Can writers really decide to write something (relatively) original? I know I can't decide to slam dunk or contort my body into a pretzel. Probably you should just go with your ideas and try to present them to the best of your abilities.
My usual stance on this sort of thing is that when someone complains about a cliché or trope, they'll almost always be complaining about when it's done badly or thoughtlessly. And often, that may be most of the time. To use the example of the love triangle, we can immediately think of the eye-rolling scenario of the generic YA heroine who just kinda picks up 2+ super-hot guys who are besotted with her despite her making no particular effort to woo either of them. In the end, one of them conveniently dies, turns evil or abruptly hooks up with a minor character. And part of the reason it's so reviled is because the nature and resolution of this plot is so predictable. Odds are you could think of an example before you'd even finished reading that sentence. But I think it's very important to remember that just because something is often done badly doesn't mean it can't be done well. For the example of the love triangle, it's perfectly possible to do it well. How? Just stop and think about it, and don't go for the familiar elements just because they were the first things to spring to mind. Think about the characters involved, and use the triangle as a chance to round out their personalities--how do they feel about competing with someone else, or having to choose? While avoiding subversion for its own sake, maybe take it in ways that the audience might not have expected. One scene that springs to mind is from Mahou Sensei Negima, and Spoiler the scene with Nodoka and Yui where they promise each other that their attraction to the same guy won't ruin their pre-existing friendship. It's a nice twist, where they both want to be the one chosen, but they have something they value more than that. I'd hesitate to say any cliché is irredeemable, and it's a worthy challenge for a writer to try and find new life in something very familiar. And clichés got that way for a reason--we like to see familiar story elements done well. There's nothing disgraceful to me about liking familiarity, or providing it--just so long as it's not used as an excuse to be lazy.
People complaining about cliches are cliche as fuck. Everyone, just focus on writing from the heart. If you worry too much about writing an original story you'll drive yourself mad and never get anything done.
I don't know what you mean by final word. The video uses cliche interchangeably with trope, which makes all the difference in the world.
So, you consider cliches to be unoriginal as a given (Except when used for a specific character's way of speaking)? How do you feel about subverting cliches? Personally, I think even the act of subverting cliches can be a kind of 'cliche' in and of itself, given how commonly it's done. But does the fact that cliches can be subverted in many different ways sort of make that point moot?
I think motive is the most important thing. If you're subverting a cliche because you can genuinely think of a better way to take the story, that's one thing. If you're subverting a cliche just because you feel you have to or because you think it's a shortcut to good writing, it's unlikely to improve the story. Subverting cliches without putting thought into how the subversion will improve the story can result in out-of-nowhere plot twists, or sudden swerves that waste build-up and leave the audience unsatisfied because originality isn't the same thing as good. On a related subject, I think it's important to remember we're much more aware of cliches because we're fiction creators, we live and breathe this stuff. But to quote Stan Lee, everyone's comic is someone's first, and every cliche gets a reaction the first time someone sees it. There's a video somewhere of children watching The Empire Strikes Back and the big reveal in that movie. We've seen that twist imitated hundreds of times since, but they haven't, and they're still as awestruck as when it first came into cinemas.