What happens when you break down
a Billy Wilder film? You get a masterclass in screenwriting. The 1960 film, The Apartment, is number 15 on the WGA's list of the 101 greatest screenplays and won the Academy Awards
for Best Picture, Best Director and Best Screenplay. Here are 10 screenwriting lessons in The Apartment. [MUSIC] We can't talk about a Billy Wilder film
without talking about the clever use of dialogue. First, notice how the dialogue
sounds unique to each character: Kirkeby: Premium-wise and billing-wise we are
18 percent ahead of last year October-wise. We were discussing our department
manpower-wise, promotion wise. I told him what a bright boy you are. She just won't give me a tumble date-wise. So you hit the jackpot a kid! I mean Kubelik-wise. Dobisch: Watch those stingers! Buddy Boy and Kubelik having
themselves a little toot? Dreyfuss: A nebbisch like you. Why don't you grow up, Baxter?
Be a mensch. Mildred: So where's the victim? Max the knife. Baxter: I have some paper towels. Mildred: Beatnik. For whom, for some good-time Charlie? Sylvia: So I said to him never again. Either you get yourself a bigger car
or a smaller girl. Instead he takes me to Hamburger Heaven
and some schnook's apartment. Margie: No action. Dullsville. Say, this is Snugsville! Fran: Watch the door, please!
Blasting off. Bud: One more. Fran: I shouldn't drink while I'm driving. I'm sorry, Mr. Sheldrake. I'm full up.
You'll have to take the next elevator. Billy Wilder also has a great flair
for witty comebacks. This maintains a certain level of tension in the scene. And guess what?
You maintain tension and you maintain interest. Kirkeby: Why do all you dames have to live in the Bronx? Sylvia: You mean you bring other girls up here? Kirkeby: Certainly not. I'm a happily married man. Fran: You should have stayed in bed this morning. Bud: I should have stayed in bed last night. It could be she's just a nice, respectable girl.
There's millions of them. Kirkeby: Listen to him. Little Lord Fauntleroy. Bud: You did the only decent thing. Fran: I wouldn't be too sure. Just because I wear a uniform, that doesn't make me a Girl Scout. Margie: A night like this, it sort of spooks you
to walk into an empty apartment. Bud: I said I had no family.
I didn't say I had an empty apartment. Charlie: Don't you know what night this is? Santa: I know, Charlie, I know.
I work for the outfit. Fran: How could I be so stupid? You'd think I would have learned by now. When you're in love with a married man,
you shouldn't wear mascara. Margie: Where do we go? My place or yours? Bud: Might as well go to mine. Everybody else does. And finally, Billy Wilder takes his dialogue to the next level. Depending on where they are in the story,
characters steal words from each other. Kirkeby: We were discussing our
department manpower-wise, promotion-wise. I told him what a bright boy you are. Bud: I am in the top ten efficiency-wise
and this may be the day promotion-wise. Fran: You're beginning to sound like Mr. Kirkeby already. Sheldrake: You see a girl a couple of times a week
and they think you're gonna divorce your wife. Bud: You take a girl out a couple of times a week,
just for laughs, and right away she thinks you're getting serious. Marriage-wise. Miss Olsen: He used to tell his wife I was the branch manager from Seattle four years ago we were having a little ring-a-ding. Fran: Ring out the old year, ring in the new.
Ring-a-ding-ding. Why can't I ever fall in love with somebody nice like you? Bud: That's the way it crumbles... cookie-wise. Sheldrake: He said I couldn't bring anybody to the apartment, especially not Miss Kubelik. Fran: I guess that's the way it crumbles. Cookie-wise. Craft your dialogue with the same attention to detail and you'll have a story worth talking about. [MUSIC] Billy Wilder repeatedly preached one of
his famous rules of filmmaking: to respect the intelligence of the audience. That means to invite the audience into the story by showing them things, not by telling them. Look at how he allows the audience to participate
in formulating the story experience: What does this tell us about how
Bud's apartment is being abused? In this scene, does Bud have to tell us
that he's running a fever? And here, does Sheldrake ever actually say
that he wants to use Bud's apartment? What brutal truth does Bud discover here? Does anybody here have to tell us
that Bud's drinking a lot? Do we ever hear Fran actually say
that she's going to kill herself? How does Kirkeby find out that
Bud has a woman in his place? What or whom is Bud thinking about here? Show, don't tell and respect the audience. They'll love you for it. [MUSIC] Master screenwriters like Billy Wilder
do something brilliant with their scenes that many novices tend to avoid. They make sure that the worst thing that could happen in a given scene actually happens. Here's an example: In the opening sequence, Bud finally gets
his apartment back and wants to sleep. So what's the worst that could happen
to him here? [PHONE RINGS] Bud: Hello? Dobisch: I'm in this joint on 61st
and I think I got lucky. Bud: I'm sorry, Mr. Dobisch. I'd like to help
you fellas out but it's sort of late. So why don't we make it some other time? Dobisch: Look, Baxter. We're making out the monthly efficiency rating
and I'm putting you in the top ten. Now you don't want to louse yourself up, do you? Fran Kueblik meets Sheldrake at the Rickshaw. He chooses a booth in the rear
so that they're not seen. So what happens? Fran recovers at Bud's apartment
after overdosing on the sleeping pills. Bud wants to take care of her quietly
and protect her reputation. So, of course, what happens next? Kirkeby: Hi, Baxter. Bud: What do you want? Kirkeby: What do I want? Bud: You can't come in here! Once Fran recovers, she and Bud
are about to have a nice dinner for two. Bud's delirious from having
the nice company in his home. So, of course, we get this: Bud: Huh? Karl: Baxter? And finally, when Karl Matuschka
comes for Fran, he's a powder keg waiting to explode. Sorry, Buddy Boy. Dreyfuss: Hi, Baxter.
How's the patient? Bud: Oh... I'm fine, doc. Dreyfuss: Not you. Miss Kubelik. Have some fun with your scenes. Entertain the audience by putting your characters through the worst possible situation. [MUSIC] There are two especially brilliant uses
of setups in this film. The first example is when Fran shows Bud
her broken mirror. Taken by itself, this event has little significance. But look at how Billy Wilder sets this up beforehand. Bud: The young lady whoever she may be.
It was on my couch when I got back last night. Sheldrake: Oh yeah, thanks. Bud: It was broken when I found it. Now we feel the full emotional weight of this moment. And here's the second example: Fran gets a worried look right before
she leaves Sheldrake for the last time. She runs to Bud's apartment, scared
that he's going to -- [BANG] But how did we even get to this point? With these setups. Bud: I tried to do it with a gun. Fran: Over a girl? Bud: Worse than that.
It was the wife of my best friend. You read in the papers all the time
that people shoot themselves. Believe me, it's not that easy. Bud: Could you use some champagne? Dreyfuss: Booze we don't need.
Say, why don't you join us? Bud: No, thanks. I don't feel like it. When you use well-crafted setups, you create intricately satisfying moments in your story. [MUSIC] The midpoint of a screenplay is a major
turning point in which two things generally happen: Stakes get higher, and the antagonistic forces get stronger. It's essentially a drastic change in the
story when things start to get serious. In the first half of the story,
Bud is enamored with Fran Kubelik and content with climbing the company ladder. Meanwhile, Fran is hopeful of having
a meaningful relationship with Sheldrake. But look at the significant change
that occurs at the midpoint: Miss Olsen: He used to tell his wife
I was the branch manager from Seattle. Always the last booth in the Chinese restaurant
and the same pitch about divorcing his wife. And Bud discovers that it's actually Fran Kubelik
that's romantically involved with Sheldrake. So the rest of the story is
about them dealing with this plot point. Fran deals with her
disappointment in Sheldrake And Bud deals with his disappointment in Fran. Let's take a look at how the stakes are raised: Fran attempts to take her own life and Bud is now directly under the control
of his nemesis. And see how the antagonistic
forces get stronger: Bud: All we were gonna do was just eat
and wash the dishes -- Karl: Look, Buddy Boy, if there wasn't a lady present
I'd clobber you. Fran: All right, Carl. Sheldrake: Normally it takes years
to work your way up to the 27th floor. But it only takes 30 seconds
to be out on the street again. So, what's it going to be? And finally, the midpoint is responsible
for driving the story to a resolution. Bud quits his job and leaves behind
his superficial career. And Fran leaves Sheldrake
and goes to Bud in the end. As you can see, the midpoint is
a crucial plot point in a story, and when the story becomes
more important to the characters, the outcome becomes more important to the audience. [MUSIC] Reversals are essentially
unexpected outcomes in a given scene. In order for a reversal to be effective, we first have to set up a strong expectation
in the audience's mind. For example, in this scene, our expectation
is that Bud's going to receive a promotion. But then we get a reversal:
it looks like Bud's in trouble. Bud: The vice squad? Sheldrake: That's right. Bud: Well, what's that got to do with me?
I'm not running any bookie joints. Sheldrake: Are you going to deny it? Bud: No. And there's even a clever second reversal: what Sheldrake really wants
is to use Bud's apartment. Here's another great example: Later in the film, Bud goes to tell Sheldrake
that he's going to propose to Fran Kubelik and take her off his hands. Look at the amount of expectation that's built up
as Bud rehearses what he's going to say. Bud: Mr. Sheldrake... I've got good news for you. I'm gonna take Miss Kubelik off your hands. After all, you don't really want her and I do. Mr. Sheldrake, I've got good news for you. Thanks to you, I'm in a financial position to marry her. But then we get the reversal: Bud: Mr. Sheldrake, I've got good news for you. Sheldrake: And I've got good news for you, Baxter. All your troubles are over. I know how worried you were about Miss Kubelik. Well, stop worrying. I'm going to take her off your hands. Reversals are like cinematic candy for an audience. Think about using them in your own scenes
and sweeten your story. [MUSIC] In The Apartment, we never need to be told
what a character is like. Instead, their character is revealed
through their actions. See what you can formulate
about Kirkeby's character here: Fran: Watch your step! And watch your hands, Mr. Kirkeby. Kirkeby: Would I like to get her
on a slow elevator to China. Lay in some vodka and some vermouth
and put my name on it. Bud: Yes, Mr. Kirkeby. You still owe me
for the last two bottles. Kirkeby: I'll pay you on Friday. All right, I'll take you to the subway. Sylvia: Like hell, you will. You buy me a cab. Kirkeby: Why do all you dames have to live in the Bronx? What gripes me is the two of them
were guzzling my champagne while Sylvia and I wound up
at the Guggenheim Museum. What can we discern about Fran Kubelik
in what she says? Bud: The mirror. It's broken. Fran: Yes, I know. I like it that way. Makes me look the way I feel. Don't mention the appendix
to the fellas in the office, okay? I wouldn't want them to get the wrong idea
about how you found out. Bud: You want to see my knee? Fran: No, thank you. The fellas in the office might get the wrong idea
how I found out. And see how we know everything about Sheldrake's character here without it being articulated: Sheldrake: Oh, I have a present for you. I didn't quite know what to get you. Besides, it's kind of awful for me shopping, so... Here's $100. You go and buy yourself something. Now you just get well. Do what the nurse tells you. I mean Baxter. There you are. Porter: Much obliged. Son: Let's see if they'll propagate in orbit. Sheldrake: See if they'll what? Son: Propagate. You know, multiply. And finally, we have our hero: Buddy Boy. Look at how his character is revealed
through his actions: He doesn't like violence. [GUNSHOT] He's considerate. Fran: Good morning, Mr. Baxter. Bud: Good morning, Miss Kubelik. Fran: You're the only one around here
who takes his hat off in the elevator. He's protective of others. Fran: My brother-in-law might be calling the police. Bud: That's why we have to be careful.
We don't want to involve anybody. After all, Mr. Sheldrake's a married man. And he's lonely. Bud: Cheers. Onion soup... and canned asparagus... Fran: I really should be getting home. Bud: You can't leave yet. The doctor said it takes 48 hours
to get that stuff out of your system. It's a wonderful thing, dinner for two. Fran: You usually eat alone? Bud: Oh. no. Sometimes I have dinner
with Ed Sullivan. So if you want to reveal character in your story, don't tell us who they are. Show us what they do. [MUSIC] Dramatic irony is when the audience knows something that a certain character does not. This is an excellent way of creating
suspense and empathy in the audience. Here's an example: Sheldrake tells Fran he loves her
and that he's going to divorce his wife. But then he says this behind her back: Sheldrake: You see a girl a couple times a week
just for a laughs, and right away they think
you're gonna divorce your wife. This causes the audience to start yelling at Fran
to get out of that toxic relationship. Another example: Bud doesn't know that it's actually Fran that's involved with Sheldrake when he says this: Bud: You know Mr. Sheldrake? I thought maybe I'd put in a word for you
with Mr. Sheldrake, get you a little promotion. How would you like to be an elevator starter? So we immediately know
he's just making things worse. Dramatic irony is also an excellent way
to create comedic situations. Bud's neighbors think it's him
that's partying all the time. [WOMAN GIGGLES] Dreyfuss: Mildred! He's at it again! Mrs. Lieberman: All that marching.
Tramp, tramp, tramp! You were having army maneuvers maybe? Sylvia: Hey, come on!
What are we waiting for? Open up! Dreyfuss: Mildred! Here, Fran doesn't know that she's in Bud's apartment. Dreyfuss: Do you know who that is? Fran: Mr. Baxter. 19th floor. Bud: Hello, Miss Kubelik. Dreyfuss: Mister? Miss? Such politeness. And finally, we're given a dose of dramatic irony
when Fran decides to leave Sheldrake. Sheldrake: I didn't plan it this way, Fran. Actually, it's all Baxter's fault. Fran: Baxter? He said I couldn't bring anybody to the apartment, especially not Miss Kubelik. What's he got against you, anyway? As you can see, dramatic irony is important in captivating the audience and drawing them into the story. [MUSIC] Because he's a master of dialogue, Billy Wilder also happens to be a wizard
when it comes to subtext. Subtext is the art of the unsaid. It's what a character really means
under the surface of spoken words. Let's look at the brilliant subtext
in Billy Wilder's dialogue. In this example, Sheldrake wants to get involved
in using Bud's apartment for his own trysts. But notice how he never explicitly says it. Sheldrake: Tell me, Baxter. Just what is it that makes you so popular? There's a certain key floating around this office from Kirkeby to Vanderhoff
to Eichelberger to Dobisch. It's the key to a certain apartment. Look, Baxter. I'm not just giving these tickets. I want to swap them. And notice how Miss Olsen's dialogue oozes subtext: Always the last booth in the Chinese restaurant
and the same pitch about divorcing his wife. And, in the end, you wind up
with egg foo young on your face. In this scene, Margie has saddled up
next to Bud in the bar. It doesn't take a genius to figure out
what she actually means here: Margie: You married? Bud: Nope. A night like this, it sort of spooks you
to walk into an empty apartment. And finally, there's a heavy amount of subtext
in Fran Kubelik's words when it comes to her affair with Jeff Sheldrake. Fran: Same song. Sheldrake: It's been hell. Same sauce: sweet-and-sour. Bud: I thought I'd put in a word for you
with Mr. Sheldrake, get you a little promotion. I'm afraid there're too many girls around here
with seniority over me. Sheldrake: Here's $100.
You go and buy yourself something. I have to get home and trim the tree. Fran: Okay. I just thought: as long as it was paid for. Sheldrake: I know it's a drag but you can't find
a hotel room in town. Not on New Year's Eve. Fran: Ring out the old year. Ring in the new. Ring-a-ding-ding. Just as we speak in real life,
hide what your characters want to say in subtext. The audience will relish discovering the deeper meaning. [MUSIC] The Apartment is a captivating story
because the hero, Bud Baxter, is taken on an emotional rollercoaster, constantly fluctuating
between positive and negative events. Let's take a look. We start the story with Bud fairly content at work. However, he can't go home
until late in the evening. Once at home, Bud enjoys dinner,
watches TV and gets into bed. But then Dobisch calls and puts Bud back out on the street,
which makes him catch a cold. The next morning, Bud thinks
he's going to receive a promotion. But actually, it looks like Bud's in trouble
with Mr. Sheldrake. Bud invites Fran to see Music Man and she agrees to meet him at the theater. But Fran is taken away by Sheldrake. and Bud gets stood up. Bud gets a promotion and his own office and celebrates with Fran
at the Christmas party. But, just when things couldn't be any better,
Bud discovers the dark truth about Fran Kubelik. While he's down in the dumps,
Bud finds a little romance with Margie. But wouldn't you know it?
Bud finds a suicidal Fran in his apartment. While Fran recovers at his place,
Bud enjoys having her company. Fran's brother-in-law storms in
and knocks Bud out cold. Bud makes plans to marry Miss Kubelik. Not so fast -- Sheldrake says
he'll take Fran off Bud's hands. However, Sheldrake gives Bud
the biggest promotion of his life. Bud learns that Fran is romantically involved
with Sheldrake again and he goes back to being alone. Tired of his adulterous coworkers, Bud quits. However, Bud now has no job and no plan. But in the end, Fran comes back to Bud
and it's a happy ending. So the lesson here: if you want to give the audience
an entertaining movie experience, take them for a ride on the emotional roller coaster. So, what are your thoughts? Anything you'd like to add? Leave a comment below. And to my patrons on Patreon: YOU GUYS ROCK! Your awesome support
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The video covers these topics in The Apartment:
Dialogue: You can't get much better than Billy Wilder's clever lines for his actors.
Show, Don't Tell: Visual storytelling is at its finest in this film.
The Worst That Could Happen: Wilder makes sure that the worst things happen to characters in a given scene. Nobody gets off easy.
Setups: From later payoffs to mimicry in dialogue later, there are some expert setups.
The Midpoint: The major plot point of the story, which the characters must then deal with in the second half of the story.
Reversals: Unexpected outcomes of a scene are built off strong expectations in the audience.
Reveal Character: True character is revealed through their actions.
Dramatic Irony: When certain characters don't know what others know, it can create both great drama and hilarious comedy.
Subtext: Many of Wilder's lines of dialogue drip with sultry subtext.
A Rollercoaster of Emotions: Bud Baxter is taken through constant positive-to-negative-to-positive changes throughout the entire story.
This one has been on my list forever. Thanks for reminding me to watch it!