Robert McKee Quotes

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

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.

The Law of Diminishing Returns, true in life as well as in story, is this: The more often we experience something, the less effect it has. Emotional experience, in other words, cannot be repeated back-to-back with effect. […] The first time we experience an emotion or sensation it has full effect. If we try repeat this experience immediately, it has half or less than half of its full effect. If we go straight to the same emotion for the third time, it not only doesn’t have the original effect, it delivers the opposite effect

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

An artist intent on creating works of lasting quality comes to realize that life isn't about subtle adjustments to stress, or hyper conflicts of master criminals with stolen nuclear devices holding cities for ransom. Life is about the ultimate questions of finding love and self-worth, of bringing serenity to inner chaos, of the titanic social inequities everywhere around us, of time running out. Life is conflict. That is its nature. The writer must decide where and how to orchestrate this struggle.

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.

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.

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.

El peligro es el siguiente: cuando nuestra premisa es una idea que pensamos que debemos demostrar al mundo y diseñamos nuestro relato como un certificado irrechazable de esa idea, nos embarcamos en la didáctica. En nuestro afán por convencer reducimos el poder del otro lado. Utilizamos mal nuestro arte, y abusamos de él para sermonear, y así nuestros guiones se convierten en películas de tesis, en sermones vagamente disfrazados cuando intentamos convertir al mundo de una única pincelada.

A STORY must obey its own internal laws of probability.

What is the “substance” of story?

The archetypal story unearths a universally human experience, then wraps itself inside a unique, culture-specific expression. A stereotypical story reverses this pattern:

Art consists of separating one tiny piece from the rest of the universe and holding it up in such a way that it appears to be the most important, fascinating thing of this moment.

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.

intimate or epic the setting, instinctively the audience draws a circle around the characters and their world, a circumference of experience that’s defined by the nature of the fictional reality. This line may reach inward to the soul, outward into the universe, or in both directions at once. The audience, therefore, expects the storyteller to be an artist of vision who can take his story to those distant depths and ranges.