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"- What's a nice place like you doing in a girl like this?"
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We've seen movie scenes like this many times.
It's when two characters
who will later become romantically entwined
meet for the first time.
"- Scott! - What?"
Often their meeting happens
in a comedic or cute way.
"- It's time to put balls in holes."
And that's why it's called a Meet-Cute.
"- I mean this guy having a meet-cute."
"- Yes, sir."
The meat cute is a staple
within the romantic comedy sub-genre.
"- Well, have a great night.
- Yeah you too. I'll see you later.
Now I won't cause I'm a pussy."
The love is to be need to meet at some point
and this initial encounter
will set the stage for the rest of the relationship.
"- Sorry. - I said I love the Smiths."
There are countless ways to approach writing a meet-cute.
A Pull/Pull.
Push/Push.
Push/Pull.
Or Neutral/Nervous.
But what are the rules to writing a compelling meet-cute?
We'll be using StudioBinder`s free screenwriting software
to see how these meet-cutes get written on the page.
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We begin with option 1. The Pull/Pull.
This is when both characters are equally
and instantly drawn to each other.
And is there a more perfect example than "Romeo and Juliet"?
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In Baz Luhrmann's remake of the classic
we have a scene without dialogue.
But the performances give us all the information we need.
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It works but the challenge with Pull/Pull
is at love at first sight isn't the most realistic occurrence.
But most importantly it doesn't create much conflict.
And conflict is drama.
"- Your mother calls!"
In this particular example,
the conflict comes very quickly after their first encounter.
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"- What, dares that slave come hither to fleer and scorn at our solemnity.
Now by the stock in honor of my kin. To strike him dead I hold it not a sin."
Once they realize they belong to rival families.
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"- Is she a Capulet?
- His name is Romeo, and Montague.
The only son of your great enemy!"
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So if you're going to write a meet-cute that's a Pull/Pull
make sure you have conflict lined up for the characters.
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Drama and conflict are exactly what we get with our second option.
2. The Push/Push.
In this scenario the characters start as far away from love as possible.
Let's look at an example from "La La Land"
to see how antagonism changes the romantic dynamics.
Mia and Sebastian actually have two quick encounters
before their official meet-cute.
One from the freeway.
And once after she attempts to complement his playing.
"- I just heard you played and I wanted..."
The result of those negative encounters
is what fuels Mia's revenge at the pool party.
"- Any other requests?
Girl in the front.
- "I ran."
- "I ran." A fantastic suggestion.
All right piano man tickle those ivories. Let's hit it.
One two, three, four!"
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Sebastian confront her
and we get some clever and humorous verbal sparring.
"- I remember you.
And I'll admit I was a little curt that night.
- Kurt.
- Okay. I was an asshole. I can admit that. - Okay.
- But requesting "I ran" from a serious musician, it's just-- it's too far.
- My Lord. Did you just say a serious musician?
- I don't think so.
- Can I borrow what you're wearing?
- Why? - Because I have an audition next week.
I'm playing a serious fire fighter.
- So you're an actress.
I thought you looked familiar have I seen you in anything?
- Ahhh, coffee shop.
On the Warner Brothers lot. That's a classic.
- Oh, I see. You are barista.
And I can see how you could then look down on me from all the way up there.
- I'm deaf. Next set.
- Listen, I dont...
He doesn't tell me what to do.
- He just told you... - I know. I let him.
What's your name? - Mia?
- Mia.
Guess I'll see you in the movies."
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What works about this example
is how the personal attacks might seem playful.
"- My Lord.
Did you just say a serious musician?
- So you're an actress?
I thought you looked familiar have I seen you in anything?"
But these characters are deeply invested in getting their careers off the ground.
They are both unsure about their career prospects.
This uncertainty
is probably what sparks their mutual attraction.
So as you approach writing this type of meat-cute scene
allow the scene to reveal deeper aspects to the character's personality.
"- Guess I'll see you in the movies."
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In our previous examples,
the couple had either a mutual attraction or repulsion.
But what happens when one pulls and the other pushes.
3. Push/Pull.
Is the hero awkwardly infatuated?
Is their love interest cold and unresponsive?
In this example from "Scott Pilgrim vs. The World"
the character dynamics couldn't be more opposed.
"- Hey, what's up?
- Nothing.
- Hey, you know Pac-Man. - I know of him."
A surefire way to communicate this type of meat-cute scene
is an awkward conversation.
"- Well, Pac-Man was originally called Puckman.
They changed it because...
Not because Pac-Man looks like a hockey puck
and paku-paku means flap your mouth.
And that they were worried people would change scratch out the P
turned it into an F. Like...
- Yeah, that's amazing.
- Um...
am I dreaming?
I'll leave you alone forever now. - Thanks."
As you're writing
keep in mind that the Push/Pull option
allows room for many different characters and scenarios.
It gives a protagonist like Scott a challenge
that he must overcome.
"- Basically, you can't win this fight
so you're going to have to give up on this girl because Todd's going to kill you."
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We've reached our final meet-cute.
4. The Neutral/Nervous.
In a typical example,
the protagonist is overwhelmed
and either stumbles over their lines
or literally stumbles.
Meanwhile, the object of their interest remains either neutral
or completely oblivious to the situation.
Let's look at a great example
from "Eternal Sunshine of the Spotless Mind."
"- Hi.
- I'm sorry?
- I just said hi.
- Hi. Hello. Hi.
- Okay if I sit closer?
How far you goin'?
- Rockville Center.
- Get out! Me too.
- Really?
- What are the odds?
Do I know you?
Do ever shop at Barnes and Noble?
- Sure. - That's it.
- Yeah. - I've seen you, man.
- Ohhh. - Jesus.
I would've thought I would remember you.
- It might be the hair.
- What might? - It changes a lot. The color.
That's why you might not recognize me.
It's called Blue Ruin. - Right.
- Snappy name, huh?
- I like it."
They're opposing personalities are laid out.
If Clementine wasn't such an extrovert
their romance would never happen.
When you're writing your meat-cute
remember that it all starts with the characters.
If your protagonist is an introvert like Joel
the Nervous/Neutral tends to be a great option.
As you're writing your script
consider just how important the meet-cute is.
The meeting should lay the foundation for the entire relationship.
It should be memorable or exciting.
But above all things,
it should reflect their character traits.
"- Ohhh...
It's 10:33.
Here... - What?"
Consider which meet-cute option best suits your characters
and the tone you are aiming for.
Choosing between a Pull/Pull.
Push/Push
Push/Pull.
Or Neutral/Nervous.
Will allow to set them off
in the correct direction.
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When it comes down to writing that first romantic encounter
there's only one bit of advice you need.
"- What do you do if every time you see this one incredible woman
you think you're gonna hurl?
- I say hurl.
If you blow chunks and she comes back, she's yours.
If you spew and she bolts.
It was never meant to be."
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