Jeff Kitchen: Script consultant, dramaturge and studio teacher in Los Angeles, California.

AS A WRITER MAKE A PROFESSIONAL STUDY OF AUDIENCE EXPECTATIONS

When you go into a movie with major expectations, what specifically do you expect? You’ve heard this movie is great, that it will rock your world, and you’re excited. Can you put your finger on what you expect from it? Obviously this will vary with different genres because you expect one thing from an intense drama and another from a romantic comedy, but it’s fascinating to examine your expectations as specifically as possible. Remember, it’s your job as a screenwriter to satisfy audience expectations.

Make a professional study of your audience. Pay attention to the buzz about an upcoming film. Why do people want to see it? Are they electrified or just interested? One a scale of 1-100, how intense are their expectations? Study audiences as you’re on your way into a movie theater. Look at your own expectations as you enter. Gauge the electricity in the air. I recently saw Dune: Part Two and as the film was about to roll, the audience was jazzed, electrified. While the movie’s playing, feel the audience response. Are they thrilled, scared, let down, intoxicated, bored, or exhilarated? When it’s over, stand outside the theater and watch the audience as they exit. Study the expressions on their faces and listen in on how they’re reacting. I’m always passionately curious about how my fellow moviegoers are reacting to the movie we’ve just seen together.

When Star Wars I: The Phantom Menace came out in 1999, people camped out at Graumann’s Chinese theater weeks in advance. I lived nearby and on opening night I walked over and hung out with them, specifically to study audience expectations. I interviewed them, asking “What are you expecting?” They were pumped! I’d get answers like, “Oh man, I saw the first one when I was seven and it was the greatest movie ever! I’m expecting a ride to the moon!” When the theater let the first couple hundred people enter, they ran inside screaming, jumping, and cheering. Those fans had powerful expectations and I wanted to stick my finger in that electric socket.

Study your own reactions. Make yourself your own guinea pig. As specifically as possible, note what your expectations are on various movies. You can see right into your own deepest responses. Observe your body chemistry before, during, and afterwards. What do you want from it? What do you need? How badly do you need it? How does it affect you while you're watching it? Are you tripping on adrenaline? Are you giddy and in love? Do you feel energized, infatuated, distressed, inert, crazed, pissed off, silly, serious, demonic, transfigured? Is the experience matching your expectations? How do you feel when it's over? Are you exhilarated, satisfied, rushing on adrenaline, disappointed, happy, furious, energized, or in love? Pay close attention to all this because as a writer, it's your job to do this to an audience.

AS A WRITER MAKE A PROFESSIONAL STUDY OF AUDIENCE EXPECTATIONS

When you go into a movie with major expectations, what specifically do you expect? You’ve heard this movie is great, that it will rock your world, and you’re excited. Can you put your finger on what you expect from it? Obviously this will vary with different genres because you expect one thing from an intense drama and another from a romantic comedy, but it’s fascinating to examine your expectations as specifically as possible. Remember, it’s your job as a screenwriter to satisfy audience expectations.

Make a professional study of your audience. Pay attention to the buzz about an upcoming film. Why do people want to see it? Are they electrified or just interested? One a scale of 1-100, how intense are their expectations? Study audiences as you’re on your way into a movie theater. Look at your own expectations as you enter. Gauge the electricity in the air. I recently saw Dune: Part Two and as the film was about to roll, the audience was jazzed, electrified. While the movie’s playing, feel the audience response. Are they thrilled, scared, let down, intoxicated, bored, or exhilarated? When it’s over, stand outside the theater and watch the audience as they exit. Study the expressions on their faces and listen in on how they’re reacting. I’m always passionately curious about how my fellow moviegoers are reacting to the movie we’ve just seen together.

When Star Wars I: The Phantom Menace came out in 1999, people camped out at Graumann’s Chinese theater weeks in advance. I lived nearby and on opening night I walked over and hung out with them, specifically to study audience expectations. I interviewed them, asking “What are you expecting?” They were pumped! I’d get answers like, “Oh man, I saw the first one when I was seven and it was the greatest movie ever! I’m expecting a ride to the moon!” When the theater let the first couple hundred people enter, they ran inside screaming, jumping, and cheering. Those fans had powerful expectations and I wanted to stick my finger in that electric socket.

Study your own reactions. Make yourself your own guinea pig. As specifically as possible, note what your expectations are on various movies. You can see right into your own deepest responses. Observe your body chemistry before, during, and afterwards. What do you want from it? What do you need? How badly do you need it? How does it affect you while you're watching it? Are you tripping on adrenaline? Are you giddy and in love? Do you feel energized, infatuated, distressed, inert, crazed, pissed off, silly, serious, demonic, transfigured? Is the experience matching your expectations? How do you feel when it's over? Are you exhilarated, satisfied, rushing on adrenaline, disappointed, happy, furious, energized, or in love? Pay close attention to all this because as a writer, it's your job to do this to an audience.

AS A WRITER MAKE A PROFESSIONAL STUDY OF AUDIENCE EXPECTATIONS

When you go into a movie with major expectations, what specifically do you expect? You’ve heard this movie is great, that it will rock your world, and you’re excited. Can you put your finger on what you expect from it? Obviously this will vary with different genres because you expect one thing from an intense drama and another from a romantic comedy, but it’s fascinating to examine your expectations as specifically as possible. Remember, it’s your job as a screenwriter to satisfy audience expectations.

Make a professional study of your audience. Pay attention to the buzz about an upcoming film. Why do people want to see it? Are they electrified or just interested? One a scale of 1-100, how intense are their expectations? Study audiences as you’re on your way into a movie theater. Look at your own expectations as you enter. Gauge the electricity in the air. I recently saw Dune: Part Two and as the film was about to roll, the audience was jazzed, electrified. While the movie’s playing, feel the audience response. Are they thrilled, scared, let down, intoxicated, bored, or exhilarated? When it’s over, stand outside the theater and watch the audience as they exit. Study the expressions on their faces and listen in on how they’re reacting. I’m always passionately curious about how my fellow moviegoers are reacting to the movie we’ve just seen together.

When Star Wars I: The Phantom Menace came out in 1999, people camped out at Graumann’s Chinese theater weeks in advance. I lived nearby and on opening night I walked over and hung out with them, specifically to study audience expectations. I interviewed them, asking “What are you expecting?” They were pumped! I’d get answers like, “Oh man, I saw the first one when I was seven and it was the greatest movie ever! I’m expecting a ride to the moon!” When the theater let the first couple hundred people enter, they ran inside screaming, jumping, and cheering. Those fans had powerful expectations and I wanted to stick my finger in that electric socket.

Study your own reactions. Make yourself your own guinea pig. As specifically as possible, note what your expectations are on various movies. You can see right into your own deepest responses. Observe your body chemistry before, during, and afterwards. What do you want from it? What do you need? How badly do you need it? How does it affect you while you're watching it? Are you tripping on adrenaline? Are you giddy and in love? Do you feel energized, infatuated, distressed, inert, crazed, pissed off, silly, serious, demonic, transfigured? Is the experience matching your expectations? How do you feel when it's over? Are you exhilarated, satisfied, rushing on adrenaline, disappointed, happy, furious, energized, or in love? Pay close attention to all this because as a writer, it's your job to do this to an audience.

I was recently interviewed by Chris Maigaard about my new book The Hero's Dilemma. We talk about how one good strong dilemma can power a script, and how to build the story around it. Here's the link: https://bit.ly/3OlPBxu

I was recently interviewed by Chris Maigaard about my new book The Hero's Dilemma. We talk about how one good strong dilemma can power a script, and how to build the story around it. Here's the link: https://bit.ly/3OlPBxu

I was recently interviewed by Chris Maigaard about my new book The Hero's Dilemma. We talk about how one good strong dilemma can power a script, and how to build the story around it. Here's the link: https://bit.ly/3OlPBxu

I’M OFFERING A SIX-WEEK COURSE IN THE WRITING OF AMADEUS, from the hit Broadway play to winning Best Picture and Best Adapted Screenplay in Hollywood.

The class is every Thursday evening from 7-9 pm PST, starting Jan. 18. The cost is $99.00

We'll work our way through the various stages of this project:

1. Read the stage play by Peter Schaffer and discuss it

2. Watch a YouTube video of the play and discuss it

3. Evaluate the story's dramatic structure

4. Read the screenplay and discuss it

5. Do a group WATCH PARTY of the movie

6. Discuss the writing of all the versions

CLICK HERE TO SIGN UP https://script.kitchen/product/6-week-study-of-amadeus/

I’M OFFERING A SIX-WEEK COURSE IN THE WRITING OF AMADEUS, from the hit Broadway play to winning Best Picture and Best Adapted Screenplay in Hollywood.

The class is every Thursday evening from 7-9 pm PST, starting Jan. 18. The cost is $99.00

We'll work our way through the various stages of this project:

1. Read the stage play by Peter Schaffer and discuss it

2. Watch a YouTube video of the play and discuss it

3. Evaluate the story's dramatic structure

4. Read the screenplay and discuss it

5. Do a group WATCH PARTY of the movie

6. Discuss the writing of all the versions

CLICK HERE TO SIGN UP https://script.kitchen/product/6-week-study-of-amadeus/

My brand new book, The Hero's Dilemma: Drama at the Heart of Your Story is now available at https://amzn.to/3t8URxe

My brand new book, The Hero's Dilemma: Drama at the Heart of Your Story is now available at https://amzn.to/3t8URxe

GET A ONE-YEAR SUBSCRIPTION to my Script.Kitchen Subscription program FOR $49, with over 80 HOURS OF VIDEO INSTRUCTION and LIVE MONTHLY CLASSES—a $299 value. Also included is access to a superstack of other screenwriting teachers' programs, valued at over $1,200—

ALL FOR JUST $49.

https://jeffkitchenscriptkitchen--infostack.thrivecart.com/screenwriting

GET A ONE-YEAR SUBSCRIPTION to my Script.Kitchen Subscription program FOR $49, with over 80 HOURS OF VIDEO INSTRUCTION and LIVE MONTHLY CLASSES—a $299 value. Also included is access to a superstack of other screenwriting teachers' programs, valued at over $1,200—

ALL FOR JUST $49.

https://jeffkitchenscriptkitchen--infostack.thrivecart.com/screenwriting

GET A ONE-YEAR SUBSCRIPTION to my Script.Kitchen Subscription program FOR $49, with over 80 HOURS OF VIDEO INSTRUCTION and LIVE MONTHLY CLASSES—a $299 value. Also included is access to a superstack of other screenwriting teachers' programs, valued at over $1,200—

ALL FOR JUST $49.

https://jeffkitchenscriptkitchen--infostack.thrivecart.com/screenwriting