethelatter,moreasatroubleshootingdevice.Ikindofhaveinternalized

itnow,sothatIdon’thavetothinkaboutitverymuch.Alotofmymaterialcomesfromhistoryorfromthingsthatalreadyexist,somehow–existinglifestories,forexample.AndIjusthaveagoodsensenowof,oh,that’sastory;oh,yeah,thatfeelslikeastory.Idon’thavetoanalyze,doesithaveStep9ofThe

Hero’sJourney?Butit’smoreabout,onceIcreatedituptosomelevel,thenapplyingthosetoolsandthink,doesithaveeverythinginit?Orsomething’snotworking.Thisisnotquiteright.Whatisit?Andthen,Igobacktotheguidelinesandtrytofindtheanswerthere.

MARVIN:ThisisaquestionfromKatherineinLondon.Whatisthefirstandmostimportantelementyou

considerwhenyoureadascript?

CHRISTOPHER:Ah,veryinteresting.Okay,well,I’mjustlookingforthestory.IwantsomethingtocompelmeandtomakemeturnthepagessothatIhavesomestakeinit.Iwanttoknowwhat’sgoingon.AndIrelyverymuchoninstinctualthing.Thereisn’tawholelotofmentalcalculation.Iturnthelast

pageandhowI’mfeelingatthatmoment,ifIwanttothrowthescriptagaintothewall,that’sano.OrifI’mgoing,hmm,thatwasreallyinteresting,thenI’mgoingtowriteagoodreportonthat.Soit’slargelyamatterofthatinstinctivestuff.Youjustwantagreatstory;that’sreallythebestanswertoallofthis.

It’sastorythatjustcriesouttobetoldandiscompelling.

MARVIN:AndthisisKristineAnnfromGermany.Shesays,DearMarvinandChristopher.First,Ihavetothankyoufortheopportunitytoask.HowcanIshowthecharacter’sneedofcrossingthethreshold

mostimpressive?

CHRISTOPHER:Okay,Ithinkthatyouaredealingherewith–touseaGermanterm,(Gestalt?),whichisthewholepicture–theforegroundandthebackground.Andinthebeginningofthepicture,youwanttoshowtherelationshipofthecharactertothebackground.Aretheycomfortablewithit?Arethey

uncomfortableinit?Dotheyfitin?Oraretheykindofsquirmingarounduncomfortably?Ithinkthemorethey’resquirming,thebetteritis.Themoreuncomfortabletheyare,thebetteryou’llbeatthatthreshold‐crossingpoint,whereyoufeelthepressureisbuildingup.Thepersonhasgotthislittleneedle

stickinginthemhere.Thatthingisannoyingthemhere.Thisismakingthemhumiliatedoruncomfortableoverhere.Thatwillbuildandbuildandbuildinthefirst25pagesorso,untiltheyjustgottodosomething.It’sgottohappen.Ithinkthat’showyouturnthescrewstighterandtighteron

somebody.Havethemfromthreeorfourdirections.

MARVIN:AlmostlikeAnthonyRobinssays,youknow,desperationcausesinspiration.

CHRISTOPHER:Yes,that’sright.Thosethingsthatseemtocreateanxietyactuallyareleadingyoutoyourbreakthrough.

MARVIN:ChrisfromDetroit:Shouldtheaudienceempathizewiththebadguyinanyway?Orshouldwe

savetheempathyforthehero?

CHRISTOPHER:Ithinkyouwanttheempathy.Ithink,youknowifyoudon’tprovideit,theaudiencedoesit,anyway.Theyarelookingforalittlehumantouch,somewhere,they’lleveninventone.Ifyoudon’tgiveittothem,they’llkindofcreateaback‐storyforeverycharacter.Butespeciallyforthe

villains,becausewe’rehabituatedtoexpectthat,youknow,justfromlife,youknowthatthere’salwaysaninterestingstory.Whenonegoescrazyonarampage,there’sareasonforit.Somekindoftriggerbackintheirhistory,andweoftenwillfeelsorryforthemorhaveempathyforthem.Thatjust

immenselyincreasesthedimensionofthatcharacter;itmakesthempopintothreedimensions,asIsaidbefore.

MARVIN:Andifalso,inmyopinion,attractsreallyqualitypieceoftalent.Imean,ifit’sa(delicious?)badguy,comeon,absolutely.

Thisisourfinalquestion.AndlikeIsaidtoeveryone,whateverquestionswedonotgettheopportunity

toaddress,wewillbesuretogetaddressedforyou.ThisisMarybethfromSedona,Arizona:There’sacertainlevelofviolenceintheDisneymoviesthatIfindunsettling.WhileIrealizethatthejourneyoflifeisnotimmunefromviolence,Itendtowritescriptsthatdonotcontainviolence.Myquestionis:Cana

formulaforthemythicjourneyberenderedwithoutsuchviolence?

CHRISTOPHER:Well,that’samatterofdegree.Youknow,Icanrelatetothisquestion,becauseIfoundinthebeginning,itwasverydifficultformetowriteconflict,becauseIdon’tlikeconflict.IavoiditasmuchasIcaninmylife,andItrytominimizeconflict.Soyoumightquestionyourchoiceofcareerifyou

don’thavethatnaturalimpulse–notforviolence–butcertainly,forintensestrugglesandconflict.

ButIthink,definitely,youcanwriteastorythatisfreeofthekindofgratuitousviolencethatIthinkthequestionistalkingabouthere.Ifeelit,too.IjustsawTheWatchman.IwanteddesperatelytoseeThe

Watchman,butIwassopushedawaybythewaytheyhandledtheviolence.Ialsoknowwhat’sbeingreferredtowiththeDisneymovies,thatevenbackinWalt’sday,peoplequestionedhimaboutthat,andinthispartoflife.Butyouknow,Iwouldjustencouragethiscallertopursuethepaththey’reandlet’s

proveittotheworldthatyoucanmakeagangbusterstorythatdoesn’tdependonthosethings.

MARVIN:Perfect.Well,Chris,Iwanttosay,onceagain,inbehalfofbothmyself,theBusinessofShowInstitute,andofcourse,moreimportantly,allofthewriterslisteninginandwhowillbelisteningtoyoulater,thankyouforbeingamazingwithaddressingeverybody’squestionshere.Wesoappreciateyou

makingtimethismorningonaFriday.Ialsoknowthatyouhaveaverybusyschedule.Sothankyouformakingthetime.It’sextremelyappreciated.

Everyonestayingon,Ihaveafewmorethingsforyou.ButChris,youknow,Icanassureyouthere’sapplausegoingon.Wecannothearitourselves,butthankyousoverymuch.HaveabeautifulFriday.

Haveagreatweekend,andIwilltouchbasewithyoushortly.

CHRISTOPHER:Thankyouandgoodlucktoallofyouinyourcareers.Ihopeyougetsatisfactionfromyourwriting.

MARVIN:Everyone,firstofall,letmesaythatagain.Ifwedidnotaddressyourquestion,youcanbeabsolutelyassured;ChrisandIspokeearlieronthecallthatwewouldfindawaytoanswerthoseand

getthoseanswerstoyoudirectly.Sodon’tbeconcernedwithregardstothat;Iwillabsolutelymakethathappenforyou,andChrishasbeengenerousenoughtoagreetoanswerthem,aswell.That’snumberone.

Numbertwo,IwanttosaythatChrisactuallycanbevisitedathiswebsite,whichwewillmakesurethat

it’sincludedinyourbroadcastemail,sothateachandeveryoneofyouwillhavethat,sothatyoucanbeawareofwhereChriswillbespeakingnext,orhowhisservicescanbeavailabletoyou.

Lastbutnottheleast,Iwanttomentiontoyouthatifyou’veenjoyedthis,ifthisissomethingyouhavefoundtobeveryhelpfulasausefultoolinyourprofession,inyourcareersasyouaspiretobecome

professionals,Iwanttoofferyouallanopportunitytocontinuebeingmembers.

AttheBusinessofShowInstitute,weobviouslyarestrivingtobringguestslikeChrisandotherexecutives–managers,producers,agents–togiveaninterview,notonlytheinsights,butalsotheopportunitytoaskyourquestionsandhavethemanswered.

So,here’sthedeal:Thedealis,ifyoulikewhatyouheardtodayandyouwanttobeanongoingmember

tothismembershipseries,goaheadandtypeinthebusinessofshowinstitute.com/subscription.Whatwe’lldois,ifyoucontinuetobeasubscriber,itwillbe$20,insteadofthetraditional$27.Ofcourse,you

canjustchoosetosignupnextmonthifyoudesire,oryoucan,ofcourse,signupasasubscriberanditwillbe$20amonth,whichisareductionthere.Inmyopinion,lessthanmovietickets,lessthantakinganyofthesefolksouttolunch.

Andlastbutnotthelast,I’mgoingtobeattheNALIP10thAnniversaryovertheweekend,whichisthe

NationalAssociationforLatinoIndependentProducers.It’sagreatorganization,I’dlookintothat.Lastbutnottheleast,Iwillbetherethisweekend.Ifyou’rethere,feelfree;I’dlovetomeetyouinperson.

Andlastbutnottheleast,justhaveanincredible,amazing,spectacularweekend.Iapologizeinadvanceforthetechnicalproblems.Again,wewillgetthereplayouttoyounolaterthanMonday.Wewillhave

Chris’websiteforyoupostedaswell,soyoucanhaveaccesstothat.

Keepinmind,thebusinessofshowinstitute.com/subscription,ifyouwanttobeanongoingmember.Otherthanthat,ladiesandgentlemen,thankyouforyourtime.Congratulationsforinvestinginthetime,andmayallofyourlivesbeextraordinary.

ThisisMarvinAcunafromTheBusinessofShowInstitute.Bewell.