[FLAMENCO GUITAR] In 1975, the Godfather Part 2
was the first movie sequel to win the Academy Award for Best Picture. It also won the Oscar for Best Adapted Screenplay, and is ranked number ten on the WGA’s list
of the 101 Greatest Screenplays. Here are eleven screenwriting tips
in The Godfather Part 2. [MUSIC] When it comes to the characters in your story, be sure to ask yourself:
what’s the code that they live by? This helps make characters feel unique
and avoids making them sound like each other. It also helps in clearly defining their actions. Let’s take a look at the codes
that Michael Corleone lives by. His code pertains predominantly to family. We're both part of the same hypocrisy. But never think it applies to my family. (Deanna): Fredo! I can't control her, Mikey. You're my brother, Fredo.
You don't have to apologize to me. Of course, then we get his view on murder, and the hypocrisy of how he ultimately
deals with his brother Fredo. If anything in this life is certain, if history has taught us anything, it says you can kill anyone. I don't want anything to happen
to him while my mother's alive. Next, let’s see what code Hyman Roth lives by. Hyman Roth always makes money for his partners. Someone put a bullet through his eye. I didn't ask who gave the order because it had nothing to do with business. Good health is the most important thing. More than success, more than money, more than power. See how it helps define his actions
throughout the story? And finally, we have Vito Corleone,
who unsurprisingly displays the most complex set
of codes of conduct. First, we have his views on
solidarity with fellow Italians. Next, we have his conduct when it comes
to sharing things with his wife. And finally, we see his affinity
for the exchange of favors. If there's something I can do for you,
you come, we talk. So, when it comes to the characters in your story,
find the code that conducts their behavior. [MUSIC] When you really think about it, there are several reasons that should make
Vito Corleone a repulsive character. He steals. He murders. And yet, look at how they cleverly make
his character a likeable one by bringing out his humanity. First of all, we always root for the underdog. Look how they set up Vito
as an underdog when he’s a boy. His entire family is killed by Don Ciccio’s men. Upon his arrival in New York City, instead of embarking on his new life of promise, he’s immediately quarantined for smallpox. Which leads us to the next aspect of Vito Corleone
that creates a likeable character. He remains positive despite hardship. Instead of lamenting being stuck in confinement, he sings a sweet song in Italian. Later in the movie, Vito loses his job
to Don Fanucci’s nephew. And yet, look at his reaction. Another thing that always makes us like a character: When they love their family. And finally, Vito helps others. If there's something I can do for you,
you come, we talk. So, if you have a character
that performs questionable behavior, be sure to balance it out with aspects
that we can relate to as human beings. [MUSIC] There are numerous storylines
in The Godfather Part Two. We all know that the entire film
should follow a good story structure, but notice how each of these storylines
are constructed in the same way. Let’s take a look at the first
storyline that’s introduced: Don Ciccio. First, we get the key incident. Think of the key incident as the seed
that starts the story in motion. Without this, the characters would just continue on
with their normal lives. In this example, we see that the key incident
is the murder of Vito’s father. Next we get the setup, where we see
what the story will generally be about. However, Vito himself isn’t pulled
into this storyline just yet. This comes in the inciting incident,
when the character must react to a plot-turning event. In this case, it’s when Vito’s mother is killed
and he must run for his life. Next, we get a major part of the second act, when the character strives to restore order
to the imbalance in his life. The next big plot point is the midpoint,
which shapes the second half of the storyline. It essentially points to the direction we’re headed: the final climax of the story. In the Don Ciccio storyline, the midpoint
seems like an inconsequential event. Genco: Vito, what do you think?
God bless America. We gonna make a big business. However, we see how this ends up leading to the crisis, when the character must make a final decision. And, of course, we close
the storyline with the resolution. Let’s see how this story structure
plays out in other storylines as well. Johnny Ola bumped into me in Beverly Hills. He said that you and and Roth
were in on a big deal together and that there was something in it for me
if I could help him out. You got me in deep enough already. (Johnny Ola): Just go along. Everything will be all right, Fredo. Your brother's not going to find out we talked. Michael, why are the drapes open? [GUNFIRE] It was Roth who tried to kill me in my home. How can I help? You just go along as though you know nothing. (Michael): You don't know my brother Fredo, do you, Johnny? Johnny Ola, Fredo. We never met. Freddy, where did you find this place? Johnny Ola told me about this place. I know it was you, Fredo. You broke my heart. (Michael): Come on. Come with me. It's the only way out of here tonight. Can't you forgive Fredo? He's so sweet and helpless without you. Holy Mary, mother of God... [GUNSHOT] Clemenza promised the Rosato brothers
three territories in the Bronx after he died. You took over and you didn't give it to them. I welched?
- You welched. Now, if Hyman Roth sees that I interceded in this thing in the Rosato brothers' favor, he's gonna think his relationship with me is still good. I take that as an insult. Michael Corleone says hello. Some deal I made. Well, you'll live like a king. You'll be a hero. My life won't be worth a nickel after tomorrow. Senator: Mr. Pentangeli. Were you a member of the Corleone family? Did you serve under Vito Corleone, also known as the Godfather? I never knew no godfather. Look, the FBI guys, they promised me a deal, so I made up a lot of stuff about Michael Corleone Don't worry about anything, Frankie Five-Angels. Story structure cascades down into every level: act, sequence, and scene. Give every storyline in your screenplay
a satisfying structure that follows good storytelling. [MUSIC] Every screenwriter on Earth has heard the phrase, “Your story needs more conflict.” So, what exactly is conflict? Do you achieve conflict by having characters
yell and scream at each other? Do you achieve conflict by just having them fight? In his book Write Screenplays That Sell,
author Hal Ackerman offers an elegant solution: “The internal architecture of a scene
needs two jackals and one bone, a situation where only one character’s objective can be fulfilled.” “We must be sure that conflict is created, and to do it organically, we must be sure that the characters’ objectives
are in direct opposition.” Let’s see how this simple formula for conflict
plays out in The Godfather Part 2. In the opening sequence, we have these two jackals: Donna Andolini and Don Ciccio. And what’s the bone that they fight over? This simple yet powerful conflict comes
naturally from their directly opposing desires. Another scene with two jackals. Senator Geary and Michael. What’s the bone they fight over? (Senator Geary): However, it will leave you
with one little technical problem. The license will still be in Klingman's name. Look how easily the conflict carries out
because of the opposing objectives. You can have the license. The price is $250,000. Now, the price for the license is less than
twenty thousand dollars, am I right? - That's right. Now why would I ever consider paying more than that? - Because it's in your interest to pay me. But I want your answer and the money by noon tomorrow. There are multiple examples of this throughout the film. Now that you know how this works,
let’s take a quick look. (Connie): We're going to Europe next week.
I'd like to book passage on The Queen. So what do you come to me for?
Why don't you go to a travel agent? We're getting married first. The ink on your divorce isn't dry yet,
and you're getting married? You're not my father!
- Then what do you come to me for? Because I need money. Why don't you tell him marriage is out of the question,
and you don't want to see him anymore? That plane goes to Miami. Okay.That's where I want it met. It would be like trying to kill the president.
There's no way we can get to him. Tom, you know you surprise me. I mean, you've won. You want to wipe everybody out? Are you going to come along with me
on these things I have to do, or what? Michael, I'm not going back to Nevada. I brought the children to say goodbye to you. Do you expect me to let you take my children from me? Don't you know that that's an impossibility? That that could never happen? It was a son, and I had it killed
because this must all end! So when it comes to having conflict in your story,
make sure to do it right. Make it come organically from characters
having directly opposing objectives. In other words, have two jackals
fighting over the same bone. [MUSIC] There’s something I noticed in many scenes
in The Godfather, both parts one and two. In scenes of high conflict between two characters, there’s usually a tertiary character
that agitates the conflict in that scene. Example: Senator Geary and Michael are about to
argue about the gaming license. Notice how other characters agitate that conflict. I was under the impression
that you and I would talk alone. I trust these men with my lives, Senator. Another example: Connie and Michael butt heads about her remarrying. Notice how there’s someone else to stir that pot. I'll see my sister alone. It concerns me, too. Is it okay if I stay? Could I have a drink or something? In this scene, the conflict is
between Fredo and his wife Deanna. But there’s a third side to complete that triangle. Michael says that, if you can't take care of this, I have to. A third character can also do
more than just agitate a scene. They can completely thwart an objective. In this scene, the Rosato brothers
are trying to kill Frank Pentangeli. See how a third character ruins that objective. Is that something on the floor? [YELLING] In this example, they use a third character to delay
the gratification and tease the audience at the highest point of drama in the scene. Before I reach my hotel, I'll be assassinated. Who? Roth. And finally, just as in The Godfather Part One, there are scenes where children agitate the primary conflict. Kids, why don't you go outside for a while? Michael, please. I want to talk to you. Kay, you have to go. Kay, will you please hurry?
He's coming. Kiss Mama goodbye. Anthony, will you kiss your mother goodbye? (Young girl): Mommy, Daddy's fighting again! You know how they say don’t make anything
easy for your protagonist? This is a great way to add to that. In fact, we could learn from The Godfather
by not making it easy for any character in our stories. [MUSIC] A powerful tool for making the audience
want to know what will happen next is dramatic irony. Dramatic irony is created when
the audience is given information of which a character is unaware. As the dramatic irony is played out, the audience feels tension
and wants to know what will happen when that character discovers the truth. Naturally, the dramatic irony is resolved
when the character becomes aware of this information. In this first example, the audience is given
information of which Frank Pentangeli is unaware. Here’s when that dramatic irony is created: And Pentangeli is a dead man. You don't object? Notice, then, the tension we feel for him
as the dramatic irony plays out. I wish you would have let me know you were coming.
I could have prepared something for you. I didn't want you to know I was coming. You heard what happened in my home? In my bedroom, where my wife sleeps! And finally, notice how the tension is resolved
once Pentangeli hears the truth. I want you to help me take my revenge. It was Hyman Roth that tried to have me killed. Interestingly, this now paves the way
for a new thread of dramatic irony involving Hyman Roth. I've already made my move. What move? Hyman Roth will never see the New Year. Relax, Señor Roth. We're taking you to the hospital. Another example: Don Fanucci doesn’t know he’s a dead man. As Vito talks with Clemenza and Tessio
about paying Don Fanucci, the audience is not aware of his true intention
until we hear this familiar phrase: I'll make an offer he don't refuse. This immediately makes us want to know
what’s going to happen, and we’re hooked until this dramatic irony is resolved. Let’s see how this example plays out. And, finally, we have the biggest source
of dramatic irony that shapes a majority of the story: Fredo Corleone. There are three major threads of dramatic irony
that involve Fredo’s character. The first instance occurs when the audience realizes
that Michael is unaware of Fredo’s betrayal. Yeah? (Johnny Ola): Fredo, this is Johnny. Johnny Ola. We need some more help. You got me in deep enough already. (Johnny Ola): Just go along.
Your brother's not gonna find out we talked. Anybody I know in Havana? I don't know. Hyman Roth? Johnny Ola? No. Michael: You don't know my brother Fredo,
do you Johnny? Johnny Ola, Fredo. We never met. Freddy, where did you find this place? Johnny Ola told me about this place.
He brought me here. Old man Roth would never come here, but old Johnny knows these places
like the back of his hand. Now that Michael knows about Fredo’s betrayal, this creates a second major thread of dramatic irony. Old man Roth would never come here, but old Johnny knows these places
like the back of his hand. Fredo, where are you going? I'm gonna get me a real drink. I know it was you, Fredo. You broke my heart. And, finally, in the story’s finale,
we see the final thread of dramatic irony involving Fredo. He doesn’t know that his own brother
is going to have him killed. I don't want anything to happen to him
while my mother's alive. Holy Mary, mother of God... [GUNSHOT] The lesson here: Once you create a thread of dramatic irony, you essentially have the audience hooked
until you resolve that thread of tension. It’s a powerful tool to keep your audience
always wanting to know what will happen next. [MUSIC] In good storytelling, characters usually behave
depending on their biggest objective. Another thing that shapes their behavior
is their biggest source of pain. For example, let’s see what hurts Tom Hagen the most. Michael: Tom isn't gonna sit in with us, Johnny. He only handles specific areas of the family business. You need anything, Mike, I'll be outside. All right? There's a lot I can't tell you, Tom. And I know that's upset you in the past.
- Nah. Yeah. I always wanted to be thought of
as a brother by you, Mikey. A real brother. Are you going to come along with me
in these things I have to do or what? Why do you hurt me, Michael? i've always been loyal to you. I mean, what is this? Take a look at what drives Frank Pentangeli
in the first half of the story. The Rosato brothers are taking hostages. And, Mike, they spit right in my face. Clemenza promised them nothing. He hated those son-of-a-bitches more than I do. I want to run my family without you on my back, and I want those Rosato brothers dead. What is that pains Kay Corleone the most? "In five years the Corleone family
will be completely legitimate." That was seven years ago. I see. I'm supposed to stay in my house? No, within the compound would be fine. Am I a prisoner? Is that it? It's not the way we look at it, Kay. Michael, you say you love me, and then
you talk about allowing me to leave. With Hyman Roth, his biggest pain is pretty evident. If I could only live to see it, to be there with you. What I wouldn't give for twenty more years. How do you feel? Terrible. I'd give four million just to be able
to take a piss without it hurting. His medical condition is reported as terminal.
He's only gonna live another six months anyway. He's been dying of the same heart attack for 20 years. As far as Fredo is concerned,
we first see how he’s treated by others. Mikey, what the hell is going on, anyway? I'm totally in the dark. Senator Geary is flying in from Washington
tomorrow night with some people, and I want you to show them
a good time in Havana. It's my specialty, right? Congratulations, Mike. That's right, encourage him. Go on, get me a drink. Until he finally reveals his pain to Michael
in a cathartic outburst at the end of Act Two. "Send Fredo off to do this. Send Fredo off to do that!" I can handle things! I'm smart! And I want respect! And finally, we have Michael Corleone. His biggest source of pain shapes the entire story. Michael, say goodbye. Many times he and I talked about your future. You talked to my father about my future? He has high hopes for you. Well, I have my own plans for my future. Be more like... Pop. It's not easy to be a son, Fredo. A character’s biggest desires can shape their actions
in order to get what they want. Think about using their biggest source of pain
to shape their actions in protecting themselves. [MUSIC] Exposition gets a bad rap in screenwriting circles because it can lead to on-the-nose screenwriting where it feels like characters are
directing information to the audience. This happens when the only dramatic subtext
for that exposition is simply to explain. Instead, think of exposition as ammunition
used by characters to get what they want. There’s an overwhelming example of this
in The Godfather Part 2. Characters use the legacy of Vito Corleone
to achieve their objectives. They use exposition involving Michael’s father
to gain power in a moment of conflict. Look at how Michael uses exposition about his own father to help make his arguments against Frank Pentangeli. You're a good old man. I like you. You were loyal to my father for years. Come on, Frankie. You know my father
did business with Hyman Roth. He respected him. My father taught me many things here. He taught me in this room. He taught me keep your friends close but your enemies closer. And see how Pentangeli does the same thing
to turn it right back around on Michael. Your father did business with Hyman Roth, but your father never trusted Hyman Roth. In this example, notice how Hyman Roth constantly talks about Vito Corleone to reinforce his business relationship with Michael. What we'll do it together in the next few months will make history. Not even your father would dream
that such a thing could be possible. You all know Michael Corleone and we all remember his father. We were running molasses out of Havana when you were a baby. The trucks owned by your father. During Prohibition, we ran molasses into Canada. Made a fortune. Your father, too. There are other examples of exposition as ammunition
outside of talking about Michael’s father. In this example, why does Senator Geary
tell Michael things he already knows? The Corleone family has done very well here in Nevada. you own, or you control, two major hotels in Vegas. Because he’s using that exposition to achieve this objective. You can have the license. The price is $250,000. Because I intend to squeeze you. And finally, how’s this for exposition as ammunition? Using it to stab another character in the heart. It wasn't a miscarriage. It was an abortion. It was a son, and I had it killed
because this must all end! Exposition is a powerful tool
that your characters can use to achieve their objectives
and create powerful conflict in your story. If the number one rule in screenwriting is not to be boring, then we should avoid using exposition
simply to explain something to the audience. [MUSIC] Audiences and readers want to be
surprised by events in your story. If what the audience expects to occur
is exactly what ends up happening in your story, you’ll create an unsatisfying experience. This is where reversals come in. Reversals are essentially unexpected outcomes in a story. Think of them as plot twists or turning points. They frustrate an outcome that we expect to happen. Therefore, in order for reversals
to be the most effective, a strong expectation of a likely outcome
must first be established. Also, in order for the reversal to be feasible and not seem like it’s coming out of left field, it’s important to hint at its possibility. Let’s take a look at some examples
in The Godfather Part 2. When Genco and Vito sit in the theater, they establish the expectation for this outcome. We also get a hint at what could possibly foil that expectation. And finally, we get the reversal. When Michael talks to Hyman Roth, we get a strong expectation
for this future outcome. I came here because there's going to be more bloodshed. Frank Pentengeli came to my home. When I refused, he tried to have me killed. I'll visit him soon. We then get the hint of a possible reversal. Pentangeli is a dead man. You don't object? He's small potatoes. When Michael acts in a threatening manner
in Pentangeli’s house, notice how the original expectation is at its strongest. You heard what happened in my home? Mike, I almost died myself. We was all so relieved. In my home! This, then, makes the reversal all the more potent. Why do you ask me to lie down to them, Mike? It was Hyman Roth that tried to have me killed. Here’s another strong expectation
that’s established by Michael. I've already made my move. What move? Hyman Roth will never see the New Year. We also get a hint of the possibility of a reversal, an event that seems to be unrelated to what happens later. The original expectation is further reinforced
as Michael’s bodyguard kills Johnny Ola and stalks the already gravely ill Hyman Roth. But then we get the unexpected reversal. Another example of a powerful reversal: Here’s the expectation. 10 am Monday morning, at which time
the committee will produce a witness who will corroborate the charges
which were made against you today. Some deal I made. Well, you'll live like a king. You'll be a hero. And you're gonna look respectable
for 50 million of your fellow Americans. Notice how they introduce the seed for a possible twist, whereas the audience has no clue who this man is. Frustrating the originally expected outcome,
the reversal gives us a delicious surprise. Were you a member of the Corleone family? Did you serve under Vito Corleone,
also known as The Godfather? I never knew no Godfather. And finally, we have the crucial storyline of Michael and Fredo. When Fredo betrays Michael, we all fear the worst. However, Michael creates the expectation
that he won’t kill his own brother. When you see our mother, I want to know a day in advance, so I won't be there. Tell him everything's all right. I know Roth misled him. That he didn't know they were going to try to kill me. Here, then, is the seed for the frustrated outcome. I don't want anything to happen to him while my mother's alive. And, of course, the famous and brutal reversal. Connie: Anthony! He's here! We're going fishing! Connie: No! Michael wants to take him to Reno now. Okay, go ahead. Okay, Al. Let's go. Holy Mary, Mother of God... [GUNSHOT] So remember, reversals and plot twists
must surprise your audience, but they should also be logically possible outcomes. Do this by creating strong expectations
and cleverly hiding clues for future reversals. [MUSIC] One of the most important things
we can do as screenwriters is to always make the audience want
to know what will happen next. Mario Puzo does an excellent job of this
in both his novel and the screenplay by having characters constantly push the audience’s attention
to a future point in the narrative. Here’s an example: Characters making declarations of future events. When this happens, we as the audience
immediately start thinking ahead and want to know how things will turn out. Let’s see examples of this in The Godfather Part 2. You're going to take over. You're gonna be the Don. I give you complete power, Tom. I came here because there's gonna be more bloodshed. I want you to know about it before it happens
so that there's no danger of starting another war. Later on, in the evening, we're all invited to the Presidential palace. A reception to bring in the new year. Before I reach my hotel, I'll be assassinated. You got a big day tomorrow. My life won't be worth a nickel after tomorrow. Here’s another technique of pushing
the audience’s attention to the future. This occurs a lot, not only in The Godfather,
but in mafia movies in general. When characters make threats,
what is it that we immediately want to know? Will that threat actually be carried out? Let’s look at examples. Connie, if you don't listen to me and marry this man, you'll disappoint me. And I want those Rosato brothers dead. Morte. Sometimes all it takes is a simple declaration
of a desire for an outcome. When a character wants something,
we want to know if they’re going to get it. Keep them alive. We'll try. Rocco, alive! That's what i want him to think. I want him completely relaxed
and confident in our friendship. Jesus Christ. Look, let's get them all. Let's hit them all now while we got the muscle. And finally, there’s another thing that characters do
in The Godfather Part 2. They make promises or assurances of a future outcome. What’s the immediate question in our minds? Will they hold to that assurance? You got me in deep enough already. (Johnny Ola): Just go along. Everything will be all right, Fredo. Your brother's not gonna find out we talked. I want to assure you that my staff
indicates with assurance that we'll drive them out of the city
of Santa Clara before the new year. This might seem like an overly simple technique, but it works. When characters constantly talk about
what they want to happen in the future of the narrative, it automatically makes the audience
want to know if that will actually happen. And guess what?
We’re hooked until then. Do that enough, and you’ll have them
hooked for the entire story. [MUSIC] The Godfather, and mafia movies in general,
are full of delicious subtext. Subtext is simply the underlying meaning
in what a character says. For example, we know this most famous line of subtext: I'm going to make him an offer he can't refuse. Imagine if he said, “I’m going to use physical force to get what I want.” Not that interesting for the audience. Let’s look at some brilliant examples of subtext
in The Godfather Part 2. The license will still be in Klingman's name. Turnbull is a good man. Frank... I got nobody here. I saw an interesting thing happen today. A rebel was being arrested by the military police. He exploded a grenade he had hidden in his jacket. I'm particularly interested in knowing, was there always a buffer involved? Someone in between you and your possible superiors
who gave the actual orders? Unless they went home and they killed themselves. Then nothing happened. Their families were taken care of, Tom. Don't worry about anything, Frankie Five-Angels. Subtext doesn’t have to exist only in dialogue. It can underlie a character’s actions as well. [SENATOR GEARY SOBS] The rent stays like before. Subtext is another great way of letting the audience
participate in the telling of a story. When what a character says is exactly what they mean, we rob the audience of participation
and end up boring and losing them. So, what are your thoughts? Is The Godfather Part 2
even better than the first movie? Let me know in a comment below. As always, a big thank-you to my patrons
for supporting me on Patreon and helping to grow the channel. And if you haven’t already, please be sure to subscribe to be notified
of upcoming videos from Script Sleuth. More great content is on the way. Thank you so much for watching.
