When it comes to screenwriting, you can't
get much better than the Coen brothers. They've been nominated for the Academy
Award for Best Original or Adapted Screenplay seven times, winning twice. Once for Fargo, which I've already covered, and this gem of a film. Here are seven screenwriting secrets
in No Country for Old Men. [MUSIC] Theme is what the story is about, what the writer is trying to say. There's usually a thematic question
that's answered by the end of the story. In No Country for Old Men, there's a question that Sheriff Bell
wrestles with during the entire film. Bell: Some of the old-time sheriffs
never even wore a gun. Can't help but wonder how
they'd have operated these times. Let's take a look at what we're shown
regarding the three components of today's world. Number one: It's hard to comprehend. Bell: The crime you see now,
it's hard to even take its measure. My god, Wendell. It's just all-out war.
I can't think of any other word for it. Who are these people? El Paso Sheriff: It's just goddamn beyond everything. What's it mean? What's it leading to? This is further symbolized by Anton Chigurh's air tank. Deputy: Sheriff, he had some sort of thing on him
like an oxygen tank for emphysema. Sheriff: Oxygen tank? What the hell's he got that for? Deputy: You got me. Man: What is that? Anton: I need you to step out of he car, sir. Man: What is that for? Number two: You can't see what's coming. Man: Well, we need to know
what we're calling it for here. [GUNSHOT] [BIRD CAWS] Bell: Shoots out a little rod about that far
into the brain. Sucks right back in, animal never knows what hit him. Chigurh: If the rule you followed brought you to this, of what use was the rule? Woman: That's who you keep
looking out the window for? Moss: Just looking for what's coming. Woman: Yeah, but no one ever sees that. Accountant: Are you going to shoot me? Anton: That depends. Do you see me? Even Anton Chigurh himself
can't see what's coming. Notice how his light is green. [CAR CRASH] And number three: The world is bigger than any one person. Carson: You don't have to do this.
I'm a day trader. I'm a day trader. Carla Jean: You don't have to do this. Chigurh: People always say the same thing. Sheriff: It's the dismal tide. It is not the one thing. Bell: Not the one thing. Ellis: You can't stop what's coming. It ain't all waitin' on you. In the opening monologue by Sheriff Bell, he actually presents the two sides
of the thematic argument: Bell: I don't want to push my chips forward and go out and meet something I don't understand. A man would have to put his soul at hazard. He'd have to say, "Okay.
I'll be a part of this world." So, if the thematic arguments are
being a part of this violent world or refusing to be a part of it, Let's see how the characters fall into these two camps. First, we have the characters that easily participate. When Llewellyn Moss encounters
the drug deal gone wrong, he doesn't hesitate in taking some firearms
and a large sum of money. Of course, we all know that Anton Chigurh
has no problem whatsoever. Now let's look at the characters
that refuse to be a part of the world. We start the film with Sheriff Bell: Bell: I don't want to push my chips forward
and go out and meet something I don't understand. Wendell: What about yours? Bell: I'm hiding behind you. Secretary: That DEA agent called again. You don't want to talk to him? Bell: I'm gonna try to keep from it
as much as I can. Call the police. I'm not on their radio. Then, we have Carla Jean: Carla Jean: Fine. I don't wanna know. I don't even want to know
where you been all day. Chigurh: Call it. Carla Jean: No. I ain't gonna call it. Chigurh: Call it. Carla Jean: The coin don't have no say. And even the sheriff from El Paso: Sheriff: If you'd have told me 20 years ago I'd see children walking the streets
of our Texas towns with green hair, I just flat-out wouldn't have believe it. Curiously, we have a few characters that ride the fence, in that they both accept and refuse
to be a part of this world. First, we have the man at the gas station: Man: Well, I need to see about closing. Chigurh: Just call it. Man: We need to know
what we're calling it for here. Chigurh: You stand to win everything.
Call it. Man: Alright. Heads, then. The, we have Ellis. He lives in decay,
isolated from the outside world. And yet, he's accepted how things are: Ellis: What you got ain't nothing new. This country is hard on people. You can't stop what's coming.
It ain't all waiting on you. And, finally, we have Carson Wells,
who knows exactly what he's dealing with. Carson: He's a psychopathic killer, but so what? There's plenty of them around. You can't make a deal with him. You might even say he has principles that transcend money or drugs or anything like that. And yet, he tries to remove himself
from the world when he's caught. Carson: I'm a day trader. I could just go home. Take you to an ATM. There's 14 grand in it. Everybody just walks away. So, when you make the thematic arguments
in your story, don't forget to show it through the characters actions. [MUSIC] There's one thing in screenwriting that
the Coen brothers seem to do better than most. They use specific, not generic, details
to make the story come to life. It also makes the story world feel
genuine and authentic. First: they do it with people. Bell: Jim Scarborough never carried one.
That's the younger Jim. Gaston Boykins wouldn't wear one
up in Comanche County. Man killed Lamar's deputy, took his car. Moss: I'm gonna borrow a car from Roberto. Bell: You know Charlie Walser's
got that place out east of Sanderson? What is it Torbert says about truth and justice? They also get specific with places. Bell: Me and him was sheriffs at the same time.
Him up in Plano and me out here. Man: We lived in Temple, Texas for many years. Moss: In Odessa. Carla Jean: Why would we go to Odessa? Why all the way to Del Rio? Moss: I want you to meet me
at the Desert Sands Motel in El Paso. Carson: I'm across the river at the Hotel Eagle. Carson Wells. Even when it comes to small businesses, look at how each place has a realistic name. Phone: This is Roberto's Automotive.
I'm not in right now. Please leave a message. They even get specific with state penitentiaries. Bell: There's this boy I sent to the electric chair
at Huntsville here a while back. That man that shot you died in prison? Ellis: Angola. Yeah. And, finally, the Coen brothers get specific
when it comes to things. Bell: That look like about a '77 Ford to you, Wendell? It's the same tire tread coming back as going.
Made about the same time, too. You can see the sipes real clear. Wendell: What calibers you got there, Sheriff? Bell: 9 millimeter. A couple .45 ACPs. Moss: You got a pair of Larry Mahans,
shoulder, size eleven? Man: Twelve-gauge. You need shells? Moss: yeah. Double-aught. Bell: You know how they used to slaughter beefs,
hit 'em right there with a maul? Ellis: She buried him the next morning, digging in that hard old caliche. Here's something else if you want
to really convince the audience: It's not enough just to say: Moss: Yeah, I was in 'Nam. Notice how specific Llewellyn gets here: Guard: What outfit? Moss: 12th Infantry Battalion.
August 7th, 1966. July 2nd, 1968. So, if you want your script
to get through to people, don't forget this valuable lesson. [MUSIC] There's a significant number of secondary characters
in No Country for Old Men. Since the Coen brothers are smart screenwriters, they know to make every single one
of these characters serve the story. Let's take a look at each one
and how they aid or impede the main characters. Also notice how there's no lack of conflict
in most of the interactions. First, we have the deputy. He's detained Anton Chigurh. This serves the story by showing us
the villain we're up against. Next, we have the man that Anton pulls over. Besides having a car that Anton wants,
this character also serves the theme because he asks what the air tank is for, and he doesn't know what's coming. The wounded Mexican man in the truck
causes Llewellyn to return with water, which propels the story into motion. The man at the gas station allows Anton Chigurh
to fully amplify the theme of the story. The managerial types are no longer useful
once Anton gets what he needs from them. Loretta Bell loans her horse to her husband. Even in a simple gesture as this, the Coen brothers
know to infuse some conflict into it. Loretta: Be careful. Bell: Always am. Loretta: Don't get hurt. Bell: Never do. Loretta: Don't hurt no one. Wendell aids Sheriff Bell in the investigation, but he mainly acts as a shield for Ed Tom. The woman in the trailer office impedes Anton
from finding out where Llewellyn works. Anton:Where does he work? Woman: Did you not hear me? We can't give out no information. The motel manager gives Llewellyn the room he needs, but not without some resistance. Manager: You pick the option
that goes with the applicable rate. When Anton Chigurh calls Carla Jean's mother, notice how there's plenty of conflict
in their simple conversation. Mother: Now why would I expect him? Who is this? The clothing store owner aids Llewellyn
with boots and clothing. The taxi driver brings Llewellyn back to the motel. Notice how there's conflict here as well. Driver: I don't wanna get
into some kind of jackpot here buddy. Why don't I just set you down right here
and we won't argue about it? Moss: Take me to another motel. Even a waitress gives Sheriff Bell an emotional boost. Maureen: Freshen that there for you, Sheriff? Bell: Yeah, Maureen, you better had. The first employee at Tina's Range Gear
helps Llewelyn obtain a new shotgun and shells. The second employee provides amusing conflict
about something else Llewelyn needs. Man: You give me the model number on the tent,
I can order you the poles. Moss: Never mind. I want a tent. Man: Well, what kind of tent? Moss: The kind with the most poles. A civilian doesn't agree with Llewelyn's actions. Man: You shouldn't be doing that. Moss: Doing what? Man: Hitchhiking. Carson's employer gives him the necessary funds
for his mission to hunt down Anton Chigurh. Llewelyn needs the desk clerk at the
Eagle Hotel for this purpose: Moss: Just call me if anyone else checks in tonight. And, by anyone, I mean any swinging dick. The three young men at the U.S. border
provide Llewelyn with a coat and a beer that help him cross into Mexico. Llewelyn needs the Norteño band
to take him to the hospital. Sheriff Bell's secretary acts
as another shield for him as he asks her to do this: Bell: Can I get you to call Loretta for me, tell her I'm going down to Odessa
to see Carla Jean Moss? Secretary: Do you want me to wait
until you quit the building? Bell: Uh-huh. The hunter with deer carcasses provides Ed Tom with the kind of simple infraction
he understands and can deal with. The Border Patrol agent decides whether or not
to allow Llewelyn to enter the United States. The accountant serves this purpose: Anton needs to know something. Anton: He gave the Mexicans a receiver. Accountant: He felt that the more people looking -- Anton: That's foolish. This drug cartel member ultimately finds out
that Llewelyn will be at the Desert Sands Motel, bringing about his demise. Anton needs some new information,
so he gets it from this man: Anton: What airport would you use? He also takes his truck. In this amusing scene, the woman by the pool challenges Llewelyn's fidelity. Woman: I got beers in my room. Moss: No, ma'am. I know what beer leads to. The sheriff from Del Rio reinforces the theme and Ed Tom's refusal to accept today's world. Sheriff: It's the dismal tide. It is not the one thing. Bell: Not the one thing. However, Ellis provides him
with some answers and the truth. Ellis: What you got ain't nothing new. This country's hard on people. And, in the end, even teenagers on bikes
have something that Anton needs. What would you take for the shirt? So don't forget: Even the most minor character
should serve the story in some way. [MUSIC] When it comes to filmmaking, the Coen brothers
are masters of visual storytelling. They respect the audience and allow us to assemble
the pieces of the puzzle for ourselves. Here are some examples: Llewelyn encounters a wounded man that
begs for water so when he goes back to so, when he goes back to give him some, what does this tell us? When Llewelyn leaves his motel room
with the drapes completely closed, do they need to tell us what's going on here? When Anton hunts Llewelyn in the Regal Motel, look at how the arena is laid out for us. Sheriff Bell sees this: so he knows exactly what this means. And, when he sees this on the ground,
we know exactly who's been there. Knowing what we know of Anton Chigurh's violent ways, we can easily infer what happened to this man. Anton: Can you get those chicken crates out of the bed? Man: What are you talking about? And when we see this: it allows us to deduce
what happened to Carla Jean. Involve the audience in creating the story experience and they'll stay with you for the entire ride. [PERCUSSION] In No Country for Old Men,
there's another aspect of "show, don't tell". The Coen brothers show us not to underestimate
the importance of sound in a screenplay. Look at how much storytelling occurs through sound. [TIRE POPS AND HISSES] [INTERMITTENT BEEPING] [BEEPS MORE FREQUENTLY] [BEEPS LESS FREQUENTLY] [GUNFIRE] In the Eagle Hotel, Llewelyn might not
know who it is, but we certainly do. [SILENCED GUNSHOT] [BEEPING]
[FOOTSTEPS] The sound here tells us who Llewelyn is calling: [PHONE RINGS IN LOBBY] And this sound tells us what Anton did to the light: [SCREWING SOUND] When Sheriff Bell approaches the Desert Sands Motel, we hear what's going on before we see it. [MACHINE GUN FIRE] So, when it comes to the craft of storytelling,
don't forget to add sound to your toolbox. [MUSIC] As we've seen several times in other films, true character is best revealed through action. Let's take a look at the two protagonists
that participate in the world of this story in opposite ways. First, we have Llewelyn Moss. Late in the movie, he says this: Guard: You in the service? Moss: No, sir, I'm a veteran. Guard: 'Nam? Moss: Yes, sir. Two tours. However, by this point we've already figured out that he has military and firearm experience through these actions: And we also know that he's no stranger
to shady operations. Moss: Where's the last guy? Ultimo hombre. Last man standing.
There must have been one. The courthouse opens nine hours from now. Someone's gonna be calling in the vehicle number
on the inspection plate on my truck. Around 9:30 they'll show up here. Now let's look at Sheriff Bell,
who doesn't participate in this world in the same way. Bell: You ride Winston. Anything happens to Loretta's horse out here I can tell you right now I don't want to be
the party that was aboard. Bell: Gun out and up. Wendell: What about yours? Bell: I'm hiding behind you. Can I get you to call the Loretta for me, tell her I'm going to Odessa to see Carla Jean Moss? Secretary: Do you want me to wait
till you quit the building? Bell: Uh-huh. Don't wanna lie without what is absolutely necessary. Rangers and the DEA are headed back
out to the scene this morning. You gonna join 'em? Bell: Any new bodies accumulate out there? Wendell: No, sir. Bell: Well, then, I guess I can skip it. Secretary: That DEA agent called again.
You don't wanna talk to him? Bell: I'm gonna try to keep from it as much as it can. And, yet, look how eagerly he tackles
something that he's familiar with: Bell: Now what the hell? [POLICE SIREN] Bell: You looked at your load lately? That is a damn outrage. Man: You gonna write me up
for improperly secured load on me? Bell: You get your ass out of here. He also has manners. Whereas Anton Chigurh drinks the milk
straight out of the bottle, Sheriff Bell gets a glass. He removes his hat when he talks to Carla Jean. He also does so out of respect for the dead. Conversely, we also get his view on Mexican people: Bell: Supposedly a coyote won't eat a Mexican. Secretary: Do you want me see what I can find out
about the Mexican ones? Bell: Oh, Lord, no. Wendell: None of the three had ID on 'em. But they tell me that all three's Mexicans. You wanna drive out there? Bell: No, it's all I had to look for and it sounds like
these old boys died of natural causes. So remember: The audience doesn't want to know your characters through lazy lines of dialogue. Let them reveal their true character
through their actions. [MUSIC] The Coen brothers are masters of dialogue
because of two simple things: First, they always make dialogue
realistic to the story world. In this case: West Texas. Manager: Sir, I ain't at liberty to give out
no information about our residents. Bell: Wasn't no bullet? Wendell: Yes, sir. Wasn't none. Manager: Number 137. It ain't took. Bell: How many bodies did you leave with? Man: I ain't lost none of 'em, Sheriff. Man: You want someplace specific, you might could
be better off just driving to Dallas. And second, they make sure the dialogue
is unique to each character. Man 1: Mind ridin' "bitch"? Man 2: These are some ripe petunias. Wendell: Oh, hell's bells.
They even shot the dog. I believe they done lit a shuck. Carla Jean: Where'd you get the pistol? Moss: At the gettin' place. Just call me if anyone else checks in tonight. And, by anyone, I mean any swingin' dick. Carla Jean: Llewelyn, I ain't gonna
leave you in the lurch. Mother: I got the cancer. Three years ago I pre-visioned it. Woman: Hey, Mister Sporting Goods. Beer! That's what's coming. I'll bring the ice chest out here. You can stay married. Teenager: Are you all right? You got a bone sticking out your arm. Look at that fucking bone. So, the lesson here: Make your dialogue sparkle by making it
unique to the characters and to the world they inhabit. Hi. I'm Daniel Lee, creator of Script Sleuth. First, and foremost, I want to thank
my patrons for supporting me on Patreon. Your generosity helps me keep the channel going. If you're not a member yet, go to Patreon.com/ScriptSleuth to get early access to videos, exclusive content not available to the public, and vote on films to cover next. Also, be sure to subscribe and tap the bell
to be notified of upcoming videos. Thank you so much for watching.
THEME
Sheriff Bell wrestles with the thematic question of being a part of the modern, violent world during the entire movie.
BE SPECIFIC, NOT GENERIC
The Coen brothers really know how to use specific names, places, and things to create authenticity.
SECONDARY CHARACTERS
Every character in this story either aids or impedes the main characters. And almost all their scenes include great conflict.
SHOW, DON'T TELL
The Coen brothers are masters of visual storytelling. They respect the audience and allow us to assemble the puzzle pieces.
SOUND
If there's an audio version of "Show, Don't Tell", this movie has it: from Anton's silenced shotgun, the transponder receiver's beeps, to machine gun fire in the next motel room.
REVEAL CHARACTER
We learn everything about Llewelyn Moss and Sheriff Bell through their actions.
DIALOGUE
True to a Coen brothers film, the dialogue is both unique to the story world (West Texas) and to each character.
Most of your praise and analysis should be directed at Cormac McCarthy, who wrote the book with a movie in mind. It’s very cinematic. Coen brothers changed shockingly little, because they didn’t have to, it’s all there in the book, including the dialogue, theme, etc.
But only the Coen brothers could do it justice, so there’s that. Like in the book, we know for sure she loses the coin toss at the end and Chigure murders her. In the movie it’s only implied. They know how to tell a damn good story on screen.
This is still the best screenplay of all time in my opinon, the action is lifted right from the book.
One of my favourites. I’m gonna watch this again just to see all the areas that were highlighted in this clip