How This Food Doc Filmmaker Learned to Write Cinematically

I think we’ve all read that one script where everything is technically correct, but it's flat without any descriptive writing or a personality.

Those kinds of scripts do not get passed up the ladder because they don't make anyone feel anything. To do that, you have to write cinematically so that people can see the movie in their mind.

David Gelb, the mastermind behind Jiro Dreams of Sushi and Chef’s Table , might be known for his food projects, but if you listen to his recent talk with David Perell, you'll hear a guy who treats a 90-year-old sushi master like a Marvel superhero.

And who focuses so much on writing cinematically that to makes his dreams pop off the page.

Let's dive in.

1. The Spider-Man Rule: Write the Origin Story First

Gelb grew up on comic books, and it shows. So did I, so I kind of loved how he brings that perspective to his projects. When he sits down to "write" a person’s life, he is looking for their Origin Story. He wants to understand them.

"The origin story is the key to understanding that character's motivation," Gelb says. In the world of Chef’s Table , that means finding the specific trauma, obsession, or "inciting incident" that forced a character to become who they are.

Well, we need that in narrative movies too.

Think about Peter Parker. It’s not just about the spider bite; it’s about Uncle Ben's death. Don’t write what the character does. Write the moment they decided they had to do it.

2. Facts Over Feelings

This is the big one. Gelb is adamant: "It’s information versus emotion."

In a cinematic script, you don’t need to explain how the business works or the step-by-step process of the heist. File this under "Show, Don't Tell."

In Chef’s Table , you almost never learn how to cook a dish. You learn why they cook it. You learn the emotional stakes of the plate.

So what are the stakes of your story?

Every time you’re tempted to write a line of expository dialogue that explains a "fact," replace it with a visual that explains a "feeling."

'Jiro Dreams of Sushi'Credit: Magnolia Pictures

3. The Golden Rule of Scene Writing

Gelb dropped a gem that every screenwriter should put on a post-it: "A character should come into a scene wanting one thing and then leave with something else."

If a character enters a scene to get information, gets the information, and leaves, that’s a boring scene.

You want to see people learn something different. There has to be a "turn." The character hits an obstacle. They are forced to make an adjustment.

4. Use "Buckets" to Manage Structure

If you’re struggling with a sprawling story, Gelb uses a "bucket" system. He breaks his "writing" into specific movements:

• The Cold Open (The Hook): Usually an action-heavy or high-stakes moment (the "James Bond" approach) that establishes the theme.
• The Hero’s Journey: Talent discovered -> used the wrong way -> lesson learned -> used the right way.
• The False Victory: A midpoint where the character thinks they’ve won, only to realize they’ve missed the point entirely.

These buckets form a sort of beat sheet he can use to then write that story that pops off the screen.

Gelb is a fan of Save the Cat.__ I love our screenwriting outline on this site. The point is, find a good tool you like that helps you find the spine of the story.

Summing It All Up

Writing cinematically means writing with authenticity and coherence. Go watch Jiro again. Then go back to your script and kill your darlings. And work as hard as that sushi maker does to master your craft.

Let me know what you think in the comments.