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.

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

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

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.

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.

In comedy laughter settles all arguments.

Stories are the currency of human relationships.

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

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.

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.

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.

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.

Dialogue concentrates meaning; conversation dilutes it.

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,

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

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.

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?

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

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

Quality storytelling inspires quality dialogue.

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

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.

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

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

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

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.

Creativity is choice-making.

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.

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

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.

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.

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.

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.

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.

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.

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

For most writers, the knowledge they gain from reading and study equals or outweighs experience, especially if that experience goes unexamined.

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

Boy-meets-girl has always been an irreducible convention that occurs early in the telling, to be followed by the trials, tribulations, and triumphs of love.

We cannot ask which is more important, structure or character, because structure is character; character is structure.

The only way to know the truth is to witness him make choices under pressure to take one action or another in the pursuit of his desire.

Ninety percent of all verbal expression has no filmic equivalent. “He’s been sitting there for a long time” can’t be photographed.

As we know from life, decisions are far more difficult to make than actions are to take.

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

First we must dig deeply into life to uncover new insights, new refinements of value and meaning, then create a story vehicle that expresses our interpretation to an increasingly agnostic world.

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.

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 most important question we ask when writing a Love Story is: “What’s to stop them?” For where’s the story in a Love Story? Two people meet, fall in love, marry, raise a family, support each other till death do them part … what could be more boring than that?

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.

How does anyone know from moment to moment what to say or do next until he senses the reaction to what he just did? He doesn't know. Life is always action/reaction. No monologues. No prepared speeches. An improvisation no matter how we mentally rehearse our big moment.

The substance of story is the gap that splits open between what a human being expects to happen when he takes an action and what really does happen; the rift between expectation and result, probability and necessity. To build a scene, we constantly break open these breaches in reality.

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.

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.

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.

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.

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.

The audience knows that people rarely, if ever, understand themselves, and if they do, they're incapable of complete and honest self-explanation. There's always a subtext. If, by chance, what a character says about himself is actually true, we don't know it's true until we witness his choices made under pressure. Self-explanation must be validated or contradicted in action.

When a society cannot ridicule and criticize its institutions, it cannot laugh. The shortest book ever written would be the history of German humor, a culture that has suffered spells of paralyzing fear of authority. Comedy is at heart an angry, antisocial art. To solve the problem of weak comedy, therefore, the writer first asks: What am I angry about? He finds that aspect of society that heats his blood and goes on an assault.

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.

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.

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.

At Crisis the protagonist's willpower is most severely tested. As we know from life, decisions are far more difficult to make than actions are to take. We often put off doing something for as long as possible, then as we finally make the decision and step into the action, we're surprised by its relative ease. We're left to wonder why we dreaded doing it until we realize that most of life's actions are within our reach, but decisions take willpower.

Eavesdrop on any coffee shop conversation and you'll realize in a heartbeat you'd never put that slush onscreen. Real conversation is full of awkward pauses, poor word choices and phrasing, non sequiturs, pointless repetitions; it seldom makes a point or achieves closure. But that's okay because conversation isn't about making points or achieving closure. It's what psychologists call "keeping the channel open." Talk is how we develop and change relationships.

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.

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.

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.

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.

A character is no more a human being than the Venus de Milo is a real woman. A character is a work of art, a metaphor for human nature. We relate to characters as if they were real, but they're superior to reality. Their aspects are designed to be clear and knowable; whereas our fellow humans are difficult to understand, if not enigmatic. We know characters better than we know our friends because a character is eternal and unchanging, while people shift - just when we think we understand them, we don't.

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.