Robert McKee

Recent

Trick Shot

Sometimes successful films — ones that aren’t expected to be, by many excellent people — spawn copycats, a fact as well-known as well-attested. The followers aren’t as awesome as the originals but they’re not always so awful, and the makers, if they care a little, will throw some new stuff in, or at least get people

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No Prizes for Subtlety

It was the sort of place you wouldn’t be found dead in; the guy on the floor didn’t agree. Didn’t seem to like the floor — but it was in better shape than his face. Then someone had gone duck hunting on his chest. And either another guy was standing in front of me, or

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Can We Tawk?

Comedienne Joan Rivers’ catchphrase was, ‘Can we talk?’ with all that that entails — its rhetorical nature, the Jewish thing, an implication that at least one of the parties will be better off for having done so … Like God. T’other day a priest spoke of ontological remembrance, the immediate and ongoing memory of past-present-future

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Hide and See

Something lost, Dallas Willard said once, might yet be very valuable. One’s car keys for instance. He was speaking somewhat in the context of salvation, if I recall … the general point was calling something lost doesn’t mean it’s not wanted — quite the opposite. Yet it remains … until finding its way out or being found

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Random

Unintelligent Design

Your plan is not working, they say. Ah, but my plan is working, we respond. (I just haven’t fully implemented it, yet … ) But look at the results you’re getting, they say. Things a’gonna change, just you wait, comes our reply. * The truth is, our plan is working. Mine is, yours is, theirs

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Shock and Appall

Our system is perfectly designed for the results we’re getting. We worship wealth and crave power. We have a job called “celebrity” and wink at vulgarity and reward villainy. We admire brashness. We randomly excuse or excoriate peccadilloes: depends on the news cycle, the fame or infamy possible, and the money and status of those involved.

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Can We Tawk?

Comedienne Joan Rivers’ catchphrase was, ‘Can we talk?’ with all that that entails — its rhetorical nature, the Jewish thing, an implication that at least one of the parties will be better off for having done so … Like God. T’other day a priest spoke of ontological remembrance, the immediate and ongoing memory of past-present-future

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The Country for Old Men

Walter Hartwell White is going to hell. Whatever else happens — whoever dies in the shootout, no matter what-all happens in the final three episodes, whatever he’s planning to do with the ricin recovered from his burned out house — that’s a fact. In fact, Breaking Bad creator Vince Gilligan said that was the point, one which

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