Robert McKee's screenwriting workshops have earned him an international reputation for inspiring novices, refining works in progress and putting major screenwriting careers back on track. Quincy Jones, Diane Keaton, Gloria Steinem, Julia Roberts, John Cleese and David Bowie are just a few of his celebrity alumni.Writers, producers, development executives and agents all flock to his lecture series, praising it as a mesmerizing and intense learning experience. In Story , McKee expands on the concepts he teaches in his $450 seminars (considered a must by industry insiders), providing readers with the most comprehensive, integrated explanation of the craft of writing for the screen. No one better understands how all the elements of a screenplay fit together, and no one is better qualified to explain the "magic" of story construction and the relationship between structure and character than Robert McKee.
Robert McKee began his show business career at age nine playing the title role in a community theatre production of MARTIN THE SHOEMAKER. He continued acting as a teenager in theatre productions in his hometown of Detroit, Michigan. Upon receiving the Evans Scholarship, he attended the University of Michigan and earned a Bachelor's Degree in English Literature. While an undergraduate, he acted in and directed over thirty productions. McKee's creative writing professor was the noted Kenneth Rowe whose former students include Arthur Miller and Lawrence Kasdan.
After completing his B.A., McKee toured with the APA (Association of Producing Artists) Repertory Company, appearing on Broadway with such luminaries as Helen Hayes, Rosemary Harris and Will Geer. He then received the Professional Theatre Fellowship and returned to Ann Arbor, Michigan to earn his Master's Degree in Theatre Arts.
Upon graduating, McKee directed the Toledo Repertory Company, acted with the American Drama Festival, and became Artistic Director of the Aaron Deroy Theatre. From there he traveled to London to accept the position of Artist-In-Residence at the National Theatre where he studied Shakespearean production at the Old Vic. He then returned to New York and spent the next seven years as an actor/director in various Off-Broadway, repertory and stock companies.
After deciding to move his career to film, McKee attended Cinema School at the University of Michigan. While there, he directed two short films - A DAY OFF, which he also wrote, and TALK TO ME LIKE THE RAIN, adapted from a one-act play by Tennessee Williams. These two films won the Cine Eagle Award, awards at the Brussels and Grenoble Film Festivals, and various prizes at the Delta, Rochester, Chicago and Baltimore Film Festivals.
In 1979, McKee moved to Los Angeles, California where he began to write screenplays and work as a story analyst for United Artists and NBC. He sold his first screenplay, DEAD FILES, to AVCO/Embassy Films, after which he joined the WGA (Writers Guild of America). His next screenplay, HARD KNOCKS, won the National Screenwriting Contest, and since then McKee has had over eight feature film screenplays purchased or optioned, including the feature film script TROPHY for Warner Bros. In addition to his screenplays, McKee has had a number of scripts produced for such critically acclaimed dramatic television series as QUINCY, M.D. (starring Jack Klugman), COLUMBO (starring Peter Falk), SPENSER: FOR HIRE and KOJAK (starring Telly Savalas).
In 1983, McKee, a Fulbright Scholar, joined the faculty of the School of Cinema and Television at the University of Southern California (USC), where he began offering his now famous STORY SEMINAR class. A year later, McKee opened the course to the public and he now teaches the 3-day, 30-hour STORY SEMINAR to sold-out audiences around the world. From Los Angeles (where his course is only taught two times a year) to New York (two times a year) to Paris, Sydney, Toronto, Boston, San Francisco, Helsinki, Oslo, Munich, Singapore, Barcelona and 12 other film capitals around the world, more than 50,000 students have taken the course over the last 15+ years.
Through it all, McKee continues to be a project consultant to major film and television production companies, as well major software firms (Microsoft, etc.), news departments (ABC, etc.) and more. In addition, several companies such as ABC, Disney, Miramax, PBS, Nickelodeon and Paramount regularly send their entire creative and writing staffs to his lectures.
In 2000, McKee won the prestigious 1999 International Moving Image Book Award for his best-selling book STORY (Regan Books/HarperCollins). The book, currently in its 32nd printing in the U.S. and its 19th printing in the U.K., has become required reading for film and cinema schools at such top Universities as Harvard, Yale, UCLA, and USC, and was on the LOS ANGELES TIMES best-seller list for 20 weeks.
1,讲述怎么有效 2,讲述的事永恒,普遍的形式,但不是公式 3,讲述的是原型,而不是陈规俗套 4,讲述的是全面彻底,始终如一,而不是捷径 5,讲述的是现实 6,精通这门艺术,而不是去揣摩市场 故事要领 :伟大的故事总是具有现实意义,能在长时间里不断获得新解释,因为其中...
评分许多观点竟然和我讲课时候的想法不谋而合~(@^_^@)~但这是人家是十几二十年前的看法啦…… 1.每一次电影技术的革新(比如从无声到有声从黑白到彩色)都伴随着讲故事方式退步。(那么这回儿我们就处于3D技术成熟带来的电影叙事的固步自封阶段) 2.大师必须是精通经典形式,这是...
评分第一次想读《故事》这本书,是因为一本电影杂志上的文章,那是一篇对罗伯特.麦基的专访,其中自然提到了他这本代表性的著作,众所周知,麦基在美国举办了一个专门教人如何“讲故事”的讲习班,手下的学生中也不乏一些如雷贯耳的名字,《阿甘正传》、《空军一号》、《回到未来》...
评分许多观点竟然和我讲课时候的想法不谋而合~(@^_^@)~但这是人家是十几二十年前的看法啦…… 1.每一次电影技术的革新(比如从无声到有声从黑白到彩色)都伴随着讲故事方式退步。(那么这回儿我们就处于3D技术成熟带来的电影叙事的固步自封阶段) 2.大师必须是精通经典形式,这是...
评分最早的一本《故事》,还是在上海的时候乌青送我的。前段时间,界面的朋友邀请我给麦基做个采访,于是把这本书又重读了一遍。跟两个小朋友说这事儿,他们非常兴奋,说是熟读麦基倒背如流,于是把他俩拉过来做采访主力。先是邮件采访,问题大都是远帆提的,麦基统一录视频回答问...
大概是市面上质量较高的编剧入门教程了吧,输出的也是好莱坞的主流叙事体系和方法,作为一个门外汉,可以粗略欣赏三分之二的内容。有一点很别扭,就是作者很像豆瓣卖弄阅片量上的KOL:写好决定性inciting incident,要去看这个电影;主角的塑造,应该参考这些片;场景设计,有这些典范。。。潜台词仿佛是,连这些都没看过,你还想当编剧?!
评分醍醐灌顶1.0
评分003
评分看这本书之前没想到它是如此优秀的文学批评,甚至可以拿来当人生指导,不过还是在如何组织故事方面受益最多。学到的最重要的一句话是 story is a metaphor of life。一下子看清楚了文学中许多基本元素的关系。
评分有些很漂亮的解剖,对于叙事本身的教学也没问题。只是我不认为narrative是电影的核心,也不认为narrative是表现人物的唯一途径。
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