Michael Regilio

And the director said to me, he said, we're spending three million dollars a week not to make this movie. Oh, God. Wow. You know, I come in and I'm just like cut 15 or 20 pages of the script. But cutting 15 or 20 pages out of script is like cutting 15 or 20 million dollars out of the budget. Oh, wow. You're always trying to be cost conscious.

And the director said to me, he said, we're spending three million dollars a week not to make this movie. Oh, God. Wow. You know, I come in and I'm just like cut 15 or 20 pages of the script. But cutting 15 or 20 pages out of script is like cutting 15 or 20 million dollars out of the budget. Oh, wow. You're always trying to be cost conscious.

And the director said to me, he said, we're spending three million dollars a week not to make this movie. Oh, God. Wow. You know, I come in and I'm just like cut 15 or 20 pages of the script. But cutting 15 or 20 pages out of script is like cutting 15 or 20 million dollars out of the budget. Oh, wow. You're always trying to be cost conscious.

You're always trying to find very efficient ways to make the script better. But a lot of times what you're just doing is it can't be cost conscious if you're just, you know, making a script better. My joke is that there's nothing more expensive than bad writing and there's nothing cheaper than good writing.

You're always trying to find very efficient ways to make the script better. But a lot of times what you're just doing is it can't be cost conscious if you're just, you know, making a script better. My joke is that there's nothing more expensive than bad writing and there's nothing cheaper than good writing.

You're always trying to find very efficient ways to make the script better. But a lot of times what you're just doing is it can't be cost conscious if you're just, you know, making a script better. My joke is that there's nothing more expensive than bad writing and there's nothing cheaper than good writing.

Totally. Totally. Totally. Totally. And if you can come up with a dynamite ending, I'm just telling you like four or five good jokes and that's going to get you an extra 20 million dollars like at the box office. Really?

Totally. Totally. Totally. Totally. And if you can come up with a dynamite ending, I'm just telling you like four or five good jokes and that's going to get you an extra 20 million dollars like at the box office. Really?

Totally. Totally. Totally. Totally. And if you can come up with a dynamite ending, I'm just telling you like four or five good jokes and that's going to get you an extra 20 million dollars like at the box office. Really?

Yeah. So, I mean, sometimes you're brought in to do a humor pass. Sometimes you're brought in to do a page one rewrite, start, finish, rewrite the whole thing. And then sometimes you're brought in to just fix certain characters or certain scenes.

Yeah. So, I mean, sometimes you're brought in to do a humor pass. Sometimes you're brought in to do a page one rewrite, start, finish, rewrite the whole thing. And then sometimes you're brought in to just fix certain characters or certain scenes.

Yeah. So, I mean, sometimes you're brought in to do a humor pass. Sometimes you're brought in to do a page one rewrite, start, finish, rewrite the whole thing. And then sometimes you're brought in to just fix certain characters or certain scenes.

So being a script doctor sounds like an incredible job, but a lot of your career has been actually writing original stories. In one of your video essays where you break down the philosophy of your storytelling and all the lessons that you've learned in your career, you say that the best metaphor you have for coming up with a story is you're trying to climb a mountain blindfolded.

So being a script doctor sounds like an incredible job, but a lot of your career has been actually writing original stories. In one of your video essays where you break down the philosophy of your storytelling and all the lessons that you've learned in your career, you say that the best metaphor you have for coming up with a story is you're trying to climb a mountain blindfolded.

So being a script doctor sounds like an incredible job, but a lot of your career has been actually writing original stories. In one of your video essays where you break down the philosophy of your storytelling and all the lessons that you've learned in your career, you say that the best metaphor you have for coming up with a story is you're trying to climb a mountain blindfolded.

It's hard because you don't know where you're going. You don't know where the top is. You can't see what's below you. But actually, you say the hardest part about climbing a mountain blindfolded is that you just can't find the mountain.

It's hard because you don't know where you're going. You don't know where the top is. You can't see what's below you. But actually, you say the hardest part about climbing a mountain blindfolded is that you just can't find the mountain.

It's hard because you don't know where you're going. You don't know where the top is. You can't see what's below you. But actually, you say the hardest part about climbing a mountain blindfolded is that you just can't find the mountain.

That applies to working as a screenwriter in Hollywood as much as it does to like entrepreneurship or parenting or discovering your purpose, really anything in life. So How do you find the mountain?

That applies to working as a screenwriter in Hollywood as much as it does to like entrepreneurship or parenting or discovering your purpose, really anything in life. So How do you find the mountain?