Pixar and Joss Whedon's Rules For Writers | ComicBook.com

A few months ago, a number of comics industry professionals started to circulate a list of Pixar?s ?22 rules of storytelling? on Twitter. It?s making the rounds again, albeit somewhat less aggressively, in the last little while, hot on the heels of Joss Whedon?s 10 writing tips, constructed in 2009 but again?something that seems to come back around every so often when someone discovers it for the first time and then injects it into the unpredictable flow of Internet conversation.

What do each have to say? Well, let?s check ?em out, then have a little fun comparing.

(And remember, folks, Whedon did some work on Toy Story, so there?s an entirely good chance that some of his stuff comes straight from the Pixar playbook and people he met and spoke to there who helped shape his philosophy?or vice-versa.)

Joss Whedon?s Top 10 Writing Tips

Joss Whedon is most famous for creating Buffy the Vampire Slayer, its spin-off Angel and the short-lived but much-loved Firefly series. But the writer and director has also worked unseen as a script doctor on movies ranging from Speed to Toy Story. Here, he shares his tips on the art of screenwriting.

1. FINISH IT

Actually finishing it is what I?m gonna put in as step one. You may laugh at this, but it?s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it?s not perfect, even if you know you?re gonna have to go back into it, type to the end. You have to have a little closure.

2. STRUCTURE

Structure means knowing where you?re going?; making sure you don?t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it?s not as well done today and I don?t recommend it. I?m a structure nut. I actually make charts. Where are the jokes?? The thrills?? The romance?? Who knows what, and when?? You need these things to happen at the right times, and that?s what you build your structure around?: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don?t go in blind is useful.

3. HAVE SOMETHING TO SAY

This really should be number one. Even if you?re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It?s rare, especially in genres, to find a movie with an idea and not just, ?This?ll lead to many fine set-pieces?. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ?What does it feel like to be those guys???

4. EVERYBODY HAS A REASON TO LIVE

Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they?re just setting up the next person?s lines, then you don?t get dialogue?: you get soundbites. Not everybody has to be funny?; not everybody has to be cute?; not everybody has to be delightful, and not everybody has to speak, but if you don?t know who everybody is and why they?re there, why they?re feeling what they?re feeling and why they?re doing what they?re doing, then you?re in trouble.

5. CUT WHAT YOU LOVE

Here?s one trick that I learned early on. If something isn?t working, if you have a story that you?ve built and it?s blocked and you can?t figure it out, take your favorite scene, or your very best idea or set-piece, and cut it. It?s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.

6. LISTEN

When I?ve been hired as a script doctor, it?s usually because someone else can?t get it through to the next level. It?s true that writers are replaced when executives don?t know what else to do, and that?s terrible, but the fact of the matter is that for most of the screenplays I?ve worked on, I?ve been needed, whether or not I?ve been allowed to do anything good. Often someone?s just got locked, they?ve ossified, they?re so stuck in their heads that they can?t see the people around them. It?s very important to know when to stick to your guns, but it?s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.

7. TRACK THE AUDIENCE MOOD

You have one goal?: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people?s movies is I?ll say, ?This part confuses me?, or whatever, and they?ll say, ?What I?m intending to say is this?, and they?ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the?theater? and they either notice that their butts are numb, or they don?t. If you?re doing your job right, they don?t. People think of studio test screenings as terrible, and that?s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ?Gee, Brazil can?t have an unhappy ending,? and that?s the horror story. But it can make a lot of sense.

8. WRITE LIKE A MOVIE

Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly?; if something isn?t that important, just get past it tersely. Let the read feel like the movie?; it does a lot of the work for you, for the director, and for the executives who go, ?What will this be like when we put it on its feet???

9. DON?T LISTEN

Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody?s fucked the system?; done the unexpected and let their own personal voice into the machine that is movie-making. Choose your battles. You wouldn?t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all movie-making was completely cookie-cutter. But the process drives you in that direction?; it?s a?homogenizing?process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up?: they?d started talking about a different show.

10. DON?T SELL OUT

The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it?s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could?ve been good. There?s an idea somewhere in almost any movie?: if you can find something that you love, then you can do it. If you can?t, it doesn?t matter how skillful you are?: that?s called whoring.

Of course, Whedon is an extremely successful screenwriter and filmmaker, but his experiences are his own, and he?s had both successes and failures using that philosophy. Pixar, on the other hand, have had one or two missteps buried in an ocean of the most successful animated films of the last 30 years. What have their people got to say about it? Well, from the Twitter account of storyboard artist Emma Coats?

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what?s interesting to you as an audience, not what?s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won?t see what the story is actually about til you?re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You?ll feel like you?re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it?s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you?re stuck, make a list of what WOULDN?T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you?ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you?ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th ? get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it?s poison to the audience.

#14: Why must you tell THIS story? What?s the belief burning within you that your story feeds off of? That?s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don?t succeed? Stack the odds against.

#17: No work is ever wasted. If it?s not working, let go and move on ? it?ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d?you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can?t just write ?cool?. What would make YOU act that way?

#22: What?s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

There are some obvious similarities here; ?the most economical telling of? your story gels nicely with Whedon?s advice to cut your favorite bits if they?re not working or necessary, for example; so does the #5 rule on Pixar?s list, about how sometimes you think you?re losing something valuable, but it?s ?freeing.? That?s particularly interesting in that Whedon uses almost the same phraseology, saying that making those cuts is ?an enormously freeing exercise.?

Pixar?s #2 about being in the head space of an audience member is pretty much the same thing Whedon is getting at with his #7 rule. It?s also interesting because it runs counter to so much of what you hear from the famous auteurs of the day; a lot of guys will tell you that you can?t talk down to the audience, and have to assume that they?re with you on what you?re doing, otherwise you?re going to make a crap movie. There?s certainly a kernel of truth there, in that you don?t want to be constantly spoon-feeding your audience information that should be obvious?but

Whedon?s #2, on the other hand, gives the slower audience members all they need to know to understand Pixar?s #4. Pixar basically posits that if your story is too complex to be put into an easy-to-understand structure, then you?re probably doing it wrong. That might not be true all the time (see also: David Lynch), but it certainly tends to be true for major tentpole films that hope to make hundreds of millions of dollars.

And of course, Pixar?s point about having an ending early in your story?s development is well-taken for Whedon?s top bullet point. It helps you to know when to shut up. For example ? fin.

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Pixar and Joss Whedon?s Rules For Writers, 10.0 out of 10 based on 2 ratings

Source: http://comicbook.com/blog/2012/12/08/pixar-and-joss-whedons-rules-for-writers/

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Rolling Stones rock Brooklyn at anniversary gig

NEW YORK (AP) ? It sure didn't feel like a farewell.

The Rolling Stones ? average age 68-plus, if you're counting ? were in rollicking form as they rocked the Barclays Center in Brooklyn for 2? hours Saturday night, their first U.S. show on a mini-tour marking a mind-boggling 50 years as a rock band.

And although every time the Stones tour, the inevitable questions arise, ? whether it's "The Last Time," to quote one of their songs ? there was no sign that anything is ending anytime soon.

"People say, why do you keep doing this?" mused 69-year-old Mick Jagger, the band's impossibly energetic frontman, before launching into "Brown Sugar." ''Why do you keep touring, coming back? The answer is, you're the reason we're doing this. Thank you for buying our records and coming to our shows for the last 50 years."

Jagger was in fine form, with strong vocals and his usual swagger ? strutting, jogging, skipping and pumping his arms like a man half his age. And though he briefly donned a flamboyant feathered black cape for "Sympathy for the Devil" and later, some red-sequined tails, he was mostly content to prowl the stage in a tight black T-shirt and trousers.

The band's guitarists, the brilliant Keith Richards and Ronnie Wood, alternated searing solos and occasionally ventured onto a stage extension that brought them closer to the crowd. The now-gray Richards, wearing a red bandana, exuded the easy familiarity of a favorite uncle: "While we wait for Ronnie," he said at one point, "I'll wish you happy holidays." Watts, the dapper drummer in a simple black T-shirt, smiled frequently at his band mates.

The grizzled quartet was joined on "Gimme Shelter" by Mary J. Blige, who traded vocals with Jagger and earned a huge cheer at the end. Also visiting: the Texas blues guitarist Gary Clark Jr.

The sense of nostalgia was heightened by projections on a huge screen of footage of the early days, when the Stones looked like teenagers. At one point, Jagger reminisced about the first time the band played New York ? in 1964.

A carton of milk cost only a quarter then, he said. And a ticket to the Rolling Stones? "I don't want to go there," he quipped. It was a reference to the sky-high prices at the current "50 and Counting" shows, where even the "cheap" seats cost a few hundred dollars and a prime seat cost in the $700 range or higher.

From the opening number, "Get Off Of My Cloud," the band played a generous 23 songs, including two new ones ? "Doom and Gloom" and "One More Shot" ? but mostly old favorites. The rousing encore included "Jumping Jack Flash," of course, but the final song was "Satisfaction." And though the song speaks of not getting any, the consensus of the packed 18,000-seat arena was that it was a satisfying evening indeed.

"If you like the Stones, this was as good a show as you could have had," said one fan, Robert Nehring, 58, of Westfield, N.J., who'd paid $500 for his seat. "It was worth it," he said simply.

The Brooklyn show was a coup for the new Barclays Center ? there are no Manhattan shows. It followed two rapturously received Stones shows in London late last month. The band also will play two shows in Newark, N.J., on Dec. 13 and 15.

And just before that, the Stones will join a veritable who's who of British rock royalty and U.S. superstars at the blockbuster 12-12-12 Superstorm Sandy benefit concert at Madison Square Garden. Also scheduled to perform: Paul McCartney, the Who, Eric Clapton, Bruce Springsteen & The E Street Band, Alicia Keys, Kanye West, Eddie Vedder, Billy Joel, Roger Waters and Chris Martin.

In a flurry of anniversary activity, the band also released a hits compilation last month with two new songs, "Doom and Gloom" and "One More Shot," and HBO premiered a new documentary on their formative years, "Crossfire Hurricane."

The Stones formed in London in 1962 to play Chicago blues, led at the time by the late Brian Jones and pianist Ian Stewart, along with Jagger and Richards, who'd met on a train platform a year earlier. Bassist Bill Wyman and Watts were quick additions.

Wyman, who left the band in 1992, was a guest at the London shows last month, as was Mick Taylor, the celebrated former Stones guitarist who left in 1974 and replaced by Wood, the newest Stone and the youngster at 65.

The inevitable questions have been swirling about the next step for the Stones: another huge global tour, on the scale of their last one, "A Bigger Bang," which earned more than $550 million between 2005 and 2007? Something a bit smaller? Or is this mini-tour, in the words of their new song, really "One Last Shot?"

The Stones won't say. But in an interview last month, they made clear they felt the 50th anniversary was something to be marked.

"I thought it would be kind of churlish not to do something," Jagger told The Associated Press. "Otherwise, the BBC would have done a rather dull film about the Rolling Stones."

There certainly was nothing dull about the band's performance on Saturday, a show that brought together many middle-aged fans, to be sure, but also some of their children, who seemed to be enjoying the classic Stones brand of blues-tinged rock as much as their parents.

Yes, a Stone's average age might be a bit higher than that of the average Supreme Court justice. (To be fair, the newest justices bring the average down). But to watch these musicians play with vitality and vigor a half-century on is to believe that maybe they were right when they sang, "Time Is On My Side." At least for a few more years.

__

Associated Press writer David Bauder contributed to this report.

Source: http://news.yahoo.com/rolling-stones-rock-brooklyn-anniversary-gig-081425704.html

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Belfast rally demands return of British flag

BELFAST (Reuters) - Around 2,000 pro-British loyalists rallied in central Belfast on Saturday for the return of the British flag to the roof of city hall after a vote by Irish nationalist councilors to remove it sparked a week of rioting.

Twenty-eight police officers have been injured in the most widespread pro-British street violence for years in the province as the flag became a rallying point for people who feel there have been too many concessions to Irish nationalists.

Rioters fired bricks and petrol bombs at police and burned out cars overnight, hours after U.S. Secretary of State Hillary Clinton called for calm during a visit to the city and warned the peace process was not yet complete.

Loyalist political parties, who share the protesters' desire to remain part of the United Kingdom, condemned the rioting as did the Irish nationalist parties who they share power with.

Around 2,000 people gathered outside the imposing 19th century Baroque city hall, most waving British flags and many hiding their faces with balaclavas or scarves, prompting some local businesses in the area to close.

'NO SURRENDER'

The crowd cheered when one protester burned an Irish tricolour flag and sang the British national anthem before dispersing. Banners declared "Proud to be British" and "No Surrender."

"This goes on until the flag is back above city hall," said protester William Arthur. "Ulster is British and we will not stand for this".

Hundreds of riot police stood by, but did not intervene.

One police officer was injured during trouble in East Belfast as some of the crowd returned home, police said.

Assistant Chief Constable Will Kerr of the Senior Police Service of Northern Ireland said the disorder orchestrated by loyalist paramilitary groups was putting lives at risk.

"I am urging everyone to be calm, take a step back," he said.

LOYALIST FEARS

At least 3,600 people were killed over three decades as Catholic nationalists seeking union with Ireland fought British security forces and mainly Protestant loyalists determined to remain part of the United Kingdom.

A 1998 peace accord has mostly held, although militant nationalists have stepped up attacks in recent years and community relations remain fragile, with riots erupting every few months.

Monday's council decision means the British flag will be flown over city hall on 17 designated days including public holidays each year, as is the case at the provincial assembly at Stormont in the British-controlled province.

Until then, it had flown above the provincial capital's city hall every day since it opened a century ago, a symbol for many Catholic nationalists of Protestant domination.

Its removal has turned the tables, sparking fears of growing nationalist power.

"It's not just that the flag has come down, loyalists really sense that everything is about concessions," said Peter Shirlow, professor of conflict transformation at Queen's University. "Rightly or wrongly they sense that this is a one way process."

The violence, he said, was a sign that while loyalist paramilitaries have not in the past reacted violently to killings by dissident Irish nationalists, they may in future.

"It's a sign that it's getting harder to maintain the peace process within loyalism," he said. "Whether that breaks down is a different matter, but I think it's harder to hold the line."

(Reporting by Ian Graham and Conor Humphries; Editing by Sophie Hares)

Source: http://news.yahoo.com/belfast-rally-demands-return-british-flag-171350072.html

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Fun Baby Shower Favors for Your Guests | Simply mother And baby

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Not all baby showers I?ve attended have given out party favors to the guests, but I have really enjoyed the ones that do. I highly encourage the hostess of any baby shower to put together a little something to give to friends and family of the mother-to-be. You don?t have to do anything expensive either, just a little something to commemorate the occasion.

Filled Baby Bottles. Our local Dollar Store has baby bottles, so it isn?t expensive to create party favors if you get the bottles from there. You can fill the baby bottle with whatever you want, but I recommend you take a look at the baby shower theme and fill the bottles to match. For example, if your baby shower is centered around a rubber duck, fill the baby bottle with lemon gum drops or some other yellow colored candy.

Ring Pop Pacifiers. Depending on the brand you purchase, these fun candies are also called ring suckers. Basically, they are lollipops that you can suck on like a binky. They even have the little ring at the end and everything. Purchase a set of pink ones if you mother-to-be is expecting a girl, or a set of blue ones for a boy. Of course, you can get rainbow Ring Pop pacifiers if the mother doesn?t know which sex her bundle of joy is.

Candy Bars Wrapped in Your Own Custom Wrapper. It used to be that you had to order a custom candy bar wrapper from a company. While you can still do this, it isn?t necessary. Most computers have a program that will allow you to make a wrapper and then just print out as many copies as you need. Purchase the candy bar you want to use and remove its wrapper. Measure the length and width of your wrapper and use that measurement to design your wrapper on the computer program. Add the date of the baby shower, any special information, and a clip art image that follows along the theme of your baby shower.

Carnations. Send each guest home with a carnation. You can give away pink carnations if the mother-to-be is expecting a girl. For a boy, you?ll have to turn the carnations blue yourself. Place white carnations in a vase that is filled with water. The water must have been dyed with blue food coloring. Do this a few days before the baby shower. The flowers will drink the blue water, which will turn the color of the flower from white to blue.

For information on What Do I Do if My Toddler Gets Chiggers click here!

Source: http://simplymotherandbaby.info/blog/fun-baby-shower-favors-for-your-guests/

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39;Mountain Biking, an Excellent form of Recreation and Sports

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Pokemon: Stories of a Slumbering Sun

A private roleplay between Spectrum, Kuroe, JokerofSpades, CNAGamer, LazuliMetempsychosis, and Jakuri-chan.

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Still private? I need to check the forums more often...

Lloyd999

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Yes, this remains a private roleplay. Sorry Lloyd.

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Member for 2 years

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3 dead in Calif. Indian reservation shooting

PORTERVILLE, Calif. (AP) ? Three people died and four others, including two young girls, were wounded after a shooting on an Indian reservation in Central California, authorities said.

When deputies were called to a trailer Saturday night on the Tule Indian Reservation, they found the body of a man and a woman inside, Tulare County sheriff's officials said in a release Sunday. A third body was nearby.

Deputies also found a wounded male juvenile. His condition was not known.

Tulare County authorities did not immediately return a call to The Associated Press seeking details.

The Fresno Bee (http://bit.ly/WUNeOW ) reported that a vehicle with the suspect ? 31-year-old Hector Celaya ? and his daughters, ages 5 and 8, was pulled over by deputies early Sunday.

Celaya was then wounded during an exchange of gunfire. He was being treated for life threatening injuries, sheriff's officials said in their release.

Officials say the girls were hospitalized after they had been earlier shot by their father. One girl suffered life-threatening injuries while the other girl was less seriously hurt.

Sheriff's officials say they were able find Celaya by tracking his cellphone.

The reservation where the shooting took place is about 50 miles north of Bakersfield.

Associated Press

Source: http://hosted2.ap.org/APDEFAULT/386c25518f464186bf7a2ac026580ce7/Article_2012-12-09-Reservation%20Shooting/id-7e92308314ae4c858eb696a3d1fbbc25

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