I've Been Teaching Screenwriting For 25 Years... Here Are The Most Common Mistakes - Matthew Kalil

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Matthew Kalil is a writer, director, script editor, author and speaker. He has written and co-written over 40 produced episodes of TV and has received various grants, development funding and awards. Matthew’s productions have been screened and broadcast in Canada, Denmark, Morocco, New Zealand, Puerto Rico, Kenya, South Africa, Thailand, the United States and the United Kingdom. Since receiving his MA in Screenwriting, he has been teaching, writing and mentoring students for over 20 years. Matthew has developed a unique system of screenwriting theory that helps beginners as well as established screenwriters get in touch with their creative core. His book, The Three Wells of Screenwriting, published by Michael Wiese productions with a foreword by Christopher Vogler, has been describes as a “breakthrough in the writing craft.” His workshops have touched and inspired thousands of participants and his gentle and insightful script editing guidance has helped many writers realize the stories they were always trying to tell. A charismatic speaker, Matthew has enjoyed presenting many times at the London Screenwriting Festival, the Cape Town International Animation Festival and the University Film and Video Association. Matthew is currently an Assistant Professor at the David Lynch MFA in screenwriting in the USA.
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[@filmcourage]

Do any of these mistakes ring true for you?

[@lonjohnson5161]

This one might be worth coming back to from time to time.

[@DAMON409]

His coments about "house" is not true. You don't have to describe everything to It's smallest detail. You do that and youre writing a book, not a screenplay.

[@Lithilic]

I'm more of a novel writer but I like to see what I can glean from screenplay writing, especially with how to be more direct with descriptions.

[@andrewpearson5504]

This is all so basic. Really reminds you how just about everyone thinks he or she can be a screenwriter.

[@dramastudiobordeaux8058]

The writers on the Acolyte (Star Wars) need to hire you for some basic - and I mean basic - classes in screenwriting...... I mean, how did those people get hired in the first place........

[@kuramobay2445]

Screenwriting is telling a story to create emotions in the reader that will translate to the screen. If the location is not relevant to the story beyond its practical purpose then what's the point of being specific? Is it not better for the director to know that it's not a particular kind of house and he can choose whatever he prefers or whatever the budget will allow. I just have little patience for people who nitpick and present personal foibles as essential to the work. This only happens in screenwriting. All the other crafts are BS proof. When Roger Deakins or other great DPs talks about cinematography there's never any dogma involved. It's all about expression and communicating intentions.

[@PeanskeanENT]

i wrote all these scripts and just learned so much in this video. I would go back but have to put it in my new writing...

[@wexwuthor1776]

Lots of new faces. Film Courage is on the grind. 💪🏾💪🏾💪🏾

[@matthewlavagna6080]

Be visually descriptive while using the minimum amount of words.

[@bigdaddygrim250]

The big three he mentions:

[@mjames-ll2ct]

in writing my pilot script, i have been drawing out locations because it's going to be 2D animation, the main location is a school and i want to look a neglected, somewhat underfunded so i started off made the floors a bit untidy and dusty

[@doityourself949]

Checks latest script “int bedroom late afternoon”. Damn, he was right. Great video and great tips.

[@dramastudiobordeaux8058]

His point about the house is important. Think about the two chairs in the montage at the beginning of the Pixar movie UP. The description of the chairs is essential into conveying ideas - visually and implicitly, who that couple were, the type of people they were and the dynamic of their relationship. Thats really good storytelling. The montage was a film all by itself.

[@ilovefilm2]

He’s a great teacher!

[@DexterMorgan-sd4jx]

He's a very good teacher, without a doubt I'm going to revisit this video again to study.

[@AlexKurilovMusic]

The last point about symbols is also huge. It's so tempting to be obscure and expect the audience to figure out your intention in this sort of "aaah i get it i get" sort of way. Because it strokes your ego a bit as a creator, and you don't want to give away some deep meaning that you purposefully hidden underneath. But it's important to remember that it's only the best works of art earn that kind of attention of analysis. But before that, you need to create something that will catch attention by itself.

[@ratemyactors]

Loved this video! As an aspiring screenwriter, I found Matthew's advice and insights to be incredibly valuable. It's reassuring to know that even experienced writers like myself are prone to common mistakes. Can't wait to dive into his book, The Three Wells of Screenwriting, for more guidance and inspiration. Thanks for sharing your expertise, Matthew!

[@LeviathantheMighty]

Good info! Thanks!

[@mrdsjenzie]

so i'm writing out my first draft script, and i'm experimenting somewhat on the sluglines... EXT. CHARACTER'S HOUSE, and then some info on it; not the whole house; just the rooms in it, and editing it as i go. establish who's house... and there's your anchor. yeah descriptive of the location doesn't have to be a lot, just what is needed for the reader. also if you've already established the location, i'm not continually telling it's in that general location, just the specific location, maybe even the time of the day as well.