Robert McKee Quotes

The Law of Diminishing Returns is true of everything in life, except sex, which seems endlessly repeatable with effect.

Story Climax is the fourth of the five-part structure. This crowning Major Reversal is not necessarily full of noise and violence. Rather, it must be full of meaning. If I could send a telegram to the film producers of the world, it would be these three words: "Meaning Produces Emotion." Not money; not sex; not special effects; not movie stars; not lush photography.

Dialogue concentrates meaning; conversation dilutes it.

We must realize that a screenplay is not a novel. Novelists can directly invade the thoughts and feelings of characters. We cannot. Novelists, therefore, can indulge the luxury of free association. We cannot. The prose writer can, if he wishes, walk a character past a shop window, have him look inside and remember his entire childhood. Exposition in prose is relatively easy, but the camera is an X-ray machine for all things false. If we try to force exposition into a film through novel-like free associative editing or semi-subliminal flutter cuts that "glimpse" a character's thoughts, it strikes us as contrived.

If you can't play all the instruments in the orchestra of story, no matter what music may be in your imagination, you're condemned to hum the same old tune.

In life two negatives don't make a positive. Double negatives turn positive only in math and formal logic. In life things just get worse and worse and worse.

Mastery of craft frees the subconscious.

Don't be didactic - don't write about poverty. Write about poor people. When you dramatize their lives and let life and characters be your inspiration, you will express the 'idea' dynamically and without preaching.

Given the choice between trivial material brilliantly told versus profound material badly told, an audience will always choose the trivial told brilliantly.

Talent without craft is like fuel without an engine, it burns wildly but accomplishes nothing.

Stories are how we remember; we tend to forget lists and bullet points.

Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.

When people want to sound smart, they add syllables to words, words to sentences, sentences to paragraphs, paragraphs to books. They try to make up in quantity and complexity what they lack in quality. That's bullshit! They're just hiding their bullshit!

The Business story is designed to trigger the listener to take an effective action. If it doesn't, the story fails.

Of the total creative effort represented in a finished work, 75 percent or more of a writer's labor goes into designing the story designing story tests the maturity and insight of the writer, his knowledge of society, nature, and the human heart. Story demands both vivid imagination and powerful analytic thought.

We rarely know where we are going; writing is a discovery.

When we want mood experiences, we go to concerts or museums. When we want meaningful emotional experience, we go to the storyteller.

The dirty secret of art is you don't have to show people your bad writing. That's what we have the delete key for.

Influence is just persuasion in slow motion.

To retreat behind the notion that the audience simply wants to dump its troubles at the door and escape reality is a cowardly abandonment of the artist's responsibility. Story isn't a flight from reality but a vehicle that carries us on our search for reality, our best effort to make sense out of the anarchy of existence.

Pace begins in the screenplay. Cliche or not, we must control rhythm and tempo. It needn't be a symmetrical swelling of activity and shaving of scene lengths, but progressions must be shaped. For if we don't, the film editor will. And if to trim our sloppy work he cuts some of our favorite moments, we have no one to blame but ourselves. We're screenwriters, not refugees from the novel. Cinema is a unique art form. The screenwriter must master the aesthetics of motion pictures and create a screenplay that prepares the way for the artists who follow.

When you do enough research, the story almost writes itself. Lines of development spring loose and you'll have choices galore.

Stories are the currency of human relationships.

All writing is discipline, but screenwriting is a drill sergeant.

Politics is the name we give to the orchestration of power in any society.

We often see films with a cast of excellent characters...except one, who's dreadful. We wonder why until we realize that the writer hates this character. He's trivializing and insulting this role at every opportunity. And I'll never understand this. How can a writer hate his own character? It's his baby. How can he hate what he gave life? Embrace all your creations, especially the bad people. They deserve love like everyone else.

Story is about eternal, universal forms, not formulas.

Fact, no matter how minutely observed, is truth with a small "t." Big "T" Truth is located behind, beyond, inside, below the surface of things, holding reality together or tearing it apart, and cannot be directly observed.

Story creates meaning. Coincidence, then, would seem our enemy, for it is the random, absurd collisions of things in the universe and is, by definition, meaningless. And yet coincidence is a part of life, often a powerful part, rocking existence, then vanishing as absurdly as it arrived. The solution, therefore, is not to avoid coincidence, but to dramatize how it may enter life meaninglessly, but in time gain meaning, how the anti-logic of randomness becomes the logic of life-as-lived.

Never sleep with anybody who has more problems than you do.

The universal erosion of values has lead to the universal erosion of story.

of all genres Fantasy is the most rigid and structurally conventional.

Classical design is a mirror of the human mind. It's how we see the world.

If the story you're telling, is the story you're telling, you're in deep shit.

When you think about it, going to the movies is bizarre. Hundreds of strangers sit in a blackened room, elbow to elbow, for two or more hours. They don't go to the toilet or get a smoke. Instead, they stare wide-eye at a screen, investing more uninterrupted concentration than they give to work, paying money to suffer emotions they'd do anything to avoid in life.

What happens is fact, not truth. Truth is what we think about what happens.

The dramatist is fascinated by the inner life, the passions and sins, madness and dreams of the human heart. But not the comedy writer. He fixes on the social life - the idiocy, arrogance, and brutality in society. The comedy writer singles out a particular institution that he feels has become encrusted with hypocrisy and folly, then goes on the attack. Often we can spot the social institution under assault by noting the film's title.

The mark of a master is to select only a few moments, but give us a lifetime.

When society repeatedly experiences glossy, hollowed-out, pseudo-stories, it degenerates.

Creativity isn't learning the right answers but asking the strongest questions.

Stories are the creative conversion of life itself into a more powerful, clearer, more meaningful experience. They are the currency of human contact.

When talented people write badly, it's generally for one of two reasons: Either they're blinded by an idea they feel compelled to prove of they're driven by an emotion they must express. When talented people write well, it is generally for this reason: They're moved by a desire to touch the audience.

A fine work of art - music, dance, painting, story - has the power to silence the chatter in the mind and lift us to another place.

Story isn't a flight from reality but a vehicle that carries us on our search for reality,

Because story is a metaphor for life, we expect it to feel like life, to have the rhythm of life. This rhythm beats between two contradictory desires: On one hand, we desire serenity, harmony, peace, and relaxation, but too much of this day after day and we become bored to the point of ennui and need therapy. As a result, we also desire challenge, tension, danger, even fear. But too much of this day after day and again we end up in the rubber room. So the rhythm of life swings between these poles.

Every host in Hollywood has made that mistake: "Let's invite some comedy writers to the party! That'll brighten things up." Sure ... till the paramedics arrive.

Write every day, line by line, page by page, hour by hour. Do this despite fear. For above all else, beyond imagination and skill, what the world asks of you is courage, courage to risk rejection, ridicule and failure. As you follow the quest for stories told with meaning and beauty, study thoughtfully but write boldly. Then, like the hero of the fable, your dance will dazzle the world.

When two friends meet on the street and talk about the weather, don't we know that theirs isn't a conversation about the weather? What is being said? "I'm your friend. Let's take a minute out of our busy day and stand here in each other's presence and reaffirm that we are indeed friends." They might talk about sports, weather, shopping...anything. But the text is not the subtext. What is said and done is not what is thought and felt. The scene is not about what it seems to be about. Screen dialogue, therefore, must have the swing of everyday talk but content well above normal.

Crisis is the third of the five-part form. It means decision. Characters make spontaneous decisions each time they open their mouths to say "this" not "that." In each scene they make a decision to take one action rather than another. But Crisis with a capital C is the ultimate decision. The Chinese ideogram for Crisis is two terms: Danger/Opportunity - "danger" in that the wrong decision at this moment will lose forever what we want; "opportunity" in that the right choice will achieve our desire.

The material of literary talent is words; the material of story talent is life itself.

Leaders use story to author the future.

Scholarly acumen sharpens taste and judgment, but we must never mistake criticism for art. Intellectual analysis, however heady, will not nourish the soul.

As he chooses, he is.

Most of life's actions are within our reach, but decisions take willpower.

Aristotle said time is a measure of change, and this movie is about changing in time, through time, while remaining the same person. That's a philosophical paradox and a moral dilemma. But 'Casablanca' says it's possible. You can have both. That's what it means. And that's my wish for you: that you would have both.

Angry contradiction of the patriarch is not creativity; it's delinquency calling for attention. Difference for the sake of difference is as empty an achievement as slavishly following the commercial imperative.

God help you if you use voice-over in your work, my friends. God help you. That's flaccid, sloppy writing. Any idiot can write a voice-over narration to explain the thoughts of a character.

In comedy laughter settles all arguments.

You may think you know, but you don't know you know until you can write it down. Research is not daydreaming. Explore your past, relive it, then write it down. In your head it's only memory, but written down it becomes working knowledge. Now with the bile of fear in your belly, write an honest, one-of-a-kind scene.

There is no screenplay-writing recipe that guarantees your cake will rise.

Good story' means something worth telling that the world wants to hear. Finding this is your lonely task ... But the love of a good story, of terrific characters and a world driven by your passion, courage, and creative gifts is still not enough. Your goal must be a good story well told.

All fine films, novels, and plays, through all shades of the comic and the tragic, entertain when they give the audience a fresh model of life empowered with an affective meaning.

To connect to people at the deepest level, you need stories.

Life is chaotic and meaningless, and you have to find your meaning. You must find the answer, you can't just live. That's the point of story: helping you find your meaning in life.

Night after night, through years of performing and directing, I've stood in awe of the audience, of its capacity for response. As if by magic, masks fall away, faces become vulnerable, receptive. Filmgoers do not defend their emotions, rather they open to the storyteller in ways even their lovers never know, welcoming laughter, tears, terror, rage, compassion, passion, love, hate
the ritual often exhausts them.

For those protagonists we tend to admire the most, the Inciting Incident arouses not only a conscious desire, but an unconscious one as well. These complex characters suffer intense inner battles because these two desire are in direct conflict with each other. No matter what the character consciously thinks he wants, the audience senses or realizes that deep inside he unconsciously wants the very opposite.

Superficial knowledge leads to a bland, monotonous telling. With authorial knowledge we can prepare a feast of pleasures. Or at the very least, add humor.

Writing is a marathon, not a sprint.

Beyond imagination and insight, the most important component of talent is perseverance - the will to write and rewrite in pursuit of perfection. Therefore, when inspiration sparks the desire to write, the artist immediately asks: Is this idea so fascinating, so rich in possibility, that I want to spend months, perhaps years, of my life in pursuit of its fulfillment? Is this concept so exciting that I will get up each morning with the hunger to write? Will this inspiration compel me to sacrifice all of life's other pleasures in my quest to perfect its telling? If the answer is no, find another idea. Talent and time are a writer's only assets. Why give your life to an idea that's not worth your life?

You do not keep the audience's interest by giving it information, but by withholding information ...

An image system is a strategy of motifs, a category of imagery embedded in the film that repeats in sight and sound from beginning to end with persistence and great variation, but with equally great subtlety, as a subliminal communication to increase the depth and complexity of aesthetic emotion.

Story is about originality, not duplication

In life, idea and emotion come separately. Mind and passions revolve in different spheres of our humanity, rarely coordinated, usually at odds. In fact, in life, moments that blaze with a fusion of idea and emotion are so rare, when they happen you think you're having a religious experience. But whereas life separates meaning from emotion, art unites them. Story is an instrument by which you create such epiphanies at will, the phenomenon known as aesthetic emotion.

Life is absurd. But there is one meaningful thing, one inarguable thing, and that is that there is suffering. Fine writing helps alleviate that suffering – and anything that puts meaning and beauty into the world in the form of story, helps people to live with more peace and purpose and balance, is deeply worthwhile.