[Flamenco guitar] The Silence of the Lambs is
one of only three films in history to win all five of the major Academy Awards. It's the 23rd most highly rated movie on IMDB and number 61 on the WGA's list
of the 101 Greatest Screenplays. Here are eights screenwriting secrets
in the Silence of the Lambs. [MUSIC] We've seen a lot of screenplays bookend the story
with opening and closing images, usually mirroring each other, but showing us
the change that has occurred in the story. In the Silence of the Lambs, we get an interesting set
of bookending images deeper inside the story. When Clarice Starling is called in
to Jack Crawford's office, she sees this: Here's what we know about her
at the beginning of the story: Clarice is not an actual FBI agent yet. She has no idea what she's been called in for. The news clipping is displayed to help catch the villain. So let's take a look at the closing image. So what do we know about Clarice now? She's found Buffalo Bill on her own. She's apprehended the killer on her own. And, here, the clipping is displayed
by the villain for his vanity. Even if your opening and closing images don't occur
at the very beginning and end of your story, they can still be powerful tools
to reflect the change that occurs. [MUSIC] Dramatic irony is a tool commonly used by
professional screenwriters to engage the audience. In screenwriting, dramatic irony occurs
when the audience knows something that certain characters in the story do not. This engages our attention because it makes us want
to know what will happen once the truth is discovered. Let's take a look at the brilliant examples
of dramatic irony in The Silence of the Lambs. When Catherine Martin offers to help Buffalo Bill with the couch, she has no idea that he's a serial killer. And we're yelling at her to get out of there. This dramatic tension is resolved once he attacks her. Another example: Hannibal Lecter and Clarice Starling don't know that
Dr. Chilton is listening to their conversation. This thread of dramatic irony is then resolved here: You still think you're gonna walk on some beach
and see the birdies? I don't think so. The finale provides a brilliant sequence in which
consecutive threads of dramatic irony are created. First: Buffalo Bill doesn't know the FBI
are surrounding his house. This thread of dramatic irony is resolved
once this happens: Good afternoon. Sorry to bother you.
I'm looking for Mrs. Lippman's family. This now creates a new line of dramatic irony: the FBI don't know they're at the wrong house, which is resolved once they breach the doors. There's no one here, Jack. Clarice. Consequently, Clarice doesn't know
she's at Buffalo Bill's house. This thread of dramatic irony creates
enormous tension in the audience, and is resolved when she sees
the moth on the sewing thread. Notice how this, then, creates
a new source of dramatic irony: Buffalo Bill doesn't know Clarice has figured it out. This keeps us on the edge of our seats
until Buffalo Bill himself realizes the truth. Freeze! Put your hands over your head and turn around!
Spread your legs! And, in the climactic scene, Clarice doesn't know
Buffalo Bill is right in front of her. The audience has held in delicious suspense
until he cocks the hammer of his revolver. Professional screenwriters use dramatic irony
all the time in their screenplays. Step up your game by incorporating it
into your own story. [MUSIC] The Silence of the Lambs presents one of the greatest
character introductions in cinematic history. Look at the tremendous amount of buildup
before we even see Hannibal Lecter. The psychiatrist, Hannibal Lecter. Hannibal the Cannibal. Be very careful with Hannibal Lecter. Believe me, you don't want
Hannibal Lecter inside your head. Chilton: Oh, he's a monster. Pure psychopath. So rare to capture one alive. We've tried to study him, of course, but he's
much too sophisticated for the standard tests. I'm going to show you why we insist
on such precautions. The doctors managed to reset her jaw, more or less. His pulse never got above 85,
even when he ate her tongue. So, by the time we finally see him, Hannibal Lecter needs no introduction and the audience already has a sense of dread. [MUSIC] The story world that Clarice Starling navigates is a constant barrage of antagonism
from male characters. Let's take a look at how she's always swimming
upstream in her job as an FBI trainee. This type of sex crime has certain aspects
I'd just as soon discuss in private. Please go on now. Let us take care of her. Go on now. To make the antagonism of the story world
even stronger, notice how Clarice Starling and other women
are treated as objects. We get a lot of detectives here, but, I must say, I can't ever remember one as attractive. Chilton: Crawford's very clever using you. Starling: What do you mean, sir? Chilton: Pretty young woman to turn him on. I can smell your c*nt! You ever go out for cheeseburgers and beer? Are you hitting on me, doctor? Yes. Do you think Jack Crawford visualizes
scenarios, exchanges? Fucking you? Did you nurse Catherine yourself? Wait a minute! Yes! I did. Toughened your nipples, didn't it? Did the rancher make you perform fellatio?
Did he sodomize you? Goodbye, Clarice. So, the lesson here: Create an antagonistic story world and you'll have plenty of natural conflict to work with. [MUSIC] There are two brilliant reversals
that occur in this story. in the first reversal, Hannibal Lecter escapes
by pretending to be the fallen officer, Jim Pembry. In order for a reversal to be effective,
we must first establish an expected outcome. Look at how strongly they set up
an expectation in the audience's mind: It'a Jim Pembry! Now talk to him, damn it! Tate: Lecter is missing and armed. Pembry. Pembry, can you hear me? Tate: I'm on the elevator bringing Pembry down. He seems to be hanging on. In the second major reversal, Clarice Starling
shows up at Buffalo Bill's house. Look at how the expectation is built up: Crawford: Starling, we know who he is, and where he is. We're on our way right now. Starling: Chicago's only 400 miles from here.
I'll be there in -- Crawford: No, no, Starling.
There's not enough time. We want him for murder, not kidnapping. Did Fredrica ever mention a man named Jamie Gumb? How about John Grant? No. And the expectation is the strongest right before the reversal occurs. [BUZZING] Reversals are a powerful method
to keep the audience on their toes. Remember to establish
an expected outcome in their minds in order for the reversal to be truly effective. [MUSIC] The Silence of the Lambs has two serial killers
as main characters. Notice how they're interesting characters
because they're complex and not one-dimensional. First, we have Buffalo Bill. He kills women and cuts off their skin. But he's affectionate to his pets. [BARKS] Yes, it will, Precious. It will get the hose. So powerful. So beautiful. [DOG SQUEALS] Hey, don't you hurt my dog! Don't you make me hurt your dog! And he's good at sewing. Then we have Hannibal Lecter. He's a serial killer known for eating his victims. But look at how we're given other facets to his character: Lecter: That is the Duomo, seen from the Belvedere. Do you know Florence? [CLASSICAL PIANO MUSIC] I would never have had that happen to you.
Discourtesy is unspeakably ugly to me. Starling: Where are you, Dr. Lecter? I have no plans to call on you Clarice.
The world's more interesting with you in it. So, when it comes to the villain in your story, be sure to make them complex characters
with their own desires and positive traits. [MUSIC] In screenwriting, one of the most simple but potent ways
of creating natural, organic conflict in a scene is to have the characters have conflicting goals in that scene. In the Silence of the Lambs, we have four meetings
between Clarice Starling and Hannibal Lecter. Let's take a look at the scene goals in each meeting to see how they clash and create conflict. Let's see what Clarice Starling's goal is
in the first meeting: Perhaps you'd care to lend us your view
on this questionnaire. However, Hannibal Lecter's scene goal
is to disqualify or discredit her. That expires in one week. You're not real FBI, are you? So look at how Starling struggles
to achieve her objective: Lecter: Now this ham-handed segue into your questionnaire. It won't do. Oh, Agent Starling. You think you can
dissect me with this blunt little tool? Do you know what you look like to me,
with your good bag and your cheap shoes? You look like a rube. You fly back to school now, little Starling. In the second meeting, Clarice enters
with a new scene goal: Why don't we talk about Miss Mofet?
You wanted me to find him. However, Hannibal Lecter's scene goal is not to help her. It's this: What I want is a view. I want a window where I can see a tree or even water. So he milks his reticence to get what he wants. Starling: Tell me who decapitated your patient, Doctor. All good things to those who wait. In the third meeting, notice how
the antagonistic forces are increased: What you're doing, Miss Starling, is coming
into my hospital to conduct an interview and refusing to share information
with me for the third time. It's obvious what Clarice Starling's goal is here. This offer is non-negotiable and final. Catherine Martin dies, you get nothing. However, Lecter's scene goal isn't so clearly defined. We're given a clue earlier: Crawford: And you're to tell him
nothing personal, Starling. Believe me: you don't want Hannibal Lecter
inside your head. Quid pro quo. I tell you things you tell me things. Not about this case though. About yourself. Notice, then, how Clarice Starling must be
both patient and vulnerable to achieve her goal. What is your worst memory of childhood? The death of my father. Did the rancher make you perform fellatio?
Did he sodomize you? No. And, finally, their last meeting.
This time in the Shelby County Courthouse. Starling desperately needs Lecter's help
to identify Buffalo Bill. You were telling me the truth back in Baltimore, sir. Please continue now. Notice how the stakes are higher
with the added time pressure. Pity about poor Catherine though. Tick-tock tick-tock. Doctor. We don't have any more time for any of this now. Lecter continues with his goal
of getting inside Clarice's head. He wants to get at the ghost that haunts her soul. What became of your lamb, Clarice? They killed him. Thank you, Clarice. Thank you. Coincidentally, notice how this conflict
has cleverly hidden an enormous amount of exposition
on the protagonist's backstory. Have your characters have conflicting scene goals and watch your scenes come alive with better conflict. [MUSIC] Dialogue hooks are lines of dialogue
at the end of a scene that naturally cause the audience
to want to know what happens next. They give a nice flow to the story
by propelling us into the following scene. Let's take a look at some examples
of dialogue hooks in The Silence of the Lambs. Just do your job. But never forget what he is. And what is that? Chilton: Oh, he's a monster. I looked in the phone book and there's a Your Self Storage facility right outside
of downtown Baltimore, sir. Our little Billy must already be searching
for that next special lady. [SINGS TO RADIO] Fed him honey and nightshade. Kept him warm. Somebody loved him. Paul Krendler is over here from Justice. She's asking him to take over in Memphis. [SIRENS WAIL] Hot damn, Clarice. He knew her. Don't be deceived by the simplicity of dialogue hooks. They're powerful tools in
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