Hi, I'm Michael.
This is Lessons from the Screenplay.
For a long time, I assumed When Harry Met Sally was just another romantic comedy.
I knew that it had some famous scenes...
"Yes!"
"Yes!"
"Yes!"
...and some famous lines.
"I'll have what she's having."
But otherwise it probably wasn't that special.
And then I saw it and quickly realized it was the most charming film I'd ever seen.
From the lovable best friend characters...
"You're right."
"You're right, I know you're right."
...to the wonderful use of classic love songs...
...I find the film to be delightful from start to finish.
But what I always find impressive about the film is how clever the writing is.
Written by Nora Ephron with some great collaboration from director Rob Reiner, Billy Crystal and Meg Ryan,
the film avoids several classic love story clichés in a way that feels effortless and original.
So today I want to talk about the importance of genre.
How a writer can take something familiar and give it a unique spin.
As well as examine how clever use of comparison can reveal the deeper nature of characters.
Let's take a look at When Harry Met Sally.
Everyone is familiar with the basic idea of genre.
Most people can easily describe a film as a romantic comedy, or a drama,
or science fiction.
But for a writer, it helps to have a deeper knowledge about the genre you're working in,
and the conventions that come with it.
For example, if you're writing a crime thriller,
you should know the audience probably expects a crime to happen early-on,
and for some form of a detective character to solve it.
If you're halfway through the film and there hasn't been any crime,
the audience is going to wonder what's going on.
So essentially, genre is a set of expectations the audience has when they walk in to a particular
kind of movie.
On one hand, these expectations can be helpful as a writer.
It's almost like a checklist of things that must be included in your story.
But as Robert McKee points out in his book, Story...
"The genre sophistication of filmgoers presents the writer with this critical challenge:"
"He or she must not only fulfill audience anticipations but must lead their expectations
to fresh, unexpected moments, or risk boring them."
"The challenge is to keep convention but avoid cliché."
This can be very hard.
But every once in a while, a film like When Harry Met Sally comes along and puts
a new spin on a classic genre.
A familiar storyline in love stories goes like this:
Boy meets girl.
They can't stand each other, but are forced to spend time together.
"If you're nursing any silly notion that I'm interested in you, forget it!"
"You're just a headline to me."
And in doing so fall in love.
But in When Harry Met Sally it goes like this:
Boy meets girl.
"Sally this is Harry Burns.
Harry this is Sally Albright."
"Nice to meet you."
They can't stand each other.
- "Basically I'm a happy person."
- "So am I."
"And I don't see that there's anything wrong with that."
"Of course not, you're too busy being happy."
And then, on page sixteen, they say goodbye forever.
"Well, have a nice life."
"You too."
That is, until they run into each other five years later.
"The University of Chicago, right?"
But after nine and a half pages, they still can't stand each other...
"You look like a normal person but actually you're the angel of death."
...and say goodbye forever again.
"Harry, goodbye."
Until another five years passes, and they run in to each other yet again.
"Someone is staring at you in Personal Growth."
And this time they stay in each others' lives.
This is an example of how to take a genre convention and flip it on its head.
Rather than forcing the characters to spend the whole movie together, the script lets
them go their separate ways.
This departure from convention surprises the audience,
and makes them curious about what happens next.
And "what happens next" is unique as well.
Ten years after their first meeting, Harry and Sally have both just ended very serious
relationships, and are not looking for romance.
So instead, they decide to be friends.
"You know, you may be the first attractive woman I have not wanted to sleep with in my
entire life."
"That's wonderful, Harry."
This aspect of the story is important because it allows the film to have yet another uncommon
trait.
There is no external conflict.
"I think that people are always trying to stick that in to movies."
"And then you stick it in in the beginning, and then you have to keep sticking it in,
and sticking it in."
"Because the minute you stick something into a movie it has to keep popping up."
"So then you've got this big, fake subplot you didn't care about at all."
In You've Got Mail, Tom Hanks's company is forcing Meg Ryan's bookstore out of business,
causing complications to their love story.
In Trainwreck, Amy Schumer and Bill Hader's careers cause trouble for their relationship.
But in When Harry Met Sally, the only thing standing in their way...is them.
So if there aren't external plot elements putting pressure on the characters,
what makes the story go?
What does it spend all its time doing?
The answer is that it spends its time revealing character through comparison.
Because we meet Harry and Sally just out of college, and then again in their mid-twenties,
and then again in their early-thirties, we get to compare their younger selves with their
current selves.
Then, there is the comparison of how they each deal with heartbreak.
Sally seeming to be mature and rational.
"Every time I think about it I am more and more convinced that I did the right thing."
While Harry wallows in his depression.
"I'm definitely coming down with something."
"Probably a 24-hour tumor, they're going around."
In fact, most of the film is putting Harry and Sally in situations where we get to see
their differences and similarities.
But the comparison isn't just between Harry and Sally.
Ephron gives each of them a best friend.
And the relationship of Jess and Marie serves as a foil for Harry and Sally's relationship.
Immediately after they meet, Jess and Marie fall for each other,
and when they see a good thing, they jump on it.
"I think I'll get a cab."
"I'll go with you."
"Great! Taxi!"
This directly contrasts with Harry and Sally, who spend years afraid of falling in love.
Through Jess and Marie we see what Harry and Sally could have if they just let themselves
love each other.
But it's important to note that all this comparison isn't arbitrary.
It all orbits around the central idea of the film: can men and women be friends?
In a seemingly effortless way, Ephron introduces this central idea during one of my favorite
sequences of the film:
When Harry meets Sally.
In "The Anatomy of Story," John Truby writes:
"An advanced dialogue technique is to have the scene progress from dialogue about action
to dialogue about being."
"Or to put it another way,
it goes from dialogue about what the characters are doing to dialogue about who the characters
really are."
This sequence is an excellent example of this technique.
Harry and Sally have just graduated college, and through a mutual friend have planned a
road trip from Chicago to New York.
And soon a pattern emerges in the dialogue.
Over and over, they raise a topic...
"Amanda mentioned you had a dark side."
Debate it in a humorous way...
"Why, don't you have a dark side?"
"No, you're probably one of those cheerful people that dots their eyes with little hearts."
"I have just as much of a dark side as the next person."
And as they argue, they reveal their core values, and we learn more about who the characters
really are.
"When the shit comes down, I am going to be prepared and you are not, that's all I'm saying."
"And in the meantime, you're going to ruin your whole life waiting for it."
And each time Ephron repeats the pattern, the topics get more intimate.
"You're a very attractive person."
Until it finally culminates with Harry making a pass at Sally.
"Amanda is my friend."
"So?"
"So you're going with her."
"So?"
And the ensuing debate finally leads them to the central idea of the film.
"We are just going to be friends, okay?"
"Great. Friends. It's the best thing."
"You realize of course that we could never be friends."
"Why not?"
"Men and women can't be friends because the sex part always gets in the way."
What's great about Nora Ephron's use of this pattern is that it ensures there is never
aimless discussion.
There is always a goal that the dialogue is heading toward, and with every line we're
learning more about Harry and Sally.
When Harry Met Sally shows how a clever writer can flip genre conventions to create a fresh
take on a classic story.
It demonstrates how you can define characters by comparing them to others,
and how two people arguing about Casablanca can be the start of an epic romance.
And it reminds us that sometimes there is no better foundation for love than friendship.
Hey guys!
I thought it'd be fun to do a romantic comedy for Valentine's Day, and When Harry Met Sally
is one of my favorites, so I really enjoyed putting this together.
Let me know in the comments below what screenplay you want me to do in a future video, and please
consider supporting this channel on Patreon.
Have a very happy Valentine's Day, and thanks for watching!


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