![]() And I’m quoting you again, “the guys and girls who stenciled their handprints on the walls of caves forty thousand years ago were doing then what we do today, making selfies.” So are you suggesting that we need to get beyond the “the guys and girls who put together the cave paintings,” which represent the earliest example of human art? You mentioned earlier that people haven’t changed. They may ask their natures within the story, but once they’re in a story they are there forever, whereas people come and go.Īndrew Keen: You say that people come and go, but one of the words that I picked out of your book is the value of humanism. They’re more knowable and you can know them in depth in ways you can never know another human being in depth, perhaps even yourself, and they may change. And that’s what I mean when I say that works of art and their characters are superior to people. It might give you an idea for something, but you have to go beyond people. People you meet or know might inspire you by all means. Don’t think that you can just meet someone or yourself, for that matter, and just copy a person that you actually know into a character. Robert McKee: Well, I can reduce it down to two words: don’t copy. Perhaps you might give it a bit of flesh. Born in the mind, the womb of an author held safe in the arms of a story destined to live forever. A character is no more human than the Venus de Milo, Whistler’s Mother, and “Sweet Georgia Brown.” A character is a work of art and an emotive, meaningful, and memorable metaphor for humanity. The executives may come and go, but story is forever, so I’m not movedĪndrew Keen: Your book opens with a fascinating observation, which I want you to explain. And so the storytelling is a universal enterprise as old as humankind, and it’s never going to stop. The new ownership doesn’t really matter much, because somebody still has to create the characters and stories that those studios, whoever owns them, are going to write and produce and distribute. Later, when Suze Orman is teaching Marge financial services, McKee says that the story is over and tells the viewers good night.Robert McKee: No, not really, because I’m old enough to remember how many times Hollywood studios have been bought and sold by everybody from Sony to whoever, and it just goes on and on and on. Six months later, when the robots are preparing to head to Yale University, Homer asks McKee if he'll see him at the last minute saving the day, but McKee thinks it's too clichéd. Meanwhile, after Bourbon gives them the greatest challenge to teach a robot with artificial intelligence and everything's going well so far, McKee says that this was a very useful time cut, and they'll find out what's going on, but Homer leaves that to him. When Bourbon expects them wondering why he assembled a team of the world's greatest teachers, McKee explains that there are only six basic plots: Rise-fall, fall-rise, steady fall, steady rise, black cop-white cop, and stop that wedding. Homer also meets Neil deGrasse Tyson, Ken Jennings, and Suze Orman, the other educators that Verlander hired. When Homer arrives, he meets one of the educators that Verlander hired for him, Robert McKee, a screenwriting guru who welcomes him to the act three climax, resolution of story and subplots. Burns decides to sell him to Bourbon Verlander and let him work for him at his private estate. He was one of the educators that Homer Simpson met at Bourbon Verlander's private estate.Īfter Homer gets much better at teaching as professor in Burns University, Mr. Himself Robert McKee is one of the greatest screenwriters of all time.
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