Michael Regilio

And I was a kid. I was like 14, 15 years old. I'd never seen movies do something like that, you know? And it was so lyrical and so beautiful. I was like, oh my God, this is art. Like, this is art. I had been raised on multiplex fare, right? And when I saw that, and that whole movie just blew my mind. That's just like still one of my favorite movies. That's when I fell in love with movies.

And I was a kid. I was like 14, 15 years old. I'd never seen movies do something like that, you know? And it was so lyrical and so beautiful. I was like, oh my God, this is art. Like, this is art. I had been raised on multiplex fare, right? And when I saw that, and that whole movie just blew my mind. That's just like still one of my favorite movies. That's when I fell in love with movies.

And I really fell in love with the poetry of movies, the visual, the cinema of movies. And I think it's a little ironic that I... have ended up being this sort of story guy. Because when I started out, I kind of didn't care about story. I wanted, I love beautiful, the Black Stallion, like these lyrical art films.

And I really fell in love with the poetry of movies, the visual, the cinema of movies. And I think it's a little ironic that I... have ended up being this sort of story guy. Because when I started out, I kind of didn't care about story. I wanted, I love beautiful, the Black Stallion, like these lyrical art films.

And I really fell in love with the poetry of movies, the visual, the cinema of movies. And I think it's a little ironic that I... have ended up being this sort of story guy. Because when I started out, I kind of didn't care about story. I wanted, I love beautiful, the Black Stallion, like these lyrical art films.

But just like my first job out of film school was reading scripts and writing coverage on scripts. That's how your brain gets trained, I guess. How many scripts do you think you read in your career? About a thousand. I think about a thousand. I think I wrote about a thousand. Yeah. Wow. You know, most of them don't work.

But just like my first job out of film school was reading scripts and writing coverage on scripts. That's how your brain gets trained, I guess. How many scripts do you think you read in your career? About a thousand. I think about a thousand. I think I wrote about a thousand. Yeah. Wow. You know, most of them don't work.

But just like my first job out of film school was reading scripts and writing coverage on scripts. That's how your brain gets trained, I guess. How many scripts do you think you read in your career? About a thousand. I think about a thousand. I think I wrote about a thousand. Yeah. Wow. You know, most of them don't work.

I think that, I mean, it does get very soul crushing to read one screenplay after another. People have devoted six months a year of their life to writing this and it's just going to get read once and then get put on a shelf. And there's almost no field of human endeavor fraught with more disappointment and failure. than screenwriting.

I think that, I mean, it does get very soul crushing to read one screenplay after another. People have devoted six months a year of their life to writing this and it's just going to get read once and then get put on a shelf. And there's almost no field of human endeavor fraught with more disappointment and failure. than screenwriting.

I think that, I mean, it does get very soul crushing to read one screenplay after another. People have devoted six months a year of their life to writing this and it's just going to get read once and then get put on a shelf. And there's almost no field of human endeavor fraught with more disappointment and failure. than screenwriting.

And so, you know, when I started writing my own scripts, I was really determined that that wasn't going to happen to me. And I think that that's why I came up with this very rigorous sort of analytical approach to story. I mean, there's two sides of storytelling. You want to start, anytime you start writing, you're starting with the sort of intuitive, emotional side of your brain, right?

And so, you know, when I started writing my own scripts, I was really determined that that wasn't going to happen to me. And I think that that's why I came up with this very rigorous sort of analytical approach to story. I mean, there's two sides of storytelling. You want to start, anytime you start writing, you're starting with the sort of intuitive, emotional side of your brain, right?

And so, you know, when I started writing my own scripts, I was really determined that that wasn't going to happen to me. And I think that that's why I came up with this very rigorous sort of analytical approach to story. I mean, there's two sides of storytelling. You want to start, anytime you start writing, you're starting with the sort of intuitive, emotional side of your brain, right?

You're always connecting with something that's very very instinctive, right? But as you go through five drafts, 10 drafts, 15, 20 drafts of your story, you're going to make this transition from the quick thinking, fast, intuitive, emotional part of your brain to the sort of more analytical part of your brain.

You're always connecting with something that's very very instinctive, right? But as you go through five drafts, 10 drafts, 15, 20 drafts of your story, you're going to make this transition from the quick thinking, fast, intuitive, emotional part of your brain to the sort of more analytical part of your brain.

You're always connecting with something that's very very instinctive, right? But as you go through five drafts, 10 drafts, 15, 20 drafts of your story, you're going to make this transition from the quick thinking, fast, intuitive, emotional part of your brain to the sort of more analytical part of your brain.

So I think that, I mean, my training, reading a thousand scripts taught me, yes, you need great dialogue and you need great jokes and you need all the stuff that comes from your instincts, basically.

So I think that, I mean, my training, reading a thousand scripts taught me, yes, you need great dialogue and you need great jokes and you need all the stuff that comes from your instincts, basically.

So I think that, I mean, my training, reading a thousand scripts taught me, yes, you need great dialogue and you need great jokes and you need all the stuff that comes from your instincts, basically.