Beware of this man

This is Robert McKee. I’m starting to think Robert McKee has done more harm to writers and the state of the movie industry than Rob Schneider. His two day weekend screenplay structure course became a sensation in the 90’s – EST seminars for writers. Granted, he presents some sound principles in structure. But adhering to his method forces you into a formulaic model. And worse, most junior studio execs and D-girls eagerly give up spa weekends to take the course so you can imagine what your notes will be. Have fun turning that slasher movie into CASABLANCA. (Mr. McKee spends an entire day breaking down CASABLANCA line by line.)

Any course that makes lower level studio executives two years removed from Cal State Northridge think they're suddenly experts in story structure is very destructive to the state of the art.

Yes, there are general guidelines. Screenplays should not be longer than 120 pages, especially comedies. That particular rule you need to follow because if a reader sees a script thicker than the Santa Monica phone book they’ll never read it no matter how good it is.

But the notion that the first act has to end around page 20 and the third act should start around 85 – don’t twist your story into knots trying to fit it into that template. God forbid your first act ends on page 12. The WGA storm troopers will not bust into Starbucks and haul you away. If you don’t have a mid-point plot turn, the ghost of Billy Wilder will not smother you with a pillow while you sleep.

A very general rule of thumb for a three act structure is: Act One – get your hero up into a tree, Act Two – throw rocks at him, and in Act Three – get him down. How you do that is up to you.

Here’s the Levine method: Just tell a great story.

Make it compelling, original, funny, exciting, romantic, spooky, erotic, surprising. David Mamet says the one question an audience asks is WHAT’S NEXT? I agree. Let each scene drive the story forward. Make sure each moment is vital no matter what page it’s on. Create memorable characters and situations. And allow yourself the freedom to really let your imagination go. Don’t restrict your thinking.

When I read a screenplay I want to hear YOUR voice, not Robert McKee's, or the Epstein brothers (even if they did write CASABLANCA).