Chapter 4 of 26 from Werner Herzog

Writing a Script

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Forget the three-act screenwriting structure. Werner reveals how he draws on poetry and Beethoven to inspire scripts that capture his vision in words.

Topics include: Writing to Beethoven • Writing with urgency • Modifying scripts on-set

Forget the three-act screenwriting structure. Werner reveals how he draws on poetry and Beethoven to inspire scripts that capture his vision in words.

Topics include: Writing to Beethoven • Writing with urgency • Modifying scripts on-set

Werner Herzog

Werner Herzog Teaches Filmmaking

In 6 hours of video lessons, Werner Herzog teaches his uncompromising approach to documentary and feature filmmaking.

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Capture the spectacular

When the legendary director Werner Herzog was 19, he stole a camera and made his first movie. 70 films and 50 awards later, Werner is teaching documentary and feature filmmaking. You’ll learn storytelling, cinematography, locations, self-financing, documentary interview techniques, and how to bring your ideas to life. By the end, you’ll make uncompromising films.

Watch, listen, and learn as Werner covers every aspect of filmmaking, from pre-production to distribution.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Werner will also critique select student work.

Reviews

4.7
Students give MasterClass an average rating of 4.7 out of 5 stars.

It was a good outline, good for getting started.

Excellent Masterclass, fantastic insight into both narrative and documentary filmmaking from an extraordinarily experienced tutor. Have picked up so much valuable information on both planning and approach to filmmaking as well as practical, on-the-spot problem-solving. Great class, highly recommended.

From what is established to a broader mindset, Herzog isn't telling you what to do but rather inspiring a real personal creative process.

Only on my 4th class and this is fantastic, So enjoy listening to him. Such a depth...

Comments

Philip C.

Anybody know where we an get a copy of his "Cobra Verde"? I would love to read his screenplays written as prose.

Ketzal M.

So Werner poo-poos the three-act structure? Maybe I have a misunderstanding of that strcture but how can a filmmaker possible make a coherent, compelling, and satisfying film without a three-act structure? Without three acts, it seems to me, you'd be making an avant-garde art film.

Andrea P.

I like the urgency recommendation. Writing fast and furiously, tightly focused on what you're trying to say, especially within a short timeline, automatically culls out unnecessary words. And when you read it back or hear it, you can feel the movement – feel the compact and forceful energy of it. Yes!

Carlos E.

for me Urgency is the willingness to get organized and to force yourself to write.

Thomas T.

Dude, I love this! Ignore the 3-act structure. don't make mediocre predictable films! I love the way Werner thinks!

Alexandra Y.

The method of playing music and writing furiously to get it all out definitely is a naturally furious process to get out the main raw emotions and messages that one may have for a film script. What we need is to connect to the audience- they have to feel just a drop of relevance in what they're experiencing to stick with our story.

Eric G.

The urgency comes with the intention, and then it is woven in with the obstacles. You will find these keys in Sorkin's course if you have an "open pass" for the masterclass series, and I recommend it along with Scorsese's course. Most of all, I truly appreciate his frankness about the legendary "three-act requirement" in screenplay writing. My first screenplay now in pre-production financing is five acts, arguably divisible into three what wouldn't make much sense in a two hour highly intense spy-action thriller.

Rhonda M.

I like that idea of immersing yourself in a “fury of language” before writing. Many times when you try to tell a story, there’s so much you know — and creating that sense of urgency can be hard to do.

Chuck C.

Film school should consist only of a three-day course in operating a camera. The rest could be taught by Werner in this presentation.

Pato C.

Oh my God! This takes a HUGE weight off my shoulders... I have been taught time and time again to follow the 3 Act Structure, but somehow I do break free and go wherever I feel the story is asking me to go. Werner is telling me to listen and break the damn rules: "!Sal del montón!"

Transcript

Very often, I have had the feeling this whole three act structure that is being taught in film schools is kind of ridiculous. What is a three acts in Aguirre? In the leading character, from a certain point at the end, has to change and has to be a different man. No, not so! Not in Aguirre. Aguirre is bad, and he's only worse at the end. So it doesn't function with me like that. Sometimes there may be something like five or six acts in a film that I have made. I think it's brainless. It's really brainless to structure yourself. And it, very often, is a signature of mediocre films that become very, very predictable. And I don't want to make that kind of films. How do I psych myself up into writing? What I do the day before-- normally the day I start to write a screenplay, I read poetry, but really high caliber Roman antiquity, Virgil, old Icelandic Edda poetry, 1,000 years back, Tung poets from China 8th, 9th century, and other things. And I read and read and read, and I get into this fury of language. And its very, the highest caliber of language. And I know when I start to write, I'm not going to step down below this, or at least I try never step down below this. The second thing is, I play music to myself while I'm sitting there. I play normally it's Beethoven. Beethoven's symphonies are ones that have this dynamic and power, and it pushes me along. And I play it loud. My wife gets crazy when she hears it the sixth time in an afternoon. I'm playing the same Beethoven symphony. But it carries me, it pushes, me, it drags me along. So each one of you who writes has to find his or her own way how to write. For me, it's fast, urgent, high level. And always with a very, very clear idea and vision of a film that's going to be at the end as a result. I can read from Cobra Verde just to give you an impression. And again, this is written in prose not with dialogues. Only recently, I've started to have dialogue inserted in the names of the speaking people. And it starts with an image of heat, the notion of heat. "The light, murderous, glaring, searing. The heavens birdless. The dogs lie dazed by the heat." And now comes a beautiful sentence. "Demented from anger, metallic insects sting glowing stones." who would write that in a screenplay? Yes it is a form of literature. And you can imagine, as somebody who reads this, yes, this is a climate that we have to create on the set. Yes, a cinematographer knows what we have to do. And it ends-- I'll just read a little bit to give you a feeling for the kind of quality of writing and the literary aspect of it. Francisco Manuel staggers towards us. He seems to be confused, murmuring. The slaves will sell their masters and grow wings. I want to find snow during the film. He was frequently speaking about faraway mountains in that there was snow. ...