# Why Dialogue Should Be Written Last - Ryan McCoy ## Метаданные - **Канал:** Film Courage - **YouTube:** https://www.youtube.com/watch?v=p7YaZgzhLwM - **Дата:** 27.02.2026 - **Длительность:** 12:29 - **Просмотры:** 2,979 ## Описание Our two new books... STORY QUESTIONS: How To Unlock Your Story One Question At A Time - https://payhip.com/b/ZTvq9 and 17 Steps To Writing A Great Main Character - https://payhip.com/b/kCZGd Ryan McCoy was born and raised in Everett, Washington. Growing up, he made movies with his childhood friends. After high school, he attended the Art Institute of Seattle, where he studied film and video production. While still attending school, Ryan began pre-production for his first film, "black." He met his director, Claude Sandeaux, while in school and asked him to direct. Three years later, Ryan has now moved to Los Angeles, where he continues to pursue filmmaking. His first film, "Black," is now in the process of finding distribution. 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I think it's maybe 5 to 10% of the screenplay. — If you were to pick up a screenplay and read it, isn't it mostly dialogue on the page? — I mean, there's always the thing of like you look at the first page and if there's like one line of dialogue, it's like, you know what I mean? Um, uh, so I don't know if that's the what you're asking or whatever, but uh, I think I don't think dialogue is that important. I don't put a lot of, uh, weight on the dialogue. Um, I think that almost that can be almost when it's well structured, you can change them out like light bulbs, you know, and that's when you find like the best line. And that's where you have these like iconic lines that hit. I think, you know, — why are you a strong believer in writing dialogue last? — For that very reason, I don't think it makes the story. Um, I think it's more of like the icing. It's more of on the spectacle side. I've talked about I've mentioned this in like other videos and things of that nature, but I think uh I think uh Pulp Fiction specifically and Tarantino kind of like put every aspiring screenwriter back 30 years, right? Because Tarantino is obviously a very unique individual voice, right? — Uh but when and I lived through it. I remember when Pulp Fiction came out and I was soon after that go you know started film school and um and just that's what everybody tried to do my and myself I tried to do the same thing you know I tried to write oh this is like — pulp fiction but like you know horror movie with banshees you know truth — and uh uh and really we should be looking back at like the William Goldman's and like the you know the generation from like 30s, 40s, 50s, you know what I mean? That generation of screenwriter where it was it was all based on the structure and narrative. And — why do you say that dialogue only holds weight of like 5 to 10% of the screenplay? — Just a lot based on my own methods of of writing and developing is that that's what I've discovered and I've found. It's difficult to grasp or to see or to understand because the dialogue is the thing that we see and we experience, right? And those iconic lines, we know those lines and those lines were written at some point and was written, you know what I mean? It's like, well, that's a great line, but again, the the reason it's great is because of that that buildup of that structure to that moment leading up to it, you know? So, um I just I think it would mostly based on my own experience of writing that I can, you know, if I can write a 30-page treatment and the story is engaging and there's no dialogue in it, well, that tells me that dialogue is obviously not of you, you know what I mean? That's it's of less importance than the structure of the narrative for certain. You know what I mean? whether it's 5 to 10%. That's just kind of what the number I've come up with. Uh because again, it takes me to do the wall thing that'll take a month, month and a half to do the treatment. That's a month, two months, you know, to write the screenplay. I have I'll do it in three days if I have the time, you know. So, what does that tell you? You know, about, you know, and the screenplay basically by the time I get that, basically what I'm doing is just adding dialogue to the treatment, you know. Um, but you pre present these characters in a situation where like, you know, the person walks into the room and they just say, "Hi, Susan. " But, you know what the emotional what is behind those lines that people, you know what I mean? So, the dialogue can be, "Hi, Susan. How are you? I'm fine. Nice dress. Thanks. I just picked it up yesterday. That's great. Hungry. want something to eat. Yeah, let's go to the kitchen. That's dialogue, right? Which could on the surface is like very boring, mundane, but if your narrative is structured in a way that you don't you're not even listening like, "Oh my god, oh, she's saying that because you know what I mean? There's all this underlying stuff that doesn't that's not because of the dialogue, — you know? " So that's why I don't put much a lot of weight on the dial. Now it's the icing cuz instead of hi, how are you doing? It's, "Hey, Susie, what? " I don't know. That was a weird one, but you know, whatever flashy fun lines you want to have in there, you know, but the the subtext, the meaning is all is stays ### [5:00](https://www.youtube.com/watch?v=p7YaZgzhLwM&t=300s) Segment 2 (05:00 - 10:00) the same. So, you can remove, "Hi, how are you? " and replace it with jet engines are loud and annoying. I think they're blah blah blah blah. Want to go to the kitchen and eat? Yeah, sure. Right. And then, oh, the dialogue is more like punchy. It's more catchy. Right. But it doesn't change the structure of the narrative or the meaning of the scene at all, you know. — Do you think when a screenwriter puts in a lot of dialogue, it's almost a way of like they love to hear their own voice? — I think it's I that Pulp Fiction curse, that Tarantino curse, I think that I saw that. I don't know how much it is today. I don't I don't uh I you know I I couldn't say for today, but up until um 10 years ago, I know that that was still like I would see something I'm like this person's trying to write like Tarantino, you know, or this person's trying to be clever with their dialogue, you know. — Yeah. But it was at the and at the time though if you think about let's say um Swingers or Singles or all those movies sort of around that same time that was very popular very snappy kind of catchy dialogue. — Yeah. Clerks, — right? Exactly. — Clerks is very dialogueheavy and and uh and I think those are kind of those are anomalies, you know, almost. I mean Kevin Smith to use him like he's he's making movies his own way, you know, and and began that. Um, so yeah, and yeah, these other first time, you know, filmmakers and films, uh, I also like in terms of like swingers or singles, you also have this celebrity aspect that was already involved, you know what I mean? Clerks is something I put truly independent and truly you know I mean these were like not famous people that are then made to carry this entire film you know I mean that film is the reason you followed it was because of the writing and because of the dialogue but this the like it's very hard to define the structure of that movie for me you know what I mean it's very unique it's very like true to that person's going back to saying like write what you know that's he wrote what he knew, you know, um, — right? And his voice is so interesting to listen to, whether you've seen him speak somewhere or you've read his book or whatever. It's he has such a you just want to listen to what he has to say next. — And then say like uh Robert Rodriguez and El Mariachi, right? His was more of an example of like, well, just get it on celluloid, you know what I mean? Like capture the image and I'll put it together myself or what? So, you know, his was more like less in the writing. I'm going to write this, you know, clever dollar. His was more like I'm just going to get the pieces I need to to put it together. And I think something like Clerks was more like more based on the writing aspect of it, you know. — Did you run a lot of videos — in Washington? Sure. — Were you were the were you that guy that was checking out all these titles? — DVDs. I still own like thousands of DVDs. I would go to like uh pawn stores and get like the four for 20 or 5 for 20, you know, and just — Yeah. Now all those movies are basically on, you know, [clears throat] some form. It's streaming anywhere. — But you like having the fact that you have that media. It's not just in the cloud somewhere. You own it. It's on your shelf. There's a lot of uh aspects from the DVD world that uh that are not available today or that have been uh missed like uh director's commentary is one of them and behind the scenes you know like uh you know feature like seeing how movies are made just watching like a movie set behind you know I mean behind the camera and you're like oh okay somebody brings out this thing and they clap it in front of a camera and they say these words and then they go over here and then this person calls out to that and then oh they don't start doing that till then or you know or oh okay they well when I saw the movie is this big explosion the person fell but like oh it was just they just jumped off a chair and somebody threw styrofoam on top of it and then you add sound effects and editing you know and uh so I think there's a lot of those aspects that are that uh that aren't uh maybe still available but people but they're overlooked, you know, quickly. Yeah. — Yeah, I agree. It's like having an album, too, and opening it up and seeing different insight. — Listen to album from start to finish. That's something that I was talking about this recently. I was like that's a rare thing now. I feel like, you know, and I was like at the gym the other day and I was like, I'm going to listen this whole start to finish. It's something I used to listen 30 years ago and I was like, "Oh my god, the memories of just like knowing what ### [10:00](https://www.youtube.com/watch?v=p7YaZgzhLwM&t=600s) Segment 3 (10:00 - 12:00) song is coming next and what part, you know what I mean? " But these, you know, uh, and not just the hits of that of that album, you know, not just the singles, but the whole album as a whole, taking it all in is something that's, you know, — what album was it? — Uh, Pantara's official live 101 proof, you know. — Is that the one with Cemetery Gates? — Oh, yeah. It's a whole live album. Yeah. So, it came out just after the Great Southern Trend Killer album, I think. And uh yeah, I mean I recall being in wait rooms with you know what I mean and just like or watching the home movie just like Yeah. And — you know every crowd noise, every fill in of between the songs, every like misune of the guitar, every you know just everything like when you listen to the album like I'll you know start to finish now it's like Spotify I do it all the time you know what I mean? Oh, just shuffle my like songs, you know. — But listening to that took you back to a certain time. — For sure. Yeah. — And you did it fill you with happiness or it was just sort of a nostalgia? It's neither good or bad. — Just more Yeah. It's this is interesting. This is, you know, this is something I haven't done in a while. Um uh — Yeah. — Yeah. Because it's a movie in our mind when we hear certain songs. — Yeah. And maybe no one else needs to know the movie, but we know it. — I just I mean I spent a lot of time like in my room alone, you know, like as growing, you know what I mean? Just like and just like uh whether music or or films, you know, just, you know, have, you know, this certain Yeah. nostalgia connection and uh now I think back more of like I'm like isn't how isn't that interesting that you're able to like after all I still know every single lyric to every word or you know what I mean like every edit to you know the original Teenage Meals the movie I had that entire movie memorized and I could recite the entire film like just — like off the you know just sitting here I'd be like this line you know um that's pretty interesting you know, and so yeah, if you like revisit that, you can't help but like those things kind of come back up, you know. Thank you for watching the video all the way to the end. Here is a complimentary question from our book, Story Questions. --- *Источник: https://ekstraktznaniy.ru/video/18050*