If A Scene Doesn't Contain An Emotional Event It Must Be Removed - Judith Weston

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Judith Weston has, for 35 years, brought tools and confidence to filmmakers and actors, with books, workshops, and one-on-one consultations. In 2015, after 30 years of teaching in-person workshops and classes to thousands of film and television directors, screenwriters, writer-directors, and actors around the world, Judith closed her studio space and shifted her focus to one-on-one consultations with directors and writer-directors of film and television as they prepare to bring their projects to life. She can be available for Zoom Q&As and workshops with schools, festivals, and organizations.
Judith Weston has been a teacher of directors, actors, and writers since 1985.
She has written two books DIRECTING ACTORS: 25th Anniversary Edition: Creating Memorable Performances for Film and Television and THE FILM DIRECTOR'S INTUITION: Script Analysis and Rehearsal Techniques (via Michael Wiese Productions).
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#acting #psychology #artist

[@kuramobay2445]

There's a lot of satisfaction derived by 'experts' from codifying practices and experience, but it's important to remember that this is how most industries function, with manuals explaining and troubleshooting various processes. It's great for aspiring filmmakers but it takes a lot of strength and character to absorb these lessons and be able to break free of them as part of our artistic growth, otherwise we merely end up as well-paid industry hacks - if we're lucky.

[@pikiwiki]

Yeah. I have to agree on this one. Thinking that Every scene you write has to have a "negotiation, fight or seduction" creates a punch list mentality, like a buffet, what's on the menu- a fight? Or a seduction? The mechanics behind this idea might be stressed more to expose the core of the thinking instead of saying, 'this is the way it is'

[@botz77]

Yeah, like I get really emotional when John McClain shoots out that dude's kneecaps. Makes me tear up every time.

[@FablestoneSeries]

There are famous scenes that come to mind, like the conversation about Mcdonald's food, in the movie Pulp Fiction, that I think work but don't appear to meet these criteria. It is just texture, it does nothing whatsoever to serve the story, but it makes the audience smile.

[@moonshinefilms]

The scene establishes character so you can go for the wild ride of the kahuna burger scene

[@FablestoneSeries]

@@moonshinefilms Yeah but she is saying that unless a scene has emotion that it MUST be cut. I use the McDonalds conversation in Pulp Fiction as an example of a conversation that NO emotion whatsoever to the story, and contributes ZERO to the plot, yet it is still a beloved scene. Which disproves what she is saying.

[@moonshinefilms]

@@FablestoneSeries well that car scene is broken up into 2 parts. The emotional event is when Vega "accidentally" shoots the guy in the back seat in the face. And you know what happens after that

[@FablestoneSeries]

But if this woman were the one writing it, following her rules, imagine what she would have done to it? My point I guess is there are many great scenes that contribute nothing but texture to a movie. Quentin Tarantino movies are filled with such moments, but he is just one example. Forrest Gump is another movie that comes to mind, where there is little emotion in a scene and we are just following characters around enjoying them being who they are.

[@LautaroRRIos]

​@@FablestoneSeries @moonshinefilms / its not the same scene and can't be due to the fact that they got off the car and the kahuna burguer eaters slaughter scene happens, then they go back in the car with Marvin. Anyway I think that the event happening in the car, maybe not ''emotional'', but event nevertheless is that Vincent is catching up with Jules after living in Netherlands, they are laughing and making jokes (and comparing American culture with european, something we have to keep in mind) So, something IS happening, and after that short and distended moment we get to see a very violent scene, this work's as a yuxtaposition and shows us how they can kill like is a walk in the park

[@chrisw6164]

24 used to follow this rule. Each scene (in a good episode) had a little more to each scene rather than just moving a plot point forward.

[@joshipavan2843]

Rrr best example for these emotions

[@TheStockwell]

"If a scene doesn't contain an emotional event, it must be removed - unless it's in one of *MY* movies. Har har har! 😸" - Stanley Kubrick

[@vanguardian2864]

This reminds me of Joker: emotional scene after emotional scene

[@corpsefoot758]

There was a lot of plot in Joker too, though So it undercuts her whole message here a bit

[@davidviana6631]

Within 16 hours it's the 3rd time I'm back here to watch this video - lots of gold gems to learn from. Huge thanks!!

[@filmcourage]

What movie has the most memorable emotional scene?

[@chasehedges6775]

Hard to choose, there’s soo many

[@Warrior1Spartan]

Four words: "What's in the box!?"

[@chasehedges6775]

@@Warrior1Spartan Se7en. Love that movie. One of the the best films I have ever seen. “Ernest Hemingway once wrote, ‘The world is a fine place and worth fighting for.’ I agree with the second part.” Love those final lines.

[@theaddictofgaming9174]

"I go, you stay" - The Iron Giant

[@chasehedges6775]

@@theaddictofgaming9174 One of the best animated films ever. “You are who you choose to be.” SUPERMAAAN!

[@WriteOnBroham]

I struggled through this one. Still grabbed nuggets, though.

[@leonoradompor8706]

Yesszzz Amen ***

[@chasehedges6775]

I love this content

[@shareekwillis2799]

Victor seastream might have a less formulaic, simple method." Each scene should push the story forward or teach us about a character" he wrote.

[@jskyewallin1882]

What about short bits in a montage opener? I guess the same should apply (thinking of extremely short “scenes”)!Anyone have recommendations for great opening montage sequences?

[@chadhenderson2922]

I can’t think of any films at the moment with a montage opener, but often montages communicate a sense of overcoming or achieving what the characters believed was impossible. To people who want to make a difference in the world, this can be hugely impactful.

[@Eidolon1andOnly]

Disney/Pixar's _Up_ has one of the best emotional montages.

[@teodelnorte]

Excellent interview and brilliant channel. Thank you

[@jlnsn]

She was reporting what Mike Nichols said; she indicated she didn't fully agree with him, that she felt there could be other categories, or scenes that didn't neatly fall into a category. I do somewhat disagree with her that *every* scene must have an emotional event (or as some have said, every scene must both reveal [or show change in] character as well as advance the plot). I think some connector scenes or some "mainly plot advancement" scenes don't have don't have an "emotional event" as she defines it, but if not, most of those scenes should at least have some emotional component, even if implied or subtextual, or a brief flash. In good movies, there often are a *few* scenes that are only plot advancement or only character revelation or change. But most scenes should have both, even if primarily one more than the other. And if not always a full-fledged emotional event ... then at least some emotion, even if not fully or directly expressed. At any rate, I intend to read her book (the 25th Anniversary edition). In this video, she conveys some good insights and techniques, and is clearly thought-provoking.

[@hmi30noche]

c'est dommage que vous n'avez pas continuer a parler sur Hamlet

[@BionicDance]

I think she left one emotional event out: a mystery. The characters--and, by extension, the audience--are confused, are facing a problem that maybe doesn't make sense or has no obvious solution, and that indecision and/or anxiety provides the emotion. The suspense. The what-have-I-gotten-myself-into. I _suppose_ you could call that a kind of negotiation, but it seems a bit of a stretch to me because the emotion is internal, a _self_ negotiation, a do-I-or-don't-I.

[@yourpersonalspammer]

it's seduction

[@BionicDance]

@@yourpersonalspammer Maybe if you reeeeeeaaaaallllly stretch the definition. I guess. Maybe.

[@chazharris]

@@BionicDance It's likely seduction because they will be trying to draw out or seduce the information out of someone to solve the mystery, problem or puzzle they are facing in that scene. "Mystery" also isn't an active word. Fight, negotiation or seduction are active words that characters in a scene are doing to (or with) others in the scene.

[@BionicDance]

@@chazharris I think you're assuming 'mystery' means like Sherlock Holmes, Columbo, Monk, etc solving a _case._ Sounds like it. But what I mean--and said--is _a_ mystery. Something which has boggled a character and which they are driven to solve, be it a murder case, a supernatural occurrence, a scientific breakthrough, whatever. The way they pursue that mystery, their reasons and passion for solving it...that's an emotional hook. How many stories have been about an apparent orphan searching for their origins? Or trying to redeem a parent who allegedly screwed something up, searching for the clues to clear their name? Solving a mystery is a gigantic emotional hook if you do it right.

[@chazharris]

@@BionicDance “solving” doesn’t emotionally do anything to another character in the scene though. It’s not an active thing the actors can play as an intention.

[@orangewarm1]

Not sure this is accurate. Watch David Lynch, the French New Wave or Haneke. She's talking about Spielberg type films.

[@mauriciopita1]

Idk…

[@guharup]

She knows a lot but is unable to articulate