how to make film video essays

What is a Video Essay? The Art of the Video Analysis Essay

I n the era of the internet and Youtube, the video essay has become an increasingly popular means of expressing ideas and concepts. However, there is a bit of an enigma behind the construction of the video essay largely due to the vagueness of the term.

What defines a video analysis essay? What is a video essay supposed to be about? In this article, we’ll take a look at the foundation of these videos and the various ways writers and editors use them creatively. Let’s dive in.

Watch: Our Best Film Video Essays of the Year

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What is a video essay?

First, let’s define video essay.

There is narrative film, documentary film, short films, and then there is the video essay. What is its role within the realm of visual media? Let’s begin with the video essay definition. 

VIDEO ESSAY DEFINITION

A video essay is a video that analyzes a specific topic, theme, person or thesis. Because video essays are a rather new form, they can be difficult to define, but recognizable nonetheless. To put it simply, they are essays in video form that aim to persuade, educate, or critique. 

These essays have become increasingly popular within the era of Youtube and with many creatives writing video essays on topics such as politics, music, film, and pop culture. 

What is a video essay used for?

• To persuade an audience of a thesis
• To educate on a specific subject
• To analyze and/or critique 

What is a video essay based on?

Establish a thesis.

Video analysis essays lack distinguished boundaries since there are countless topics a video essayist can tackle. Most essays, however, begin with a thesis. 

How Christopher Nolan Elevates the Movie Montage  •  Video Analysis Essays

Good essays often have a point to make. This point, or thesis, should be at the heart of every video analysis essay and is what binds the video together. 

Related Posts

• Stanley Kubrick Directing Style Explained →
• A Filmmaker’s Guide to Nolan’s Directing Style →
• How to Write a Voice Over Montage in a Script →

interviews in video essay

Utilize interviews.

A key determinant for the structure of an essay is the source of the ideas. A common source for this are interviews from experts in the field. These interviews can be cut and rearranged to support a thesis. 

Roger Deakins on "Learning to Light"  •  Video Analysis Essays

Utilizing first hand interviews is a great way to utilize ethos into the rhetoric of a video. However, it can be limiting since you are given a limited amount to work with. Voice over scripts, however, can give you the room to say anything. 

How to create the best video essays on Youtube

Write voice over scripts.

Voice over (VO) scripts allow video essayists to write out exactly what they want to say. This is one of the most common ways to structure a video analysis essay since it gives more freedom to the writer. It is also a great technique to use when taking on large topics.

In this video, it would have been difficult to explain every type of camera lens by cutting sound bites from interviews of filmmakers. A voice over script, on the other hand, allowed us to communicate information directly when and where we wanted to.

Ultimate Guide to Camera Lenses  •  Video essay examples

Some of the most famous video essayists like Every Frame a Painting and Nerdwriter1 utilize voice over to capitalize on their strength in writing video analysis essays. However, if you’re more of an editor than a writer, the next type of essay will be more up your alley. 

Video analysis essay without a script

Edit a supercut.

Rather than leaning on interview sound bites or voice over, the supercut video depends more on editing. You might be thinking “What is a video essay without writing?” The beauty of the video essay is that the writing can be done throughout the editing. Supercuts create arguments or themes visually through specific sequences. 

Another one of the great video essay channels, Screen Junkies, put together a supercut of the last decade in cinema. The video could be called a portrait of the last decade in cinema.

2010 - 2019: A Decade In Film  •  Best videos on Youtube

This video is rather general as it visually establishes the theme of art during a general time period. Other essays can be much more specific. 

Critical essays

Video essays are a uniquely effective means of creating an argument. This is especially true in critical essays. This type of video critiques the facets of a specific topic. 

In this video, by one of the best video essay channels, Every Frame a Painting, the topic of the film score is analyzed and critiqued — specifically temp film score.

Every Frame a Painting Marvel Symphonic Universe  •  Essay examples

Of course, not all essays critique the work of artists. Persuasion of an opinion is only one way to use the video form. Another popular use is to educate. 

• The Different Types of Camera Lenses →
• Write and Create Professionally Formatted Screenplays →
• How to Create Unforgettable Film Moments with Music →

Video analysis essay

Visual analysis.

One of the biggest advantages that video analysis essays have over traditional, written essays is the use of visuals. The use of visuals has allowed video essayists to display the subject or work that they are analyzing. It has also allowed them to be more specific with what they are analyzing. Writing video essays entails structuring both words and visuals. 

Take this video on There Will Be Blood for example. In a traditional, written essay, the writer would have had to first explain what occurs in the film then make their analysis and repeat.

This can be extremely inefficient and redundant. By analyzing the scene through a video, the points and lessons are much more clear and efficient. 

There Will Be Blood  •   Subscribe on YouTube

Through these video analysis essays, the scene of a film becomes support for a claim rather than the topic of the essay. 

Dissect an artist

Essays that focus on analysis do not always focus on a work of art. Oftentimes, they focus on the artist themself. In this type of essay, a thesis is typically made about an artist’s style or approach. The work of that artist is then used to support this thesis.

Nerdwriter1, one of the best video essays on Youtube, creates this type to analyze filmmakers, actors, photographers or in this case, iconic painters. 

Caravaggio: Master Of Light  •  Best video essays on YouTube

In the world of film, the artist video analysis essay tends to cover auteur filmmakers. Auteur filmmakers tend to have distinct styles and repetitive techniques that many filmmakers learn from and use in their own work. 

Stanley Kubrick is perhaps the most notable example. In this video, we analyze Kubrick’s best films and the techniques he uses that make so many of us drawn to his films. 

Why We're Obsessed with Stanley Kubrick Movies  •  Video essay examples

Critical essays and analytical essays choose to focus on a piece of work or an artist. Essays that aim to educate, however, draw on various sources to teach technique and the purpose behind those techniques. 

What is a video essay written about?

Historical analysis.

Another popular type of essay is historical analysis. Video analysis essays are a great medium to analyze the history of a specific topic. They are an opportunity for essayists to share their research as well as their opinion on history. 

Our video on aspect ratio , for example, analyzes how aspect ratios began in cinema and how they continue to evolve. We also make and support the claim that the 2:1 aspect ratio is becoming increasingly popular among filmmakers. 

Why More Directors are Switching to 18:9  •  Video analysis essay

Analyzing the work of great artists inherently yields a lesson to be learned. Some essays teach more directly.

• Types of Camera Movements in Film Explained →
• What is Aspect Ratio? A Formula for Framing Success →
• Visualize your scenes with intuitive online shotlist software →

Writing video essays about technique

Teach technique.

Educational essays designed to teach are typically more direct. They tend to be more valuable for those looking to create art rather than solely analyze it.

In this video, we explain every type of camera movement and the storytelling value of each. Educational essays must be based on research, evidence, and facts rather than opinion.

Ultimate Guide to Camera Movement  •  Best video essays on YouTube

As you can see, there are many reasons why the video essay has become an increasingly popular means of communicating information. Its ability to use both sound and picture makes it efficient and effective. It also draws on the language of filmmaking to express ideas through editing. But it also gives writers the creative freedom they love. 

Writing video essays is a new art form that many channels have set high standards for. What is a video essay supposed to be about? That’s up to you. 

Organize Post Production Workflow

The quality of an essay largely depends on the quality of the edit. If editing is not your strong suit, check out our next article. We dive into tips and techniques that will help you organize your Post-Production workflow to edit like a pro. 

Up Next: Post Production →

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Home Resources Free Guides Video Essays Guide

Video Essays Guide

Introductory guide to video essays., drawing on the inspiring work of pioneering educators and researchers engaging with this creative method, this guide aims to offer a research-led introduction for students, teachers and researchers approaching the video essay for the first time..

Introduction to Video Essays

Studying and researching film through film

A research-led introduction for students, teachers and researchers approaching the video essay for the first time.

Finding Coherence Across Journals

Guidelines and criteria for making, curating and publishing video essays

A look at the existing guidelines for the production and evaluation of video essays.

How To Make Video Essay Guides

Preproduction, Production, Postproduction

Considerations for planning, making and editing a video essay.

Copyright Considerations

How copyright law regulates the creative reuse of existing materials

Understanding the basic principles of copyright law when producing or using creative works.

Dissemination

A selected list of journals and websites where you can publish video essays.

Video essays as creative assessment method at SOAS, University of London

Reducing the uncertainty around creative assessment methods.

About this guide

Authors's biographies, list of references and contact details

Launch Event

An online event organised by Learning on Screen in collaboration with SOAS, University of London.

• WESTCHESTER CAMPUS
• Social Media Center
• Directories

Media Production and Film Studies

• Library Resources
• Finding Books
• Professional Organizations
• Careers in Media
• The Video Essay

So you want to make a video essay...

The video essay: how-to, featured video essays.

• Copyright & Fair Use
• Getting Help

Additional Resources

Academic Journals

• in[Transition] : The first open access, peer-reviewed journal on videographic criticism
• AUDIOVISUALCY: Videographic Film and Moving Image Studies : An online forum for video essays or works of audovisual screen studies that have an analytical, critical, reflexive or scholarly purpose; fully attribute all sources used; are made according to Fair Use principles; are non-commercial in nature.

Video Essay Channels

• Every Frame a Painting  
• Indietrix Film Reviews
• 100 Years of Cinema  
• Channel Criswell  
• Lindsay Ellis

Library Guides

• Tufts University Library: Multimedia Production
• Edith Cowan University Library: The Video Essay
• Pace University Library: Film Criticism

What is a video essay ?

Christian Keathley, a Professor of Film & Media Culture at Middlebury College & co-founder of in[Transition], defines video essays as

“short critical essays on a given film or filmmaker, typically read in voice-over by the author and supplemented with carefully chosen and organized film clips”

Video essays have found incresased popularity in recent years on digital content sharing platforms like YouTube & Vimeo. Despite their scholarly-focused and argument-driven nature, video essays have since been associated with (and mistaken for) other popular forms of commentary (e.g. movie commentaries, reaction videos, online fan-edits, etc.) shared on the same platforms. The two do have similarities in their accessibility and utilize the same set of creative tools and texhniques. However, the video essay in its academic form does follow certain conventions (a written critical component from the author, scholarly research, and peer review), as opposed to popular commentaries. 

Video essays as a medium are an important audivisual form of scholarship, particularly in terms of expression, creation, and accessibility. Traditional essays may not always lend themselves to the fullest expression of film and how we interpret/analyze visual images. As students of film and media studies, it is important to both understand the medium from a critical point of view, as well as from a creative point of view. 

• Planning & Preparation
• Gathering Materials & Filming
• Editing & Sharing
• Understanding File Formats

So you've been assigned a video essay for class, or you want to make one on your own...

Where do you start? Like any other form of traditional essay, you will begin by Developing A Topic , whether it's a persuasive argument, a narrative story, or a research question. If you’re telling a story, think about good elements of narrative. If you’re making an argument in your video essay, think about the elements of making an effective argument. If you're drafting a research question, make sure to be specific and answer the following: who?, what?, where?, when?, why?, and how?

For more information about developing a topic or researcj question, please check out the following resources: 

• Pace Library Guide: The Research Process, Step-By-Step
• Pace Library Guide: Getting Started with Research

Once you have a well-developed topic and/or research question, then you can Create an Outline and Write a Script for your video essay. Utilizing your background research, evidence from whichever piece(s) of media you are analyzing/discussing, and your own arguments/interpretations of that media, you can build an outline and write a basic script to refer to when filmming and/or recording your video essay. This script will especially be important if you plan to record a voiceover. 

For more information about how to write a script/create an outline, please check out the following resources: 

• Excelsior Online Writing Lab: Video Essays
• How To Make A Video Essay: Writing   by  Indietrix Film Reviews

Now, you've got your script and you're ready to start gathering materials (scenes, images, audio, etc.) to edit into your video essay.  The best place to capture images is always  from a high-resolution DVD, Blue-ray, or video file. 

There are a couple of different places you can acquire these files. Of course, you can always invest in your own copies of the physical media. This is the best (and most ethical ) way to get high quality images, video, and footage.

Should you wish to do a screen capture, you can use platforms like Camtasia or Clip Converter to record images or footage directly from your screen. These aren't always the most ethical means to record footage, so if you choose to do so, be sure to consult Fair Use Guidelines before doing so. For this process, you will also likely need a DVD Drive, whether external or internal. Having one that can read DVDs and Blu-rays is a plus! Resoruces for how to do these technical processes are included below. 

Before you actually aquire any footage or media for your video essay, it's important to weigh the ethical considerations (i.e. Fair Use & Copyright Law) no matter what the media is or your intention to use it. 

Resources: 

• How To Make A Video Essay: Footage and Voiceover   from  Indietrix Film Reviews  
• How To Make Video Essays:  This video is especially helpful in terms of the technology of filming and recording voiceovers for video essays, less so the other aspects of video essay production. 
• Camtasia: Screen Capture & Recording Tutorials

As for finding stock photos or images to use that are in the Public Domain , check out this well-curated list of public domain image libraries, websites, and archives at the Tufts University Library Multimedia Production Resource Guide . 

Use editing software and experiment with available functionality to enhance and support your argument. Add a voice-over, sound effects, music and other aspects of multimodality. Be sure to include references and credits to all sources used in creating the video essay. 

For more information on editing video essays, please check out the following resources: 

• How to Make a Video Essay: Editing by  Indietrix Film Reviews
• Vimeo: Editing Basics

When creating, saving, uploading, and sharing video essays, it's important to have a basic understanding of digitail file formats, for videos, audio, and images. 

Linked below are some resources (websites, videos, & infographics) to help you learn how to navigate each file format and learn their best uses. It's likely you'll become aware of and proficient at most of this as you move through your Film & Screen Studies coursework, so think of these resources as a brief introduction to the topic and/or as little reminders for you to refer to in the future. 

Books: 

• Portable Moving Images: A Media History of Storage  Formats  by Ricardo Cedeño Montaña
• Images on the Move: Materiality - Networks -  Formats   Editor: Olga Moskatova

Blog Posts: 

• Understanding Video File Formats, Codecs and Containers by Andy Owen at TechSmith
• Video Formats – Meaning, types and everything you should know   by  Akeem Okunola at InEvent
• Image file formats: When to Use Each File Type   by Samual Lundquist at 99Designs

Other Resources: 

• Introduction to Digital Format Preservation, The Library of Congress

Image Credit: WonderShare, "Top 9 Video Formats You May Want to Know In 2023." 

The Place of Voiceover in Academic Audiovisual Film and Television Criticism from Ian Garwood on Vimeo .

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Visual Rhetoric

Video essay resource guide.

PAR 102 (M-Th, 9 AM- 5 PM) Fine Arts Library Media Lab (same hours as FAL) PCL Media Lab (same hours as PCL)

About video essays

What are they.

“The video essay is often described as a form of new media, but the basic principles are as old as rhetoric: the author makes an assertion, then presents evidence to back up his claim. Of course it was always possible for film critics to do this in print, and they’ve been doing it for over 100 years, following more or less the same template that one would use while writing about any art form: state your thesis or opinion, then back it with examples. In college, I was assured that in its heart, all written criticism was essentially the same – that in terms of rhetorical construction, book reviews, music reviews, dance reviews and film reviews were cut from the same cloth, but tailored to suit the specific properties of the medium being described, with greater emphasis given to form or content depending on the author’s goals and the reader’s presumed interest.”

Matt Zoller Seitz on the video essay .

what makes a good video essay? 

Tony Zhou on how to structure a video essay

Kevin B. Lee on what makes a video essay “ great “

why should we use them? what are their limits?

Kevin B. Lee’s  experimental/artistic pitch for video essays

Kevin B. Lee’s mainstream pitch for video essay

“Of all the many developments in the short history of film criticism and scholarship, the video essay has the greatest potential to challenge the now historically located text-based dominance of the appraisal and interpretation of film and its contextual cultures…”

Andrew McWhirter argues that t he video essay has significant academic potential in the Fall 2015 issue of  Screen

“Importantly, the [new] media stylo does not replace traditional scholarship. This is a new practice beyond traditional scholarship. So how does critical media differ from traditional scholarship and what advantages does it offer? First, as you will see with the works in this issue, critical media demonstrates a shift in rhetorical mode. The traditional essay is argumentative-thesis, evidence, conclusion. Traditional scholarship aspires to exhaustion, to be the definitive, end-all-be-all, last word on a particular subject. The media stylo, by contrast, suggests possibilities-it is not the end of scholarly inquiry; it is the beginning. It explores and experiments and is designed just as much to inspire as to convince…”

Eric Fadden’s “ A Manifesto for Critical Media “

Adam Westbrook’s “ The Web-Video Problem: Why It’s Time to Rethinking Visual Storytelling from the Bottom Up “

Video essayists and venues

Matt Zoller Seitz (various venues) A writer and director by trade, Zoller Seitz is nonetheless probably best known as a prominent American cultural critic.  He’s made over 1000 hours of video essays and is generally recognized as a founder of the video essay movement in high-brow periodicals.  A recognized expert on Wes Anderson, Zoller Seitz is also notable because he often mixes other cinematic media (especially television) into his analysis, as in the above example, which doubles as an experiment in the absence of voiceover.

Various contributors, Press Play Co-founded by Matt Zoller Seitz and Ken Cancelosi,  Press Play  (published by Indiewire)   is one of the oldest high-brow venues for video essays about television, cinema, and other aspects of popular culture.

Various contributors, Keyframe   (A Fandor online publication) Fandor’s video essay department publishes work from many editors (what many video essayists call themselves) on and in a range of topics and styles.  Check it out to get an idea of all that things a video essay can do!

Various contributors, Moving Image Source A high-brow publication for video essays.

Tony Zhou, Every Frame a Painting The master of video essays on filmic form, Tony’s arguments are clean, simple, and well-evidenced.  Look to Tony as an example of aggressive and precise editing and arrangement.  He’s also an excellent sound editor–pay attention to his choices and try out some of his sound-mixing techniques in your essay.

Adam Johnston, Your Movie Sucks (YMS) Although an excellent example of epideictic film rhetoric, this channel is a great example of what  not  to do in this assignment (write a movie review, gush about how good/bad you think a movie is, focus on motifs or narrative content instead of  film form  as the center of your argument).  What you  can  learn from Adam is a lot about style.  Adam’s delivery, pacing, and editing all work together to promote a mildly-disinterested-and-therefore-credible ethos through a near-monotone, which I’ll affectionately dub the “Daria” narratorial ethos.

Adam Westbrook, delve.tv Adam Westbrook is part of an emerging group of professional video essayists and delve.tv is his version of a visual podcast.  Using the video essay form, Adam has developed a professional public intellectual ethos for himself through skillful overlay of explanation/interpretation and concept.  Check out Westbrook’s work as a really good example of presenting and representing visual concepts crucial to an argument.  He’s a master at making an argument in the form of storytelling, and he uses the video essay as a vehicle for that enterprise.

:: kogonada (various venues) If you found yourself wondering what the auteur video essay might look like, :: kogonada is it.  I like to call this “expressionist” video essay style.  Kogonada is the ultimate minimalist when it comes to voiceover/text over–its message impossibly and almost excessively efficient.  Half of the videos in his library are simple, expertly-executed supercuts , highlighting how heavily video essays rely on the “supercut” technique to make an argument.  Crafting an essay in this style really limits your audience and may not be a very good fit for the constraints of assignment (very “cutting edge,” as we talked about it in class), but you will probably draw inspiration from ::kogonada’s distinct, recognizable style, as well as an idea of what a video essay can do at the outer limits of its form.

Lewis Bond,  Channel Criswell Narrating in brogue-y Northern English, Bond takes his time, releasing a very carefully-edited, high-production video essay once every couple of months.  He’s a decent editor, but I feel his essays tend to run long, and I feel rushed by his narration at times.  Bond also makes a useful distinction between video essays and analysis/reviews on his channel–and while most of his analysis/reviews focus on film content (what you don’t want to imitate), his video essays stay pretty focused on film technique (what you do).  Hearing the same author consciously engage in two different modes of analysis might help you better understand the distinction between the two, as well.

Jack Nugent,  Now You See It Nugent’s brisk, formal analysis is both insightful and accessible–a good example of what it takes to secure a significant following in the highly-competitive Youtube marketplace.  [That’s my way of slyly calling him commercial.] Nugent is especially good at pairing his narration with his images.  Concentrate and reflect upon his simple pairings as you watch–how does Nugent help you process both sets of information at the pacing he sets?

Evan Puschak, The Nerdwriter Nerdwriter  is a great example the diversity of topics a video essay can be used to craft an argument about.  Every week, Puschak publishes an episode on science, art, and culture.  Look at all the different things Puschak considers visual rhetoric and think about how he’s using the video essay form to make honed, precisely-executed arguments about popular culture.

Dennis Hartwig and John P. Hess,  FilmmakerIQ Hartwig and Hess use video essays to explain filmmaking technique to aspiring filmmakers.  I’ve included the channel here as another example of what  not  to do in your argument, although perhaps some of the technical explanations that Hartwig and Hess have produced might help you as secondary sources.  Your target audience (someone familiar on basic film theory trying to better understand film form) is likely to find the highly technical, prescriptive arguments on FilmIQ boring or alienating. Don’t focus on technical production in your essay (how the film accomplishes a particular visual technique using a camera); rather, focus on how the audience interprets the end result in the film itself; in other words, focus on choices the audience can notice and interpret–how is the audience interpreting the product of production?  How often is the audience thinking about/noticing production in that process?

Kevin B. Lee (various venues) A good example of the older, high-brow generation of video essayists, Kevin’s collection of work hosted on his Vimeo channel offers slow, deliberate, lecture-inspired readings of film techniques and form.  Note the distinct stylistic difference between Kevin’s pacing and someone like Zhou or Lewis.  How does delivery affect reception?

Software Guides

How to access Lynda tutorials (these will change your life)

Handbrake and MakeMKV  (file converters)

Adobe Premiere  (video editing)

Camtasia  (screen capture)

File management

Use your free UTBox account to upload and manage your files.  Make sure you’ve got some sort of system for tracking and assembling everything into your video editing software.   UTBox has a 2 terabyte limit (much higher than Google Drive) and is an excellent file management resource for all sorts of academic work.

Adobe Premiere saves versions with links to your video files, so it’s imperative that you keep your video files folder in the same place on every machine you open it up on.  That’s why I keep all my video files in a big folder on box that I drop on the desktop of any machine I’m working on before I open my premiere files.  The Adobe Premiere project walkthrough  has more details on this.

Where to find video and how to capture it

About fair use . Make sure your composition complies with the Fair Use doctrine and familiarize yourself with the four criteria.

The best place to capture images is always from a high-resolution DVD or video file .  The first place you should go to get the film is the library– see instructions for searching here .

To import the video and audio from your DVD or video file into your video editing software (like Premiere), you will first need to use a software to convert it to an .mkv.  See instructions on how to do that here .

Camtasia tutorials .  Camtasia is a program that allows you to capture anything that’s going on on your screen .  This is a critical tool for this assignment as you decide what kind of interface you want to present to your reader in your video essay.  Camtasia also allows you to capture any high-quality video playing on your desktop without licensing restrictions.

You can also use Clip Converter to capture images and sound from pre-existing YouTube videos , and it may be a little faster and easier than Camtasia.   I suggest converting things into .mkv before putting them into your video editor, regardless of where you get the material from.

Film theory and criticism

• /r/truefilm’s reading and viewing guide

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How to do a Video Essay: Home

Welcome to Joey's How To: Video Essay

Welcome to the ECU guide on How to Make a Video Essay . This guide has resources and instructional information to help you find your way around the video essay.

In this comprehensive "How To" video Joey will cover the basics of creating a Video Essay:

• arguing your thesis creatively and engagingly
• question analysis
• the research process
• writing your well prepared argument
• check and record
• the visuals
• referencing
• direct link: https://www.youtube.com/watch?v=fn1NKAsLDCc

Note: This video production was sponsored by WAND teaching and learning grant. Thank you to WAND, Tanya Visosevic, Finn Williamson and Joey.

• Joey's How To: Video Essay
• Next: What is a Video Essay? >>
• What is a Video Essay?
• The Video Essay Process
• Modes, MultiModality & Multiliteracies
• A Pedagogy of Multiliteracies
• Modes Of Multimodality
• Video Essay Journals
• Video Essay Channels
• Weblinks to Video Essay Resources
• Weblinks to Creative Commons Resources
• Titles in the Library
• Referencing & Copyright
• Marking Rubric
• Last Updated: Aug 28, 2023 2:57 PM
• URL: https://ecu.au.libguides.com/video-essay

Edith Cowan University acknowledges and respects the Noongar people, who are the traditional custodians of the land upon which its campuses stand and its programs operate. In particular ECU pays its respects to the Elders, past and present, of the Noongar people, and embrace their culture, wisdom and knowledge.

What Is a Video Essay? Definition & Examples Of Video Essays

A video essay consists of a series of videos that collectively, present an in-depth analysis or interpretation of a given subject or topic.

In this way, a video essay can be thought of as a condensed version of a lengthy written article.

VIDEO ESSAY

What is a video essay.

A video essay is an audio-visual presentation of your thoughts on a topic or text that usually lasts between 5 and 10 minutes long.

It can take the form of any type of media such as film, animation, or even PowerPoint presentations.

The most important thing to remember when creating a video essay is to include voiceover narration throughout the whole project so that viewers feel they are listening in on your thoughts and ideas rather than watching passively.

Video essays are typically created by content creators’ critics to make arguments about cinema, television, art history, and culture more broadly.

Ever wondered how ideas unfold in the dynamic world of video?

That’s where video essays come in.

They’re a compelling blend of documentary and personal reflection, packed into a visually engaging package.

We’ll dive deep into the art of the video essay, a form that’s taken the internet by storm.

In this article, we’ll explore how video essays have revolutionized storytelling and education.

They’re not just a person talking to a camera; they’re a meticulously crafted narrative, often weaving together film footage, voiceover, text, and music to argue and inform.

Stick with us as we unpack the nuances that make video essays a unique and powerful medium for expression and learning.

Components Of A Video Essay

As storytellers and educators, we recognize the intricate elements that comprise a video essay.

Each component is vital for communicating the essay’s message and maintaining the audience’s engagement.

Narrative Structure serves as the backbone of a video essay.

Our crafting of this structure relies on a cinematic approach where the beginning, middle, and end serve to introduce, argue, and explore our ideas.

Film Footage then breathes life into our words.

We handpick scenes from various sources, be it iconic or obscure, to visually accentuate our narrative.

The Voiceover we provide acts as a guide for our viewers.

It delivers our analysis and commentary, ensuring our perspective is heard.

Paired with this is the Text and Graphics segment, offering another layer of interpretation.

We animate bullet points, overlay subtitles, and incorporate infographics to highlight key points.

Our sound design, specifically the Music and Sound Effects , creates the video essay’s atmosphere.

It underscores the emotions we wish to evoke and punctuates the points we make.

This auditory component is as crucial as the visual, as it can completely change the viewer’s experience.

We also pay close attention to the Editing and Pacing .

This ensures our video essays are not only informative but also engaging.

The rhythm of the cuts and transitions keeps viewers invested from start to finish.

In essence, a strong video essay is a tapestry woven with:

• Narrative Structure – the story’s framework,
• Film Footage – visual evidence supporting our claims,
• Voiceover – our distinctive voice that narrates the essay,
• Text and Graphics – the clarity of our arguments through visual aids,
• Music and Sound Effects – the emotive undercurrent of our piece,
• Editing and Pacing – the flow that maintains engagement.

Each element works Along with the others, making our video essays not just informative, but also a cinematic experience.

Through these components, we offer a comprehensive yet compelling way of storytelling that captivates and educates our audience.

The Power Of Visual Storytelling

Visual storytelling harnesses the innate human attraction to imagery and narrative.

At its core, a video essay is a compelling form of visual storytelling that combines the rich tradition of oral narrative with the dynamic appeal of cinema.

The impact of visual storytelling in video essays can be profound.

When crafted effectively, they engage viewers on multiple sensory levels – not just audibly but visually, leading to a more immersive and memorable experience.

Imagery in visual storytelling isn’t merely decorative.

It’s a crucial carrier of thematic content, enhancing the narrative and supporting the overarching message.

By incorporating film footage and stills, video essays create a tapestry of visuals that resonate with viewers.

• Film Footage – Brings concepts to life with cinematic flair,
• Stills and Graphics – Emphasize key points and add depth to the narrative.

Through the deliberate choice of images and juxtaposition, video essays are able to articulate complex ideas.

They elicit emotions and evoke reactions that pure text or speech cannot match.

From documentaries like An Inconvenient Truth to educational content on platforms like TED-Ed, video essays have proven their capacity to inform and inspire.

Sound design in video essays goes beyond mere accompaniment; it’s an integral component of storytelling.

Music and sound effects set the tone, heighten tension, and can even alter the audience’s perception of the visuals.

It’s this synergy that elevates the story, giving it texture and nuance.

• Music – Sets the emotional tone,
• Sound Effects – Enhances the realism of the visuals.

Crafting a narrative in this medium isn’t just about what’s on screen.

It requires an understanding of how each element – from script to sound – works in concert.

This unity forms an intricate dance of auditory and visual elements that can transform a simple message into a powerful narrative experience.

The Influence Of Video Essays In Education

Video essays have become a dynamic tool in academic settings, transcending traditional teaching methods.

By blending entertainment with education, they engage students in ways that lectures and textbooks alone cannot.

How To Create A Powerful Video Essay

Creating a compelling video essay isn’t just about stitching clips together.

It requires a blend of critical thinking, storytelling, and technical skill.

Choose a Central Thesis that resonates with your intended audience.

Like any persuasive essay, your video should have a clear argument or point of view that you aim to get across.

Research Thoroughly to support your thesis with factual data and thought-provoking insights.

Whether you’re dissecting themes in The Great Gatsby or examining the cinematography of Citizen Kane , your analysis must be thorough and well-founded.

Plan Your Narrative Structure before jumping into the editing process.

Decide the flow of your argument and how each segment supports your central message.

Typically, you’d include:

• An intriguing introduction – set the stage for what’s coming,
• A body that elaborates your thesis – present your evidence and arguments,
• Clearly separated sections – these act as paragraphs would in written essays.

Visuals Are Key in a video essay.

We opt for high-quality footage that not only illustrates but also enhances our narrative.

Think of visuals as examples that will bring your argument to life.

Audio selection Should Never Be an Afterthought.

Pair your visuals with a soundtrack that complements the mood you’re aiming to create.

Voice-overs should be clear and paced in a way that’s easy for the audience to follow.

Editing Is Where It All Comes Together.

Here, timing and rhythm are crucial to maintain viewer engagement.

We ensure our cuts are clean and purposeful, and transition effects are used judiciously.

Interactive Elements like on-screen text or graphics can add a layer of depth to your video essay.

Use such elements to highlight important points or data without disrupting the flow of your narrative.

Feedback Is Invaluable before finalizing your video essay.

We often share our drafts with a trusted group to gain insights that we might have missed.

It’s a part of refining our work to make sure it’s as impactful as it can be.

Remember, creating a video essay is about more than compiling clips and sound – it’s a form of expression that combines film criticism with visual storytelling.

It’s about crafting an experience that informs and intrigues, compelling the viewer to see a subject through a new lens.

With the right approach, we’re not just delivering information; we’re creating an immersive narrative experience.

What Is A Video Essay – Wrap Up

We’ve explored the intricate craft of video essays, shedding light on their ability to captivate and inform.

By weaving together compelling visuals and sound with a strong narrative, we can create immersive experiences that resonate with our audience.

Let’s harness these tools and share our stories, knowing that with the right approach, our video essays can truly make an impact.

Remember, it’s our unique perspective and creative vision that will set our work apart in the ever-evolving landscape of digital storytelling.

Frequently Asked Questions

What is visual storytelling in video essays.

Visual storytelling in video essays is the craft of using visual elements to narrate a story or present an argument, engaging viewers on a sensory level beyond just text or speech.

Why Is Visual Storytelling Important In Video Essays?

Visual storytelling is important because it captures attention and immerses the audience, making the content more memorable and impactful through the integration of visuals, sound, and narrative.

What Are The Key Elements Of A Powerful Video Essay?

The key elements include a central thesis, thorough research, a well-planned narrative structure, high-quality visuals, fitting audio, effective editing, interactive components, and a compelling immersive narrative experience.

How Do I Choose A Central Thesis For My Video Essay?

Choose a central thesis that is focused, debatable, and thought-provoking to anchor your video essay and give it a clear direction.

What Should I Focus On During The Research Phase?

Focus on gathering varied and credible information that supports your thesis and enriches the narrative with compelling facts and insights.

What Role Does Audio Play In Video Essays?

Audio enhances the visual experience by adding depth to the narrative, providing emotional cues, and aiding in information retention.

How Can Interactive Elements Improve My Video Essay?

Interactive elements can enhance engagement by allowing viewers to participate actively, often leading to a deeper understanding and connection with the content.

Why Is Feedback Important In Creating A Video Essay?

Feedback is crucial as it provides insights into how your video essay is perceived, allowing you to make adjustments to improve clarity, impact, and viewer experience.

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Related posts, what is gaffer tape used for: complete guide, what is daytime television the day’s companion in entertainment and information, what is film adaptation transforming literature into cinematic narratives, promotional video length: how long should your video be, what is a continuity error in film: the slip-ups that escape the final cut, what is a fan edit in film creative reimaginings by devoted viewers.

A video essay is a type of video that is used to present a single, cohesive argument or idea. They can be used to communicate a complex idea in a way that is easy to understand. They can also be used to show how a

It is indeed.

Absolutely, Greg.

Great post! I found the definition of video essays to be particularly insightful.

As someone who is new to the world of video essays, it’s helpful to understand the different forms and purposes of this medium. The examples you provided were also enlightening, particularly the one on the First Amendment.

I’m looking forward to exploring more video essays in the future!

I found this post to be incredibly informative and helpful in understanding the concept of video essays.

As a budding filmmaker, I’m intrigued by the idea of blending traditional essay structure with visual storytelling. The examples provided in the post were particularly insightful, showcasing the versatility of video essays in capturing complex ideas and emotions. I can’t wait to explore this medium further and see where it takes me!

I found this post really fascinating, especially the section on the different types of video essays. I never knew there were so many variations!

As a student, I’m definitely going to start experimenting with video essays as a way to express myself and communicate my ideas. Thanks for sharing!

Interesting read! I’m curious to explore more video essays and see how they can be used to convey complex ideas in an engaging way.

Appreciate the comment

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How to Write a Video Essay: A Step-by-Step Guide and Tips

• by Joseph Kenas
• January 5, 2024
• Writing Tips

The video essay has become an increasingly popular way of presenting ideas and concepts in the age of the internet and YouTube. In this guide, we present a step-by-step guide on how to write a video essay and tips on how to make it.

While it is easy to write a normal essay, the structure of the video essay is a bit of a mystery, owing to the newness of the term.

However, in this article, we are going to define what is a video essay, how to write a video essay, and also How to present a video essay well in class.

What is a Video Essay?

A video essay is a video that delves into a certain subject, concept, person, or thesis. Video essays are difficult to characterize because they are a relatively new form, yet they are recognized regardless. Simply, video essays are visual compilations that try to persuade, educate, or criticize.

These days, there are many creatives making video essays on topics like politics, music, movies, and pop culture.

With these, essays have become increasingly popular in the era of video media such as Youtube, Vimeo, and others.

Video essays, like photo and traditional essays, tell a story or make a point.

The distinction is that video essays provide information through visuals.

When creating a video essay, you can incorporate video, images, text, music, and/or narration to make it dynamic and successful.

When you consider it, many music videos are actually video essays. 

Since making videos for YouTube and other video sites has grown so popular, many professors are now assigning video essays instead of regular essays to their students. So the question is, how do you write a video essay script?

Steps on How to Write a Video Essay Script

Unscripted videos cost time, effort, and are unpleasant to watch. The first thing you should do before making a video writes a script, even if it’s only a few lines long. Don’t be intimidated by the prospect of writing a script. All you need is a starting point.

A video script is important for anyone who wants to film a video with more confidence and clarity. They all contain comparable forms of information, such as who is speaking, what is said, where, and other important details.

While there are no precise criteria that a video essay must follow, it appears that most renowned video essayists are adhering to some steps as the form gets more popular and acknowledged online. 

1. Write a Thesis

Because a video essayist can handle a wide range of themes, video analysis essays lack defined bounds. The majority of essays, on the other hand, begin with a thesis.

A thesis is a statement, claim, theme, or concept that the rest of the essay is built around. A thesis might be broad, including a variety of art forms. Other theses can be quite detailed.

A good essay will almost always have a point to express. Every video analysis essay should have a central idea, or thesis, that ties the film together.

2. Write a Summary

Starting with a brief allows you and your team to document the answers to the most pressing project concerns. It ensures that everyone participating in the video production is on the same page.

This will avoid problems of mixing ideas or getting stuck when you are almost completing the project.

3. Choose a Proper Environment and Appropriate Tools

When it comes to writing your script, use any tool you’re familiar with, such as pen and paper. Also, find a writing atmosphere that is relaxing for you, where you can concentrate and be creative.

Consider what you don’t have to express out loud when you’re writing. Visual elements will be used to communicate a large portion of your content.

4. Use a Template

When you don’t have to reinvent the process every time you sit down, you get speed and consistency.

It’s using your cumulative knowledge of what works and doing it over and over again. Don’t start with a blank page when I sit down to create a script- try to use an already made template. 

5. Be Conversational

You want scripts that use language that is specific and targeted. Always avoid buzzwords, cliches, and generalizations. You want your audience to comprehend you clearly without rolling their eyes.

6. Be Narrative

Make careful to use a strong story structure when you’re trying to explain anything clearly. Ensure your script has a beginning, middle, and end, no matter how short it is. This will provide a familiar path for the viewers of your video script.

7. Edit Your Script

Make each word work for a certain position on the page when you choose your words.

They must serve a purpose.

After you’ve completed your first draft, go over your script and review it.

Then begin editing, reordering, and trimming. Remove as much as possible.

Consider cutting it if it isn’t helping you achieve your goal.

 8. Read Your Script Loudly

Before recording or going on in your process, it’s recommended to read your script aloud at least once. Even if you won’t be the one reading it, this is a good method to ensure that your message is clear. It’s a good idea to be away from people so you may practice in peace.

Words that flow well on paper don’t always flow well when spoken aloud. You might need to make some adjustments based on how tough certain phrases are to pronounce- it’s a lot easier to change it now than when recording.

9. Get Feedback

Sometimes it is very difficult to point out your mistakes in any piece of writing. Therefore, if you want a perfect video essay script, it is advisable to seek feedback from people who are not involved in the project.

Keep in mind that many will try to tear your work apart and make you feel incompetent. However, it can also be an opportunity to make your video better.

The best way to gather feedback is to assemble a group of people and read your script to them. Watch their facial reaction and jot own comments as you read. Make sure not to defend your decisions. Only listen to comments and ask questions to clarify.

After gathering feedback, decide on what points to include in your video essay. Also, you can ask someone else to read it to you so that you can listen to its follow.

A video essay can be a good mode to present all types of essays, especially compare and contrast essays as you can visually contrast the two subjects of your content.

How to make a Good Video from your Essay Script

You can make a good video from your script if you ask yourself the following questions;

• What is the video’s purpose? What is the purpose of the video in the first place?
• Who is this video’s intended audience?
• What is the subject of our video? (The more precise you can be, the better.) 
• What are the most important points to remember from the video?- What should viewers take away from it?

If the context had multiple characters, present their dialogues well in the essay to bring originality. If there is a need to involve another person, feel free to incorporate them.

How to Present a Video Essay Well in Class

• Write down keywords or main ideas in a notecard; do not write details- writing main ideas will help you remember your points when presenting. This helps you scan through your notecard for information.
• Practice- in presentations it is easy to tell who has practiced and who hasn’t. For your video essay to grab your class and professor’s attention, practice is the key. Practice in front of your friends and family asking for feedback and try to improve.
• Smile at your audience- this is one of the most important points when presenting anything in front of an audience. A smiley face draws the attention of the audience making them smile in return thus giving you confidence.
• Walk to your seat with a smile- try not to be disappointed even if you are not applauded. Be confident that you have aced your video presentation.

Other video presentations tips include;

• Making eye contact
• Have a good posture
• Do not argue with the audience 
• Look at everyone around the room, not just one audience or one spot
• Rember to use your hand and facial expressions to make a point.

Joseph is a freelance journalist and a part-time writer with a particular interest in the gig economy. He writes about schooling, college life, and changing trends in education. When not writing, Joseph is hiking or playing chess.

The Video Essay As Art: 11 Ways to Make a Video Essay

Part one in a series of commissioned pieces on video essay form, originally published at Fandor Keyframe.

This feature piece, the first in an ongoing series, was originally published by Fandor Keyframe in May 2016. You can read the other pieces in this series here .

When you think of the video essay, you might imagine someone expressing their love of a movie over a selection of clips, a compilation of a famous director’s signature shots, or a voice that says: “Hi, my name is Tony.” But these are just a few of a remarkable variety of approaches to making videos exploring film and media, a diversity of forms that is continually evolving and expanding. Here’s an attempt to account for some of the more recognizable modes of video essay, with key examples for each.

Supercut . A collection of images or sounds arranged under a category (i.e. Jacob T. Swinney’s wonderful The Dutch Angle ) or used to break down a film to a set of elements (i.e. Zackery Ramos-Taylor’s recent Hearing Star Wars: The Force Awakens and Joel Bocko’s The Colors of Daisies ). The supercut is usually very short and lacks text so as to maximize its impact on a visual level. This brevity of form emphasizes a central concept more than a narrative argument. If a supercut has an argument to make, it is typically in the order in which items are sequenced.

Personal Review . This broad category of video essay hinges on a strongly personalized account of a film. Scout Tafoya’s recurring series The Unloved is a prominent example of this, wherein he makes the claim that each film he focuses on is underappreciated and then asserts their qualities through visual analysis. The best of these, in my opinion, is his video on Michael Mann’s Public Enemies :

Vlog . While similar to the personal review, the vlog differs strongly in mode of presentation. There is a greater focus on direct address of the viewers, and on delivering opinion rather than analysis. They’re often played up for comedic entertainment value and feature a lot of voiceover or footage of the editor themselves. Chez Lindsay’s video on Joel Schumacher’s The Phantom of the Opera is a sprawling, informative, funny journey through theater and cinema history that in many respects encompasses elements of the video essay but first and foremost is grounded in a personal perspective. Outside of film, the work Jon Bois does at SB Nation in his series Pretty Good would also fall under this category (his latest, on character types in 24 , is very much worth the watch). The popular YouTube series CinemaSins would also fall under this category, which relies moreso on personal nit-picking than film analysis.

Scene Breakdown . A visually-driven close reading of a scene (or many scenes in one film) that leans heavily on explaining film form and technique. Tony Zhou is especially skilled at this, and his scene breakdowns often come nestled in a video about many scenes, like his look at ensemble staging in Bong Joon-ho’s Memories of Murder or the approach to staging a fight scene in his video Jackie Chan—How to Do Action Comedy :

Shot Analysis . A cousin of the supercut and scene breakdown, though more analytical in nature than the former, the shot analysis dissects a shot or a repeated type of shot. Josh Forrest’s engaging video on the insert shot in David Fincher’s Zodiac is not shot analysis in and of itself; it’s more of a supercut. David Chen’s Edgar Wright and the Art of Close-Ups , on the other hand, is definitely a shot analysis, turning its compilation structure into a video essay by virtue of its director’s commentary track (which we might call the DVD-era ancestor of the video essay):

Structural Analysis . To paraphrase Kurt Vonnegut, these videos look at a film’s story shape, seeking to uncover hidden meaning or a subtextual emphasis by viewing the film as a collection of scenes rather than necessarily a plot or narrative. Kevin B. Lee’s Between the Lines: THE DAY HE ARRIVES is one of the best videos in this field, comparing repeated scenes in Hong Sang-soo’s film to reveal the film’s playful interpretation of time passing. One of my video essays for Fandor last year, Containing the Madness: George A. Romero’s THE CRAZIES , was an attempt to engage with this mode of video essay:

Side-by-side Analysis . Not a supercut, not yet a shot analysis. The side-by-side is a fascinating form of the video essay pushed by essayists like Cristina Álvarez Lopez, Catherine Grant ( All That Pastiche Allows ) and, in recent months, Davide Rapp, which finds meaning through visual comparison of two or more film clips in real-time. In What is Neorealism? , kogonada brilliantly employs the side-by-side comparison to reflect on the ideological and creative differences between Vittorio de Sica and David O. Selznick in the cutting of the same picture.

Side-by-sides with voiceover narration are relatively rare. Álvarez, Grant and Rapp tend to let viewers interpret the footage on their own. Rapp’s series of videos under the Seeing Double and Seeing Triple moniker place sequences from films and their various remakes side-by-side and implicitly address not only specific but generational aesthetic and narrative priorities. A particularly illuminating video in this collection is his look at Michael Haneke’s two versions of Funny Games :

Recut . The line between video essay and video art is blurred when we look at the imaginative re-purposing of texts. Filmscalpel’s 12 Silent Men is a good example of this, which was shared as a video essay despite being very similar in form to Vicki Bennett’s work of video art, 4:33: The Movie . Davide Rapp’s enchanting SECRET GATEWAYS (below), where he maps the space of a house in a Buster Keaton short and then moves his virtual camera between each of these rooms, is a more visually-focused re-purposing. I’d count my video essay, The Secret Video Essays of Jenni Olson , as also being a part of this form. It’s worth noting that an imaginative recut does not need to be visual, it can also be conceptual, as in Jeremy Ratzlaff’s Paul Thomas Anderson: A Chronological Timeline . This recut concept also extends to re-purposed marketing materials or film trailers, as seen in The Maze of Susan Lowell by Cristina Álvarez López and Adrian Martin, which suggests an alternate cut of The Big Combo with Susan as the protagonist. The very popular YouTube series Honest Trailers would also fall into the category of the recut, as they mimic and parody film trailer form, though their comedic narration-as-criticism does blur the line even more.

Subject Essay . These videos typically tell a story to explore a filmmaker’s (or actor’s, cinematographer’s, etc.) body of work, an era of filmmaking or a recurring motif in a lot of films, incorporating elements of scene, shot and thematic analysis. For the most part, the better videos in this field seek to educate or inform the viewer about a relatively unknown body of work or period of time. In this vein they teeter on the edge of conventional documentary cinema, like Kevin B. Lee’s Bruce Lee, Before and After the Dragon , and are reminiscent of some of the essay films of Mark Rappaport (whose body of work in and of itself defies easy genre labels). An unconventional example of this, and one of the best video essays of 2015, is Tony Zhou’s Vancouver Never Plays Itself . Another unconventional example, and one which straddles the modes of supercut and shot analysis, is Rishi Kaneria’s brilliant Why Props Matter .

Academic Supplement . When Kevin B. Lee made his refractive video essay What Makes a Video Essay Great? back in 2014, he used an excerpt from Thomas van den Berg’s Reliable Unreliability vs Unreliable Reliability or, Perceptual Subversions of the Continuity Editing System , a chiefly academic piece of video criticism that runs for over half an hour, features lecture-like narration and is grounded in academic and theoretical concepts of cinema. While this video does stand on its own as analysis, when I say supplement I mean that it is supplemental to the academic form. Some of the video works from David Bordwell, which he has termed video lectures, are examples of this form, in spite of what they have in common with shot analysis and filmic survey (in particular, his Constructive Editing in Robert Bresson’s Pickpocket ). Catherine Grant, another academic working in the realm of video essays, has managed to often subvert this expectation that academics making video essays will make supplementary works, turning in some wonderfully imaginative and non-academic videos like her brilliant UN/CONTAINED .

Desktop Video . A recent mode of video arguably born from the metatextual work of Harun Farocki ( Interface in particular), this seeks to present an argument about film within the confines of a computer screen. It’s worth noting that while the visual experience is tethered to a screen, like the recent horror flick Unfriended, it’s often not actually a real-time one-take desktop journey. The defining film in this field (arguably moving beyond the video essay label to become an experimental documentary in its own right) is Kevin B. Lee’s Transformers: The Premake :

As you can see from the various definitions above, the problem with all of these videos standing under the umbrella category of the video essay is that they’re all trying to do different things and aiming for different audiences. Because of this, when any two practitioners talk about what they like in video essays, they may be talking about very different things, not just in terms of content but in what they think the purposes of these videos are. Earlier this month Filmmaker Magazine posted a series of responses to the question What is a Video Essay? and answers ranged from a tool to stimulate better film viewing to a new form of essay filmmaking; and from a means of expressing cinephile obsession to a means of critiquing that same obsession.

On the other hand, what’s certain is that these videos, in their multitude of forms, have become very popular online over the last few years. There are many communities forming in the world of video essays, not just within publishing sites like the one you’re visiting now, but also in the “schools” of approaches taken by like-minded video makers. The mostly straightforward film-analysis approach is a favorite among very popular YouTubers. The academic-minded teaching aide is championed by the online journal [in]Transition. The personal love letter to cinema arises in supercuts and most single-film videos. The miniature essay film floats in and out of categorization, making it one of the most interesting forms of video essay.

Here at Keyframe I’ll be writing about various approaches to the video essay, looking at a wide variety of videos and video essayists and speaking to curators and editors to try to understand just how we got to where we are now. I’ll explore questions such as: why do some supercuts work better than others; when and when not to use voiceover and much more. Join us, won’t you?

Scripting Video Essays: How to Write a Great Narrative

There are many ways in which you can write video essays. Some have argued that video essays are a new trend in the world of creative writing. There is so much emphasis on developing a story from visuals, photographs, videos, and music to tell an enduring tale or lesson in this day and age. 

So, if you want to join the video essay bandwagon as an artist, expert, researcher, or student, you must know how to write them first before creating them.

Writing a narrative video essay is a great way to share your ideas with the world. Narrative essays let you not only say something meaningful but also show it. A good narrative video essay is also about the art of visual storytelling.

But first, if you are wondering what exactly is a video essay. Let’s address it first.

What is a Video Essay?

A video essay is a form of a documentary-like video narrative film using film footage, video clips, and graphics to discuss an issue or topic. Academics and artists can typically use video essays to discuss their research. 

In addition to blog posts and magazine articles, video essays are a new type of storytelling in the digital world. They take one idea and meticulously construct a narrative on how it came to be, how it’s been used/applied, or what it means.

In its most popular form (one person talking head), a video essay is made up of between 3-7 minutes in length and usually presents one concept or topic.

It often looks at a film and demonstrates how it is engaging in meaning or does not. The video essay can also emphasize the acts performed by actors or directors, such as performance, staging, and editing techniques.

But today, it is not fixated to film subjects only.  You can also expand your visual stories about anything under the sun like history, politics, science, technology, etc. Just choose an idea and proceed with your essay writing.

Here is an excellent example of the best video essays –  Example: Best Video Essays by Vox

How do you Create a Narrative in your Video Essay?

To create a compelling video essay, you must know how to write an essay with a video component to produce a compelling story. A good video essay should have the following qualities:

• It should be insightful, thought-provoking, or informative.
• It should be argumentative and practice critical thinking
• It should be visual, formal, and well-structured.
• It should help the viewer understand and appreciate a topic/situation from various angles.
• It should inspire viewers through findings, vocabulary, and plot.

The best video essays also use candid footage and demonstrate the use of nonfiction or documentary filmmaking techniques . And the main reason why people gravitate towards narrative essays is that they let you show your ideas visually to your viewers.

How to Write a Video Essay Script?

Many people are starting to make video essays as a way of presenting their own thoughts and experiences. The problem is that these videos do not have any actual narration, leaving the viewer lost trying to understand what’s happening.

But to write a grand narrative, you must follow the following stages:

Brainstorming ideas is the first stage. At this stage, you should list a few interesting concepts in an organized way. You may want to use the topic form like: “A Case for Video Essays” or “How to Create a Story Using Text and Images?” So, while ideating, follow these:

• Begin by picking a topic ( mostly what you are passionate about).
• Think about your point of view and audience. 
• Set up the background and context for your essay or story (the “what”). 
• Reveal the turning point in your story (the “why”). 
• Provide evidence to support your account of events (the “where”) 
• Discuss how the incident relates to broader social concerns (the “what now?”).

Research is the next stage of writing a video essay. The moment you decide to make a video essay, you should have enough information about the topic. The more information and research you do in the ideation stage, the easier it will be for you as a writer and speaker to share your knowledge with the audience. Research may include:

• Finding out facts from books, interviews, or research papers.
• Finding out relevant video footage of the person, place, or event.
• Getting access to the video footage of a particular event (e.g., presidential speeches).
• Find audio or video files on the Internet and transcribe them into text format (e.g., podcasts, interviews).
• THE ESSAY STRUCTURE: 

Because the video essay is still relatively new, there are no definitive rules about structure and genre for these films.  But still, we should adhere to some basic rules while constructing the script structure. Your structure is the most crucial stage for a crackling narrative. 

The essentials of a great narrative essay structure are as follows :

• First, create a rough outline from your research material.
• Think about a compelling opening line with a single line answer to the question of the essay
• Begin with questions, then answer in a way to create an argument.
• The Argument then leads to the next question.
• The emotion and Tone of the script should be formal, thought-provoking, insightful, and informative, supported by relevant visual reference.
• The essay must represent a single point of view.
• But it should be a well-reasoned perspective.
• It must have the writer or creator’s personal touch.
• Good writing is about the economy of words articulated to the point.
• Don’t forget to mention the What is the Takeaway for the audience.
• Don’t make it lengthy. Video essays are also about documenting or reviewing videos. So the script should not eat it all.
• Once you have structured the script, go back to the beginning and review your work.

Once you have prepared a rough draft of your essay, read it out loud and find the rhythm in the story. Is it telling the theme visually?  Rewrite and get the tone right. Your first few scripts may not be satisfactory. Don’t worry about that. It is a learning process.

• WRITING THE FINAL DRAFT:

Now, once you have gotten all the ideas into a script, you will be eager to write the final draft. At this stage, make sure to follow the following tips:

• Make sure every line is comprehensible so that viewers can easily understand your point of view without missing anything important in it.
• Proofread and make sure that you don’t leave any unfinished work or broken sentences in the video essay structure.
• Check the length of the video essay and make sure to follow the minimum requirements.
• Once you are done with the script, check for the formatting of your work.
• Spend extra time on a great narration that helps explain your content effectively and concisely.
• Get a clear idea about what you want to say so that you know what kind of images to use in the final draft of your essay and how they should be arranged.
• Conclude the essay by providing the audience with everything they need to know about your subject.

For a compelling narrative, the first thing to do is identify what makes the story you are trying to tell unique and why an audience wants to learn about it.

Related Question:

Are Video Essays Popular Today?

Though the concept was coined in the mid-1990s, it has only become popular in the last five years or so. As of now, a considerable amount of video essays and short films are uploaded on Youtube. Some have even garnered millions of views.  The prominent mentions are the Nerdwriter, and Every Frame is a Painting.

check out – Best Video Essays of last year

How Long Does a Video Essay Take to Write?

If you are writing a long video essay, it can take you a considerable amount of time. However, if you aim to create a short film covering one event, it can be done in a day or two. 

But, you may take time if you don’t have the research material in your hand. 

Final words:

The video essay became popular because it is a way to engage with the writer rather than just “watching” them talk about something. But, to make a great narrative, you have to research a lot and put in your best efforts. 

We hope this write-up has helped you create a great video essay. Happy writing!

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• 5 Easy Steps to Create an Eye-Catching Video Essay
• Video Creation >

Unlike traditional essays, video essays combine visuals, audio, text to analyze or explain a certain topic. Educators use it to break down complex subjects so that students can perform better in classes. Students use it to apply for college. Content creators use this type of video to influence public opinion or raise awareness about important issues.

Video essays are more common than you thought. Also, you don’t even need fancy video editing software or invest a large sum of money to create one. In the following parts, we will be showing you one easiest and most effective ways to a satisfying video essay.

Video Essay Examples

Part 1. The Video Essay Maker We Need

AI tools are changing the way we live, and AI video editors are making video essay creation easier than ever! FlexClip is one of them. It can automatically generate a video essay based on the prompt or essay text you enter.

FlexClip Text to Video Overview

Here are more FlexClip can help out:

• Generate excellent text essays with ChatGPT. Tell FlexClip the theme of the video essay, you will get the best-ever AI essay script perfect for video creation.

FlexClip Script Writer Overview

• Farewell to robotic AI voiceover. FlexClip’s AI text-to-speech tool reads out anything for you in a natural, melodious voice. 140+ language support, and 400 voices will certainly meet all your needs.

FlexClip Text to Speech Overview

• Authentically translate your video subtitle or voiceover into 60+ languages. Make your video go global and reach more audiences!

FlexClip Video Translate Overview

• Tons of video essay templates designed by professionals are ready to be edited and personalized. Go to FlexClip’s template page and get more inspiration.

5 Easy Steps to Make a Video Essay

If you are at FlexClip’s editing page, you are only 5 steps away from a satisfying video essay. Let’s get started now!

Step 1. Preparation

Getting organized always makes you more effective, the same applies to video essay creation. You need to put all media resources like music, photos, video clips in one folder.

Do remember to summarize your text essay into a bullet list. Anyway, video essays are not all about details, but about making ideas more digestible.

Next up, visit FlexClip’s media section, click on the Upload files button, and follow the prompt to upload all photos, videos, music from a local folder, cloud services, and mobile device needed for video essay creation.

Upload Resources to FlexClip

Step 2. Generate a Video Essay Draft

Once you input your text essay, FlexClip can understand the content, match the content with resources from the stock library, and then use them to create a slideshow. AI will add transitions and filters to those media resources to make everything go smoothly.

Go to Tools > AI Video Generator. Here you can enter a prompt to generate a video, or generate videos from an article or URL. Copy the article content or blog URL to FlexClip, select the subtitle style and hit Generate.

Generate a Video with Text

FlexClip will automatically find the key sentences from the article and match them with media resources. You can deselect or re-select the key sentences, replace the resources, adjust the duration, even manually edit the subtitle content. Hit Add to Timeline to confirm all changes.

Finish Video Essay Draft

Step 3. Edit the Video Essay

As we mentioned earlier, the AI text-to-video tool only creates a draft video essay. To make your video essay outstanding, you have to make some manual edits. Here are some ideas to edit your video essay.

Click on any item on the scene, all available editing tools will pop up above the preview window. The most frequently used tools include cropping, speed changer, filters, chroma key.

Instead, move to the text section to add more information, find the right background music to replace, or go to the Elements section to enrich your video essay with stickers, interesting GIFs, widgets, etc. All resources are listed on the left-side panel. Feel free to explore.

Edit Video Essay

Step 4. Add More AI Touches

Voiceover is an essential part of the video essay. You can record your own voice, but why not grab a cup of coffee and let AI do the job? Select the language, choose a voice, and the voice style you love, set up the speed and pitch, you will soon get a natural AI voiceover.

Generate AI Voiceover

Make your video essay go global with authentic translation! FlexClip can help you translate video essay subtitles, translate video audio to audio, and even project text into 60 more languages. Select the target language and let translation begin.

Generate AI Translation

Step 5. Export & Share

Enjoy the ultimate freedom of sharing your video essay at FlexClip. Besides directly downloading to your computer, you can also save the video to cloud services, share the video via a short link, or one-click post to YouTube, TikTok.

Tips for Creating an Excellent Video Essay

Never created one video essay before? Following are 3 must-read tips for making excellent video essays.

• Write Eye-Catching & Strong Video Script

The script is the backbone of your video essay. You should pick a nice topic to make sure you have enough potential viewers, and do thorough research so that your script is trustworthy.

Start with a hook to grab your audience’s attention. Use storytelling techniques and concise sentences to keep them engaged throughout the video.

• High-Quality Footage and Images

Incorporate relevant and high-quality visuals that complement your script. Use original footage, stock footage, and public domain images where applicable at least in 1080P.

Most people will ignore the sound quality. Invest in a quiet environment and a good microphone to minimize background noise. Also, edit your audio to remove any mistakes and pauses.

• Edit for Pacing and Clarity

Edit your video essay to maintain a good pace and ensure clarity. Avoid long, unbroken segments of talking. Instead, use cuts, transitions, and visual changes to keep the audience engaged. You can also edit the video to the music beat.

Frequently Asked Questions

1. what’s the difference between vlog and video essay.

Vlogs are videos showcasing someone’s daily life. Video essays are more like essays in video form. They are used to convey excellent messages and spread information.

2. Can I monetize my video essays?

Yes, you can monetize your video essay through platforms like YouTube by enabling ads, partner programs, offering premium content. Please refer to the social platform’s monetizing policies and guidelines.

3. How do I write a script for a video essay?

Writing a script for a video essay involves extracting the main points from the essay and making it more like spoken sentences. Please keep in mind that the text should accompany the voiceover.

Member of PearlMountain Limited. Has a mania for video editing. Love to share photo/video shooting tips and ideas.

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4 Easy Steps On How To Make A Video Essay

Just like photo essays and traditional essays, video essays tell a story or make a point. The only difference is that it presents the information or story in video form.

However, how to make a video essay is a general question in today’s time. As the development of technology and easy access to the internet has changed the traditional method of narrating a story through written essays has to be video essays. It is quite easy to connect with people through videos as compared to written essays as you can attract them in both express and implied ways. It has risen as an effective and efficient mode of presenting the information. 

Thus, this blog will help you understand how to make a video essay proficiently and the significance of making such an essay. Let’s start by discussing what a video essay is.

What is a video essay?

Table of Contents

The essay is a short formal piece of writing to express one’s thoughts, stories, arguments, and so on. Video essay means narrating the content of an essay in a video through pictures, text, music or narration, etc.

This is why it is a bit challenging to make a videos essay as compared to writing a traditional essay. Hence, the importance of learning how to make a video essay arises.

The following picture shows the steps that will help you get going with your project.

How to make a video essay?

Following are the steps involved in how to make a video essay:

1.   Contemplate your topic wisely

• The first and the foremost step in how to make a video essay is to choose a topic for your essays. You can’t jump on to other steps before finalizing your topic. Your topic must address a brief content of the essay. Since it’s a videos essay therefore you have to decide a catchy title with a view to attract and allure your audience.  
• While contemplating a topic for the essay you should always keep in mind that the product or content is the second thing but the title is the first thing to tell the audience about the essay.

2.   Create a script and structure

• After deciding a topic now you have to create a story from your idea. Since video essays work as written essays, therefore you have to build a story on your idea in an interesting way.
• As in a written essay you have to build a structure and outline to present your story, likewise in a video essay you have to drive a video in three stages beginning, middle, and end.
• This step is very mandatory and has to be observed very cautiously. Create your narration or pictures, text beforehand so that you narrate the actual story in the perfect format.
• As soon as you will make your outline then you can write your script in an efficient and effective manner. Writing a story is an art so make it worth watching.

3. Decide the right clips and images

• By now you have decided your title, outline, and structure for your video essay. Now the next step in how to make a video essay is to choose the right clips and images to tell the story in the best manner.You can  create clip  by selecting the most relevant parts of your footage and trimming them down to fit your story’s pacing and structure. Additionally, consider using images that help illustrate your points or add visual interest to the video.
• Since this is the best advantage of a videos essay that you can use pictures and clips to share your views so you also have to make the best use of them accordingly.
• Always use only those pictures, clips, and texts which directly suggest your point of view or argument or your experience and so forth.
• To choose the most suitable clips and texts and images you must have a rich library of the same. The rich library will help you to find exactly what you need and want to support each and every point you make and to rebut the point you want to rebut. Conclusively, you will craft a better video.

4. Edit the video into a single essay

• You have everything ready to go and you are only left to collect and merge all the chosen images and footage into a single video to give it a form of narration.
• While editing your video essay you can use any tools related to editing the videos as there are several videos editing too . It will help you to garnish your video in an attractive manner. You can make changes in the video while remembering your targeted audiences.

How long should a video essay be?

A 10-minute video essay that is clear, focused, stylish, and well-crafted is much better than a 60-minute video essay that is loose, vague, obvious, and thrown together. Thus, concerning traditional written essays, the following are the idea of the expected length of a video essay:

Bonus Point

What are the best video editors.

Following are the best video editors that are free of cost:

(i) Lightworks: It is the best free choice for those who want to create professional-quality movies or videos without spending a penny.

(ii) Hitfilm express: It is also free-to-use video editing software. This software adjusts color balance, trim clips, and exports your projects in different video formats.

(iii) Movie Maker Online: It is a video editor that runs in your browser. to edit a video, you have to upload an unusual vertical project timeline where you can crop clops and add filters or transition effects.

(iiii) Canva: Canva is renowned for offering tens of thousands of templates in every format imaginable for use on every publishing platform. The features that make Canva video editor a fun, special, and effective tool include real-time collaboration, self-recording plus screen recording that is ideal for classes, training, and webinars, pre-licensed audio tracks, content planner, and publisher, as well as brand kit and colors. Canva’s video editor is also accessible on your browser (for online editing), desktop download (if you want offline editing), and mobile (iOS and Android).

(v) Vmaker AI: An easy-to-use AI video editor that turns your raw video footage into professional-looking videos in just one click. It automatically adds B-rolls, background music, transitions, effects, subtitles, intros, outros, and more, making your videos publish-ready with one click. Vmaker AI transforms long-form videos into short-form content and also creates highlights and teasers from your videos. What sets Vmaker AI apart is its feature-packed, full-fledged editing suite that lets the pros craft their videos to perfection.

If you are well versed with this blog, then sure, you know how to make a video essay efficiently and effectively.

Video Essay As Form Of Marketing

The video essay is the latest popular style of essay in which a short video is made to narrate a story or anything as per the genre of the essay. That is why it has emerged as an effective tool of marketing as now companies can sell advertises their products through video essays instead of advertisement videos. This is more efficient than traditional advertisements because it does not directly intend to do marketing. Instead, it depicts the importance of the product through pictures, video clips or story narration, etc. But all this is possible only when you know how to make a video essay.

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With the emergence of technology and awareness of technology in people, the method of academics has completely changed and video essay is one of the modern aspects.  In video essays, You can create clip by selecting the most relevant parts of your footage and trimming them down to fit your story’s pacing and structure. Additionally, consider using images that help illustrate your points or add visual interest to the video. It has also become a tool of digital marketing owing to its advantages. But all this is possible only when you know how to make video essays and all the guidelines thereto. It will help to make a good video essay.

Hope you have found out from the above information how to make a video essay, but if you still have any doubts, then you can help from our experts through essay writing help , write essay for me in a very short period, and how to write my essay in an easy way.

What Makes A Video Essay Great?

According to Max Marriner, intellectual accessibility, genuine or hard-hitting evidence, and an engaging host are key formulas for making a good video essay.

Who Made The First Video Essay?

Mathew Turner created a viral youtube essay arguing that Daniel LaRusso, the young hero of the 1984 film, The Karate Kid, was actually the movie’s villain. You first need to know the story behind the video he posted to youtube.

How Do You Structure A Video Essay?

The video essay will have the same features as an essay; an introduction, argument, discussion, and conclusion. Students should be enabled to approach the development of the video essay in the same way as their academic essays; research, write, plan, prepare, edit, and submit.

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[Question] Video-essay creators: Where do you get footage for videos about film/TV shows?

I'm trying to figure out where and how to get footage for video essays, when I'm creating a video about a film or TV show. So far I've been borrowing DVDs from the library and encoding them myself, as it's purely to create my videos.

However, in some cases I want to do a video about a movie or show they don't have, and I'm not sure where/how to get this footage. Looking at video-essay channels out there, they regularly have essays of with lots of copyrighted footage. Any tips?

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When will ‘inside out 2’ be streaming on disney plus.

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"Inside Out 2" is now in theaters.

Disney and Pixar’s anticipated sequel, Inside Out 2, is now in theaters everywhere. If you’re wondering when Inside Out 2 will be available on Disney Plus and digital video platforms , read on to discover when you can likely watch the film from home.

Inside Out 2 is a sequel to the highly successful Disney and Pixar film Inside Out (2015). The film “returns to the mind of newly minted teenager Riley just as headquarters is undergoing a sudden demolition to make room for something entirely unexpected: new Emotions! Joy, Sadness, Anger, Fear and Disgust, who’ve long been running a successful operation by all accounts, aren’t sure how to feel when Anxiety shows up. And it looks like she’s not alone,” according to the official synopsis.

Maya Hawke voices Anxiety, while Amy Poehler returns as the voice of Joy. The star-studded voice cast also features Ayo Edebiri, Lewis Black, Phyllis Smith, Tony Hale, and Liza Lapira. Director Kelsey Mann told The Walt Disney Company in June that he wanted to direct Inside Out 2 because he “felt like there was more story to tell.”

“At the end of the first film, Joy asked the audience a question. She says, ‘after all Riley is 12 now, what could happen?’ Well, I wanted to answer that question,” he explained. The first-time feature film director added that his hope for the sequel, which introduces new emotions like Anxiety to the now-teenaged Riley, is to “tell a story that made some teenagers lives that much easier.”

“It’s all about navigating those different emotions,” Mann continued. “A lot of it is me trying to connect to myself as a teenager and all the changes that I went through at that time that helped me get through all the changes I’m going to go through as a director.”

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Pixar ’s Inside Out 2 premiered exclusively in theaters on Friday, June 14, 2024. Currently, the only way to watch Inside Out 2 is in movie theaters. Check your local cinemas for specific showtimes.

When Will Inside Out 2 Be Streaming On Disney Plus?

Disney+ has yet to announce the release date for Inside Out 2 . However, based on the release patterns of recent Disney and Pixar animated films, Inside Out 2 is likely to arrive on Disney+ sometime in September 2024, approximately three months after its theatrical premiere.

For example, Disney's animated film Wish premiered on Disney+ over three months following its theatrical debut. Elemental followed a similar release schedule, hitting theaters on June 16, 2023, and landing on the streaming platform nearly three months later on September 13.

To watch Inside Out 2 on Disney+, viewers must sign up for a subscription to the streaming platform. Plans start at $7.99 per month for the basic option (with ads). Currently, Disney+ does not provide a free trial. However, the service offers a bundle option with existing subscriptions to ESPN+ or Hulu.

When Will Inside Out 2 Be Released On Digital?

Fortunately, you don't have to wait for Inside Out 2 to come out on Disney+ to watch the film at home. You can purchase and and rent the film earlier on digital VOD platforms such as Amazon Prime Video and YouTube TV, typically within 45 to 65 days after its theatrical premiere. Considering this timeline, Inside Out 2 could be available digitally as early as July 29, 2024.

Stay tuned to learn exactly when Inside Out 2 will premiere on Disney+ and digital platforms. Watch the official trailer, below.

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Deadpool & Wolverine is the most anticipated MCU movie in years, but what are the odds of it reaching $1 billion at the box office?

Demi Moore on Full Frontal Nudity With Margaret Qualley in ‘The Substance’: ‘A Very Vulnerable Experience’ but I Had a ‘Great Partner Who I Felt Very Safe With’

Demi Moore ‘s new film, the feminist body horror “ The Substance ,” sees her bare it all, with several scenes featuring full nudity. At the Cannes Film Festival press conference for the film on Monday, the 61-year-old actor discussed the “vulnerable experience.”

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Cannes went wild for “The Substance” at its premiere on Sunday night, giving the film an 11-minute standing ovation , the longest of the fest so far.

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With an undercurrent of #MeToo at this year’s festival as the movement grows in France, Fargeat hopes the film will shine even more light on the issue. “It’s a little stone in the huge wall we still have to build regarding this issue, and to be honest, I hope my film will also be one of the stones of that wall. That’s really what I intended to do with it.”

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For half a century, 86-year-old George Coulam, known to his employees as King George, has reigned with an iron fist over the Texas Renaissance Festival, the largest “faire” in the world. He has power, glory, and great wealth… but now, he is ready to give it all up and spend the last years of his life in the quest for a romantic companion. Before he retires, George must finally choose which of his longtime employees will take his crown. Blending verité with fantasy, the three-part docuseries Ren Faire invites you behind the curtain of the famed Texas festival to reveal a tense succession battle that ascends to Shakespearean heights.

HBO Documentary Films presents Ren Faire , a production of Elara Pictures; in association with To Be Formed and Widow’s Peak. Director, Lance Oppenheim; co-creators, Lance Oppenheim, David Gauvey Herbert; executive producers, Ronald Bronstein, Benny Safdie, Josh Safdie, Eli Bush, Dani Bernfeld, Lance Oppenheim, David Gauvey Herbert; co-executive producers, Abigail Rowe, Christian Vazquez, Max Allman. For HBO: executive producers, Nancy Abraham, Lisa Heller, Sara Rodriguez.

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The secret to being a leading man isn’t just being a ron. it’s being a gary..

The press has been attempting to crown Glen Powell the next big thing—Hollywood’s new leading man, the latest addition to the A-list—for years, but he’s never quite transcended That Guy status: that guy from Everybody Wants Some!! , that guy from Set It Up . In Top Gun: Maverick , he nearly out-Cruised Tom Cruise, emerging as the heir apparent to his cocky charm despite the fact that the movie was constructed to pass the torch to a different actor. And in return, he was gifted access to a private screening of a six-hour “film school” video in which Cruise himself explains the finer points of filmmaking, right down to how different kinds of cameras work. It’s not clear whether that video also included instructions on how to become a movie star, but Powell’s latest movie, Hit Man , shows that he’s learned one of the most important lessons of Cruise’s career: You have to make it look hard .

Powell has the kind of easy good looks that have kept him working steadily since his teens (he made his debut as “Long-Fingered Boy” in Spy Kids 3 ). But being good-looking isn’t a persona, the convergence of distinctive characteristics that separates a movie star from an Instagram influencer. Stars are beautiful (or, at worst, interesting-looking), but they aren’t just beautiful. In a world where people learn their angles before they learn to drive, mere prettiness is everywhere you look, and it takes more than a pleasing silhouette to hold our interest. You could hardly imagine a more hyperbolically shapely couple than Powell and Sydney Sweeney in Anyone but You , which overcame a slow start at the box office to become a global hit, and the first real proof of concept for his putative stardom. But the movie falls flat, because neither Powell nor Sweeney is allowed to be really vulnerable. They want each other, sure—who wouldn’t?—but they don’t need each other. The best romances have a hint of desperation to them, but desperation feels like weakness, and weakness is a quality too few would-be matinee idols are willing to allow themselves right now. It’s the romantic-comedy equivalent of the Fast and the Furious battles between jacked-up action figures whose contracts stipulate that they can never lose an onscreen fight . The most inspiring heroes are the ones who get knocked down and struggle back to their feet, not the ones who magically dodge every punch. (The John Wick movies know this in spades.)

Anyone but You tries to scuff up Powell’s Adonis aura, but even the moments that are meant to play as embarrassing, and thus humanizing, don’t land the way they should. When he’s forced to strip off his clothes to escape a venomous spider that’s slipped into his shorts, you don’t identify with his discomfort, you just marvel at his workout regimen. Hit Man , which Powell co-wrote with director Richard Linklater, tries something different: It just makes him look ordinary. As Gary Johnson, a psychology professor at a New Orleans college, he still looks like Glen Powell, but a version who doesn’t know that he’s Glen Powell. He’s got a pair of wire-rimmed glasses, two cats named Id and Ego, and an ex-wife who still thinks he’s a nice guy, just not a very passionate one. He may advise his students, quoting Nietzsche, to “live dangerously,” but he’s as safe, and as dull, as it gets.

On the side, though, he works as a technician for the police’s undercover unit, and is in charge of the recording equipment that catches people in the act of trying to hire their own assassins. One day, he’s forced to step into the leading role, passing himself off as a contract killer—and it turns out he’s good at it. His experience of studying human behavior, as well as the observational skills honed from a lifetime of sitting on the sidelines, gives him the ability to read each potential criminal and transform himself into whatever their idea of the perfect hit man might be. The series of disguises he adopts, from skeet-shooting good old boy to pasty British fop, form a great string of sight gags, but they’re also goofy as hell. Far from demonstrating Gary’s ability to vanish into every role, they come off like the world’s most cringe-inducing demo reel, or a failed audition for Saturday Night Live . But the cumulative effect is that we’re assured that Glen Powell isn’t afraid to look like a fool, and assured in our conviction that we want him to look like Glen Powell.

Eventually, Gary morphs into Ron, the suave, supremely confident hit man that Maddy (Adria Arjona) hires to kill her abusive ex-husband—or at least tries to until he talks her out of it. Maddy and Ron start up a relationship, but because he can’t be seen with her—undercover agents aren’t supposed to stop people from incriminating themselves, and they’re definitely not supposed to start dating them afterwards—that relationship is almost entirely sexual. She starts dressing up for him, as a sexy flight attendant warning him about the bumpy ride ahead, not realizing that he’s playing out her fantasies every minute they’re together. But, we start to think, maybe Gary was Ron all along, just waiting for an eruption of impulsive id to counteract his controlling ego. The transformation is subtle but definite, as if a switch has been flipped. During one of Gary’s classes, he lets enough Ron slip through for one of his students to wonder, “When did our teacher get hot?”

Naturally, we know that he was hot all along. But because Hit Man allows him to look un-hot, it’s like a secret between him and us, an intimate bond shared between the viewer and the viewed. It’s that feeling that makes an actor into an icon, and he’s finally found the right way to tap into it.

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Then who are you talking to? You are the industry. So that was great. And there’s a lot of actors now who are producers, and that’s where the power lies, not to just have the power to help yourself, but to really create a project, an ecosystem for other people to come into it.”

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Initially, the filmmaker turned Kidman down, but the actor was able to soothe Wang’s fears — before, during and in postproduction.

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Both are eager to work together again. Wang revealed that she’s writing a movie for Kidman, though she’d been keeping it a secret from the actor until now. The superstar was moved when Wang informed her about the screenplay. “I’ll go to that,” Kidman responded. “I’ll walk through fire” to work with her again.

DEADLINE: So, Nic, did you read Janice Y.K. Lee’s novel  The Expatriates in galley form or when it was published?

NICOLE KIDMAN: Well, my sister [Antonia] read it. My sister was in Singapore, living there. And my sister read the novel and said, “I think this would make a great film.” And so I called Janice and optioned it. We called her book agent, and that was the beginning of it. My sister’s got really good taste. I always say, you never know where the stories are to find them. And the book had been out for a while, actually.

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DEADLINE: So, at that time the book had aleady been out for, what, a couple of years maybe?

KIDMAN: I think it had, yeah, a couple of years. But it was a must-read among many of the expats. It was sort of  the  book. And I traveled and lived with her in Singapore, and obviously had been to Hong Kong. And I was just like, “This is a whole world that isn’t explored. And there’s so many different stories here that you can explore.” And we did not know how long it was going to take to get it made, but it had its own paths to creation.

DEADLINE: This probably was what, 2018? So, when was The Farewell first shown, Lulu?

LULU WANG: Sundance 2019. And I think July 2019 is when the film came out in theaters.

KIDMAN: I saw it at the Belcourt in Nashville, which is the little art cinema there, and it was packed. Literally. You couldn’t get in, just couldn’t. I finally got a seat and saw it and just said, “Oh my god.” And that was it. Then I asked, “OK, what happens next?!”

DEADLINE: Did you immediately think after seeing The Farewell, “OK, I’ve just found our director?”

KIDMAN: Yeah, yeah. But that’s very daunting because then you go, “Well, now I’m not giving any other options for it to be made.” But at the same time, things are either meant to be made or they’re not, and the right people take the helm or they don’t, and that’s that. And I don’t think it’s just, “Oh my god, we’ve got the book and, we’ve optioned it, and we’ve paid money. We have to, no matter what, make it, even if it’s compromised.” It was, “No, there’s only a particular way to make this.” And that’s why I said, “If you want it, it’s yours, and I’ll support the vision.”

DEADLINE: Let’s just rewind a little. I understand Lulu, that initially, you were hesitant about doing it, is that correct?

And then I talked to Barry [her partner Barry Jenkins] and Barry said, “Go to dinner. Yeah, Nicole invites you to dinner. Go to dinner.” So I was like, “But I already said no, all right, I’ll go to dinner.” So, I went to dinner just to maintain the relationship hopefully for the future. And then we had a few drinks and she said, “Why is it that you’re saying no?” And I told her all, she said, “Well, if you could have it any way you wanted, what would you want and what would you need?” And I said, “No, you guys have been developing it for so long, but I would really need to build this from the ground up. I would need to fill the room with people who I think are right perspective wise for this project that have different perspectives than me, including the novelist. I love some of the characters in the book, I could really see them having their own episodes.”

I had ideas, but I just felt like there’s no way. And she’s just like, “Oh, OK, OK.” And then she texted or called, I can’t remember, another or 24, 48 hours later, she said, “OK, so we talked to Amazon and you got it.”

KIDMAN: I think I was in Toronto, and I met your agent, and he said, “Well, she’s going to need this and this and this.” And I’m like, “Yep, yep, yep. Yeah.” It wasn’t like needing accoutrements. It was for the shoot and things that she needed to control and bring her DoP, bring all the things she needed that would make her feel safe, and also to realize it. Then Lulu and I had our drinks and she told me what she needed to feel safe and to realize her vision.

DEADLINE: From previous conversations, Lulu, your intent wasn’t to just follow what was in the novel, you wanted to really  adapt  it .

WANG: It was that, and also just making sure that we could actually stay true to the novel. Because so often when you do a TV or film adaptation, the powers that be might want it to be more plot driven. They’re like, “We love this, but make it more this other thing.” What I loved about the novel is how nuanced and character-driven it was, and that it wasn’t plot- driven and that there are no easy answers. And that’s what I wanted to make sure we could preserve in the adaptation.

DEADLINE: And Nicole, there was no problem from you with that sensibility? You just said, “Go ahead?”

KIDMAN: That doesn’t seem crazy to me. That’s like, the talent needs to be supported, I think. Everyone seems like, “That’s such a bold movement.” I said, “No, I don’t know any other way to do it,” but I have a strong sense of commitment to the craft, to filmmakers, to writers, and…

WANG: To risk taking, creative risk taking.

KIDMAN: It doesn’t seem crazy why I’m like, “But yeah, of course.” It is odd. I don’t know why…

WANG: But it is, it’s like a web, right? Because by supporting me, then I could then take that power and support the filmmakers around me, my DoP, my production designer, and then they support the people they work with on their teams. Then they fight to bring on the Steadicam operator that they believe in, and it trickles down. And that’s what is so incredible. Nicole, being able to support me, created this entire network and world of filmmakers, women, people of color who’ve never had the opportunity to be in this space.

DEADLINE: Absolutely. I remember many, many, many years ago at Cannes there was almost like a Kidman manifesto, and you said something to the effect of, “I want to make a movie or a TV show or a stage show with a woman, with a female contingent.”

KIDMAN: It was at a press conference in Cannes where I said, “From now on every 18 months, I will work with a female director.” And then I went, “18? That’s too long,” in my head. So, the declaration was 18 months, but I knew in my head it would be every six months to a year.

DEADLINE: And you’ve been true to realizing that. 

KIDMAN: Realizing it is just you’ve got to roll up your sleeves and do it. And that requires not being precious and just going, “OK, let’s go, let’s go, let’s go.” And being consistent and determined to do it. And then the other side of making the statement is make it publicly, hold yourself accountable and get it done.

The actual kind of giving, and that’s where I say to my family and my daughters and the people that go, “OK, you sure you can do this?” I’m like, “Yeah, if you support it.” And they’re like, “Yeah, yes, go for it.” And hopefully they’ll carry that forward too. I grew up with a mother and a father who said, “Well, just do it then. Don’t sit around and talk about it. Let’s go.”

WANG: Her mom is the best. I haven’t met her, but all the stories, I feel like I’ve been with her, we’ve got similar mothers who are very honest with us and hold us accountable and push us to be better.

KIDMAN: And not sugar-coat things.

WANG: Exactly.

KIDMAN: Never.

DEADLINE: But for you, Lulu, when you’ve read these pieces about Nic and she told you what she wanted to give you, what was your view? Did you think, “OK, is this legit?” Because, as you just said, you didn’t really want to do it initially, did you?

WANG: It took me a while. Nicole knows me now, too. I am somebody who dives in feet first, and I’ve been told by my mother that I am a dilettante, and I will never be the master of anything if I am such a dilettante. My personality is like Nicole’s, in that I will just jump in. I say, I want chickens, and within a week I’m building the chicken coop. That’s just the kind of person that I am. But in Hollywood with this career that took me so long, I think I feel such a tremendous amount of pressure, not just to myself and my career, but to the whole community. I can’t mess up in a way, and I’m trying to let that go. That’s a whole another story, because if I mess up, then other people might not get these opportunities in the future.

I do have to pause, and I have to be harder on myself and the conditions under which I can actually realize the thing. And there is, as you said, a lot of BS in the industry that you have to filter. And Nicole and I talked early on, and I said, “Well, are you a movie star? Are you an actor? How do you show up?” And she was like, “Oh my god.” She was offended I asked that. But I said, “Well, this is how I shoot. This is my work ethic.” And she said, “Me too. Let’s do it.”

I mean, the first day on set, she showed up. We talked for hours with the crew and intimacy coordinator about blocking the windows and how to make Nicole feel comfortable and safe. And it’s a seventh-floor apartment building in a totally…

KIDMAN: It was amazing.

KIDMAN: But I could see the room. I could see what it was. We needed to shoot it. We had to get the light, and now let’s loosen up. Because part of it is just going, “Let’s take all of the onus of all of this and let’s just start.” And some of it’s going to work. Some of it’s not. Just start going, let’s go. Let’s go, pick up the camera. And that’s where Anna [Franquesa-Solano], the DoP, she was operating on me within an hour and we’re like, “Just try this.” And that for me is fun. And then I feel at home, but if there’s too much protection, I don’t like that, and it makes me very nervous, I don’t think it’s the best place to come and try and create from. Then it’s like, “Oh, no, what are you expecting?” I’ve got to be able to be really bad to become good.

Does that make sense? Everyone has to. You can’t be going, “Well, this has to be perfect,” because you don’t know where it’s going to come from and when it’s going to happen, and you’ve got to capture it.

DEADLINE: Absolutely .

KIDMAN: And just be ready to let go.

DEADLINE: What Nic’s just said is fascinating to me. And I think it’s partly to do with her Australian upbringing. There is no nonsense. Just get it done. 

KIDMAN: It’s pragmatism.

DEADLINE: So, Lulu, what was your reaction after that first day in that building?

WANG: Well, I mean, it said to me that we were doing it. We were going to roll up our sleeves. Every step of this process was, there was just always this surreal moment of, from the first email to the first phone call, to the first time we had dinner. And I was always like, “OK, this is too good to be true. I’m going to ask for these things. And at some point, the floor is going to collapse.” And it’s not because so many people talk about things and then it doesn’t get done. We wrote the scripts, Nicole’s like, “I love them. Let’s go make it.” And that is so rare to find, that kind of esprit of, even though it took a long time, because the world was going through a lot of different challenges, none of the pause or the hesitation was from the team or from the studio.

We wrote the script in three months, and they were like, “Let’s go.” And I was saying, “I’m not shooting it.” And they said, “Well, we were thinking maybe Malaysia, maybe we could build sets.” And I said, “I’m not shooting this anywhere but Hong Kong, I can’t make this show if it’s not set in Hong Kong.” And so they said, “Well, I guess we have to pivot.” So off we went, location scouting. Oh, but it’s the middle of the pandemic. OK, well let’s apply for our permits.

There was a business Visa, so we did that. There’s a 21-day quarantine. I don’t care. Let’s do it. Everybody was just moving trains. And I think that’s headed by Nicole.

KIDMAN: A typhoon came.

DEADLINE: A typhoon?

KIDMAN: That’s actually not abnormal in [that part of the world].

WANG: We had three typhoons while we were there. Then we had to build that night market over and over again. Have a typhoon coming, have to shut down, even though we’ve built out the whole night market, all kinds of stuff.

KIDMAN: But it’s fantastic that it made it onto the screen and that it’s there in existence and it’s very, very rich and nuanced and deep.

WANG: Nicole was very clear that when she showed up on set, she was the actor, and it was a way for her to be Margaret rather than executive producer. I think that it just was very separate, and I sort of grew to know that. I didn’t know it initially, but then as we got to know each other, Nicole needed to be able to, because as a producer, you have a lot of power and you’re having to oversee the whole picture. And as an actor even, I would say, “Well, the context for this scene…” And she’s like, “No, no, I don’t need the context, what does Margaret know? I only need to know what Margaret knows, what Margaret feels, because that’s what’s real for the character. If I see too many things, then I’m not in her.”

KIDMAN: And the power cannot be where… I remember saying to Lulu, “You are the leader I have to follow in step with you, because otherwise the dynamic’s going to be stretched. You’ve got to let me come in and go, ‘OK.’” There was a whole team of people that could support her in that area. And when I needed to — if she said, “No, no, now you got to get on the phone and we’ve got to get this” — then I would. But my inclination is always, “Let me come in as your actor and you take the reins and I’ll follow.”

DEADLINE: Nic, I’ve heard you say that it was so important to do this because a series led by women was so important, how involved were you in the casting of people that you knew you were going to be together with for a year or so?

KIDMAN: I was involved with that. Lulu and I would talk because a lot of it is very good. Yeah, I can see that. And then that was us together going, “What do you think? What do you feel?”

WANG: And it was great, because we were doing it at that point through Zooms, we’re getting a lot of audition tapes and Zoom videos that were recorded. We would be able to review together and talk about it.

KIDMAN: And I love actors. And then I can go, “Oh, OK, yeah, I see what that is.” But Lulu had strong ideas on what needed to be physically there, what needed to be emotionally there. And she would sort of steer and say, “Well, this is what I need.” And I’m like, “Yeah, then OK, we need to maybe see that again. Let her have another go and see.” And it was finding the right people for the role. Not a name, not that, but who is going to service the story and give the best performance in the ensemble.

DEADLINE: So, to find the actress who plays Mercy, Ji-young Yoo, and Sarayu Blue’s Hilary, they’re brilliant. How involved were you in their casting?

KIDMAN: That’s having to rigorously look and then go to Amazon and go, “Listen, these are the best people.” And then I have to say, “OK, let’s go.” And Lulu had to go, “This is what we need to support it, please.” And they did, which we’re very grateful for.

DEADLINE: There were no Amazon execs saying, “You need stars” or whatever?

KIDMAN: No, and that’s really admirable because you’re talking a lot of money, and we get it. It has to be called out and acknowledged because this was actually an incredible leap of faith for them.

DEADLINE: And what’s so great, Nic and Lulu, is that your cast is so diverse. They’re South Asian. They’re not all Caucasian. Sometimes you see this sort of casting just for the sake of it. This is legitimate.

KIDMAN: Yes, absolutely. And it’s why they’re so good, and it’s why it’s an ensemble that’s working together. It was all really, I mean, she placed it all knowing. I mean, look at Ruby [Ruiz]. Oh, extraordinary. Yeah!

DEADLINE: You’re about to go and catch a plane, so what are you up to now, Nic? 

KIDMAN: I’m going back to finish Nine Perfect Strangers 2 in Germany and Austria. It’s so beautiful there in the Austrian Alps right now. 

DEADLINE: And what about Big Little Lies ? Is the third season happening?

KIDMAN: Next year. Next year.

OK. And are you two going to work together again? 

KIDMAN: [Vigorously nodding] I hope so. I’d walk across hot coals to work with her again.

WANG: I’m writing a movie for Nicole, she doesn’t know.

KIDMAN: She better. I’ll go to that. I’ll walk through fire.

DEADLINE: I’m going to ask my annual question about the stage quickly before you get on that plane.

KIDMAN: Yeah. Well, I just saw Sarah Snook [in The Picture of Dorian Gray ] and I was floored. So now I’m way too terrified. Sarah was so amazing. Come on. But I also saw Hills of California [by Jez Butterworth and directed by Sam Mendes], which I loved. And then I go, “Oh, got to go. I got to go and do it.” But as I say, “Please don’t let it be 17 years before I get on the stage again.”  Photograph 51 was the last time. What was that, in London seven years ago?

DEADLINE: A little stage deviation there, Lulu. But how unusual was that set-up, to work with Nicole the thespian who left the executive producer responsibilities at the door?

WANG: I mean, it is slightly terrifying because the roles are so different in terms of power. She’s, as an executive producer, hiring me to direct. She is my boss, but then on set, not that there’s a hierarchy, but I can’t be scared to direct my actor. And even if my actor doesn’t agree with me, I need to be able to say, “Hey, this is my movie. I was hired to do this. You gotta do this.” But if the person that you’re giving that direction to is also the person who hired you, you might be scared to be assertive. And so that’s where I got a little bit nervous. But with Nicole, she had such a clear separation of, “I’m an actor now, I’m in your hands. You tell me what you need me to do.” And then when we weren’t on set as a producer, it was much more like, “OK, what’s happening? How do I help? Who do I call?” It was initially scary, but I think that she balances it really well.

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