Robert Mckee Quotes

True character is revealed in the choices a human being makes under pressure - the greater the pressure, the deeper the revelation, the truer the choice to the character's essential nature.

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.

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.

Do research. Feed your talent. Research not only wins the war on cliche, it's the key to victory over fear and it's cousin, depression.

In a world of lies and liars, an honest work of art is always an act of social responsibility.

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

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

No matter our talent, we all know in the midnight of our souls that 90 percent of what we do is less than our best.

Robert McKee says humans naturally seek comfort and stability. Without an inciting incident that disrupts their comfort, they won’t enter into a story. They have to get fired from their job or be forced to sign up for a marathon. A ring has to be purchased. A home has to be sold. The character has to jump into the story, into the discomfort and the fear, otherwise the story will never happen.

(...)while it's true that the unexamined life is not worth living, it's also true that the unlived life isn't worth examining.

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

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

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.

Boredom is the inner conflict we suffer when we lose desire, when we lack a lacking.

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.

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.

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

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

Story is metaphor for life and life is lived in time.

Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.

No civilization, including Plato's, has ever been destroyed because its citizens learned too much.

Deus ex machina not only erases all meaning and emotion, it's an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives...Deus ex machina is an insult because it is a lie.

Stories are the currency of human relationships.

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

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

In comedy laughter settles all arguments.

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.

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

We realize we can't go around saying and doing what we're actually thinking and feeling. If we all did that, life would be a lunatic asylum. Indeed, that's how you know you're talking to a lunatic. Lunatics are those poor souls who have lost their inner communication and so they allow themselves to say and do exactly what they are thinking and feeling and that's why they're mad.

A culture cannot evolve without honest, powerful storytelling. When a society repeatedly experiences glossy, hollowed-out, pseudo-stories, it degenerates. We need true satires and tragedies, dramas and comedies that shine a clean light into the dingy corners of the human psyche and society.

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.

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

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 on its own, without art to shape it, leaves you in confusion and chaos, but aesthetic emotion harmonizes what you know with what you feel to give you a heightened awareness and a sureness of your place in reality.

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.

in comedy laughter settles all argument فى الكوميديا، الضحك ينهى أى جدل

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

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

Dialogue concentrates meaning; conversation dilutes it.

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?

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

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

Storytelling is the most powerful way to put ideas into the world today.

Difference for the sake of difference is as empty an achievement as slavishly following the commercial imperative. Write only what you believe.

Curiosity is the intellectual need to answer questions and close open patterns. Story plays to this universal desire by doing the opposite, posing questions and opening situations.

As he chooses, he is.

When forced to work within a strict framework the imagination is taxed to its utmost—and will produce its richest ideas. Given total freedom the work is likely to sprawl. —T. S. ELIOT

An archetypal story creates settings and characters so rare that our eyes feast on every detail, while its telling illuminates conflicts so true to humankind that it journeys from culture to culture.

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

Quality storytelling inspires quality dialogue.

Al reducirse nuestra fe en las ideologías tradicionales, nos dirigimos hacia la fuente en la que todavía creemos: el arte de contar historias.

Thought can be controlled and manipulated, but emotion is willful and unpredictable.

A working imagination is research.

If the scene is about what the scene is about, you’re in deep shit.

an ending must be both “inevitable and unexpected.

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

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.

THE PRINCIPLE OF CREATIVE LIMITATION Limitation is vital. The first step toward a well-told story is to create a small, knowable world. Artists by nature crave freedom, so the principle that the structure/setting relationship restricts creative choices may stir the rebel in you. With a closer look, however, you’ll see that this relationship couldn’t be more positive. The constraint that setting imposes on story design doesn’t inhibit creativity; it inspires it.

Who are these characters? What do they want? Why do they want it? How do they go about getting it? What stops them? What are the consequences? Finding the answers to these grand questions and shaping them into story is our overwhelming creative task.

The difference is this: You’re lonely when you have something to share but no one to share it with. You’re lost when you have nothing to share, no matter with whom you live. Of course, you can be both lonely and lost, but of the two, lost inflicts the greater pain.

plot structure and character arc are integral to one another. In his classic guide Story, Robert McKee says: We cannot ask which is more important, structure or character, because structure is character; character is structure. They’re the same thing, and therefore one cannot be more important than the other.

Language composed into dialogue offers a spectrum that runs from mental meanings at one end to sensual experiences at the other. For example, a character might call a singer's voice either "lousy" or "sour." Both terms make sense, but "lousy" is a dead metaphor that once meant "covered with lice." "Sour" still has life. The moment the audience hears "sour," their lips start to pucker. Which line stirs the most inner feeling: "She walks like a model" or "She moves like a slow, hot song"? Dialogue can express the same idea in countless ways, but in general, the more sensory the trope, the deeper and more memorable its effect.

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.

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

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.

No hay en este mundo suficiente de nada para todos. No hay suficientes alimentos, suficiente amor, suficiente justicia y nunca hay suficiente tiempo.

You might forget the day you saw a dead body in the street, but the death of Hamlet haunts you forever.

درام زندگی بداهه پردازی بی پایانی است

دیالوگ با هر آهنگ متفاوتی که زندگی تصنیف سازد می تواند به رقص درآید

Story is metaphor for life, and to be alive is to be in seemingly perpetual conflict.

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

Values are the soul of storytelling.

A STORY must obey its own internal laws of probability.

We must believe, or as Samuel Taylor Coleridge suggested, we must willingly suspend our disbelief.

conflict is to storytelling what sound is to music.

The first draft of anything is shit. — ERNEST HEMINGWAY

Show, don’t tell” means respect the intelligence and sensitivity of your audience.

As Aristotle tells us: “For the purposes of [story] a convincing impossibility is preferable to an unconvincing possibility.

The audience wants to be taken to the limit, to where all questions are answered, all emotion satisfied—the end of the line.

Second, once inside this alien world, we find ourselves. Deep within these characters and their conflicts we discover our own humanity.

You must shape your story in a way that both expresses your vision and satisfies the audience’s desires.

Stanislavski called this the “Magic if …,” the daydreamy hypothetical that floats through the mind, opening the door to the imagination where everything and anything seems possible.

A rule says, “You must do it this way.” A principle says, “This works … and has through all remembered time.” The difference is crucial. Your work needn’t be modeled after the “well-made” play; rather, it must be well made within the principles that shape our art. Anxious, inexperienced writers obey rules. Rebellious, unschooled writers break rules. Artists master the form.

Many producers state without blinking that the audience wants a happy ending. They say this because up-ending films tend to make more money than down-ending films. The reason for this is that a small percentage of the audience won't go to any film that might give it an unpleasant experience. Generally their excuse is that they have enough tragedy in their lives. But if we were to look closely, we'd discover that they not only avoid negative emotions in movies, they avoid them in life. Such people think that happiness means never suffering, so they never feel anything deeply. The depth of our joy is in direct proportion to what we've suffered. Holocaust survivors, for example, don't avoid dark films. They go because such stories resonate with their past and are deeply cathartic.

Generally, great writers are not eclectic. Each tightly focuses his oeuvre on one idea, a single subject that ignites his passion, a subject he pursues with beautiful variation through a lifetime of work.

Only by using everything and anything you know about the craft of storytelling can you make your talent forge story. For talent without craft is like fuel without an engine. It burns wildly but accomplishes nothing.

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.

Life teaches that the measure of the value of any human desire is in direct proportion to the risk involved in its pursuit. The higher the value, the higher the risk. We give the ultimate values to those things that demand the ultimate risks—our freedom, our lives, our souls.

The famous axiom "Show, don't tell" is the key. Never force words into a character's mouth to tell the audience about world, history, or person. Rather, show us honest, natural scenes in which human beings talk and behave in honest, natural ways...yet at the same time indirectly pass along the necessary facts. In other words, dramatize exposition. Dramatized exposition serves two ends: Its primary purpose is to further the immediate conflict. Its secondary purpose is to convey information. The anxious novice reverses that order, putting expositional duty ahead of dramatic necessity.

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.

As we gather in all the scenes that satirize Hollywood aristocracy, we realize that commercial films that presume to instruct society on how to solve its shortcomings are certain to be false. For, with few exceptions, most filmmakers, like Sullivan, are not interested in the suffering poor as much as the picturesque poor.

The weakest possible excuse to include anything in a story is: “But it actually happened.” Everything happens; everything imaginable happens. Indeed, the unimaginable happens. But story is not life in actuality. Mere occurrence brings us nowhere near the truth. What happens is fact, not truth. Truth is what we think about what happens.

Nothing moves forward in a story except through conflict. Writers who cannot grasp this truth, the truth of conflict, writers who have been misled by the counterfeit comforts of modern life into believing that life is easy once you know how to play the game. These writers give conflict a false inflection. The scripts they write fail for one of two reasons, either a glut of banal conflict or a lack of meaningful conflict. The former are exercises in turbo special effects written by those who follow textbook imperatives to create conflict but because they're disinterested in or insensitive to the honest struggles of life, devise overwrought excuses for mayhem. The latter are tedious portraits written in reaction against conflict itself, these writers take the pollyanna view, that life would really be nice if it weren't for conflict. What writers at these extremes fail to realize is that while the quality of conflict in life changes as it shifts from level to level, the quantity of conflict is constant. When we remove conflict from one level of life, it amplifies ten times over on another level. When, for example, we don't have to work from dawn to dark to put bread on the table, we now have time to reflect on the great conflict within our mind and heart or we may become aware of the terrible tyrannies and suffering in the world at large. As Jean-Paul Sartre expressed it, "The essence of reality is scarcity. There isn't enough love in the world, enough food, enough justice, enough time in life. To gain any sense of satisfaction in our life we must go in to heady conflict with the forces of scarcity. To be alive is to be in perpetual conflict at one or all three levels of our lives.

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.

HOW ENGLISH BECAME A DOUBLE LANGUAGE After the Romans conquered England in the first century AD, they hired German and Scandinavian mercenaries from Anglia and Saxony to help fend off pirates and put down rebellions by the native Picts and Celts. When the Roman Empire abandoned England in 410 AD, more Anglo-Saxons migrated to the island, marginalizing the Gallic-speaking Celts, wiping out the Latin of the Romans, and imposing their Germanic tongue throughout England. But 600 years later Latin came back this roundabout way: In 911 AD Danish Vikings conquered territory along the north coast of France and named it after themselves, Normandy, land of the Norsemen. After 150 years of marriage to French women, these Danes spoke what their mothers spoke, a thousand-year-old French dialect of Latin. In 1066 King Wilhelm of Normandy (a.k.a. William the Conqueror) led his armies across the English Channel and defeated the English king. With that victory, French came to England. Throughout history, foreign conquests usually erase native languages. But England was the exception. For some mysterious reason, the Germanic language of the Anglo-Saxons and the Latinate French of the Normans merged. As a result, the vocabulary of what became modern English doubled. English has at least two words for everything. Compare, for example, the Germanic-rooted words “fire,” “hand,” “tip,” “ham,” and “flow” to the French-derived words “flame,” “palm,” “point,” “pork,” and “fluid.

No one needs yet another recipe book on how to reheat Hollywood leftovers. We need a rediscovery of the underlying tenets of our art, the guiding principles that liberate talent. No matter where a film is made—Hollywood, Paris, Hong Kong—if it’s of archetypal quality, it triggers a global and perpetual chain reaction of pleasure that carries it from cinema to cinema, generation to generation.

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.

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.

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.

Deus ex machina not only erases all meaning and emotion, it's an insult to the audience. Each of us knows we must choose and act, for better or worse, to determine the meaning of our lives. No one and nothing coincidental will come along to take that responsibility from us, regardless of the injustices and chaos around us. You could be locked in a cell for the rest of your life for a crime you did not commit. But every morning you would still have to get up and make meaning. Do I bludgeon my brains against this wall or do I find some way to get through my days with value? Our lives are ultimately in our own hands. Deus ex machina is an insult because it is a lie.

Day after day we seek an answer to the ageless question Aristotle posed in Ethics: How should a human being lead his life? But the answer eludes us, hiding behind a blur of racing hours as we struggle to fit our means to our dreams, fuse idea with passion, turn desire into reality. (...) Traditionally humankind has sought the answer to Aristotle's question from the four wisdoms - philosophy, science, religion, art - taking insight from each to bolt together a livable meaning. But today who reads Hegel or Kant without an exam to pass? Science, once the great explicator, garbles life with complexity and perplexity. Who can listen without cynicism to economists, sociologists, politicians? Religion, for many, has become an empty ritual that masks hypocrisy. As our faith in traditional ideologies diminishes, we turn to the source we still believe in: the art of story.