Τετάρτη 25 Μαρτίου 2020
Δευτέρα 16 Μαρτίου 2020
Κυριακή 1 Δεκεμβρίου 2019
The Words of Emily Logan Podcast No 2, Joel Flirts The Golden Girl!
Here's an excerpt of my recently published romantic drama produced by text to speech software! It's single deep voice narration, click and enjoy!
You can buy The Words of Emily Logan if you just click at the links below. The book is being distributed at Amazon universally!
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Τετάρτη 25 Οκτωβρίου 2017
Τετάρτη 2 Νοεμβρίου 2016
Τρίτη 29 Μαρτίου 2016
Πέμπτη 19 Ιουνίου 2014
One Story to Rule Them All: In Search of the Universal, by Pen Densham At Studio System News!
I am a brilliant procrastinator and zealot of self doubt. In
fact, to keep my doubts at bay, I call the first draft of my screenplays
the “Lewis and Clark” draft to remind myself not to fret over the
imperfections that are a necessary part of discovering the unknown.
Earlier in my career, writing was like running through a fog
trying to find a sense of direction, and by the time I bounced painfully
off enough mist-shrouded walls with enough scrawled file cards
strewn around, some kind of script came out of the process. And then I
found a hero with a thousand solutions—or, really, one
solution—Christopher Vogler.
Vogler’s distillation of the seminal book The Hero with a Thousand Faces by scholar Joseph Campbell gave us Campbell’s vast knowledge about universal hero myths into seven easily digestible pages of clear-cut directives.
Campbell is considered by many as a patron saint of screenwriters. George Lucas has credited him as inspiring the characters and story construction of Star Wars. What Campbell showed in his book was that the world’s myths, legends and parables, across time and all cultures, followed a singular route-stem or journey. Essentially, he said, the world’s folklores and myths comprise one massive human meta-story.
Vogler, who spent time with Campbell, found a way to simplify the latter’s dense treatise down to crib-sheet length to suit the attention span of Hollywood story execs. His guide is called A Practical Guide to The Hero with a Thousand Faces.
Famously, Vogler is said to have deliberately left his work in a Xerox machine at Disney whence it made its way to every production office in town. It changed the development process in Hollywood and garnered Vogler a career as an industry writing Guru—which he truly is. And when I snagged one of those errant circulating copies of A Practical Guide, it was a relief to see that stories could have a theory-based, emotional logic. Vogler’s steps acted as a story compass—not as a set of rigid rules, but, rather, as inspiring story markers to help writers like me through our own fogs of creation toward discovery.
Subsequently, Vogler penned the inspirational classic The Writer’s Journey: Mythic Structure for Writers, a broad-minded elaboration of his understanding of Campbell’s and his own philosophies. One of my favorites quotes from Vogler is this one from Buckminster Fuller, illustrating his book’s purpose: “I’m not trying to copy Nature. I’m trying to find the principles she’s using.”
If we understand why and how our audience is designed to respond to stories, then we can more effectively aim for their emotional bull’s eye. I spoke to Vogler recently and asked for his responses to two quick questions.
What does he perceive as the greatest mistake development executives make?
Vogler: It is failure to understand creative process. They want writers to tell them what they’re going to write before they have written it, not realizing it is a process of discovery.
With massive changes in technology under way, what does he see as the future of story telling?
Vogler: Commercial stories are going to deal more and more with philosophy, especially questions of identity, because people are so totally disoriented by modern culture. We crave moral guidelines or stories that allow us to explore what we think about proper human behavior. We will also reach back into the treasure chest of the past for classic or forgotten stories, the epics, legends, myths and fairy tales of our ancestors, because they are desperately needed for orientation, just as they were in the old days.
What Vogler and I absolutely agree on is that stories are organic, that we are designed to tell and receive them by the outcome of our own evolution. We are defined by eternal and immutable themes: Love, jealousy, rivals, enemies, re-defining oneself, and so on.
Over millions of years of evolution, these thematic instincts have been programmed into our genes, so no matter what media we use to tell our stories, the stories at their essence will always be the same. So, theoretically, the genuinely strong narratives, based in the eternal thematic foundations that Campbell evoked, should last like (like Homer and Shakespeare) while the day-to-day dross of the multiplex will wither away in no time. Pardon my delight and surprise, then, when I discovered there is proof to support that theory!
Meet Department Chair and Professor of Economics Paul Zak of Claremont Graduate University, where he is also the founding director of the Center for Neuroeconomic Studies. Zak and a team of fellow researchers found that, by showing human subjects a video of a selected story and taking blood samples—you read that right, blood samples—the viewers showed heightened levels of cortisol and oxytocin in their brains.
Zak, who coined the term Neuroeconomist, is an expert on oxytocin. In fact, he’s the author of the acclaimed The Moral Molecule: The Source of Love and Prosperity, all about the evolutionary significance of oxytocin as a crucial element of social nurturing. So, on the one hand, we have cortisol, a chemical released in times of stress. With regard to experiencing stories, the more one pays attention to the evil-doings of the bad guy, say, or the sufferings of a good guy, the more cortisol floods our brains. But, at the same time, oxytocin is produced—the hormone associated with care, connection and empathy. Breastfeeding, for example, stimulates the flow of oxytocin in mothers and reinforces the bond with their baby. A hug triggers the release of oxytocin and stimulates empathetic feelings.
When Zak showed subjects a video with no dramatic arc, such as one of a dad and his son walking through a zoo together. He found the eventless, non-emotionally charged story produced no chemicals and no effect. But the videos that fired up the inner chemistry had to be stories with a specific structure. Strangely, his findings coincide with the 19th Century German playwright Gustav Freytag’s theory of the dramatic arc. Like Campbell, Zak has become scientifically convinced that there is a universal story, a story that our biology is chemically attuned to, it’s always been there, a common strand running through our disparate societies.
Zak also made another discovery, that people who had been watching a story that produced these chemicals, were more likely to help strangers in need or to dedicate themselves to helping a charity. So he proved that stories can not only change our brain chemistry but can change our behavior.
Fine, you say, but what the hell has this got to do with movies?
With all the millions invested in story development, it’s exciting to learn that we’re closing in on a more precise understanding of the human mechanisms that react to narrative. Just as ill-fitting pipes will leak if you ran water through them, faulty and poorly conceived stories simply won’t flow from screen to brain and trigger the chemicals necessary for an audience to response optimally. And without that chemical reaction, the story doesn’t succeed.
There are researchers using high-tech means like MRIs to improve our understanding of how we perceive and react to stories. It will be intriguing to see if the studios can keep from wiring us all up to create algorithms and churn out synthetic stories. Let’s hope that, instead, they embrace this knowledge to emancipate artistic creativity, to condition artists to explore deeper our collective subconscious and to invest in the ambitious goal of creating new legends and myths for our time–stories that will unite our diverse cultures and carry human civilization forward in harmony.
Vogler’s distillation of the seminal book The Hero with a Thousand Faces by scholar Joseph Campbell gave us Campbell’s vast knowledge about universal hero myths into seven easily digestible pages of clear-cut directives.
Campbell is considered by many as a patron saint of screenwriters. George Lucas has credited him as inspiring the characters and story construction of Star Wars. What Campbell showed in his book was that the world’s myths, legends and parables, across time and all cultures, followed a singular route-stem or journey. Essentially, he said, the world’s folklores and myths comprise one massive human meta-story.
Vogler, who spent time with Campbell, found a way to simplify the latter’s dense treatise down to crib-sheet length to suit the attention span of Hollywood story execs. His guide is called A Practical Guide to The Hero with a Thousand Faces.
Famously, Vogler is said to have deliberately left his work in a Xerox machine at Disney whence it made its way to every production office in town. It changed the development process in Hollywood and garnered Vogler a career as an industry writing Guru—which he truly is. And when I snagged one of those errant circulating copies of A Practical Guide, it was a relief to see that stories could have a theory-based, emotional logic. Vogler’s steps acted as a story compass—not as a set of rigid rules, but, rather, as inspiring story markers to help writers like me through our own fogs of creation toward discovery.
Subsequently, Vogler penned the inspirational classic The Writer’s Journey: Mythic Structure for Writers, a broad-minded elaboration of his understanding of Campbell’s and his own philosophies. One of my favorites quotes from Vogler is this one from Buckminster Fuller, illustrating his book’s purpose: “I’m not trying to copy Nature. I’m trying to find the principles she’s using.”
If we understand why and how our audience is designed to respond to stories, then we can more effectively aim for their emotional bull’s eye. I spoke to Vogler recently and asked for his responses to two quick questions.
What does he perceive as the greatest mistake development executives make?
Vogler: It is failure to understand creative process. They want writers to tell them what they’re going to write before they have written it, not realizing it is a process of discovery.
With massive changes in technology under way, what does he see as the future of story telling?
Vogler: Commercial stories are going to deal more and more with philosophy, especially questions of identity, because people are so totally disoriented by modern culture. We crave moral guidelines or stories that allow us to explore what we think about proper human behavior. We will also reach back into the treasure chest of the past for classic or forgotten stories, the epics, legends, myths and fairy tales of our ancestors, because they are desperately needed for orientation, just as they were in the old days.
What Vogler and I absolutely agree on is that stories are organic, that we are designed to tell and receive them by the outcome of our own evolution. We are defined by eternal and immutable themes: Love, jealousy, rivals, enemies, re-defining oneself, and so on.
Over millions of years of evolution, these thematic instincts have been programmed into our genes, so no matter what media we use to tell our stories, the stories at their essence will always be the same. So, theoretically, the genuinely strong narratives, based in the eternal thematic foundations that Campbell evoked, should last like (like Homer and Shakespeare) while the day-to-day dross of the multiplex will wither away in no time. Pardon my delight and surprise, then, when I discovered there is proof to support that theory!
Meet Department Chair and Professor of Economics Paul Zak of Claremont Graduate University, where he is also the founding director of the Center for Neuroeconomic Studies. Zak and a team of fellow researchers found that, by showing human subjects a video of a selected story and taking blood samples—you read that right, blood samples—the viewers showed heightened levels of cortisol and oxytocin in their brains.
Zak, who coined the term Neuroeconomist, is an expert on oxytocin. In fact, he’s the author of the acclaimed The Moral Molecule: The Source of Love and Prosperity, all about the evolutionary significance of oxytocin as a crucial element of social nurturing. So, on the one hand, we have cortisol, a chemical released in times of stress. With regard to experiencing stories, the more one pays attention to the evil-doings of the bad guy, say, or the sufferings of a good guy, the more cortisol floods our brains. But, at the same time, oxytocin is produced—the hormone associated with care, connection and empathy. Breastfeeding, for example, stimulates the flow of oxytocin in mothers and reinforces the bond with their baby. A hug triggers the release of oxytocin and stimulates empathetic feelings.
When Zak showed subjects a video with no dramatic arc, such as one of a dad and his son walking through a zoo together. He found the eventless, non-emotionally charged story produced no chemicals and no effect. But the videos that fired up the inner chemistry had to be stories with a specific structure. Strangely, his findings coincide with the 19th Century German playwright Gustav Freytag’s theory of the dramatic arc. Like Campbell, Zak has become scientifically convinced that there is a universal story, a story that our biology is chemically attuned to, it’s always been there, a common strand running through our disparate societies.
Zak also made another discovery, that people who had been watching a story that produced these chemicals, were more likely to help strangers in need or to dedicate themselves to helping a charity. So he proved that stories can not only change our brain chemistry but can change our behavior.
Fine, you say, but what the hell has this got to do with movies?
With all the millions invested in story development, it’s exciting to learn that we’re closing in on a more precise understanding of the human mechanisms that react to narrative. Just as ill-fitting pipes will leak if you ran water through them, faulty and poorly conceived stories simply won’t flow from screen to brain and trigger the chemicals necessary for an audience to response optimally. And without that chemical reaction, the story doesn’t succeed.
There are researchers using high-tech means like MRIs to improve our understanding of how we perceive and react to stories. It will be intriguing to see if the studios can keep from wiring us all up to create algorithms and churn out synthetic stories. Let’s hope that, instead, they embrace this knowledge to emancipate artistic creativity, to condition artists to explore deeper our collective subconscious and to invest in the ambitious goal of creating new legends and myths for our time–stories that will unite our diverse cultures and carry human civilization forward in harmony.
Παρασκευή 11 Απριλίου 2014
INCEPTION Part 7: Can The Words You Tell Yourself Really Change Your Life? Jacob Krueger Studio!
by, Jacob Krueger
As discussed in As discussed in Parts 1, 2, 3, 4, 5 and 6 of this series, Christopher Nolan’s screenplay Inception is deeply rooted in the principles of hypnosis. Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer’s block and build the writer’s life you’ve been seeking.
You’re walking down the street. You see a crack in the road ahead of you. You visualize yourself stumbling over it. Imagine the embarrassment of people watching you fall. A little voice starts in your head. “Don’t trip. Don’t trip. Don’t trip.”
What happens?
You trip.
If you want to understand why, try telling a child “don’t look through that window” or telling yourself “don’t imagine a pink elephant”.
It’s almost impossible, right? That’s because your subconscious mind is just like a child. It ignores “don’ts” entirely and accepts only the positive parts of your suggestions: “look through that window, ” “imagine a pink elephant.”
Combine the words “trip, trip, trip” that your subconscious mind hears, the image that flashes in your mind of yourself tripping, and the genuine feelings of embarrassment that come with that image, and suddenly those words aren’t just words anymore. They’re a post hypnotic suggestion, delivered with all the power of the most convincing hypnotist in the world: you.
At this point, to the subconscious mind, these words exist as if they’d already happened. As if they were true already. As if they were unavoidable.
As unavoidable as Mal’s thinking that her life wasn’t real, once the post hypnotic suggestion was planted in her mind, by a person she trusted, using the image systems that they had created together.
As unavoidable as Robert Fischer finally feeling free of the burden of his father’s disappointment, once the inception of the post hypnotic suggestion of his father’s love was completed.
As unavoidable as Leonardo DiCaprio’s character, Cobb, accepting those kids as real, whether they actually are or not.
To your subconscious mind, there is absolutely no difference between what really happened, and the story you tell about it. Deliver the message in the right way, and the subconscious mind will react as if it were true, regardless of the facts.
Until you realize that even the truth of your true experiences is not necessarily true. That in fact the post hypnotic suggestions you are giving to yourself are just stories, like any other stories, and as story tellers, we can choose the kinds of tales we want to believe, based on the same objective facts.
Five people witness a car crash. And afterwards each presents an entirely different story of what happened. Even though they all saw the same thing. The facts don’t change. The only thing that changes is the perception of those facts.
Just as a writer can make small changes in the execution of a script adjust the value of a scene within a movie, so too can you adjust the stories you tell yourself about the events in your life, to completely change the value of what those events mean to you.
So the questions become, not what is true, but what story are you telling yourself about the truth?
In Inception, the father has been cruel to the son. These are the objective facts. But they are not the end of the story. The process of the movie doesn’t change the objective facts, it merely changes the story the son is telling himself about his father, from “my father is disappointed in me” to “my father believes in me, and is trying to inspire me to pave my own way”.
Same facts. Different story. It’s not REALITY that changes his life. It’s the story he’s telling himself about it.
In Inception, after accepting a post-hypnotic suggestion from her husband, Mal tells herself the story that her real life isn’t real, and plunges to her death, losing the beautiful relationship she and Cobb have created together. It doesn’t matter whether the story she is telling herself is right or wrong. What matters is that she believes it.
In a way, the person incepting himself most powerfully throughout Inception may be Cobb himself. At each step of the journey– three steps down, and three steps back up– someone tells Cobb to “take a leap of faith”. And by the end of the movie, he finally does, by telling Mal that she isn’t real, killing off the part of her he’s holding onto, and taking a leap of faith back to his old life.
Cobb tells himself that his relationship with his children is real, and gets to enjoy it as if it were, whether the top is still spinning or not.
Once again, it’s not reality that changes Cobb’s life. But the stories he is telling himself about it.
And of course the same is true with the stories you tell yourself about your writing.
What if you chose to tell yourself you were really a writer? What if you chose to believe the dream was real?
What step would you take to chase it today?
If you’ve enjoyed this series of articles about Inception, I invite you to take a leap of faith in yourself. Check out one of my upcoming Screenwriting Workshops and take the first step toward being the writer you know yourself to be.
As discussed in As discussed in Parts 1, 2, 3, 4, 5 and 6 of this series, Christopher Nolan’s screenplay Inception is deeply rooted in the principles of hypnosis. Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer’s block and build the writer’s life you’ve been seeking.
Can The Words You Tell Yourself Really Change Your Life?
You’re walking down the street. You see a crack in the road ahead of you. You visualize yourself stumbling over it. Imagine the embarrassment of people watching you fall. A little voice starts in your head. “Don’t trip. Don’t trip. Don’t trip.”
What happens?
You trip.
If you want to understand why, try telling a child “don’t look through that window” or telling yourself “don’t imagine a pink elephant”.
It’s almost impossible, right? That’s because your subconscious mind is just like a child. It ignores “don’ts” entirely and accepts only the positive parts of your suggestions: “look through that window, ” “imagine a pink elephant.”
What You Conjure Becomes Reality
Combine the words “trip, trip, trip” that your subconscious mind hears, the image that flashes in your mind of yourself tripping, and the genuine feelings of embarrassment that come with that image, and suddenly those words aren’t just words anymore. They’re a post hypnotic suggestion, delivered with all the power of the most convincing hypnotist in the world: you.
At this point, to the subconscious mind, these words exist as if they’d already happened. As if they were true already. As if they were unavoidable.
As unavoidable as Mal’s thinking that her life wasn’t real, once the post hypnotic suggestion was planted in her mind, by a person she trusted, using the image systems that they had created together.
As unavoidable as Robert Fischer finally feeling free of the burden of his father’s disappointment, once the inception of the post hypnotic suggestion of his father’s love was completed.
As unavoidable as Leonardo DiCaprio’s character, Cobb, accepting those kids as real, whether they actually are or not.
To your subconscious mind, there is absolutely no difference between what really happened, and the story you tell about it. Deliver the message in the right way, and the subconscious mind will react as if it were true, regardless of the facts.
Sounds Pretty Scary Right?
Until you realize that even the truth of your true experiences is not necessarily true. That in fact the post hypnotic suggestions you are giving to yourself are just stories, like any other stories, and as story tellers, we can choose the kinds of tales we want to believe, based on the same objective facts.
Five people witness a car crash. And afterwards each presents an entirely different story of what happened. Even though they all saw the same thing. The facts don’t change. The only thing that changes is the perception of those facts.
Just as a writer can make small changes in the execution of a script adjust the value of a scene within a movie, so too can you adjust the stories you tell yourself about the events in your life, to completely change the value of what those events mean to you.
So the questions become, not what is true, but what story are you telling yourself about the truth?
Robert Fischer’s Inception
In Inception, the father has been cruel to the son. These are the objective facts. But they are not the end of the story. The process of the movie doesn’t change the objective facts, it merely changes the story the son is telling himself about his father, from “my father is disappointed in me” to “my father believes in me, and is trying to inspire me to pave my own way”.
Same facts. Different story. It’s not REALITY that changes his life. It’s the story he’s telling himself about it.
Mal’s Inception
In Inception, after accepting a post-hypnotic suggestion from her husband, Mal tells herself the story that her real life isn’t real, and plunges to her death, losing the beautiful relationship she and Cobb have created together. It doesn’t matter whether the story she is telling herself is right or wrong. What matters is that she believes it.
Cobb’s Inception
In a way, the person incepting himself most powerfully throughout Inception may be Cobb himself. At each step of the journey– three steps down, and three steps back up– someone tells Cobb to “take a leap of faith”. And by the end of the movie, he finally does, by telling Mal that she isn’t real, killing off the part of her he’s holding onto, and taking a leap of faith back to his old life.
Cobb tells himself that his relationship with his children is real, and gets to enjoy it as if it were, whether the top is still spinning or not.
Once again, it’s not reality that changes Cobb’s life. But the stories he is telling himself about it.
And of course the same is true with the stories you tell yourself about your writing.
What if you chose to tell yourself you were really a writer? What if you chose to believe the dream was real?
What step would you take to chase it today?
Take A Leap of Faith
If you’ve enjoyed this series of articles about Inception, I invite you to take a leap of faith in yourself. Check out one of my upcoming Screenwriting Workshops and take the first step toward being the writer you know yourself to be.
INCEPTION Part 6: Is Leonardo DiCaprio Dreaming? Jake Krueger!
by, Jacob Krueger
As discussed in Parts 1, 2, 3, 4 and 5 of this series, Inception is built around a three step down and three step back up structure that closely mirrors the techniques of classical hypnosis. But just as the story is built around dreams within dreams, so too may it be built around an inception within an inception.
The spinning top at the end of Inception certainly leaves us wondering if Cobb is awake or simply at another level of his own dream. The question doesn’t have a clear answer, however the evidence that Cobb may in fact be dreaming goes far beyond the last image of the movie.
The most obvious evidence that Cobb may be dreaming is the “dream logic” that seems omnipresent in his affairs. Cobb’s big problem– that he needs to get back to America to see his kids– only makes sense within the dream logic world of the movie. In real life, of course, Michael Caine could simply put those kids on a plane to Europe, and Cobb could see them without performing any inception whatsoever.
Similarly, in the real world, executives don’t buy entire airlines before even finding out they need a plane, nor can a simple phone call from a high powered foreign executive forever clear the name of a man wanted for murder.
It’s possible that this could all be dismissed as sloppy action movie writing, however within the context of the film, even Mal points out the problem of Cobb’s dream logic, when she confronts him with the fact that Cobb’s “real” world is a lot like a dream, in which he’s being hunted by governments, corporations, and mercenaries, just like a persecuted dreamer. Mal’s disturbing worlds raise the possibility that all of the characters in his world are in fact simply archetypal projections of his own subconscious, filling up the architecture of the dream he constructed.
What makes Mal’s theory most compelling is the way that the post hypnotic suggestion with which she wants to incept him, to “take a leap of faith” are repeated, again and again, by different characters in Cobb’s “dream”.
These words are first spoken by Saito, when Cobb (believing himself to be living in reality), asks Saito for a guarantee that he will be able to clear his name, if he effectively carries out the inception. Saito responds: “You don’t. But I can. So, do you want to take a leap of faith, or become an old man filled with regret, waiting to die alone.”
But these words,“take a leap of faith,” did not originate with Saito. They originated with Cobb. They’re the words with which he incepted Mal when he convinced her to lay down on the railroad tracks. The words which she repeats to him, as she tries to get him to jump from the building. The words she carries out in action when she jumps without him– an image which is echoed by the completion of Robert Fischer’s journey, when he and Ariadne get their first kick back to reality, by jumping from the top of the building in Limbo.
Even the post-hypnotic suggestion with which Cobb intends to incept Fischer is a variation on this theme: an invitation to take a leap of faith in his father, and to believe that his father has taken a leap of faith in him.
Finally in classical hypnotic form, these words come full circle when Cobb repeats them to Saito, after chasing him all the way to limbo to deliver the message to his friend. “take a leap of faith”.
In this way, Cobb comes to accept and internalize his own post-hypnotic suggestion (just as Mal has internalized the suggestion Cobb incepted in her, and Robert Fischer has internalized the suggestion Cobb incepted in him).
The question of course is whether the “leap of faith” he is intended to take is a leap from a building, or a leap of the mind, in which he chooses one reality over another, and accepts those children as real, whether they really are, or not.
Check in next week for the final article in the series: “Inception Part 7: Can the Words You’re Telling Yourself Really Change Your Life?”
As discussed in Parts 1, 2, 3, 4 and 5 of this series, Inception is built around a three step down and three step back up structure that closely mirrors the techniques of classical hypnosis. But just as the story is built around dreams within dreams, so too may it be built around an inception within an inception.
Is Robert Fischer The Only One Dreaming?
The spinning top at the end of Inception certainly leaves us wondering if Cobb is awake or simply at another level of his own dream. The question doesn’t have a clear answer, however the evidence that Cobb may in fact be dreaming goes far beyond the last image of the movie.
The most obvious evidence that Cobb may be dreaming is the “dream logic” that seems omnipresent in his affairs. Cobb’s big problem– that he needs to get back to America to see his kids– only makes sense within the dream logic world of the movie. In real life, of course, Michael Caine could simply put those kids on a plane to Europe, and Cobb could see them without performing any inception whatsoever.
Similarly, in the real world, executives don’t buy entire airlines before even finding out they need a plane, nor can a simple phone call from a high powered foreign executive forever clear the name of a man wanted for murder.
It’s possible that this could all be dismissed as sloppy action movie writing, however within the context of the film, even Mal points out the problem of Cobb’s dream logic, when she confronts him with the fact that Cobb’s “real” world is a lot like a dream, in which he’s being hunted by governments, corporations, and mercenaries, just like a persecuted dreamer. Mal’s disturbing worlds raise the possibility that all of the characters in his world are in fact simply archetypal projections of his own subconscious, filling up the architecture of the dream he constructed.
Is Cobb Incepting Himself?
What makes Mal’s theory most compelling is the way that the post hypnotic suggestion with which she wants to incept him, to “take a leap of faith” are repeated, again and again, by different characters in Cobb’s “dream”.
These words are first spoken by Saito, when Cobb (believing himself to be living in reality), asks Saito for a guarantee that he will be able to clear his name, if he effectively carries out the inception. Saito responds: “You don’t. But I can. So, do you want to take a leap of faith, or become an old man filled with regret, waiting to die alone.”
But these words,“take a leap of faith,” did not originate with Saito. They originated with Cobb. They’re the words with which he incepted Mal when he convinced her to lay down on the railroad tracks. The words which she repeats to him, as she tries to get him to jump from the building. The words she carries out in action when she jumps without him– an image which is echoed by the completion of Robert Fischer’s journey, when he and Ariadne get their first kick back to reality, by jumping from the top of the building in Limbo.
Even the post-hypnotic suggestion with which Cobb intends to incept Fischer is a variation on this theme: an invitation to take a leap of faith in his father, and to believe that his father has taken a leap of faith in him.
Finally in classical hypnotic form, these words come full circle when Cobb repeats them to Saito, after chasing him all the way to limbo to deliver the message to his friend. “take a leap of faith”.
Internalizing The Post Hypnotic Suggestion
In this way, Cobb comes to accept and internalize his own post-hypnotic suggestion (just as Mal has internalized the suggestion Cobb incepted in her, and Robert Fischer has internalized the suggestion Cobb incepted in him).
The question of course is whether the “leap of faith” he is intended to take is a leap from a building, or a leap of the mind, in which he chooses one reality over another, and accepts those children as real, whether they really are, or not.
Check in next week for the final article in the series: “Inception Part 7: Can the Words You’re Telling Yourself Really Change Your Life?”
INCEPTION Part 5: The Hypnotic Structure of Inception, Jake Krueger Studio!
by, Jacob Krueger
Just as the real hypnotic script discussed in Parts 1, 2, 3 and 4 of this series uses a three step structure to hypnotically bring about a change, the structure of the film Inception also takes three steps down, and then three “kicks” back up, to plant the post hypnotic suggestion of breaking up his father’s company in Robert Fischer’s mind.
The film begins in conscious reality, or at least what seems like conscious reality. Robert Fischer is in a plane, and Cobb builds trust with him by returning his “lost” passport, before inducing trance by drugging Robert and entering his dream.
Robert finds himself in what he thinks is Los Angeles, where he is taken hostage by Cobb’s crew. Eames impersonates family friend Peter Browning, and convinces Robert that he has been tortured for the combination to Robert’s father’s secret safe– a combination only Robert knows. In the safe is his father’s last gift for Robert, a secret will that splits up the company. Robert’s doubt of his father is so intense that even in a dream he can’t believe Browning’s story. Even on his death bed, Robert’s father only had one word to share with him: “Disappointed”. Ultimately, the numbers need to be extracted at random from Robert’s subconscious before Robert can be put back to sleep for the next step down…
At the Los Angeles hotel, Robert meets Cobb, who tells him that he is dreaming, and that he is there to protect him. Once again using Eames’ skills of impersonation, they trick Robert into suspecting Browning, who admits that he staged the kidnapping in an effort to prevent Robert from accepting his father’s challenge to break up the company. This experience begins to cast down upon the story Robert has been telling himself about Browning, and about his father, and to shift his trust from one to the other. Desperate to understand, Robert enters what he believes to be Browning’s dream. As Robert is put back to sleep in the hotel room, he finds himself…
Robert attempts to infiltrate the snow fortress which he believes holds the secrets of Browning’s mind. After Mal’s untimely appearance and a brief misadventure in Limbo, he is rescued by Cobb and Ariadne and returned to the inner chamber of the fortress. Inside, he discovers himself alone with his father, at the sick bed where his father once expressed his devastating feelings about Robert in one painful word: “Disappointed”.
“…because I wasn’t you…” Robert tells his father sadly, sharing the story he’s been telling himself about his father’s words.
“No, his father corrects him… disappointed that you tried.”
And at that moment, everything changes for Robert… and he is ready to open the safe.
From the moment Robert’s story changes, so too does every element of the way his subconscious mind perceives his world. And that’s why, when he opens the safe, what he finds is not just the will, but a symbol of his father’s love: the old pin-wheel from the photo Robert has always carried with him– his last memory of a loving relationship with his father.
And with that pin-wheel comes the healing Robert so desperately needs.
Whether the story is true or not.
As you saw in last week’s hypnotic script, in classical hypnosis, at this point a hypnotist would return the client to each level of the dream, allowing to see how the new story they have accepted will forever change those images, and building toward an even more powerful moment of healing, which anchors the larger change the person is seeking.
To some degree, Christopher Nolan does this as well, for example, by allowing the snow fortress (and with it, the secret that was once kept from Robert) to collapse. But for the most part, Nolan reduces the three steps back up process to a series of three “kicks”: Fischer and the team falling with the collapsing snow fortress, Arthur blowing up the weightless elevator in the hotel, and Yusuf crashing the van into the water.
But even though Robert the character doesn’t go through each of the three steps back up– as an audience, we experience the whole journey, witnessing each step down from a new perspective as we race back up toward consciousness…
From a character perspective, this makes a lot of sense. Because ultimately, Robert may not be the only one dreaming…
Just as Inception is built through a “dream within a dream” structure, it may also contain an inception within an inception.
Just as Robert is being incepted to break up his father’s company, so too is Cobb being incepted to “take a leap of faith”. He’s the one we truly care about– in whose transformation we are most deeply invested– and through whose dream architecture we actually experience the story of Inception.
Stay tuned for next week’s article, in which I’ll be breaking down Cobb’s journey as it relates to hypnosis and Inception: “Is Robert Fischer The Only One Dreaming?”
Just as the real hypnotic script discussed in Parts 1, 2, 3 and 4 of this series uses a three step structure to hypnotically bring about a change, the structure of the film Inception also takes three steps down, and then three “kicks” back up, to plant the post hypnotic suggestion of breaking up his father’s company in Robert Fischer’s mind.
The film begins in conscious reality, or at least what seems like conscious reality. Robert Fischer is in a plane, and Cobb builds trust with him by returning his “lost” passport, before inducing trance by drugging Robert and entering his dream.
First Step Down: A Secret Safe
Robert finds himself in what he thinks is Los Angeles, where he is taken hostage by Cobb’s crew. Eames impersonates family friend Peter Browning, and convinces Robert that he has been tortured for the combination to Robert’s father’s secret safe– a combination only Robert knows. In the safe is his father’s last gift for Robert, a secret will that splits up the company. Robert’s doubt of his father is so intense that even in a dream he can’t believe Browning’s story. Even on his death bed, Robert’s father only had one word to share with him: “Disappointed”. Ultimately, the numbers need to be extracted at random from Robert’s subconscious before Robert can be put back to sleep for the next step down…
Second Step Down: Browning’s Secret
At the Los Angeles hotel, Robert meets Cobb, who tells him that he is dreaming, and that he is there to protect him. Once again using Eames’ skills of impersonation, they trick Robert into suspecting Browning, who admits that he staged the kidnapping in an effort to prevent Robert from accepting his father’s challenge to break up the company. This experience begins to cast down upon the story Robert has been telling himself about Browning, and about his father, and to shift his trust from one to the other. Desperate to understand, Robert enters what he believes to be Browning’s dream. As Robert is put back to sleep in the hotel room, he finds himself…
Third Step Down: The Father’s Secret
Robert attempts to infiltrate the snow fortress which he believes holds the secrets of Browning’s mind. After Mal’s untimely appearance and a brief misadventure in Limbo, he is rescued by Cobb and Ariadne and returned to the inner chamber of the fortress. Inside, he discovers himself alone with his father, at the sick bed where his father once expressed his devastating feelings about Robert in one painful word: “Disappointed”.
“…because I wasn’t you…” Robert tells his father sadly, sharing the story he’s been telling himself about his father’s words.
“No, his father corrects him… disappointed that you tried.”
And at that moment, everything changes for Robert… and he is ready to open the safe.
The Post Hypnotic Suggestion
From the moment Robert’s story changes, so too does every element of the way his subconscious mind perceives his world. And that’s why, when he opens the safe, what he finds is not just the will, but a symbol of his father’s love: the old pin-wheel from the photo Robert has always carried with him– his last memory of a loving relationship with his father.
And with that pin-wheel comes the healing Robert so desperately needs.
Whether the story is true or not.
Three Steps Back Up In Inception
As you saw in last week’s hypnotic script, in classical hypnosis, at this point a hypnotist would return the client to each level of the dream, allowing to see how the new story they have accepted will forever change those images, and building toward an even more powerful moment of healing, which anchors the larger change the person is seeking.
To some degree, Christopher Nolan does this as well, for example, by allowing the snow fortress (and with it, the secret that was once kept from Robert) to collapse. But for the most part, Nolan reduces the three steps back up process to a series of three “kicks”: Fischer and the team falling with the collapsing snow fortress, Arthur blowing up the weightless elevator in the hotel, and Yusuf crashing the van into the water.
But even though Robert the character doesn’t go through each of the three steps back up– as an audience, we experience the whole journey, witnessing each step down from a new perspective as we race back up toward consciousness…
From a character perspective, this makes a lot of sense. Because ultimately, Robert may not be the only one dreaming…
Cobb’s Inception
Just as Inception is built through a “dream within a dream” structure, it may also contain an inception within an inception.
Just as Robert is being incepted to break up his father’s company, so too is Cobb being incepted to “take a leap of faith”. He’s the one we truly care about– in whose transformation we are most deeply invested– and through whose dream architecture we actually experience the story of Inception.
Stay tuned for next week’s article, in which I’ll be breaking down Cobb’s journey as it relates to hypnosis and Inception: “Is Robert Fischer The Only One Dreaming?”
INCEPTION Part 4: The Power of Post Hypnotic Suggestion, Jacob Krueger!
by, Jacob Krueger
As discussed in parts 1, 2 and 3 of this series, Christopher Nolan’s screenplay Inception is deeply rooted in the principles of hypnosis. Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer’s block and build the writer’s life you’ve been seeking.
Just like the idea, in Inception, that Robert Fischer’s
father really loved him, a post hypnotic suggestion is an idea,
delivered in deep trance, that the subconscious mind accepts as if it
were true.
Post hypnotic suggestions are incredibly powerful, in that when done right, they become anchored in your consciousness, and begin to bring about real life changes in your every day reality.
As suggested in Inception, these post hypnotic suggestions only work if certain conditions are met:
The truth is, you’re delivering post-hypnotic suggestions to yourself every single day, in the words you say to yourself, and the soundtrack running in your head. And these suggestions can be even MORE powerful than the ones a hypnotist provides, because they are already perfectly aligned with your belief systems, come from a person you trust (yourself), and are perfectly phrased in the way that only you can say them.
So if post hypnotic suggestions really are this powerful– are so transformative, as suggested by Inception, that a person like Mal will continue to accept them as the truth, even if they are not true. Are so powerful that a person like Robert Fischer can heal his whole relationship with his abusive father based on a simple thought. Then its worth asking yourself, what are the post hypnotic suggestions that you’re giving yourself about your writing? And what effect are they having on your writing life?
Stay tuned for next week’s article, in which I’ll be breaking down the structure of Inception in relation to the three step hypnotic technique.
As discussed in parts 1, 2 and 3 of this series, Christopher Nolan’s screenplay Inception is deeply rooted in the principles of hypnosis. Learning more about these principles may not only change the way you approach your own writing, but also help you understand new ways that you can break through writer’s block and build the writer’s life you’ve been seeking.
The Post Hypnotic Suggestion
Post hypnotic suggestions are incredibly powerful, in that when done right, they become anchored in your consciousness, and begin to bring about real life changes in your every day reality.
As suggested in Inception, these post hypnotic suggestions only work if certain conditions are met:
- They are in alignment with the person’s beliefs. (In other words you can’t “incept” a kind person to be violent, even though you can “incept” a person who desperately wants to write to take action).
- The person chooses to accept the suggestion. This is why post hypnotic suggestions are more likely to work if they’re given by someone you trust– such as a respected teacher, a great hypnotist, or a person you can depend on (in the case of Inception, Eames masquerades as Peter Browning, the one person Robert truly believes in, to surreptitiously deliver the post-hypnotic suggestion)
- The suggestions, and the “dream” images used to get the person to them, are phrased in the right way for that particular person, using their own language, and their own symbolic systems.
How Are You Incepting Yourself?
The truth is, you’re delivering post-hypnotic suggestions to yourself every single day, in the words you say to yourself, and the soundtrack running in your head. And these suggestions can be even MORE powerful than the ones a hypnotist provides, because they are already perfectly aligned with your belief systems, come from a person you trust (yourself), and are perfectly phrased in the way that only you can say them.
So if post hypnotic suggestions really are this powerful– are so transformative, as suggested by Inception, that a person like Mal will continue to accept them as the truth, even if they are not true. Are so powerful that a person like Robert Fischer can heal his whole relationship with his abusive father based on a simple thought. Then its worth asking yourself, what are the post hypnotic suggestions that you’re giving yourself about your writing? And what effect are they having on your writing life?
Stay tuned for next week’s article, in which I’ll be breaking down the structure of Inception in relation to the three step hypnotic technique.
INCEPTION Part 3: How Inception Really Works, Jake Krueger Studio!
by, Jacob Krueger
As described in Part 1 and 2 of the series, the organizing principles of Inception‘s “dream within a dream within a dream” structure seem to be drawn directly from a classical three-step approach to hypnosis. This technique is used to help people create profound changes in their lives, by “incepting” suggestions for positive change into their subconscious minds. Just as the architecture of Robert’s dream sequence in Inception is built around around the people, image systems, and beliefs Robert holds most dear, so too is a three step hypnotic technique built around the most resonant images for the person being hypnotized.
After an interview process during which the hypnotist gathers images that have emotional power to the writer, the hypnotist would then induce a trance in the person, creating a dream like journey– a series of three images down into hypnosis, and three images back up– in which each image leads them deeper into trance, and closer to the transformation they are searching for, just like a dream within a dream.
The following is an example of how this technique could be utilized to help a writer break through writer’s block, by constructing a three step sequence of images with emotional resonance to the writer.
For example, if the writer loved the water, the first image might be of them floating in the ocean, feeling incredibly free. The temperature of the water is exactly the temperature that that is right, and as they float along it feels like the water is caressing their skin. In the distance, there is a dolphin splashing effortlessly through the water. The dolphin dives deeper into the water and they find themselves longing to dive down with that dolphin…
This image would lead them to the next sequence, just like a dream within a dream. Again, working with images that have emotional resonance to the writer. So if they loved children, we might bring them to a scene at a playground, watching a young child playing happily, creating dream worlds full of magic and creativity, so carefree and playful, completely in touch with their most creative part, just as the writer once was. The child invites the writer to join them…
This image would lead to the next dream within the dream. The third level down into the writer’s subconscious, and the third step closer to the transformation they are seeking. Perhaps they find themselves in a magical forest, where they are approached by someone they completely trust. This could be a religious figure, like the Buddha or Jesus, a mother or father, or a teacher that they believe in. The teacher leads them to a special place, a cave, a clearing, a secret room or chamber just for them.
And inside this secret place is an old leather bound book, in which the secret they need to bring about their transformation is written… all they have to do is read the words, and they will already be transformed….
Those words are the post-hypnotic suggestion. The key to change, which the subconscious mind will act upon and accept. Just as in Inception, the hypnotist doesn’t even need to create the suggestion. They simply need to create the book, and the subconscious mind will populate it with the suggestion it most needs right now…
Once the post hypnotic suggestion is delivered, the hypnotist brings the writer three steps back up, using different versions of the same images to anchor the suggestion, and project a positive future for the subconscious mind in which the person can experience the positive results of the change they have made, as if they had already occurred.
So taking the example previously discussed, as the writer exits the special place where the book was hidden, they can already feel how the secret contained in the book has transformed them. As they find themselves in the magical forest, it’s like looking through new eyes… everything is so alive and magical. It’s like there’s a story in every branch, every leaf, every sound. Stories the writer is curious to explore, and excited to tell…
Their curiosity then carries them back once again to the playground, where they find themselves playing with the child, recapturing that childlike bliss that writing has always held for them, and always will, if they merely take the step today to open themselves to it. As they see the child’s smiling face, they recognize that face… as a younger version of their own. At that moment something shifts inside of them, some inner knowing, as they realize what that means…
…Ask that child, that younger self, if they would like to see the great future that lies ahead. And they discover themselves back back in that ocean. Only this time the adult and the child swim together with that dolphin, effortless, happy, free. The dolphin dives, and the writer and child dive with him, together, swimming all the way to the bottom, where they discover a magical reflecting pool, in which they can see their own future.
And reflected in it, writer and child see the future that lies before them, the days of satisfaction as they work on their screenplay, the eager scribbling of endless ideas, a friend or trusted mentor guiding them, the completion of their first script, and then their next, and next, and next… a crowded movie theatre in which a movie plays. Their movie. The one that’s been waiting inside them, just begging to be written down. They can hear the applause of the audience. The laughter. Or maybe even the tears. They can feel the pride welling up within them…
“How did I get here?” asks the child.
“We did it together” the writer tells the child… and it all began with the step we took today.
If you’ve read this script, you already have some sense of how the hypnotic process works. If the suggestions were right for you, you may have even seen yourself in that ocean, in that playground, in that magical forest, and in that secret room. You may have discovered your own post hypnotic suggestion waiting in your own book, or simply felt the feeling of knowing even if you no longer remember the words.
And if these suggestions were right for you, with them you have already taken the first step of becoming the writer you want to be.
The images I used in this script are drawn from Jungian archetypes, but of course these images take on even more hypnotic power when they are shaped directly from your own symbolic systems, your own beliefs, and your own dreams.
Stay tuned for next week’s newsletter, in which I’ll be discussing post-hypnotic suggestion in relation to Inception.
As described in Part 1 and 2 of the series, the organizing principles of Inception‘s “dream within a dream within a dream” structure seem to be drawn directly from a classical three-step approach to hypnosis. This technique is used to help people create profound changes in their lives, by “incepting” suggestions for positive change into their subconscious minds. Just as the architecture of Robert’s dream sequence in Inception is built around around the people, image systems, and beliefs Robert holds most dear, so too is a three step hypnotic technique built around the most resonant images for the person being hypnotized.
After an interview process during which the hypnotist gathers images that have emotional power to the writer, the hypnotist would then induce a trance in the person, creating a dream like journey– a series of three images down into hypnosis, and three images back up– in which each image leads them deeper into trance, and closer to the transformation they are searching for, just like a dream within a dream.
The following is an example of how this technique could be utilized to help a writer break through writer’s block, by constructing a three step sequence of images with emotional resonance to the writer.
Three Steps Down
For example, if the writer loved the water, the first image might be of them floating in the ocean, feeling incredibly free. The temperature of the water is exactly the temperature that that is right, and as they float along it feels like the water is caressing their skin. In the distance, there is a dolphin splashing effortlessly through the water. The dolphin dives deeper into the water and they find themselves longing to dive down with that dolphin…
This image would lead them to the next sequence, just like a dream within a dream. Again, working with images that have emotional resonance to the writer. So if they loved children, we might bring them to a scene at a playground, watching a young child playing happily, creating dream worlds full of magic and creativity, so carefree and playful, completely in touch with their most creative part, just as the writer once was. The child invites the writer to join them…
This image would lead to the next dream within the dream. The third level down into the writer’s subconscious, and the third step closer to the transformation they are seeking. Perhaps they find themselves in a magical forest, where they are approached by someone they completely trust. This could be a religious figure, like the Buddha or Jesus, a mother or father, or a teacher that they believe in. The teacher leads them to a special place, a cave, a clearing, a secret room or chamber just for them.
And inside this secret place is an old leather bound book, in which the secret they need to bring about their transformation is written… all they have to do is read the words, and they will already be transformed….
Those words are the post-hypnotic suggestion. The key to change, which the subconscious mind will act upon and accept. Just as in Inception, the hypnotist doesn’t even need to create the suggestion. They simply need to create the book, and the subconscious mind will populate it with the suggestion it most needs right now…
Three Steps Back Up
Once the post hypnotic suggestion is delivered, the hypnotist brings the writer three steps back up, using different versions of the same images to anchor the suggestion, and project a positive future for the subconscious mind in which the person can experience the positive results of the change they have made, as if they had already occurred.
So taking the example previously discussed, as the writer exits the special place where the book was hidden, they can already feel how the secret contained in the book has transformed them. As they find themselves in the magical forest, it’s like looking through new eyes… everything is so alive and magical. It’s like there’s a story in every branch, every leaf, every sound. Stories the writer is curious to explore, and excited to tell…
Their curiosity then carries them back once again to the playground, where they find themselves playing with the child, recapturing that childlike bliss that writing has always held for them, and always will, if they merely take the step today to open themselves to it. As they see the child’s smiling face, they recognize that face… as a younger version of their own. At that moment something shifts inside of them, some inner knowing, as they realize what that means…
…Ask that child, that younger self, if they would like to see the great future that lies ahead. And they discover themselves back back in that ocean. Only this time the adult and the child swim together with that dolphin, effortless, happy, free. The dolphin dives, and the writer and child dive with him, together, swimming all the way to the bottom, where they discover a magical reflecting pool, in which they can see their own future.
And reflected in it, writer and child see the future that lies before them, the days of satisfaction as they work on their screenplay, the eager scribbling of endless ideas, a friend or trusted mentor guiding them, the completion of their first script, and then their next, and next, and next… a crowded movie theatre in which a movie plays. Their movie. The one that’s been waiting inside them, just begging to be written down. They can hear the applause of the audience. The laughter. Or maybe even the tears. They can feel the pride welling up within them…
“How did I get here?” asks the child.
“We did it together” the writer tells the child… and it all began with the step we took today.
The Power of Hypnosis
If you’ve read this script, you already have some sense of how the hypnotic process works. If the suggestions were right for you, you may have even seen yourself in that ocean, in that playground, in that magical forest, and in that secret room. You may have discovered your own post hypnotic suggestion waiting in your own book, or simply felt the feeling of knowing even if you no longer remember the words.
And if these suggestions were right for you, with them you have already taken the first step of becoming the writer you want to be.
The images I used in this script are drawn from Jungian archetypes, but of course these images take on even more hypnotic power when they are shaped directly from your own symbolic systems, your own beliefs, and your own dreams.
Stay tuned for next week’s newsletter, in which I’ll be discussing post-hypnotic suggestion in relation to Inception.
INCEPTION Part 2: The Power of Hypnotic Images!
by, Jacob Krueger
As I discussed in last week’s article, the organizing principles of Inception’s dream within a dream within a dream structure almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.
To understand how a movie can be built from this kind of organizing principle, you first need to know a little about hypnosis.
Weekend certifications in hypnosis generally teach a three step technique which corresponds almost perfectly with the “three dream” technique the characters in Inception are using to convince their subject, Robert Fischer, to break up his father’s company.
Just as the architecture of Robert’s dream sequence in Inception is built around around the people, image systems, and beliefs Robert holds most dear, so too is a three step hypnotic technique built around the most resonant images for the person being hypnotized.
A hypnotic session using this approach begins with an interview, during which the hypnotist gathers images that have emotional power to the person being hypnotized.
For example, if you were using this method to help a blocked writer pick up the pen after a long period of procrastination, you might begin with images that are not even related to writing, but which capture some of the emotions the person wishes they had when they were writing.
The hypnotist would then induce a trance in the person, creating a dream like journey– a series of three images down into hypnosis, and three images back up– in which each image leads them deeper into trance, and closer to the transformation they are searching for, just like a dream within a dream.
With each step down, the value of the image is established, and with each step back up, the meaning of each image is deepened and adapted, associating that image with the change the person is seeking, and anchoring that change on a deep subconscious level– as if it had already happened.
Movies are built around images, because movies are hypnotic. They carry us out of our own world, and transport us into the dream world of the writer. Each sequence of images leads us deeper into trance, until we begin to respond to the movie as if it were real, feeling real emotions for characters we know don’t actually exist.
We cry for losses that never happened, feel embarrassed for social gaffs that never actually occurred. Our hearts race as if we were standing in the character’s shoes– as if their fear was our fear, or their love our love. We root for them, we care about them.
And we begin to care about their images systems as if they were our own.
When Leonardo DiCaprio’s character, Cobb, sees his children but cannot see their faces, we begin to long for their reunion just as he does. And when those children turn around and reveal their faces to him, it’s hard to fight the rush of emotion.
As a writer, you can use the three step hypnotic process to craft a profound journey for your character. Think about the images that most powerfully capture your character’s experience on the way down toward the heart of their journey, and how you can return to those images in new ways on the way back up in order to anchor and deepen the change your character is experiencing.
And while your at it, think about the hypnotic images that play in your own head as a writer. What images do you chose to focus on? What images are holding you back? And how can you revisit, deepen, and adapt those images in order to anchor the future that you are seeking?
Whatever images you choose, if you get them right your subconscious mind will respond to them as if they were real– just like you do at the movies. Perhaps it’s time to create some new variations.
Stay tuned next week for my most exciting Inception article yet– a powerful hypnotic script that uses the principles behind Inception to help you overcome your own creative blocks.
As I discussed in last week’s article, the organizing principles of Inception’s dream within a dream within a dream structure almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.
To understand how a movie can be built from this kind of organizing principle, you first need to know a little about hypnosis.
The Standard Three Step Hypnotic Technique
Weekend certifications in hypnosis generally teach a three step technique which corresponds almost perfectly with the “three dream” technique the characters in Inception are using to convince their subject, Robert Fischer, to break up his father’s company.
Just as the architecture of Robert’s dream sequence in Inception is built around around the people, image systems, and beliefs Robert holds most dear, so too is a three step hypnotic technique built around the most resonant images for the person being hypnotized.
Dream Research and Hypnotic Research
A hypnotic session using this approach begins with an interview, during which the hypnotist gathers images that have emotional power to the person being hypnotized.
For example, if you were using this method to help a blocked writer pick up the pen after a long period of procrastination, you might begin with images that are not even related to writing, but which capture some of the emotions the person wishes they had when they were writing.
The hypnotist would then induce a trance in the person, creating a dream like journey– a series of three images down into hypnosis, and three images back up– in which each image leads them deeper into trance, and closer to the transformation they are searching for, just like a dream within a dream.
With each step down, the value of the image is established, and with each step back up, the meaning of each image is deepened and adapted, associating that image with the change the person is seeking, and anchoring that change on a deep subconscious level– as if it had already happened.
Power of Images
Movies are built around images, because movies are hypnotic. They carry us out of our own world, and transport us into the dream world of the writer. Each sequence of images leads us deeper into trance, until we begin to respond to the movie as if it were real, feeling real emotions for characters we know don’t actually exist.
We cry for losses that never happened, feel embarrassed for social gaffs that never actually occurred. Our hearts race as if we were standing in the character’s shoes– as if their fear was our fear, or their love our love. We root for them, we care about them.
And we begin to care about their images systems as if they were our own.
When Leonardo DiCaprio’s character, Cobb, sees his children but cannot see their faces, we begin to long for their reunion just as he does. And when those children turn around and reveal their faces to him, it’s hard to fight the rush of emotion.
Are You Getting The Most Out Of Your Images?
As a writer, you can use the three step hypnotic process to craft a profound journey for your character. Think about the images that most powerfully capture your character’s experience on the way down toward the heart of their journey, and how you can return to those images in new ways on the way back up in order to anchor and deepen the change your character is experiencing.
And while your at it, think about the hypnotic images that play in your own head as a writer. What images do you chose to focus on? What images are holding you back? And how can you revisit, deepen, and adapt those images in order to anchor the future that you are seeking?
Whatever images you choose, if you get them right your subconscious mind will respond to them as if they were real– just like you do at the movies. Perhaps it’s time to create some new variations.
Stay tuned next week for my most exciting Inception article yet– a powerful hypnotic script that uses the principles behind Inception to help you overcome your own creative blocks.
INCEPTION: A Hypnotic Script, Jake Krueger!
by, Jacob Krueger
By now, you and everyone you know have probably seen Inception. You’ve read reviews that wax poetic about its dream like nature, its visual innovation, and its extraordinarily ambitious thematic aspirations.
Perhaps you’ve even heard me lecture about Inception, and the ways I feel it could have pushed its themes even further.
The Hypnotic Basis of Inception
One of the truly interesting things about Inception is that its structure seems to be based upon the principles of hypnosis. In fact, the organizing principles of the dream within a dream within a dream structure of the film almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.
Your Screenplay’s Organizing Principles
Why is this important to you as a writer? Because as writers we all need organizing principles around which to structure our character’s journey. Usually we think of such structures in terms of acts and themes, but as Inception demonstrates, the truth is that almost any source of inspiration can become the organizing principal of your story: from a question, to a character trait, to a work of art or piece of music, or in this case to a classical hypnosis certification class.
As writers we are not only students of screenwriting, we are also students of the world. And the good news is: you can utilize the hypnotic principles behind Inception not only to inspire the way you create the structure of your own movie, but also to open up new avenues toward building your life as a writer.
An Exciting New Series of Articles
Over the next few weeks, I’ll be discussing the hypnotic principles behind Inception, and ways of applying them to your own writing. I’ll also be describing ways that you can draw upon your own experiences to create organizing principles for your own movies– and harness those ideas to create unity for your script and profound journeys for your main characters.
To that end, we’ll not only be talking about the things that work in Inception, but also the things that could have been pushed further, to make the film even more dramatically successful and emotionally powerful.
Finally, we’ll be discussing ways that you can apply hypnotic principles in your life as a writer, in order to break through writer’s block, heal old wounds to your confidence, overcome procrastination, and create a better relationship between your writing and your editing brain.
By now, you and everyone you know have probably seen Inception. You’ve read reviews that wax poetic about its dream like nature, its visual innovation, and its extraordinarily ambitious thematic aspirations.
Perhaps you’ve even heard me lecture about Inception, and the ways I feel it could have pushed its themes even further.
The Hypnotic Basis of Inception
One of the truly interesting things about Inception is that its structure seems to be based upon the principles of hypnosis. In fact, the organizing principles of the dream within a dream within a dream structure of the film almost perfectly mirror the classical hypnosis training one receives at a weekend certification class in hypnosis.
Your Screenplay’s Organizing Principles
Why is this important to you as a writer? Because as writers we all need organizing principles around which to structure our character’s journey. Usually we think of such structures in terms of acts and themes, but as Inception demonstrates, the truth is that almost any source of inspiration can become the organizing principal of your story: from a question, to a character trait, to a work of art or piece of music, or in this case to a classical hypnosis certification class.
As writers we are not only students of screenwriting, we are also students of the world. And the good news is: you can utilize the hypnotic principles behind Inception not only to inspire the way you create the structure of your own movie, but also to open up new avenues toward building your life as a writer.
An Exciting New Series of Articles
Over the next few weeks, I’ll be discussing the hypnotic principles behind Inception, and ways of applying them to your own writing. I’ll also be describing ways that you can draw upon your own experiences to create organizing principles for your own movies– and harness those ideas to create unity for your script and profound journeys for your main characters.
To that end, we’ll not only be talking about the things that work in Inception, but also the things that could have been pushed further, to make the film even more dramatically successful and emotionally powerful.
Finally, we’ll be discussing ways that you can apply hypnotic principles in your life as a writer, in order to break through writer’s block, heal old wounds to your confidence, overcome procrastination, and create a better relationship between your writing and your editing brain.
Σάββατο 5 Απριλίου 2014
Ελληνική Μυθολογία, Ίκαρος..
Στην ελληνική μυθολογία με το όνομα Ίκαρος είναι κυρίως γνωστός ο γιος του εξόριστου στην Κρήτη Αθηναίου Δαίδαλου. Μαζί με τον πατέρα του έμεινε στην αυλή του Μίνωα, ο οποίος είχε αναθέσει στον επιδέξιο και πολύτεχνο Δαίδαλο να κατασκευάσει το Λαβύρινθο, για να φυλακίσει μέσα σ` αυτόν το Μινώταυρο.
Ύστερα από λίγο όμως ο Δαίδαλος έπεσε στη δυσμένεια του βασιλιά, που
φυλάκισε και τον κατασκευαστή του Λαβύρινθου μέσα στο κατασκεύασμά του.
Κατόρθωσε όμως να αποδράσει, βάζοντας σε ενέργεια την ευφυΐα του.
Κατασκεύασε φτερά για τον εαυτό του και για τον Ίκαρο, με τα οποία οι
δύο άνδρες πέταξαν στον ουρανό και απομακρύνθηκαν από την Κρήτη. Ο
Δαίδαλος έφτασε στον Καμικό της Σικελίας, όπου κατοικούσε ο βασιλιάς Κώκαλος.
Ο Ίκαρος όμως δε συμμορφώθηκε με τις συμβουλές του πατέρα του και
πέταξε σε μεγάλο ύψος. Αλλά τα κέρινα φτερά του έλιωσαν από την ηλιακή
θερμότητα και έπεσε στη θάλασσα, η οποία από τότε ονομάζεται Ικάριο Πέλαγος. Η πτώση αυτή θυμίζει τις πτώσεις του Φαέθοντα και ιδίως του Βελλερoφόντη, ο οποίος, όπως και ο Ίκαρος, ήταν ήρωας φτερωτός.
(Source Wikipedia)
(Source Wikipedia)
Δευτέρα 31 Μαρτίου 2014
Rate Your Screenplay Character, ScreenwritingU!
Written by Hal Croasmun on August 3, 2010.
In the first five pages of your screenplay, we should see an extremely interesting lead character. Great lead characters make great screenplays.
People are always asking me how you know when a script is ready and it is an important question. In reality, I have a series of tests that tell me that a script is in the right neighborhood.
Here's one of them -- Characters that are astounding.
Think of the best character you've read in a screenplay. There was something about them that was so interesting and entertaining that they carried the movie by themselves.
Today's quiz will give you a chance to see if you have a character that performs at that level of quality. I've listed five essential parts of a screenplay character below. With each one, rate your lead characters 1 - 10 according to my scale for each topic.
You need a blend of familiar and unique. If a character is too unique, no audience will be able to relate to that character. On the other hand, too much familiar and the character becomes boring. The key is to have characters where the familiar feels right for the story and the unique part adds something really special.
Rate your characters:
(1) My characters either have very little familiar part or no unique part.
Characters should feel like real people who have a variety of different things going on in their lives. At the same time, a screenplay isn't big enough to encompass all of the internal activity a real person might have. So you need to bring each character down to three or four major traits that fully express who they are.
Rate your characters:
(1) Most characters sound the same.
When a character flaw is well chosen, it can add so much to a story. It gets in the way at just the right moment. It increases our concern for the character and gives them something to overcome. But it also has significant meaning within the story, not just to the character.
Rate your characters:
(1) The lead characters have no flaws.
Your protagonist needs to have an external goal that they are going for and an internal need they must resolve in order to become more fully who they want to be in life. Both motivate the protag to take action.
The external goal gives a reason for the action in the story. The internal need is usually in opposition with the external goal and means the protag will need to find some way to align the two or give up one by the end of the story.
Rate your characters:
(1) My lead characters are missing either an external goal or internal need.
I don't know a single human being that doesn't have an inner world they aren't fully expressing. Sometimes, that shows up as a secret they are hiding. Other times, it shows as an emotion they aren't expressing. But it could also be a covert agenda that is a major part of their daily activity, yet is unknown to most people.
Be careful here. You don't want to have your characters telling their inner world. That is for novel writing. In a screenplay, the inner world needs to be delivered through subtext and well selected actions.
Rate your characters:
(1) My lead characters don't have much of an inner world.
Reconsidering your characters will take you one step closer to seeing your stories up on the screen. I encourage you to do your very best to bring amazing character and dialogue to your screenplay.
In the first five pages of your screenplay, we should see an extremely interesting lead character. Great lead characters make great screenplays.
People are always asking me how you know when a script is ready and it is an important question. In reality, I have a series of tests that tell me that a script is in the right neighborhood.
Here's one of them -- Characters that are astounding.
Think of the best character you've read in a screenplay. There was something about them that was so interesting and entertaining that they carried the movie by themselves.
Today's quiz will give you a chance to see if you have a character that performs at that level of quality. I've listed five essential parts of a screenplay character below. With each one, rate your lead characters 1 - 10 according to my scale for each topic.
Let's Rate the Lead Character of Your Screenplay
1. Unique in some substantial way, yet familiar
You need a blend of familiar and unique. If a character is too unique, no audience will be able to relate to that character. On the other hand, too much familiar and the character becomes boring. The key is to have characters where the familiar feels right for the story and the unique part adds something really special.
Rate your characters:
(1) My characters either have very little familiar part or no unique part.
(4) My characters have a blend, but don't really stand out.
(10) My characters are the perfect blend and their unique parts give amazing contributions to the story.
2. Multi-dimensional without being confusing
Characters should feel like real people who have a variety of different things going on in their lives. At the same time, a screenplay isn't big enough to encompass all of the internal activity a real person might have. So you need to bring each character down to three or four major traits that fully express who they are.
Rate your characters:
(1) Most characters sound the same.
(4) Some of my characters have unique dialogue.
(10) All of my lead characters have a variety of interesting traits and fully express them in dialogue and action.
3. Flaw that is important to the story
When a character flaw is well chosen, it can add so much to a story. It gets in the way at just the right moment. It increases our concern for the character and gives them something to overcome. But it also has significant meaning within the story, not just to the character.
Rate your characters:
(1) The lead characters have no flaws.
(3) My characters have flaws, but they aren't important to the story.
(10) My character's flaws are a vital part of the story.
4. External goal, internal need
Your protagonist needs to have an external goal that they are going for and an internal need they must resolve in order to become more fully who they want to be in life. Both motivate the protag to take action.
The external goal gives a reason for the action in the story. The internal need is usually in opposition with the external goal and means the protag will need to find some way to align the two or give up one by the end of the story.
Rate your characters:
(1) My lead characters are missing either an external goal or internal need.
(4) My lead characters have both, but they aren't in conflict.
(10) My lead characters have both and they add so much to the story.
5. Subtext/hidden world
I don't know a single human being that doesn't have an inner world they aren't fully expressing. Sometimes, that shows up as a secret they are hiding. Other times, it shows as an emotion they aren't expressing. But it could also be a covert agenda that is a major part of their daily activity, yet is unknown to most people.
Be careful here. You don't want to have your characters telling their inner world. That is for novel writing. In a screenplay, the inner world needs to be delivered through subtext and well selected actions.
Rate your characters:
(1) My lead characters don't have much of an inner world.
(3) My lead characters do have an inner world, but it is either not expressed well or doesn't have much to do with the story.
(10) My lead characters have subtext that brings as much to the script as the surface story.
WHAT TO DO?
In most screenplays, I can tell where a character fits within a few pages. Either they are showing up with these five components or they aren't. Most of the time, it just points toward the one or two things that need to be expanded or improved.Reconsidering your characters will take you one step closer to seeing your stories up on the screen. I encourage you to do your very best to bring amazing character and dialogue to your screenplay.
Παρασκευή 28 Μαρτίου 2014
The Inciting Incident
by, Jacob Krueger
Check out 100 Rules And How To Break Them for more tips.
This installment of the 100 Rules series grows directly out of a question from a former student:
The inciting incident is just a fancy name writing teachers like to give to the moment that opens the door for change for a character. And you’re absolutely right. It’s often the case in movies that inciting incidents happen before the movie starts.
For example, in Thelma and Louise, the main characters have already decided to go on their road trip before the movie begins (though Thelma still hasn’t told her hubby). Or, in Little Miss Sunshine, Uncle Frank has already decided to kill himself before the movie starts.
Having an inciting incident happen before your movie begins can often be a good thing, because it keeps the “normal world” of your script from becoming a “boring world” by starting the movie moving and your characters changing from page 1.
When this happens though, there’s usually a second inciting incident on page 10 – 12, that shocks us out of the “new normal” world set up by that original inciting incident, and opens the door to change.
For Thelma and Louise, it’s the moment Thelma flirts with the creepy guy at the truck stop who will later try to rape her. In Little Miss Sunshine it’s the moment Olive hears the voicemail saying that she’s going to get to compete in the beauty pageant.
You are absolutely right that there are no rules in screenwriting. God did not come down and proclaim that the inciting incident must happen by page 12 (that was Syd Field).
Many screenplays have pushed the inciting incident pretty deep down into the story and still worked brilliantly. But if you have commercial aspirations for your script, it’s also worth noting that having a strong inciting incident early in your script will help lock an audience into your story, and help get you past the coverage readers that guard the kingdom.
Besides, if you don’t have an inciting incident where producers are expecting it, almost certainly at some point, some producer is going to create one for you.
You’re not going to like what they create. So usually you’re better off giving them one yourself.
If your professor doesn’t believe an inciting incident can happen late in a movie, tell him to watch There Will Be Blood. PT Anderson starts the movie with about 20 minutes of silent filmmaking before we ever get to the inciting incident.
However, when you read the script for There Will Be Blood, there’s the inciting incident, right where it’s supposed to be. By page 6, Daniel’s friend has died, and Daniel is already stuck with the boy. And just in case anyone was concerned that this was too early, there’s another inciting incident right where Syd Field says it should appear: on page 12, when Paul Sunday shows up to tell Daniel about the oil.
Anderson knows he’s not going to shoot it that way. But he also knows if he doesn’t write it that way, executives are going to get nervous.
Similarly, Michael Clayton moves the end of the movie to the beginning, to create the sense of an exciting inciting incident before one has actually occurred.
Great writers know that that inciting incident is not a rule to which we must conform. It’s a game we play in later drafts, in order to help us capture the attention of our audiences.
Discovering Your Inciting Incident
There are very few things more damaging to a young writer than obsessing over page count. Great scripts come from stepping into a character, and taking them on a profound journey. And it’s impossible to do this if you’re looking in on your script from the outside, and editing every word before your story even makes it onto the page.
The page 12 inciting incident is not where you start as a writer. It’s where you end up.
It might take you 50 pages of writing to discover the amazing moment that ultimately becomes your inciting incident. And if you’re so worried about hitting some magic number that you don’t allow yourself those 50 pages, you’re never going to discover the good stuff.
In which case, it’s not going to matter where your inciting incident happens, because nobody’s going to want to watch your movie.
Though inciting incident is usually used as structural concept to discuss the moment that starts the engine on the entire film, the truth of the matter is that almost every scene in your movie is going to contain an inciting incident.
Another way to think of inciting incident is simply as the moment where things shift for your character: the event that happens– within the scene, the act, or the entire movie– that interrupts whatever has become the normal world for the character, and changes your character or the world around him so that things can no longer be exactly the same as they were before.
This is why it’s often the little inciting incidents within each scene that are actually most important for you as a writer. It’s these moments that keep your movie moving, and propel the force of your character’s journey.
If you are driving your story forward and forcing your character to change in little ways in each scene that you write, it’s inevitable that your character is going to go on a profound journey, and you’re going to discover those big turning points that producers are always so worried about.
Once you’ve allowed your character’s journey to play out to the greatest extent of your imagination and discovered those powerful scenes around which your movie turns, you can slice, dice, compress, revise or (if you’re like PT Anderson) downright cheat to make that moment feel producer friendly.
But until then, keep your focus where it belongs. On your character.
100 Rules and How To Break Them
Rule #4 THE INCITING INCIDENT
Check out 100 Rules And How To Break Them for more tips.
This installment of the 100 Rules series grows directly out of a question from a former student:
I have a question and thought I needed a fresh perspective from someone outside UCLA… I’m sort of getting in a fight with the teacher of my workshop about my inciting event. In my naturally rebellious style, I don’t think there is a rule that the inciting event has to nail us early in the script. I think it can actually be before anything is ever done on screen. I’m being told that [an event that happens before the movie starts] can’t be my inciting incident... I’m just wondering your opinion. – Dom C.
Opening The Door To Change
The inciting incident is just a fancy name writing teachers like to give to the moment that opens the door for change for a character. And you’re absolutely right. It’s often the case in movies that inciting incidents happen before the movie starts.
For example, in Thelma and Louise, the main characters have already decided to go on their road trip before the movie begins (though Thelma still hasn’t told her hubby). Or, in Little Miss Sunshine, Uncle Frank has already decided to kill himself before the movie starts.
Getting Your Movie Moving
Having an inciting incident happen before your movie begins can often be a good thing, because it keeps the “normal world” of your script from becoming a “boring world” by starting the movie moving and your characters changing from page 1.
When this happens though, there’s usually a second inciting incident on page 10 – 12, that shocks us out of the “new normal” world set up by that original inciting incident, and opens the door to change.
For Thelma and Louise, it’s the moment Thelma flirts with the creepy guy at the truck stop who will later try to rape her. In Little Miss Sunshine it’s the moment Olive hears the voicemail saying that she’s going to get to compete in the beauty pageant.
Is This A Rule You Can Break?
You are absolutely right that there are no rules in screenwriting. God did not come down and proclaim that the inciting incident must happen by page 12 (that was Syd Field).
Many screenplays have pushed the inciting incident pretty deep down into the story and still worked brilliantly. But if you have commercial aspirations for your script, it’s also worth noting that having a strong inciting incident early in your script will help lock an audience into your story, and help get you past the coverage readers that guard the kingdom.
Besides, if you don’t have an inciting incident where producers are expecting it, almost certainly at some point, some producer is going to create one for you.
You’re not going to like what they create. So usually you’re better off giving them one yourself.
No Rigid Formulas
If your professor doesn’t believe an inciting incident can happen late in a movie, tell him to watch There Will Be Blood. PT Anderson starts the movie with about 20 minutes of silent filmmaking before we ever get to the inciting incident.
However, when you read the script for There Will Be Blood, there’s the inciting incident, right where it’s supposed to be. By page 6, Daniel’s friend has died, and Daniel is already stuck with the boy. And just in case anyone was concerned that this was too early, there’s another inciting incident right where Syd Field says it should appear: on page 12, when Paul Sunday shows up to tell Daniel about the oil.
Anderson knows he’s not going to shoot it that way. But he also knows if he doesn’t write it that way, executives are going to get nervous.
Similarly, Michael Clayton moves the end of the movie to the beginning, to create the sense of an exciting inciting incident before one has actually occurred.
Great writers know that that inciting incident is not a rule to which we must conform. It’s a game we play in later drafts, in order to help us capture the attention of our audiences.
Discovering Your Inciting Incident
There are very few things more damaging to a young writer than obsessing over page count. Great scripts come from stepping into a character, and taking them on a profound journey. And it’s impossible to do this if you’re looking in on your script from the outside, and editing every word before your story even makes it onto the page.
The page 12 inciting incident is not where you start as a writer. It’s where you end up.
It might take you 50 pages of writing to discover the amazing moment that ultimately becomes your inciting incident. And if you’re so worried about hitting some magic number that you don’t allow yourself those 50 pages, you’re never going to discover the good stuff.
In which case, it’s not going to matter where your inciting incident happens, because nobody’s going to want to watch your movie.
Almost every scene has an inciting incident.
Though inciting incident is usually used as structural concept to discuss the moment that starts the engine on the entire film, the truth of the matter is that almost every scene in your movie is going to contain an inciting incident.
Another way to think of inciting incident is simply as the moment where things shift for your character: the event that happens– within the scene, the act, or the entire movie– that interrupts whatever has become the normal world for the character, and changes your character or the world around him so that things can no longer be exactly the same as they were before.
This is why it’s often the little inciting incidents within each scene that are actually most important for you as a writer. It’s these moments that keep your movie moving, and propel the force of your character’s journey.
If you are driving your story forward and forcing your character to change in little ways in each scene that you write, it’s inevitable that your character is going to go on a profound journey, and you’re going to discover those big turning points that producers are always so worried about.
Once you’ve allowed your character’s journey to play out to the greatest extent of your imagination and discovered those powerful scenes around which your movie turns, you can slice, dice, compress, revise or (if you’re like PT Anderson) downright cheat to make that moment feel producer friendly.
But until then, keep your focus where it belongs. On your character.
Δευτέρα 17 Μαρτίου 2014
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