Michael Regilio

I feel like the low moment before your climax is actually the centrifugal center of your story. A lot of times what you're doing with your story is trying to drive your character down to the place where the worst possible thing is going to happen to them. And that becomes the focus of the rest of your story, right? You're just trying to go to the worst possible place.

I feel like the low moment before your climax is actually the centrifugal center of your story. A lot of times what you're doing with your story is trying to drive your character down to the place where the worst possible thing is going to happen to them. And that becomes the focus of the rest of your story, right? You're just trying to go to the worst possible place.

I'll just grab off the top of my head. An example in Fellini's Eight and a Half, right? Like he's trying to figure out a story that he can make into a movie and he's failing and failing and failing. And finally, he goes to this press conference and they're like, what's your next movie going to be about?

I'll just grab off the top of my head. An example in Fellini's Eight and a Half, right? Like he's trying to figure out a story that he can make into a movie and he's failing and failing and failing. And finally, he goes to this press conference and they're like, what's your next movie going to be about?

I'll just grab off the top of my head. An example in Fellini's Eight and a Half, right? Like he's trying to figure out a story that he can make into a movie and he's failing and failing and failing. And finally, he goes to this press conference and they're like, what's your next movie going to be about?

And he just doesn't have an answer, you know, and people are mocking him and making fun of him and he crawls on the table and has this fantasy about shooting himself in the head. And then, God, it's such a great, that is such a great ending. That ending is so great.

And he just doesn't have an answer, you know, and people are mocking him and making fun of him and he crawls on the table and has this fantasy about shooting himself in the head. And then, God, it's such a great, that is such a great ending. That ending is so great.

And he just doesn't have an answer, you know, and people are mocking him and making fun of him and he crawls on the table and has this fantasy about shooting himself in the head. And then, God, it's such a great, that is such a great ending. That ending is so great.

But the first two acts of that story and half of the third act is just getting your character to this lowest possible moment where they feel exposed, humiliated. The worst thing is happening. And so, yeah. And then the Houdini trick for screenwriting is to be able to turn things around in a second. And Fellini does that really, really well.

But the first two acts of that story and half of the third act is just getting your character to this lowest possible moment where they feel exposed, humiliated. The worst thing is happening. And so, yeah. And then the Houdini trick for screenwriting is to be able to turn things around in a second. And Fellini does that really, really well.

But the first two acts of that story and half of the third act is just getting your character to this lowest possible moment where they feel exposed, humiliated. The worst thing is happening. And so, yeah. And then the Houdini trick for screenwriting is to be able to turn things around in a second. And Fellini does that really, really well.

But it's funny because you seem to be interested in a few common themes in all of your movies, but one of them is failure. Like Olive's family gets on the brink of disaster in a number of ways. Woody in Toy Story is constantly at risk of losing Andy. Are you particularly fascinated by failure? Is that a Michael Arndt thing? Or is that a theme that makes every story interesting?

But it's funny because you seem to be interested in a few common themes in all of your movies, but one of them is failure. Like Olive's family gets on the brink of disaster in a number of ways. Woody in Toy Story is constantly at risk of losing Andy. Are you particularly fascinated by failure? Is that a Michael Arndt thing? Or is that a theme that makes every story interesting?

But it's funny because you seem to be interested in a few common themes in all of your movies, but one of them is failure. Like Olive's family gets on the brink of disaster in a number of ways. Woody in Toy Story is constantly at risk of losing Andy. Are you particularly fascinated by failure? Is that a Michael Arndt thing? Or is that a theme that makes every story interesting?

Yeah, I think it makes every story interesting. I mean, you're looking for the worst, again, like knowing what the worst possible thing for your hero is. What is your hero desiring and wanting and the best possible thing, but what is also the worst possible thing for your hero? It's interesting.

Yeah, I think it makes every story interesting. I mean, you're looking for the worst, again, like knowing what the worst possible thing for your hero is. What is your hero desiring and wanting and the best possible thing, but what is also the worst possible thing for your hero? It's interesting.

Yeah, I think it makes every story interesting. I mean, you're looking for the worst, again, like knowing what the worst possible thing for your hero is. What is your hero desiring and wanting and the best possible thing, but what is also the worst possible thing for your hero? It's interesting.

I mean, this is something that I've thought of that's really new is that not only do you have a low moment in your third act or a lowest possible moment in your third act, what I call a moment of despair in your third act.

I mean, this is something that I've thought of that's really new is that not only do you have a low moment in your third act or a lowest possible moment in your third act, what I call a moment of despair in your third act.

I mean, this is something that I've thought of that's really new is that not only do you have a low moment in your third act or a lowest possible moment in your third act, what I call a moment of despair in your third act.