How to Write Dialogue

00:10:57
https://www.youtube.com/watch?v=O58WMS_qvb4

摘要

TLDRO vídeo explora como escrever diálogos eficazes em roteiros cinematográficos, insistindo que não se trata apenas de ser instintivamente talentoso, mas sim de entender a funcionalidade do diálogo na narrativa. Diálogos devem servir à história, apoiando o objetivo dos personagens ao invés de se concentrarem em trocadilhos ou estilo. Ele cita métodos de autores renomados como David Mamet e Aaron Sorkin, que começam com a intenção e obstáculo dos personagens na cena. O vídeo destaca que nem todos os grandes filmes possuem diálogos estilisticamente memoráveis, mas ao invés disso, são eficazes em manter a narrativa fluindo. A prática constante e a simplicidade são enfatizadas como chaves para melhorar a criação de diálogos naturais e fluidos.

心得

  • 🎬 O diálogo deve mover a história adiante.
  • 🗣️ Foque na intenção e obstáculo dos personagens.
  • ✍️ Escrever boas falas requer prática.
  • 📚 Use a simplicidade para evitar confusão.
  • 🛠️ Diálogo estilístico é apenas uma ferramenta.
  • 📢 Não imite o estilo de outros escritores.
  • 🤔 Perguntas chave: o que os personagens querem?
  • 🎥 Nem todos os grandes filmes têm diálogos memoráveis.
  • 📅 Diálogo serve ao contexto do momento.
  • 💬 Estilo vem com a prática e repetição.

时间轴

  • 00:00:00 - 00:05:00

    O diálogo não é apenas uma série de piadas espirituosas ou um poema; é uma ferramenta que impulsiona a história enquanto os personagens usam a linguagem para alcançar seus objetivos. Isso se torna evidente ao considerar como o diálogo se compara à ação física, ambos movendo a narrativa adiante. David Mamet sugere focar em três perguntas essenciais ao escrever diálogos: quem quer o quê de quem, o que acontece se não conseguir e por que agora? É crucial que o diálogo revele o desejo do personagem e seja impulsionado pelo contexto da cena para que a narrativa avance de forma orgânica.

  • 00:05:00 - 00:10:57

    Mesmo que você não consiga escrever como Sorkin ou Mamet, isso não deve desanimá-lo. Muitos filmes amados não possuem diálogos chamativos, mas a história ainda ressoa com o público. Em essência, o que importa é a função do diálogo na cena e como ele contribui para o desenrolar da história. Deve-se evitar teorias acadêmicas complexas e focar na simplicidade: por que os personagens estão lá, o que querem e como a cena altera a narrativa. Praticar e escrever bastante ajudará a afinar o som natural dos personagens, pois o estilo vem com a prática ao invés de tentar imitar famosos roteiristas. O mais importante é manter o diálogo necessário e eficaz, deixando o estilo pessoal evoluir naturalmente.

思维导图

Mind Map

常见问题

  • Qual é o propósito do diálogo em um roteiro?

    O propósito do diálogo é mover a história para frente à medida que os personagens usam a linguagem para atingir seus objetivos.

  • O que David Mamet sugere ao escrever diálogos?

    Mamet sugere focar em três perguntas: quem quer o quê de quem, o que acontece se não conseguir e por que agora.

  • Qual é a abordagem de Aaron Sorkin para diálogos?

    Sorkin se concentra na intenção e obstáculo dos personagens, reconhecendo que o diálogo estilístico é apenas uma ferramenta.

  • Todos os grandes filmes possuem diálogos estilosos memoráveis?

    Não, muitos grandes filmes possuem diálogos que não são estilosos, mas que funcionam bem para a narrativa.

  • O vídeo sugere que se deve imitar o estilo de diálogo de Sorkin ou Mamet?

    Não, o vídeo sugere que tentar imitar esses estilos pode resultar em um diálogo forçado e artificial.

  • Como o vídeo sugere desenvolver diálogos naturais e fluentes?

    Praticar bastante a escrita é a maneira sugerida para desenvolver diálogos que soem naturais e fluidos.

  • O que o vídeo critica sobre muitos conselhos dados para escrever diálogos?

    Critica-se o foco excessivo em subtexto, verbos emocionais e evitar exposição, que podem complicar o processo de escrita.

  • Quais perguntas devem orientar a escrita de uma cena?

    Deve-se perguntar o que os personagens querem, qual a importância deste momento para a história e quem está no caminho.

  • Como o vídeo classifica a importância da simplicidade ao escrever diálogos?

    Classifica como essencial, destacando que a simplicidade ajuda a evitar confusão durante o processo de escrita.

  • O vídeo oferece alguma recomendação sobre workshops ou grupos de escritores?

    Sim, aconselha escritores a se juntarem a grupos, como o "writers room" no Facebook, para compartilhar ideias e feedbacks.

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  • 00:00:00
    when you think about dialogue you
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    probably think about iconic one-liners
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    you're gonna need a bigger boat
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    or writers with great dialogue style you
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    didn't have seconds you had three weeks
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    the universe was created in a third of
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    that time well someday you'll have to
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    tell us how you did it on the flip side
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    everyone knows bad dialogue when they
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    hear it it can stunt a scene and pull
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    you out of a movie from on the nose
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    lines too long expositional monologues
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    we've all heard it so how do you write
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    good dialogue is it just a talent you're
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    born with or can it actually be taught
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    let's start by figuring out what
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    dialogue actually is
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    dialogue isn't a conversation dialogue
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    isn't simply woody jokes or phrases it
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    also isn't solely poetry or even music
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    the purpose of dialogue is to move the
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    story forward as characters use language
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    to move towards their goal a character
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    wants something and they need to talk to
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    someone else to get it there really
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    isn't any difference in using dialogue
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    versus using physical action they're
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    both just tools both should move the
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    story forward through a character
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    heading towards their goal it depends on
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    the context and the type of story being
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    told which determines what a character
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    does to move towards their goal
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    sometimes they may speak sometimes they
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    may physically act dialogue should first
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    and foremost be about context you should
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    be focusing on why this scene is here in
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    the first place before you're even
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    worried about dialogue what do the
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    characters want what do they believe how
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    does this scenes existence move the
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    story forward we know the answers to
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    these questions not from writing
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    dialogue but from building our
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    characters building what they believe
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    and building what they want dialogue in
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    and of itself will never create a good
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    scene not even the wittiest quickest
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    most fun dialogue will ever make a great
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    scene on its own David Mamet one of the
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    best writers of stylistic dialogue said
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    that when you're writing dialogue in a
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    scene you should focus on three
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    questions who wants what from who what
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    happens if they don't get it and why now
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    notice how these questions have nothing
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    to do with the exact word choice or flow
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    of dialogue they are about the story and
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    how dialogue will move that story
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    forward let's take a look at the opening
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    scene of Steve Jobs written by Aaron
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    Sorkin the screen says it's a nun
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    implemented trap but the error code is
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    wrong it's
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    so what's the upshot it's not gonna say
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    hello absolutely Steve Jobs talks to
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    Andy Hertzfeld and Joanna Hoffman less
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    than an hour before Apple's presentation
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    of the Mac let's apply Mamet's questions
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    to this scene Steve is the main
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    character so first what does Steve want
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    Steve wants the Mac to say hello in the
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    presentation skip over the voice demo we
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    need it to say hello you're not hearing
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    me it's not going to say exit what
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    happens if he doesn't get it Steve tells
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    us in the dialogue why now Apple is
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    about to reveal the Mac and take a great
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    leap in the computing space the
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    presentation is starting in less than an
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    hour it must get done right now 26
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    people and a stringer from the Alameda
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    County shoppers guy a lot of people are
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    obsessed with Sorkin's flashy dialogue
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    for the wrong reasons he writes
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    beautiful dialogue and I love his films
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    and television shows but his fast paced
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    and snappy dialogue isn't the foundation
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    of his stories and Sorkin knows this
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    Sorkin uses a very similar method to
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    Mamet's on how to start each scene I
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    worship at the altar of intention and
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    obstacle and I'm I'm trying to I'm just
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    loading up on what those things are of
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    what is the intention and obstacle and
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    that's the that's the drive shaft of the
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    car well somebody wants something
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    something standing in their way of
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    getting it and once you've built that
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    then you can start to do the fun things
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    that you like to do for me that's
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    dialogue his dialogue rests on knowing
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    his characters want and what is stopping
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    them from getting it for example in this
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    scene Steve Jobs wants the Mac to send
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    Apple into the future as a leader in the
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    computing market and is obstacle is that
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    the Mac is failing to say hello minutes
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    before the presentation
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    Sorkin knows that without intention and
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    obstacle his story will not work no
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    matter how beautiful the dialogue is
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    stylistic dialogue is simply a tool in
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    the toolbox and you should think in the
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    same way
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    the beautiful part about knowing what
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    your characters want and knowing the
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    context of the scene is that your
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    dialogue will flow much better once you
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    have a grasp on why the scene exists now
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    you know why your characters are talking
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    and what they are talking about but
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    here's the reality even if you follow
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    Mamet's three questions or Sorkin's
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    understanding of intention and obstacle
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    you still probably won't be able to
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    write like them it's an element of
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    screenwriting that is based heavily on
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    instinct but before you get discouraged
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    that you probably won't be able to write
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    like Sorkin I want you to pause and
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    think about some of your favorite movies
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    of all time do they all have amazing
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    stylistic dialogue how much of the
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    dialogue do you remember from most great
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    films let's take a look at a scene that
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    doesn't have flashy dialogue like
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    Sorkin's but still works very well for
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    the story this is a scene from zodiac
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    written by James Vanderbilt adapted from
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    the book by Robert gray-smith in this
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    scene three investigators speak to a
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    suspect who they think may be the Zodiac
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    killer mr. Allen I'm inspector bill
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    Armstrong as Inspector Dave darsky and
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    Sergeant Jack Mullenix we're
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    investigating the zodiac martyrs in San
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    Francisco and Vallejo again let's apply
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    ma'am it's three questions what do the
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    characters want the investigators lead
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    the scene and they all have the same
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    want to find out whether or not Arthur
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    Leigh Allen should be considered a
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    serious suspect in the case what happens
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    if they don't get it the investigators
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    are looking for a dangerous serial
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    killer if they don't find the right man
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    more people will die the knives I had in
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    my car with the blood on them that blood
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    came from a chicken that I killed for
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    dinner why now because they have finally
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    found enough circumstantial evidence to
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    warrant speaking with Allen direct the
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    zodiac letters with his right hand
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    producing a different handwriting that
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    he can't
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    and if we also apply Sorkin's method of
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    intention and obstacle the three
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    investigators want to find out whether
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    or not Arthur Leigh Allen should be
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    considered as a serious suspect but the
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    obstacle is that Alan is cagey and gives
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    them nothing all of the elements of a
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    great scene are here the characters
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    pursue what they want and what the
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    investigators learn in the scene moves
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    the story forward the dialogue isn't
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    supposed to stand out and be flashy it's
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    just supposed to work and serve the
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    story and in a lot of ways maybe that's
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    the best form of dialogue because
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    stylistic dialogue can run away from you
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    and take away from the most important
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    thing telling the story just like great
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    editing can be invisible
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    maybe dialog can work the same way the
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    reality is you don't have to write like
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    Mamet or Sorkin or any of those writers
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    some of the best dialogue is invisible
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    understand what you're good at
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    there are so many great films out there
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    where you never really thought much
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    about the dialogue yet you love the
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    story anyways it's not that the dialogue
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    was bad
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    it just wasn't extremely stylistic it
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    was just good dialogue a lot of what is
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    taught about writing dialogue simply
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    isn't practical everyone talks about
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    constantly keeping subtext at the
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    forefront of your mind while you write
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    or they talk about knowing exactly how
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    each line of dialogue has a particular
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    emotional verb behind it like a tack or
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    punish or pursue or they give all kinds
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    of tips on avoiding exposition and
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    dialogue and honestly I think most of
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    this is worse than useless because that
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    interrupts your flow of writing and it
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    makes you overthink every single line as
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    you push through the scene so what
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    should you be focusing on when you go to
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    write ultimately dialog comes down to
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    two things focus on the purpose of the
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    scene why are your characters here what
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    does each character want what will
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    happen here that turns the story and
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    what or who is standing in the
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    character's way focus on making your
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    characters sound fluid and natural this
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    happens by writing and writing a lot
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    I can't teach you how to make character
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    sound natural that only happens by
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    writing a lot anything other than this
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    and you start getting into unhelpful
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    academic theory and unnecessary
  • 00:09:12
    complexity trying hard to sound like
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    Sorkin or Mamet or Tarantino will make
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    your dialogue sound forced and
  • 00:09:18
    inauthentic which is the last thing you
  • 00:09:20
    want whatever style of dialogue you may
  • 00:09:23
    have will come as you write if you're
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    worried because you're not writing good
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    dialogue but you haven't written a lot
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    yet then I don't know what to tell you
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    you have to write to see what you like
  • 00:09:34
    and see what you don't like and then go
  • 00:09:36
    from there same as anyone else in this
  • 00:09:40
    video I didn't give a detailed analysis
  • 00:09:42
    of subtext or specific word choice or
  • 00:09:44
    all the other phrases and tips people
  • 00:09:46
    like to throw around to make non writers
  • 00:09:48
    feel intelligent and writers feel stuck
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    and confused I found that when I'm
  • 00:09:54
    writing dialogue simplicity is a
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    necessity I can't hold five ideas in my
  • 00:09:59
    head about exposition subtext verbally
  • 00:10:01
    charge lines and diction while I also
  • 00:10:04
    try to remember what the scene is about
  • 00:10:06
    it's nonsense and it's confusing who
  • 00:10:09
    wants what from who what happens if they
  • 00:10:11
    don't get it and why now leave the rest
  • 00:10:15
    in the classroom
  • 00:10:19
    hello I hope you enjoyed the video if
  • 00:10:21
    you did please give it a like and
  • 00:10:23
    subscribe if you're a screenwriter
  • 00:10:25
    looking to join a group of other writers
  • 00:10:27
    to share ideas give and receive feedback
  • 00:10:29
    and talk about the writing process then
  • 00:10:32
    you should join the writers room on
  • 00:10:33
    Facebook linked below and check out my
  • 00:10:36
    guide to screenwriting where I go over
  • 00:10:38
    the fundamental elements of
  • 00:10:39
    screenwriting and storytelling thanks
  • 00:10:42
    for watching
标签
  • diálogo
  • roteiros
  • David Mamet
  • Aaron Sorkin
  • intenção
  • obstáculo
  • escrita
  • cinema
  • história
  • narrativa