Save the cat software crack

Continue Date added: January 2020 ScreenShot (insert this into your browser) Razer Deathadder Driver V1Wisconsin State Children's LicensingCheck Business License NycPowershot Sd980 is DriverSamsung Ml 170 Driver Windows 7Minstall Touchpad Driver Toshiba't Built Directfb Driver Not FoundLosing My Virginity EMaking EBook Competition Work In Electricity Free EbookSams It goes beyond just teaching you a cat! Download Story Structure Software 3.0 now. Save the cat free trial of Save the Cat software free trial software Save the Cat demo software Save the Cat 3 download. Read it all. Found 6 results for Save the Cat. The full download version is available, all placed on high-speed servers! Save the cat. If you are looking to keep the cat cracked. Download Save the Cat fast and for free. Come and experience your torrent treasure chest right here. Felix the Cat saves Christmas 2004 DVDRip x264-WaLMaRT. 724 MB. It's awesome to save an editor you can customize all the cars and choose God mode. Save the cat! buying software, reviews and downloading. NEW WITH 3.0: New user interface - All in one window: Title and Logline, Beat Sheet. XRumer 3.0 Crack. XRumer and Crack.Structure your script Save the Cat!® and create stories that resonate with Save the Cat! Home Of the Products of the zgt; Save Cat!® Story Software Structure 3.Save Cat 3. 1 Download (free trial). Why would you want to save a cat? If you're a screenwriter or an aspiring one you should have heard by now Blake Snyder in the game's changing book writer. During his 20-year career as a film producer and screenwriter, Blake Snyder has sold dozens of screenplays, including the co-author of Blank Check, which became a hit for Disney, and Nuclear Family for - both million dollars in sales. Named one of Hollywood's most successful screenwriters, Blake sold his last in 2009. His book Save the Cat! ® the last script book you ever need was published in May 2005 and is currently in its 24th edition. When I read this book, it really affected my story and script. Grateful Blake wasn't done, and apparently it wasn't quite the last script book you'll ever need, as eagerly awaited the sequel, Save the Cat!® Goes to the Movies: A Writer's Guide to Every Story Ever Spoken, was published in October 2007 - shooting #1 in scripted and scripted categories on .com. Blake's third book, Save the Cat!®: More challenges for screenwriters to get into... And Out Of was published in November 2009. Blake's method has become the secret weapon of many managers, managers and producers its an accurate, simple and honest assessment of what it takes to write and develop stories that resonate. Save Cat!® the latest history of the software structure you'll ever need to codify this method. Blake unexpectedly passed in 2009, but the Save the Cat community continues Blake's work. I had the pleasure of interviewing one of Blake's principal students, Jose Silerio. Jose carries the torch of Blake's work and travels around the world well... Save the cat. Enjoy my informative interview with Jose Silerio. Right click here to download MP3 Download on iTunes Direct Watch on IFH YouTube channel (episode transcription below) LINKS AND RESOURCES MENTIONED In this EPISODE SPONSORS REAL-STREAMING FILM FILM FILM ACTION Action Items: Subscribe to Podcast on iTunes, Stitcher, Soundcloud or via RSS. Save the cat! Training Video: BACK to FUTURE Save the Cat! Video Tutorial: SHAWSHANK REDEMPTION One of the greats! Shawshank shows the power of the story, told through strong punches, setups and wins. Save the cat! Video Tutorial: TOP GUN TOP GUN is not only a classic 80s movie, but it's also an ideal tutorial on the use of strong punches in the script. Save the cat! Video tutorial: TRUE LIES True Lies is a fan favorite and proves knows how to take action and comedy work well together. Save the cat! Educational video: ALIENS Further proof of director James Cameron's ability to use the strong punches of history along with the solid premise of a trucker film in space with great effect. If you liked the script Story Structure Made Easy, then you'll love: The Journey Writer: The Blueprint Script with Chris Vogler Enjoyed The Script Story Structure Made Easy? Please share it on social networks (Facebook, Twitter, email, etc.) using social media buttons on the side or at the bottom of the blog. Or post on your blog and anywhere else you feel that would be a good fit. Thank you. I welcome thoughts and comments on any content above in the comments section below... Get social with indie film Hustle: Facebook: Indie Movie hustle Twitter: @indiefilmhustle Instagram: @ifilmhustle Podcasts You Should Listen to: Podcast: Indie Film Podcast Hustle Podcast: Bulletproof Script Podcast Podcast: Filmtrepreneur® Podcast Stuff You Need in Your Life: IFH TV: Indie Film Hustle TV Book: Rise of Filmtrepreneur®: How to Turn Your Indie Movie into a moneymaking Business Book: Shooting for the Crowd (based on the incredible true movie story) Get access to IFHTV Here Please note some of the links below, and at no extra cost to you, I will earn commissions if you decide to make a purchase or use the service. Understand that I have experience with everyone services, products and companies, and I recommend them because they are extremely useful and and not because of the small commissions I earn if you decide to buy something. Transcription - Indie Movie Hustle Podcast Episode #71. Click below: Welcome to Indie Movie Hustle Podcast Episode 71. To be a screenwriter is to deal with the ongoing tug-of-war between exciting megalomania and insecurities so deep that it takes years of therapy just for you to be able to say: I'm a writer out loud. Blake Snyder. Save the cat. Broadcasting from the back alley in Hollywood. This is the Indie Film Hustle Podcast where we show you how to survive and thrive as an indie director in the jungle movie business. And here's your owner Alex Ferrari. Alex: Welcome Tody Movie Scams in another episode of the Indie Film Hustle Podcast. I'm your humble owner Alex Ferrari. Thus, tonight's show is sponsored by Million Dollar Screenplay by Paul Castro writer August Rush. This is an amazing course if you want to be a writer or a screenwriter. This course is great. It says it gives you nuts and bolts from the start, and it's very fast, probably about a half or two hours and gives you straight to the point of things that you started or the finesse of your script. You can go to indiefilmhustle.com/milliondollar it's indiefilmhustle.com/milliondollar and it has a whole new course that with your screenwriter director that ever you are in business. This course is astounding. It's called a million dollar business screenwriters, but a lot of the things he talks about in this course can translate into all aspects of cinema, from how to read a room as a step or as a step story in an agent's room, a manager, an investor, like reading a room. How to deal with agents, managers. Just how the business works in general and it's a wonderful person. Really really great stuff. So go indiefilmhustle.com/screenwritingbiz it's indiefilmhustle.com/screenwritingbiz to download this. Really worth it, guys. So to go along with our theme writers today guys. Our guest Is Jose Silerio from Blake Snyder's amazing book Save the Cat. Blake passed a few years ago, but Jose keeps the torch going on his amazing work on Blake's amazing work with Save the Cat. If you're a screenwriter today or you're a novice screenwriter today and haven't read the book Save the Cat you have to go out, stop listening, go to the show notes on indiefilmhustle.com/071 and click on the link to buy the book. This is a must read for all screenwriters. Remarkably, Blake was able to make an appearance of a script revolution and I would appeal to the Save the Cat community and wanted to share what Blake did with Save the Cat with our community of our tribe. So Jose was good enough to talk to us about Blake, about Saving the Cat and all the revolutionary ideas he came up with all those years ago when he wrote Save the Cat. So, without further ado, enjoy my conversation with Jose Silerio. Jose Man thank you very much for joining us on the Indie Film Hustle Podcast. I really appreciate being taken out by the time man. Jose Silerio: Thank you so much for having Alex. I mean were happy from Saving the Cat to be a part of that and you know, just help the writers as much as possible. Alex: Yes, I'm a big fan of Blake Snyder's work and Save the Cat. I've read all three books. And they're amazing. And they have the kind of business change a lot. Since they were released. So can you tell me a little bit about Blake and Save the Cat. For people who don't know. Jose Silerio: Yes definitely. You know how you said Save the Cat kind of became great in the industry, and it's not you know something just us thinking our own or, but it's just from our own experience. You know, when Blake was still around, we saw how his method, his books really became popular and Blake really you know the screenwriter is still just like most of us. He began writing the script as early as eighty. He even started working for his father in his serious animation to do voices for the child in the show and all that, and he got into the script back in his eighties, and he sold you know a few scripts throughout his career, like twelve or thirteen in total and a couple of others did. It's a blank check and stop either your mom or my mom will shoot Richards the more famous ones he made that came up. But I think from Blake really what he did with Save the Cat, and I'd kind of like we did well for him is that you know like everyone else, and in CS specifically for writers that there are these ups and downs of moments and right there you always know trying to kind of hacking. Although, and I said, even if you're already in. you're kind to moving yourself. Alex: That's what you did it, as Janet Jackson says you did for me recently Jose Silerio: That's what I think that kind of came from I think, knowing that the fight that went through, who wanted to make sure other writers after him kind of was a little easier if I can say that way and he found that you know that it has its own method of designing the structure. And if you see that, it's funny because he had this little story. It was that he you know it's like the early May ninty or the late eighties he told me he wanted to do these development meetings. He presented the script. You know the producer was there and they decided it with the script and the producer goes then so your you know the break, act to break. Just talking about this story more. Then, after the meeting. you know when all the other producers, one producer who sees with him pulled him aside and said you don't know what break, right. Yes, I have no idea what Alex is: Right. Jose Silerio: It was his introduction to the structure. And he understands what you know, in order to tell a good story, regardless of the story. We need structure. Again so he developed this own system, which eventually started the Cat Rescue Method and again, because it is from his own experience wanting to help other writers later down the road. You know, he just wanted to share it because he kind of works for him and like you said, you know, as soon as he published Save the Cat, the first book in his published and people knew gravitated towards him and it just exploded. Alex: Now you know that's where the Cat Rescue came from the title. Jose Silerio: The title of Save the Cat is the term itself that you use and you know, and it's an easy way where your audience is as your main character. This Save the Cat literally comes from a term you know, saving a cat you know, and what the place is just what you give your action hero to do early on in the movie, in the script. You know what makes us say, is a good guy, you know, I like this person you know who will make me want to follow this man's journey for the rest of the movie. Alex: What would be the opposite of that would be Kick Dog, which would be my book. Hitting a dog is like being an evil man. Jose Silerio: And it's a great way to introduce a villain. Alex: Yes. You can, anyone who kicks a dog like this guy, bad. So this is a great example. So that's where he comes from. Okay, great. So how do you relate to Save the Cat. Jose Silerio: You know, it's funny, I got into Save the Cat just like everyone discovers Save the Cat, which I read the book. You know Blake. You know, before the book came out. But when I read a book you know and a list. Oh, you know people writers that I'm a very lazy reader. I'm sorry to say. A book you know, even if it was fat. Save the cat let's not read it thick. Alex: It's not hard to read. Jose Silerio: It's usually a book to choose from would even take me something like a year to read. Alex: You're very lazy. You're really lazy right. Jose Silerio: Save the cat, I sat down on an open page could not put it down. It's just like you said it's very nice, it's you know you get it right way. You get what Blake is saying and what a good thing about it can be kind of to me is my reaction. It was very encouraging and telling me that you know this is something I can do and a lot of what I found myself as a no screenwriter as I get stuck here you know explaining this and telling me no, that's all you have to do and that's how I got into Saving the Cat. I read the book. You know had this email address that everyone knows who read the book. I wrote to him. Ask him what other things and all that and then one day Blake asked me, saying hey I need help with the script that I need to read can give me notes. You know, maybe we can build something together, and luckily you know. Alex: You were in the right place at the right time for Jose Silerio: Exactly you know the stars aligned for me and that's how I got into Saving the Cat and it was like way back to 2006 2007. Alex: I can't believe it's way back. Jose Silerio: Yes. It's been ten years. Alex: Wow! So you can explain to everyone. Which is because I remember the first time I was in an executive meeting and someone goes like this where your beachy. That's who I am. So you see the character doing it. It's very similar to what Blake did. I like I just try to keep going with it, but then I found out what beachy was. So can you explain to everyone what beachy is. Jose Silerio: Well beachy especially now with Save the Cat and many of you know a lot of others I think the producers each has their own kind of definition of what beachy is. So I'm going to go with the definition of Saving a Cat like Blake put you know beachy has for us we have what we call fifteen punches, fifteen key punches and what the process of fifteen beach beats is just like Blake Snyder Beachy. It just really points to fifteen key strokes that your hero has to go through in order to tell a good story. These moments should happen to your hero and your hero should do us well so that we can follow this structure, that story in a way that is very familiar to the audience and again when I say familiar I do not say that you know you are just copying from other movies, other scripts, other books that you have read before, but the history structure is something that's ingrained in all of us ever since you know from the nursery rhymes, telling jokes it's always structured, and what beats you know, these fifteen beats is that Blake kind of doesn't really evolve. But he's Alex: Discovered Jose Silerio: Not even discovered, but he's just kind of clear to everyone and he said, and he studied all these movies, that they felt like you know, what a really successful movie they really are, as he said, you know, he found that there were only fifteen beats always present, and that's what you know, I think beachy is. You know you have this fifteen beats in Save the Cat there minority go from opening the image all the way to the fifth, the final image that, as I said before, that we like your hero has to go through. In short, I think it's really like a sketch or maybe it's a good way to really help you, writer figuring out what's going on and what's more important when it should happen with Hero. Alex: Yes. It's kind of nice that I took out the structure because when I write my structure is pretty sound because I like the structure I like that these tedpoles to be able to like right too. So it's like OK from here up to this point up to this point. This has to happen the way I get to point A to point B before me as a writer, but I have a place to go. Without this structure you're just as meandering all over the world. Jose Silerio: Exactly. I think that's what you said you know, what a good firm that used was a temple that exactly you know what Blake meant. Many times and I say this all the time, like when I went to film school, that's when you know right in a script class one and one. The thing that he always got was ok to have an act of one, to act two, to act three. Alex: Yes, that's right. Jose Silerio: And I like O Alex: It's very payable. Jose Silerio: How you fill it out and that's what you know, Save the Beach Cat, what Blake does, atleast in the act of one you know that should happen to act one, because right as you know what blows should happen in the package and where again it happens, the same thing when you go act two and act three. Alex: Yes, it's pretty amazing. There is a series on YouTube that has. They take the Save the Cat method and they beat it up with movies. It's great to watch because you like to go back to the future. ET, you know the Terminator, titanic, and you just watch them and they literally beat it. So they like this, when it happens in a movie, it's when it happens in a movie and you just sit there and you use examples. Can you give us a few examples of movies that you save the cat very, very well. The clock and the clock are ones, but only a few large. Jose Silerio: Yes, even that big one, as you know, some of the Oscar winners I think speech, Argo. Very clear and strong blows. The Oscar-nominated one that I really liked from two years ago was Whiplash. Again all the beats were there, but the good thing about you know these movies was you can see that you know you can go there and I'm probably biased at the moment. And I look there, and yet I try not to talk about eating the catalyst. Oh, there's a middle ground. Alex: That's rude. You know, it's a watch I'll tell you that I've been in visual effects and post-production for a long time and you know it's hard for me to go to the movies sometimes. It's hard for me to just let go. And I just recently let go when I saw . So I didn't look at anything technical at all. I was just on a trip and it's for the movie to do it to let you know to people like us who are really into it. That I mean it's a really good sign of a director who able to cut through all our armor if you will be like that green screen doesn't really look that cool. Ok. Oh, it's the story of the point that's the catalyst. This is a turning point. And I find myself doing that all the time now with smaller movies. Jose Silerio: But, as I said, well done. Once upon a time really those. You know he's there. But you don't see it. Alex: Exactly. Or you look back. You will return to it later and watch a second time and then you will analyze it. Maybe the second or third screening of it, but the first time you just enjoy it and you know what's coming. But you're kind of. You're in this story, just like you should be. Jose Silerio: Exactly, and you know what it is. You know, they did their job well. You know, and like you said, when we get back to it, we start to realize, that's why you know we like this part and all that. Alex: Now have you seen his new Star Wars? Jose Silerio: I have Alex: And how is it? How it hangs to sit in the Save the Cat by Jose Silerio: Very good in terms of beachy. He's got punches in there. You know how they enter characters, how they are configured you know. Alex: No. No spoilers. No spoilers Jose Silerio: I will be very careful. You know, even you know the big moment, the big one is always the last point I think you know, even if I'm not going to say out loud Alex: Of course. Jose Silerio: I'm sure you know what I'm talking about. Alex: Absolutely. Of course. Jose Silerio: Yes. Even if we're not specifics. We know the kick was there and cleared the third act. You know what the third act is. And the punches are still there. So yes, I think I would say that you know yes, of course you should read Save the Cat before. Alex: Okay. Of course. Jose Silerio: I think, but you know. I think great filmmakers, great writers they know. Alex: But the thing is, if you look at all the big movies, the most successful movies, whether it's blockbusters or Oscar winners. In general, everyone follows the blow. They all follow the path, the structure of whether. And I think what Blake has done so well with Save the Cat is that the script is a complicated scenerio. It's not an easy way to write. It's much easier to write in many ways. I'm on a novel because you can do and you can kind of just delve into the depths of how the tree looks today and you can't do it in a script has to be very concise, should be very brief. Every word should make sense and move the story forward. And I think Blake did so brilliantly that he brought it to the masses where a lot of that kind of terminology was more top tier if you like in you know, in film school or at a higher end like. You know, the screenwriter is a programmer. These kind of really epic big huge agencies that were kind of like information protection and Blake kind of took that information and said now you can all have it and Here's now to go and write to be good Jose Silerio: yes. And I totally agree with you. There's kind of a go on the Joseph Campbell route, which is very Alex: Of course. Jose Silerio: And again there's nothing wrong, but it's a great system as well, but as you said, you know when Blake with The Cat Rescue kind of brought it down for the masses of those who weren't kind of mourning mythological things like this one was created and just go straight into it. Alex: I mean right, what the travel writer was or what a travel hero. It works well, obviously, with Save the Cat. It's there, but it's different, it's a little bit not that easy. How to Save the Cat is as easy as you can get as if you're a screenwriter starting. Read Save the Cat and then walk away and read the rest. But Save the Cat is a great base to begin with, because that's again one of the reasons I want you guys on the show because the book was so influential and then you can go away and read a million thousand books on the script. Jose Silerio: There's a good thing about that. Good thing Blake really started writing Save the Cat for writers more than anyone. For writers to help them move forward with their own writing and they feel like they are stuck. They kind of go, but they're also great movies. Alex: Oh my God. Yes. Jose Silerio: And find out, you know why they work. Alex: That's why they wrote a second book about movies. Jose Silerio: Exactly. Alex: Which was great. It was a wonderful example to kind of go and it just started breaking movies and you just like my God, I remember the first time I discovered. The first book I ever read was Sit Fields, which was when I was, and now I'm going back. It's like ninety. And when I discovered that there is a structure because it is the first one I have ever heard of any structure and I was like waiting a minute in fifteen minutes this happens and I can't stand it, then I just started coming back to all my movies and I'm like, oh my God, and I thought I cracked the code. It's like it was so revolutionary to me for someone who doesn't realize they don't know about it. It's so cool, but then again Save the Cat does so well, it simplifies it so beautifully and it is. I don't mean to say it's like writing numbers because there's a lot of creativity involved, but it gives you these temples so you can just do it. It's a lot easier. You have to think about structure. You can just decorate the house, you don't have to worry about the foundation. Jose Silerio: Exactly. I think that's the best way to say. Because I always say this with a different you know, there are always those and I think when people say they don't age the picture because we're just talking about structure. You know It's a house. Jose Silario: Your character, your traits. Alex: Dialogues. Jose Silerio: Exactly. It's on the writer and it's for you to make your characters unique, and once you add that then it becomes a completely different story. But you already have a structure. Alex: Yes, absolutely. Just like I said before, how literally could you have a house with a full foundation and structure done. Now, as it's framed. It can be decorated in a million different ways, and it all depends on how the writer wants to go forward. So many screenwriters to always hear about coverage like that, we're going to get coverage and I've got bad coverage, I've got good coverage and you can see the script in need of coverage from a studio production company. Can you explain a little bit about coverage for those who don't know the audience. Jose Silerio: Well, I think as you said you know the coverage release is more like. You know, you have a reader. Obviously you have higher windows that can't read all the scripts that go into their studios. So they need a version of Cliff Notes, scripts that come in, and I think that for me it's kind of coverage. You have readers who read it and they put their notes down on the script they are reading. The view experiences structure, symbols, dialogues. You know, giving it kind and you know different studios have different styles, different techniques, but it's kind of they have a kind of tone system and they point accordingly. And that you know, I think it's an easy way to just describe what the coverage is. So now that sheet of paper and hopefully for most is one pager right. This junior executive. Alex: If it passes. If it passes because they. Jose Silerio: He passes. Exactly. Right. He passes and goes to them. They read the script and they make their own version of the next higher coverage. He goes to the next above up guy. So you know, I think it's simple, I think it's a simple version of explaining coverage. Yes, this is really a cover letter you know for the script, will tell us what the scripts said to the executive what the script is all about and how it meets certain criteria for them. Alex: Now the thing is that as a screenwriter and I went through the coverage process and the studio system. It's very frustrating because sometimes you can't get the reader that you have. It really gets it and a lot of people have gone through to Oscar winners. You know in coverage and it happens and it's very frustrating a lot of times because you like my goodness I like. I forgot there are some legendary ones I just don't remember any of them off the top of my head, but that got passes in some studios. Well Star Wars has been adopted all over the world. I mean only the original war was like, what! You know, Jose Silerio: That's very true and a lot of a lot big manufacturers kind of like I don't think. You know, they don't even get it. Alex: They don't get it. So the script was like what it is. What kind of giant monkey that walks with this guy, and he's his sister. A what! Now forget that there is incest involved is awful. So you know. So it's happening. Jose Silerio: There is some way that their script gets them the right person at the right time. Alex: Yes. Jose Silerio: It's about you know who the reader is that they read in the right mood and hopefully be fairly objective when reading. Alex: I think also one thing that I learned in my travels and from talking to so many different writers and cover and producers and executives is that at some point you have to, even if they can pass it on. You have to write something so good that even they go you know I don't understand, but man it's really well written. There's a lot of that as it's not going to be done in movies, but you're a good writer, and I think that's something that writers should do their best to try to do the best. As Steve Martin says: Be so good that they can't ignore you. Jose Silerio: Yes, and I totally agree with that, and you know, that's what they always say to writers. This is what you go to say OK, that the secret is kind of hacking, and I think the release is no secret. The secret is to come up with a really great script. A well-written script. Alex: Oddly enough Jose Silerio: Yes. And because and then I truly believe it, because I've heard it from a lot of executives from the producers themselves, and they say you know that in this issue they're one thing for a great, next great script. Right. So the moment you have a great script that goes you don't, it's going to catch fire. It will spread you know by itself just because you know that once someone says there is a great script out there everyone starts looking for it. And I think it's really kind of a secret, but you have to do your homework again. You have to show them as you say earlier. As a writer you have to show these people readers or producers that you know how to write a story. You know what it takes to be a good storyteller. Alex: Yes, I know a lot of writers who put in a script and they said it wouldn't work for us, but I want to hire you for another job because you can write and that happens all the time and I know a lot of screenwriters who make a living never produced. They just keep the option of whether they work or they script a doctoring and they never had a single loan to their name, but they made millions doing it behind the scenes. There are a lot of guys who do it in Jose Silerio: Many and there are even many who are not just of you know their scripts, but make it hard to rewrite you know other scripts again, don't be credited for it, and you know it's a great job to have. Alex: For some I think after you've done your first two or three million doing it. At some point you just want to go you know I wouldn't mind getting something done. You know, but I'd like these problems. I don't know about you. Is that true? I wish I had someone like you, I've already made my three million this year. So I really would you know. Jose Silerio: We're just playing. Alex: Let me just play around you know, let's just. Jose Silerio: Follow the passion project at last. Alex: Finally do that passion project I watched about that one that prostitute in New York Is a Puerto Rican prostitute who really wants to dance, but she only has one leg. I can tell you that this is the winner of Sundance. Jose Silerio: Just a heart of gold. Alex: She has a heart of gold, and I tell you every time I hear. I always tell people this story. They say, OK, you want to go to Sundance. Make a film about a disabled one-legged Puerto Rican prostitute with a heart of gold who really wants to dance but is beaten by her drunk father. You know who is also transgender. I'm just saying I only won Sundance every year. Guaranteed. But you have to follow fifteen strokes if it doesn't work. Jose Silerio: Doesn't work at all. Alex: So much also with screenwriters a lot of attention is paid to the magazine and I know you guys talk a lot about loglines. Can you give a little advice on how to build a really great magazine and explain what the log is for people who don't know. Jose Silerio: Well, I think there is, the log line may be. I'll be honest. Logline is always the hardest thing on the right. Alex: Roughly. Jose Silerio: I am, you know, and I always say this to a writer like that. You know Blake says this in the book in Save the Cat that his process was you know you write a magazine one of the first that he wrote a magazine before beating him up. And that's great because it gives you a good idea of what your story is, but that particular magazine line that you write, the first magazine you write, most likely also won't be the same magazine line, the same story. You know, but ultimately what the script will be. Alex: Yes. Jose Silerio: Because as you start writing, things will start to change, start discovering more about you know your characters, your story. That's going to change. So there's a magazine that I think it's great to have early on to keep kind of on the way to what your story is, what you think your story is or what you imagine it's going to be, but there's also a magazine line at the very end it really captures the real story and you need to know the difference in but for me, no matter what particular magazine line you write on on on or the one you really want to send is not ready. The things they are looking for will always be what you know. This is the main one-to-one scenario, but they call them the Big Three. That is you know, he should be able to constantly convey whose story belongs, which is the number one hero. You know what the hero wants, that is the goal and what prevents the hero from getting he wants, you know what the problem is. So the hero, the goal and the problem for me are the big three, and I think it has to be very, very clear in the magazine to make it really compelling, and it's not you know, and it's like one or two out of three. You have to make sure it's three out of three things. If not, you don't have a history. And if it's not out there in the magazine, but your magazine won't have a story. It is therefore very important to be able to make sure that all three items have it in your log line that you have in your magazine line. Another thing that I like is the work that break pointed in the books, having a sense of irony in the magazine and you know and what it really means that I think you want to show that why this hero, the man to go on this journey. So you want to be able to create even in your magazine that's why exactly this hero would be a hero. Why is he going, why this journey will be the hardest thing this hero will be. So it's still building that, because what you're really telling us is that of all the people out there it's not the right person to do it. Alex: Right Jose Silerio: This is not the right person to go on this journey, but that's what makes him convincing Alex: Diehard Jose Silerio: Exactly. If you end up always with you know, Mr. Universe go against the big evil. You know who it is, but you know Alex: It's a commando. Jose Silerio: Love that movie! Alex: Yes. There's no real, never chance, as you know, maybe Steven can't, no, he's going to. Jose Silerio: You know, and it works for who he is right and the character he plays. But again for the rest of you who don't write. You know the action type of movies or commando-type movies are right. You have to find a way to tell us that to make sure you know by just reading a log of one sentence. You know the line. Let me understand that story, but more importantly, it's a very compelling story. And again, by doing this and giving us this sense of irony in the sense that it's you know you're introducing us to a character that shouldn't go on this journey. Alex: Yes. Go ahead. No, no, you brought up a really good point I would kind of focus on the real quick, that irony of the character that it shouldn't or it shouldn't be one in the way. Ripley from Aliens comes to mind. Leno. Sarah Connor of the Terminator. Die-hard, Mcclane. Deadly Guns Boys like there's no reason for them you know the job and they do Jose Silerio: Talk about Star Wars Alex: And Star Wars is a young farm boy who's going up against empire. Jose Silerio: Yes! Alex: Just like it doesn't have real. It's something just like that as it's not a big huge thing to act on. It's about a guy who stutters, who has thrown the starting bunch, and he should inspire a nation like this simple concept. It's not brain surgery, but then I started when you said it. I'm starting to go, I've just gone back to my psychic rolodex movies. And I, as you know, many of these eighties in action movies like Commando, like every John Claude Van Damme movie, like every Steven Seaman movie and bad action movies. No, no, no, no, no, no, no, Bad action movie and I love all these movies because then you know I was young when I saw them, I love them, and there's a character and charismatic thing about Arnold and about you know and all these things and those certain kinds of movies, but movies that really stand the test of time as I just watched Die Hard again because of my Christmas movie I watched. Because I don't care if someone says it's the best Christmas movie of all time. I don't care what anyone says. If you don't see Hans Gruber fall out of the window at the end of the day it's not really Christmas for me. So it's just me. Вуа-ау-а-а-а- Но я просто буквально видел его, как несколько недель назад, и я был, как я не могу поверить, как замечательно и как блестяще это делается, и это буквально, что фильм только породил сотни рип офф, как Die Hard в лодке, Die Hard в поезде, Die Hard в плоскости, что все такого рода вещи. It was so brilliant and the pinnacle of the film, but that's what you said. It's ironic. They are the irony of this character who has no business to do. The Predator is another, as even Arnold in this whole team is big muscle connected. But they're against something that they don't have business with. They can't beat it, and that's what makes a good really good compelling story, and I think there's a lot of writers out, especially bad action movies can really learn something from please. Jose Silerio: I think Die Hard is a great example because you know, in the eighties we used to see it all. You know Rambo's style in movies. They are all like this muscle bound you know. And all of a sudden we introduce John McClain, you know that's not true. Alex: No. He's a normal dude Jose Silerio: He's about to get a divorce. Right his wife and he can not stay together. Alex: He's in New York city in L.A. who trusts me, I understand. Jose Silerio: You know. So he's a completely different guy who gets thrown into you knowing more than a life scenario. Alex: Absolutely. And then shine you know barefoot bleeding, and it's like it's just so brilliantly crafted. I do not know. I forgot the name of the screenwriter of this. But it's so brilliantly crafted, so brilliantly directed and it holds. Even if it's eighty and you might you know it's so much fun to watch because you know all the eighty things in it, but it's so brilliant. Robocop is another of those absolutely brilliant as there is no reason for this hero to be able to do what he does. And you're going to go through what he's going through. So it's great, I've never heard anyone say that, but the irony of a character or hero is something that should be very important in your writing process. Jose Silerio: I think so, because it is not, you have a sense of irony means that you hear this wrong person or should not be the person who will go against this problem or with his purpose. Well, as a writer you will easily know what your end is. You'll stop writing a page there. Because you are not able to generate more conflicts for your hero. Alex: Yes. Jose Silerio: You lose your writing when you feel tension because your hero. Like Save the Cat, you haven't taken your hero as far back as possible. Alex: Right Jose Silerio: If there are already great super heroin first act. And again all you throw in front of them is that they can easily overcome and once that happens. You know your story ends at this point. Alex: And that I think one of the main problems with most Superman movies or even telling the story of Superman. It is so difficult to create conflict for God. Jose Silerio: Exactly Alex: And with the very first Richard Donner did, and he did it so magically it's like we all were, everyone tried to get back to that, but it's hard to create a conflict like Batman. That's why Batman works better than Superman, because Batman is a dude who yes, he's a billionaire. He's got things, but he could get hurt. He can get blood out, he can get his back broken, he can do all these things. Jose Silerio: And his backstory is so complicated that you know all his families, his parents were killed, he saw them being killed. Alex: It's so much meaty. Jose Silerio: You know, in such a sophisticated story, but more of an emotional story, it's to pull us in Alex: So I'm very curious to see how this Batman vs Superman debacle I think would be a fiasco. It's just me, but that's just my personal opinion I looked at the trailer the other day. I'm now we're going off the theme here, but I saw the trailer the other day and I was just like wow I don't know if this will work. I hope so. I'm a fan, but you know, but then I saw the captain, and I saw Captain America Civil War. I feel like it's brilliant. You have to like to look at the conflict in it's the way it's the ultimate conflict of friends that we've grown up with if people have seen through these movies, and now they're fighting for ideology just as brilliantly brilliant. I'm sorry if I went on a tangent on a superhero movie I apologize. So some of the biggest mistakes you see with scriptwriters are when you read them as first-time readers or just scripts in general. Jose Silerio: I think especially for us in Save the Cat got to get a lot of first time screenwriters. Although, when I speak for the first time, you know it's zlt;...... 38:03...... >... And one thing I've noticed about Blake is that many screenwriters tend to write about writing a character that's based on another character that they've seen in a movie. Alex: Actually you see, you still see a lot of that. Jose Silerio: Yes, it is, and that's how you talk about Die Hard. Die the plane, Die the train. Alex: Sudden Impact Don't Forget That When John Clarke's Die Hard is on the rink. Jose Silerio: So there's a lot of build that I think a lot of people kind of do that so far you know I want to make the next bacon. I want to do it. Alex: Was after taking it out there. I must have done a thousand scripts. Jose Silerio: Yes right or after the bridesmaid came out I want to do the next bridesmaids or hangover right after the hangover came out I want to do the next Hangover. So they write characters writing stories based on other characters that we've seen or that they just know from watching straight from the movie. These are not characters that they really know in real life. And I think that's one mistake, one big mistake the screenwriters know, especially the new ones are doing now adays is that you know they're starting to write off you know the characters that's about, that's what John McClain will do. You don't write John McClain anymore and you have to find you know in your own writing. Can we mention this sooner. To come up with your own voice. What you know is what makes you unique as a writer. We need to be able to find you know what makes your characters unique as well and that's the reason why you know, write characters based on people you know understand. You know it's the crazy art you have. Alex: Absolutely Jose Silerio: Old buddy you had. From high school. There is a really successful but bad marriage, but there are a lot of things that you can pull out of the real people that surround us, and I think you know that makes it more interesting because we start to see people we know. You know, it can be a little tricky that doesn't necessarily go left and we think that's all going to leave you know that. What sets them apart. And I think that's what new writers need to learn Help them build the best characters. Characters. I think also what you're saying is advice for every aspect of the movie in the sense of being yourself and stop trying to be someone else whether it's being a writer, whether it's a director, how I'm going to be next. No. You can't, because there's only one, there's only one Scorsese, there's only one Shane Black. You know, no, I mean, how many people are trying to rip down Shane Black after a deadly weapon and after everyone tried to write like Shane. When it was done in the old days, when everyone was doing two hundred million dollars on a spec script. It's about sales that don't happen now, but if you're just true. Be true, because if you notice all these guys, all these guys are original. They're all on their own. Jose Silerio: They were in their original voice came out ten and twenty years ago, and it worked for them. So now it's time for new writers who want to break in to find what this original voice is for today. Alex: Right, because things that were twenty years ago, won't work today, and it's huge, and it's one script and in the movies. There's a general statement a lot of people keep going at it from that point of view as I'm going to do what Shane Blake is. I don't think so. It's a different place, a different world today. Jose Silerio: So I think if I can Alex: Please Jose Silerio: On the other I think a common mistake. Writers, new writers are just rewrites especially when it comes to describing in the action part. It may not necessarily be an action movie, but you know when they start describing the action that's going on. You know, they describe it the way you know at the last minute. Alex: They write as a writer, as a novel. Jose Silerio: Even write that they describe the character. They describe it more and I think that's when I read it. It takes away the sense of creativity on my part. Because now you make me think very specifically of the action, the person, and that's the way kind of takes away from reading, because now my mind is back, and that's what the readers I mean writers have to understand that your first audience is not the person who buys the film. Your first audience is the reader, right. And you should know that you know that they don't have the benefits of music. They don't have the advantage of actual actors faces that they can follow. So reading the page is a little more difficult. They have to work a little harder to keep track of the story. So don't overdo it by putting in too much. The detail by making you know the specific is not you know what your own reader is, what the reader is, which are going to, but the ability to build the world yourself and get more into it. I think if us readers, if we got this opportunity to build a world a little self-sufficient, After reading the story, it becomes more interesting. It's getting more exciting. Alex: You know, the other day I read a script that was sent to me by a professional writer like the real you know, with credits with everything for the project. And when I read it. I read so many bad scripts that when I read this I was like this is what a writer like. It was so brilliant. The structure was in place, every word was. And I analyzed it as I read it because I was just as accepted as OK so it condensed everything properly. He won't call everything. He left it open to interpretation, but yes, I've given you enough. If there's a lovely balance when you write like that and it was just so wonderful to watch, read. It was a joy to read, as opposed to reading you know, ninety-eight percent of the scripts. Jose Silerio: Yes. Alex: Which is rude. Jose Silerio: Yes, and I had such moments. From a professional writer and it's like before you know if you are in page ninety. Alex: Exactly. And you're a slow reader. Jose Silerio: I caught you. So I know it's good. Alex: And I think it's also advice to readers like people who are trying to get readers to get coverage and things like that that they'll notice. Because they read so much crap all the time that when something quality passes through the door. Whether they like the thing, the subject matter or not, they recognize the talent in writing and it came in players like this just yelling at you because you know it's not like you're in a bunch of William Goldman scripts. And Shane Black's scripts and scripts are all cast and you're like who really good. No, it's like a bunch of crap and then you get that one piece of gold that comes every once in a while. So I was fascinated when I was appropriate research for this interview I learned that Save the Cat has some software. Yes, you can talk a little bit about it because I was a little exciting. Jose Silerio: Yes actually there is software and the good thing about the software is this really should be the Cat Rescue method. Alex: Oddly enough Jose Silerio: I think I had to say. It's laid out in the book, in the first book, as the sight of Blake going through it step by step. So even in software it kind of makes you if I can use that word. It kind of makes you first come up with you know what genre you want for the story. You know, then he tells you a magazine and then. But if you are not able to jump right way into the beach or board. If you go through it step by step, and but the good thing about it is that if you follow the steps to come up with a registration line, then only with a log line you will be able to go to the beach. If you have a beach and it when you can go in You know. So, but it has all the elements of what makes the Save the Cat method and what they're kicking at, it kind of makes you go through it step by step, and I think that's a good thing about it because it really helps you think it's just. I know writers always want to go to the front page and disappear to the right. But it can also always get us in trouble right way. There is you know not the time the first thing I would do is build that outline, build a structure before you have to go to the first page, and that's what I think the software is good at. This will help you focus a little bit step by step. Wind by the time you get on page one disappear in. You know you've already done the hard work. But like I said, he follows all the rules of Save the Cat, and he'll take you to the beach. He takes it to the board. In front of the cardboard and you can see it all lined up in front of you and your screen. Alex: Can you explain? I wanted to ask you if you can explain what a board is, because many people may not know what a board is. I like to use the board when I write. It's so useful, so you can explain it because there's a version of the software, then you're obviously taking it out of the real life version like the actual board and stuff, so you can explain what it is. Jose Silerio: Yes. And it's the same, you know, when my first introduction to the board also came from Blake and as he explained that it's something you know if you walk into the manufacturer's room is hardly enough, the same thing happened to me a few years after he told me about it was what the index card laid out and what's best in Save the Cat as we have it, that you have a big whether the cork board or the white board or whatever you write you break the board into four rows each row representing the act. Well, but you can say OK, but it's four lines so why four act. Well, it's to act one act two A, act two B and act three and in each row. You have, we have ten cards, and each card is really a scene or sequence. This means that again it is always you can start what you are actually doing here now with the body. You write and you work on the scenes already you're doing structural work already here, and on the latter kind of follow your hero in terms of his plot, in terms of his emotional history throughout you know you can mock the scene and see if he works in act one or in act two. You know if it's not you can move them around, but in a good thing about it again you can just in a very visual sense imagic just by looking at the board, you can look at the right way and see how the story plays out. You can see where the characters are moving and you can even I think one thing I always stress with the writer, so when they make the boards and make sure you're also able to follow the emotional story in You know, one thing we like to say in Save the Cat has a B story. You know what b story is for those who are familiar with it. What he presented to me was just a theme of history. Right. So what. But I did. Alex: Whether it's a plot or is that B. is that plot. Jose Silerio: It's not a plot, it's an emotional story of Alex: Got Jose Silerio: This hero has to go. Alex: Then the Titanic. So the emotional story of the Titanic is just to make people have a link. Jose Silerio: Let's say for Rose's physical story, I'm going to marry what his name is Billy zane. The emotional story for her is that she should be able to tell her mom that I'm not going to do what you tell me anymore. I have to be my personal and that's what Jack Whats his name Leonarodo DiCaprio teaches her Alex: Because she is a character. She's the main character. Jose Silerio: Yes, I agree with you. She is the main character and that is what Leo does for. He wants to get her to learn a lesson, learned the subject of history to be her own personality. Alex: In other words, it's not a plot, but just like outside, obviously I'm going to marry this guy, and I'm going on this boat. But emotions about it. From what intent her character is is this. Well, it goes after, it's an internal struggle or an inner journey. Jose Silerio: It's an inner journey, it's an inner story. Alex: Got it. Jose Silerio: Look Skywalker external of us stars and inner, you need to learn to be a writer to believe. Alex: Trust. Jose Silerio: So here's what you know it's coming back to the board and the writer so you can mark this card. You know whether you are using color or what you are using to mark them. You know, they say blue will be an external story, red will be an inside story. It just got that you can put them on the map and then you can see where you play from the emotional story as well. So I think the advice, as I said, you know, we hope to explain it well enough. Alex: yes Jose Silerio: You can see, write ways, just standing in front of him. You know what you have, where the story goes, where your hero is going. You know how you play the physical and emotional story of the Ark. But it's also you know it saves you if you do it now. You know if you're doing the dos with the right way before you start writing the page. If you see as a certain sequence. It's not working. As in the middle of the second act, you can either take it, take it another day or maybe you say you know this sequence can work better in act one. But you can do it right, you have to do it later, in six months or nine months I mean wrote the first draft. he says wait a minute page fifty-fifty fifty-five if I didn't work. But you know I should have known that nine months ago. I read it and save time right. So that's the beauty of what a board is. Alex: Now it's in the software you have that option for tips. Jose Silerio: Yes, you do, but there are few places where you can assign color to it. Alex: That's great. Jose Silerio: And it's a simple thing, but even assigning color to symbols. I think it's a wonderful little trick. You know if it's green it's going to be my villain, but if you look at your board and the whole second row doesn't have a green in it. The villain is the source of the conflict. Alex: This will be the first Twilight movie. One of the worst movies I've ever seen. I don't care if someone says someone's terrible. The villain appears in twenty minutes. I don't care how to screw it up. Twenty minutes at the end I like you're kidding me. Are you joking. The first hour and twenty minutes only of them yearn for each other. It was horrible. Jose Silerio: And there you go to see if they board. Alex: They had a board, look, they made a couple bucks on it. So we know, but it's definitely not being studied by writers for their structure or storytelling character or directing, but I'm sorry I get I apologize I just couldn't when you said I'm like a yes no villain. The first movie came to my mind because watching Star Wars First as the three four minute movie is the best villain discovery ever. And all and it was wonderful in this movie that I listened to probably saw every interview with ever about that Movie about Star Wars and he said that no matter where you were in the world, even if you had no idea who Darth Vader was you don't speak English. You knew he was a bad guy. It was highlighted by the brilliance and universal appeal of these movies as you knew and they did this thing with Kyle as well. The way they designed his mask and it was all very strategic to betray the villain instantly. Jose Silerio: Another great example if I can use you know which one of my favorites was they mentioned Alex: So brilliantly. Jose Silerio: The way they presented in the first two minutes. For me it was as good as the introduction of Darth Vader. Alex: I mean I'll tell you that when I watched this movie it was hard to watch. It's a movie that's hard to watch a little bit because it's so brilliant at the time. It's just a terrible person. He's so great at it, it's easy. I felt like I like just leaving a man to this play that's not worth a man. Don't play the damn drums anymore and just go through Jose Silerio: We want to leave Alex: but you know it's brilliant and he deserved an Oscar without a doubt he's carrying this movie. The whole movie is him as I know he's not the main character, but he's so overwhelming as an actor and the characters are so overwhelming that without him there's so much. He's the Empire. And this poor kid is Luke and it's like, but it's if Darth Vader yelled at Luke all over the movie and threw the characters at him. Jose Silerio: Throwing a chair with force. Alex: Just thrown into force, like come to Luke you know three strokes. Three lightsaber blows. Come on. Now you also have the app right. 'Save the Cat' app. Is this different from the software? Jose Silerio: No, it's the same, but as you said this app is for your Alex: Laptop Jose Silerio: It's for your iPhone or your Android. I'm not sure about that but I know it may work on your iPhone but it got to go through the same thing. It's kind of like a miniature version of what you can get in your laptop or computer. Alex: Got It Jose Silerio: But it's the same thing that will help you go through again your magazine and then beats and then you can even make cards there, but each card will be like one because it's an iPhone. Alex: Exactly. It's like a map. It doesn't give you a slot. Jose Silerio: You can play around it, you can have that word. Play between the app and the software. I think you can tie it up if I have it right. Alex: OK Jose Silerio: So you have them in your app, it goes on the cloud. You can put it in your computer. Alex: And if you are in Starbucks writing a script and you have an idea very quickly and you don't have a laptop. Pop it into your iPad or iPhone. Because I was talking to another screenwriter the other day, like people here in Los Angeles, people outside of Los Angeles don't realize that if you go to Starbucks. There are at least two people writing the script of any Starbucks in Los Angeles at any time of the day or night. Jose Silerio: Exactly. Alex: Never fails. He'll never let you down. So I am now coming to the part of the show that these are the most difficult questions that I ask all my guests. So, are you ready, sir? Jose Silerio: Okay. I hope so. Alex: What a lesson that took you the longest to learn, whether in the film business or in life in general. Jose Silerio: You know what. It's for me it's the discipline of writing, but it's for me personally I think it's something that most of you know a lot of writers to contend with. You know the job. Alex: It's hard. This white page is a mountain. Jose Silerio: Yes, and it really simplifies time. Day in and day out. To say that I'm going to write whether only for ten minutes, thirty minutes, one hour or a page a day, because it's so easy to get caught up with especially for those who are new especially those who have day jobs. That you can easily caught up with other things and before you know it's a week especially haven't written a single page before you know it's already two months old. I've never written ten pages. So if it's. It's not necessarily a lesson. Right. But while being able to, just be true to discipline yourself and say that I will write today and again for me it is you have to set a goal daily goal that is achievable for you. So, you know, I know other writers who write pages a day. I know who is someone who does six pages a day, which is tough. I was trying to do six pages a day. Alex: It's hard. Jose Silerio: Easier to say. But once you do that, it's hard. You have to find a system that works with you that makes it as I said achievable every day. So whether you go on a page count or a minute count. you know you have to do it and if that means waking up a little earlier or telling your kids at the end of the day you know the story Dady is playing right now on its own. Alex: Exactly. Jose Silerio: You have to do it and I think if anything it's just that you should keep writing if you want to really be a good writer. And I say this to all the writers I mean you just have to write it. Not only does it write but also read scripts not necessarily just watch movies just watch movies nicely, but read scripts as well you know and you have to find a way to put that in your schedule as well. Yes, I think this is one of the best lessons for one becoming not only a good writer, but being a really working writer. Alex: You know, if I can quote Woody Allen ninety percent success just shows up. Jose Silerio: Very true. Alex: And it's true that consistency appears every day and do the job, even if it's five minutes. Even if it's ten minutes, but it's what everyday stuff is, and it's something that people get hard for, as if you can get into this routine just doing it every day. A little by a little, and believe me, I know even Oscar winning writers have trouble writing it as they are just like God, I have to keep writing. It's like this writing is one of the most time-consuming processes on the planet, and it's one of the most underrated parts of the industry without a doubt, because without a big script there are no movies. And that's rude. So that's great advice. Now what are your top three favorite movies of all time. Jose Silerio: And I think it's an even more complicated question, just pick three. One could have I think a safe answer, but I really liked it and its one of those movies that I keep watching over and over shawshank redemption. Alex: Absolutely. Its one of my top three as well. Twilight is obviously two, but no. Jose Silerio: Close second. Alex: Close second was Twilight No. No It's fair to me as perfect a movie as you can get it for me because it's the godfather of my generation. Generation. Silerio: True. Very, very true. It's the same with me. You know, that's one of the reasons I love it so much, because actually it kind of breaks so many rules, but it all works. It's all a cool story and it's that you're going to go there at the end of the movie as who cares. Alex: So I liked whose story I like now you made when you asked me what whose story is Andy, it's red. I think it's, I think, it's Red. Maybe because he's a storyteller. Because he's a storyteller. Jose Silerio: Look at from a point of view, for me it's always like who has been the biggest change then this and it's red. Alex: Yes. Jose Silerio: Although you would think that many of the actions in or out of the action instigated are being instigated by Andy. Alex: But Andy didn't make that big change. Not as big as he was just doing what he was doing. Jose Silerio: Yes, for sure. Alex: But red from the moment you see and you actually see them in different temples of the film when all the interviews with the'lt...... 01:02:30.....how it changes and you can literally I mean it really puts it for you. Frank is there about it and it's absolutely brilliant. And another one of his Films Green Mile. I love the love of the Green Mile. So go ahead sorry. Jose Silerio: Oh Shawshank again I think it's number one for me. Alex: Yes. Jose Silerio: Another one I think again is not really order. Alex: Of course, Jose Silerio: One of the most perfect scripts I've read, and the movie as well. There was a little Miss Sunshine Alex: Such a pretty movie. That's quite a movie. Jose Silerio: I tell you when I read the script I thought it was lovely to get reading this script. Alex: Yes, it's tight. It's a tight scenario. Jose Silerio: You're watching the whole sky. Again one of those that you know Michael Arndt did a great job. Just building all these characters, we get to know all the characters right there in the first ten minutes. We follow all their stories and you know it's great and it's one of those again it's my way of gaging make it my favorite if you know when you're surfing on TV. You happen to see it, but you stop. Alex: Absolutely. Jose Silerio: Little Miss Sunshine and then another and smaller movie that I really really love was Billy Elliot. Alex: Yes, I love Billy Elliot. I remember Billy Elliot. It was a very nice movie. Jose Silerio: Yes, I think it I think maybe just happened a time with me when my first child first came out so the whole father son thing was. Alex: You secretly want to dance. I understand. Do you want. Jose Silerio: I love you know how they played you know how kids journey its just wants to dance. Played against the backdrop of what is happening in the world of dads. you know with the miners strike and having a great theme out there, their case actually was exactly the same. I think if you just laugh, it makes you cry. This is what the film should be. Alex: It's great that it's a great list. Jose Silerio: Yes, it's one of my top three. I think for now. Alex: At the moment. Yes, it's two thousand and sixteen. Jose Silerio: If you ask me tomorrow, that could change. Alex: Absolutely. Of course. Now, what's the most underrated movie you've ever seen. Jose Silerio: That's the hard part. I think a lot of me always look you know the kind of movies of the year, every year just like the one small movie that comes out, but for me to say why I don't even know what came out in the movie hours. I watched it in DVD, but I love that completely. I think they're kind of like they're in the field, but even though they're recognizable actors. Alex: Of course, of course. Jose Silerio: I think. Two thousand and thirteen. Just like a way back. Alex: Oh yes. I like the way back. Jose Silerio: What a great movie that Steve Carrell, Toni Collette you know a great cast. There's only two thousand fourteen less one with a skeleton, Skeleton Twins. Bill Heder's lawsuit. Alex: I didn't see that one. Jose Silerio: It's a small movie right. It's very. I just love the way they built the characters and relationships that they have. So you know. So it goes for me every year I have the kind of one they love that they felt. Alex: So two thousand fifteen was two thousand fifteen Jose Silerio: two thousand fifteen for me. I'm leaving you. Alex: OK. Jose Silerio: But you know, I think one big one that was rated. I didn't even hear about it until someone told me it was Luna. You saw Moon. Alex: yes yes yes Jose Silerio: I think in terms of thriller movies. It's one of those suspects. Wow it really grabs me. It was like what the hell was going on here. Really. Just a good thing about you. He's just really after one character. Rockwell's character. But it's like you're in it. Alex: You are in you are online you can not stand up. Jose Silerio: You know how I found out about it just because someone told me about it and I said OK I should watch it and then tell everyone you saw the moon. It's like. Alex: It's a brilliant thing about when you find a little gem like that you like. Why is someone else not in this that happening. Jose Silerio: Yes Alex: So working people are finding more about you and more about Saving the Cat. Jose Silerio: Save the Cat is a website savethecat.com or blakesnyder.com But it is the same and in their website says about you know what we do, the seminars that we have, the advice we do. But it's also. We also bring out the cheats of the films that came out, which is always a great resource for Alex: You have some new ones now with some of the latest movies. Jose Silerio: Silerio: And we have people who want to be into it, so it's kind of the best way to keep up with Save the Cat and again, as I said, it's a constant thing. So we keep Blake's method alive, which they did all the time. Alex: Fantastic. Well Jose thank you very much. It was a pleasure to talk to you today. I hope you were having fun. Jose Silerio: Thank you so much for having us. Alex. Alex: Appreciate it. Seriously, guys, if you haven't read this book, you should go and get it to Save the Cat, and it's a huge huge book. It's just Blake wrote it so wonderfully and it really opens your eyes to the many different ways that it takes to be a screenwriter and how to tell a story, and his method is pretty amazing. As it coincides in the world of cinema today and in the actual blog or show notes on indiefilmhustle.com/071 I put a couple of videos about how the Master Blake method measures up to certain movies and they actually go through the stage on the scene of these very famous Hollywood movies and you can see where all his points are lining up perfectly. It's pretty wonderful to watch. So definitely check that out. Now guys again, if you want to be part of the indie Film Hustle tribe and community, that's what we're really about we're trying to connect not only you guys to me, but you guys to each other and create a community where we can share knowledge to share information and share resources to make our movies done, and I'm kind of putting together a center for everyone to go and talk and communicate and share information and so on. If you go to our Facebook group or Indie Film Hustle private group on Facebook and all you guys do is go to indiefilmhustle.com/facebook and not only do you get a first crack at all our new articles and posts and videos and the like, but you get to watch and listen to other filmmakers and see what they do and see how they could help you and learn from them and if you have any information about things you could read about. Please place it there as well. So definitely check out what indiefilmhustle.com/facebook. And as always, please filmmakingpodcast.com and leave us an honest review of the show. It really helps show a lot and it helps us get the word out about what we're trying to do with Indie Film Hustle. So, thank you guys, so much for all the amazing emails and messages I'm getting from you guys. I really, it really keeps me going and really helps me in those tough days when I don't want to get up and don't want to do a new podcast, but I love doing it for you guys and I love helping you guys as much as I can. So thank you from the bottom of my heart for the support and good wishes, and I continue to do the good work we're doing here at Indie Film Hustle for you guys. We have some really really things coming in the next few weeks. Some ads are coming in the next few weeks, so stay tuned for all of this and I wish you guys nothing but the best on your movie journey and it's glorious. If you know what you're doing. Thank you guys. See you soon. Keep that fuss flowing. Relive that dream. 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