Michael Regilio

Like I feel like you can't sit around and play a chess game with your audience and go, oh, I'm going to mislead them here and do X, Y, Z. But if you can, you just have to be aware of trying to create something new and surprising, you know, especially at the end of your story.

Like I feel like you can't sit around and play a chess game with your audience and go, oh, I'm going to mislead them here and do X, Y, Z. But if you can, you just have to be aware of trying to create something new and surprising, you know, especially at the end of your story.

Well, it's, yeah, no, it's a balance that you have to walk. And you want to avoid defying expectations for the sake of defying expectations, right? You want to defy expectations in order to create emotion. That's the goal, right? You don't want your audience to be bored. You don't want your film to be trudging towards some sort of obvious conclusion.

Well, it's, yeah, no, it's a balance that you have to walk. And you want to avoid defying expectations for the sake of defying expectations, right? You want to defy expectations in order to create emotion. That's the goal, right? You don't want your audience to be bored. You don't want your film to be trudging towards some sort of obvious conclusion.

Well, it's, yeah, no, it's a balance that you have to walk. And you want to avoid defying expectations for the sake of defying expectations, right? You want to defy expectations in order to create emotion. That's the goal, right? You don't want your audience to be bored. You don't want your film to be trudging towards some sort of obvious conclusion.

So you want to keep things sort of up in the air and like, how is the hero going to get this thing to work? But yeah, audience expectations, I don't know. I just don't think about it too much. I'm going for emotion. I'm trying to like figure out like, what is the most emotional story I can tell?

So you want to keep things sort of up in the air and like, how is the hero going to get this thing to work? But yeah, audience expectations, I don't know. I just don't think about it too much. I'm going for emotion. I'm trying to like figure out like, what is the most emotional story I can tell?

So you want to keep things sort of up in the air and like, how is the hero going to get this thing to work? But yeah, audience expectations, I don't know. I just don't think about it too much. I'm going for emotion. I'm trying to like figure out like, what is the most emotional story I can tell?

You know what? This is something that I learned making this new video that I'm halfway through making about First Acts. I talk about two things, like how to get your audience on board with a character and then how to get your audience on board with that character's story. And when I sat down to think about what makes a great character and...

You know what? This is something that I learned making this new video that I'm halfway through making about First Acts. I talk about two things, like how to get your audience on board with a character and then how to get your audience on board with that character's story. And when I sat down to think about what makes a great character and...

You know what? This is something that I learned making this new video that I'm halfway through making about First Acts. I talk about two things, like how to get your audience on board with a character and then how to get your audience on board with that character's story. And when I sat down to think about what makes a great character and...

What is going to make a character memorable or a character last? This was something completely new that I just sort of figured out or thought of, which is a lot of times your character and the world they live in are two sides of the same coin. So the example I always go to is Robin Hood, for example. Like you start off in Robin Hood and King Richard is the king.

What is going to make a character memorable or a character last? This was something completely new that I just sort of figured out or thought of, which is a lot of times your character and the world they live in are two sides of the same coin. So the example I always go to is Robin Hood, for example. Like you start off in Robin Hood and King Richard is the king.

What is going to make a character memorable or a character last? This was something completely new that I just sort of figured out or thought of, which is a lot of times your character and the world they live in are two sides of the same coin. So the example I always go to is Robin Hood, for example. Like you start off in Robin Hood and King Richard is the king.

It's the fair, just universe, right? Robin Hood is actually just Robin of Locksley. He's his nobleman. He lives in his castle. Like everything is cool. It's only when King John usurps the throne takes over England, right? Starts this reign of abusive taxation, right? That the world tilts, like the world becomes unjust, right?

It's the fair, just universe, right? Robin Hood is actually just Robin of Locksley. He's his nobleman. He lives in his castle. Like everything is cool. It's only when King John usurps the throne takes over England, right? Starts this reign of abusive taxation, right? That the world tilts, like the world becomes unjust, right?

It's the fair, just universe, right? Robin Hood is actually just Robin of Locksley. He's his nobleman. He lives in his castle. Like everything is cool. It's only when King John usurps the throne takes over England, right? Starts this reign of abusive taxation, right? That the world tilts, like the world becomes unjust, right?

And now Robin of Locksley can either live in an unjust world or he can go screw it. Like I'm going to rebel against King John. I'm going to go into the woods. I'm going to gather a band of merry men. I'm going to rob the rich and give the poor. So the world itself, the world becoming unfair is the thing that creates the hero, right? The hero becomes the antidote to the negative values of the story.

And now Robin of Locksley can either live in an unjust world or he can go screw it. Like I'm going to rebel against King John. I'm going to go into the woods. I'm going to gather a band of merry men. I'm going to rob the rich and give the poor. So the world itself, the world becoming unfair is the thing that creates the hero, right? The hero becomes the antidote to the negative values of the story.

And now Robin of Locksley can either live in an unjust world or he can go screw it. Like I'm going to rebel against King John. I'm going to go into the woods. I'm going to gather a band of merry men. I'm going to rob the rich and give the poor. So the world itself, the world becoming unfair is the thing that creates the hero, right? The hero becomes the antidote to the negative values of the story.