I am a writer and director of action adventure movies.

I'm one of the writers of Pacific Rim Uprising Cordon.

Right now I'm reading Jurassic World three.

Here's what's gonna happen.

I'm gonna receive a riding crop that I have never seen before.

And I am gonna be strictly on the clock to write a scene based on that prompt.

And when I am done, I am going to get a round of studio notes, so this is not normal.

This is not normally how the process of writing occurs.

I am not presently nervous.

Time to read the props.

Okay, the year is 2048.

That's an excellent year for it to be.

The main character has to encounter her old colleague at her local protein depository.

We'll need to include some object inside his jacket.

The scene must lead into a chase sequence.

Excellent, functional, serviceable sci fi world building.

Love it.

Haley, 35 Glen, 66.

All right, here's what I'm thinking about this.

She could be running from SciFi police.

I love sci fi police.

I love running from side by police.

It's one of my favorite action beats she could be running from Glen or she could be running, for she could be running from both of them.

So a lot of times I will sort of, like, dive into the most interesting part of the scene and then circle back around to do the beginning and the end and watching the whole scene sort of like close in on itself and watching those gaps close up is really fun.

Creates a feeling of satisfaction.

Feels like you're getting your job.

John feels like everything is falling into place.

Let's let's let's do this.

Um, text front of protein packet depository.

Dispensary depository.

Um, so I'm gonna get that moment Where, uh, the almost in her ear.

In general, if somebody is gonna leap out of their chair when they see somebody else or they're gonna be clearing their throat before they say something, I try to get into a parenthetical because a parent medical takes up a little less vertical space than the screen direction.

One of the things that you'll see me do a lot and you'll see me try to get anything.

That's two lines to be one line, because why do in two lines what you could do in one line.

Now I get to choose whether I'm going to spend my time flushing out this chase sequence, which could be really fun.

But we have to establish what this object is.

Look, it's a scifi story.

It could be anything he could have, like a radioactive Chowchilla in his jacket and she could run away from the police.

And those two things wouldn't have to.

It wouldn't have to be clear yet how they're related, because this is clearly a scene at the beginning of the story.

But I like the idea that, like, as soon as Haley sees the object, she knows what it ISS.

So I like the idea that it iss something like this.

Is that that that that is that, um is it like, is that my So I think these two have a criminal past.

I think she has entrusted him with something, and the fact that he is using it or that he's he's brought it out into the world is now gonna get both of them in trouble.

I'm gonna circle back and just make sure just make sure that I have the basic establishing things because I know how much time I have left.

I like to put dot dot dots in front of something in character.

Says to indicate that they take a long pause because it's the only way to indicate that a character stops or pauses without using an extra line.

When I want going to say is a variation on I thought you skipped town, but because it's sci fi like, let's use that as an opportunity to like flesh out this world a little bit more and let's say wounds.

No moon side is too silly.

Somehow, Um, let's just give him an outer ring.

Isn't an outer ring of planets is an outer ring of factories.

It's not my job to figure that out right now.

I'm just trying to make a good scene in a sci fi setting.

Leaving town might be something really different and having a character asked that in such an offhanded way, like I thought you left the surface or hey, I thought you rotated to the outer rig.

It's a fun way to start Thio to start to hint and to start to open up.

The sci fi world is unlike our own and that it has a deep history and that there's a lot going on there.

So we've set up the circumstances.

Now we gotta figure out what this object is.

Is that my fallback here is safe cracker like there might be an object that would be a safe cracker, but I kind of want something cooler than that.

Uh, could it be, Huh?

Um, it's name it are no off bringing.

So I just sort of casually said that Arno has a digital voice.

Obviously, what's happening is a small robot is talking to handling from inside Glenn's jacket, and I just want to establish that that voice happened suddenly that it's a little bit surprising and it needs a little bit more description.

I can't just offhandedly say our nose digital voice emerges from Glenn's jacket.

I need to describe the voice a little bit more, but I don't have time, so I'm gonna, like just make sure that I've sort of, like, flushed out the elements of the scene and maybe circle back to it.

And then I love this idea that, like there's a betrayal involved.

I love this.

Why is this line breaking weird through male or female police member spinning a policeman?

Um, no, wait.

I don't want to make it a policeman in, like, a mask in a white suit because that's so lame for science fiction.

A policeman in a a regal, regal, almost Victorian era suit Catch it site of Glen and talks to Wrist communicator.

Um, grabs are no.

How do you spell are?

No, she's in loaning Somebody bumps her elbow and now I'm gonna add just a little lying here so we know what's happening.

And then at that moment, a tiny digital voice speaks from somewhere inside.

Make sure all these little guys are O s.

So I blasted that scene out really quickly.

So I'm gonna circle around back to the top.

I'm gonna see if there's anything that I want to change.

Just basically going to read it to myself.

There wasn't any work there.

This could probably be better.

I'm just going to say it's tapped out.

Seems a little more casual and realistic.

This is probably not worth two lines.

Just stick that.

They're gonna put this in italics.

I'm putting this in italics to indicate to the reader that yes, what?

They're reading is unusual and SciFi ish.

Just go and have just glad have one n or two scrolls.

Glenn.

I guess Glen has two ends because it's SciFi big feature of fantasy and sci fi world is like people's names having more than the usual number of letters.

All right, so maybe I'm gonna put it.

We're gonna give this a different font because it's in a digital voice.

If I put this in a different front, somebody's gonna love it and somebody's gonna hate it.

But you just kind of take your choice.

Let's try future.

That is way too aggressive.

How about Avenir?

I like it are no is going to speak in Avenir.

Arno is also going to have only one line there because again are no was just repeating himself.

So there's no point in wasting an extra line on that.

Not that there isn't often a very good reason for characters to repeat themselves.

Characters repeat themselves often when they're having ah, hard time taking something in.

That's also good, because that might be something that the audience needs to hear a few times.

Cool.

Um uh, surrounded.

Cops draw weapons.

I mean, that was a little fast.

It's a little fast for for legal law enforcement crackdown in the future.

But whatever, it's fine for the moment.

Okay, good.

Basically, we're done.

I love it.

I love you more with it.

I think it's one of the things this video is revealing is how poorly I spell.

But let that inspire you.

You don't need to be perfect at spelling in order to be a writer or even competent at spelling at all.

All right, first Round Origin's studio notes.

Can we flesh out the character of Hayley a bit more here?

We want to know more about who she is.

Great.

This is a great opportunity to talk about all the different ways that character's tell us who they are.

Second draft, the first thing that I'm going to do eyes.

I'm gonna emphasize this moment of decision that I've already given Haley just to make sure that the studio exec didn't miss it.

So I'm gonna do that right now, Haley clocks the surrounding police.

I wonder if we can give Hayley the opportunity to walk away from this.

That's a good idea.

The number one best way for a character to tell us who they are is to undertake or make an unusual decision.

So let's do that.

Police aren't circling Glenn.

It's a little fast for them to encircle Glen.

But whatever.

It's fine.

They're side by police.

They're very efficient.

Uh oh.

Police blend puts his hands in the air.

Okay, got it.

I know I know what we're gonna D'oh.

So generally you are not supposed to make the director feel like you are telling them where to put the camera because that is the director's job.

You can, however, hopefully suggest to the director or put an image in their mind off something that they might like to do with the camera.

One of the things that I really like to do is I like to say that lets us know that the character is having some sort of emotional experience.

They're reeling, they're dizzy.

But to me it suggests a camera rotation suggest that the camera's gonna spin around her on dhe.

That's helping to highlight the idea that this character is about to make an important decision.

Oh, thanks.

Just to make clear that she's gotten herself in a lot of trouble.

There we go, So we gave our character a chance to, like, walk away and she didn't take it.

What's this?

I am getting a text.

Just got worried about a contractual change.

We need to include the doctor in this scene.

Oh, I love it.

So the notice that we have to put the doctor in the scene and the doctor has capitalized indicating that this is a character who we've seen before who has relationships with some of the characters who are already here?

We have a tense scene already because we have Hayley, who's in conflict with Glenn and both of them who are in constant conflict with the police.

So if we add a new character to the scene, we want that new character to make the scene Maur interesting and more dramatic.

We want that character to make everybody's lives harder and not easier.

Is the doctor there practicing medicine?

Is Haley injured?

Is she being tended to?

Is there a Mmm Mmm Mmm.

Mmm.

Mmm.

Haley waits in line.

A doctor peddling.

So we know what this character is.

Um, Suspiria did, um I'm gonna say that this person, this is a doctor who goes around in a push cart on in minister's medicine to people in this scifi world.

I just kind of like the idea that the doctor would be that the doctors trade would not be irrelevant to her presence in this scene.

I also think that since we're about to have a chase sequence, I'd like to see that push cart be utilized in the chase sequence.

It's always nice when you can have a vehicle in there and kind of get it in there surreptitiously like bring it on to the scene for what seems like another reason.

And then somebody has the opportunity to use it during the chase.

I like this.

This person has a problem with their cocker implant, just like a little line management for this world.

And maybe this character is gonna be somebody who tries to get Haley not to do not to make this a precipitous choice.

That Haley is making just gonna be somebody who, like, tries to get Haley not not to run away.

So having a character discover information that they need by reading it, like reading it in a newspaper is one of the least interesting ways that characters could discover information.

One of the most interesting ways is to have another character deliver that information to them for a motivated reason, because characters taking action on the basis of their internal motivations is the essence of drama gears, gears and Haley's elbow.

That's like, too, on the nose but like, um the So when I put a line in italics, it means something really particular.

And it means that character is acting.

The light is speaking the line in a really pointed way, like they have some subtext, and they're leaning so hard into the subtext that it's almost starting to sound like it's text.

Um, all right, Bloom's Haley Glenn.

Okay, we got a sigh.

If I push cart, Doctor goes around with her push card, administering people's various implants have got Hayley has implants in her elbow that maybe need fancier medical attention Should prior relationship with this doctor.

The doctor is like, just walk away from this girl.

It's not worth it.

Hayley bucks.

That advice grabs the robot and runs.

I'm happy with this.

All right, Another note.