All language subtitles for 21 - Writing the script III.eng

I will also leave
you here 22 Pixar rules

which should always
be taken into account.

It doesn't have to be a formula, but
if we have problems with the script

We can read these rules that
can get us out of the swamp.

Let's look very quickly one by one.

Characters are admired
more for what they try

than for what they get.

This has a lot to do
with identification,

that we get hooked
with characters that try,

and we try with them.

Keep in mind what interests
you as a member of the public,

not what you consider
more fun as a writer.

The two things can be very different.

This is very important,

because we want to be funny,

the fascinating, the
intelligent, writing something,

but all we can do
is bore our audience.

Let's be generous in that regard.

Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1

Being clear on the
matter is important,

but you won't be clear what the
story is about until you get to the end.

Now to rewrite. It is true
that you always have to rewrite.

We have to be clear

where we are going from the first
moment, but just as it is a hypothesis

what we have at the beginning, we
must review that hypothesis at the end.

Am I right or not?

The movie, series or
content that I made,

that I intended to bring up this
topic, does it really address it in depth?

Then they remind us of this
formula that we should take into account

if we want to work with this paradigm

which is "Once upon a time
there was one (or one) ...,

that every day ... But one day
... And so ... Until, finally ... "

We have already seen this, but it is
important that we return to this formula

to see if our story
fits this type of narration

or we can get to count it this way.

The only thing this
does is help us organize.

Simplify, focus,

merge some characters with
others, jump over the ramifications.

It will seem to you that you are
leaving valuable things behind,

you're actually freeing yourself.

This is very important, we must
learn to let go of the things we like,

that seem super important to us.

We have to be able to be
cruel with our creativity.

Although something has
cost us a lot, we really think

that we had found the formula
that helps us unlock the script

if it really doesn't work
you have to be wise enough

to set it aside and move forward.

What is the character good at?
What makes you feel comfortable?

Face your mathematical
opposite, put him to the test.

How are you doing?

This has to do with
finding an antagonist

and try to work with
what would be its opposite,

your opposing character.

It is interesting, to reach
the maximum possible climax,

see how our character
is, and based on that

see how his antagonist would be.

Be clear about your outcome
before you have reached the knot.

Seriously, endings
are the most difficult.

Have yours ready as soon as possible.

Well, we all know this, when
working with dramatic structure

and with the synopsis we
must know where we are going.

If not, what we are
doing is a creative exercise

to see if any of our
creativity is released

to get to the end.

But I don't think that one
should start writing a script

without knowing how it will end.

Finish your story and close it
even if it's not perfect for you.

In a perfect world you would have both

a perfect ending and story,

but you must go on.
Do it better next time.

This is about
seeing when a story ends.

They say that whoever directs a
movie is not wanting to finish it

it runs out of time or money.

There is necessarily a
time when we have to close.

Our work is done with a deadline,

or because the job is done enough

for our moment.

Perhaps some time later we
can re-grasp and rewrite it.

When you're stuck make a list
of things that won't happen next.

In many cases, this way you will find
the ideas that will get you out of trouble.

It is a good resource,
you should use it sometime.

Dissect the stories you like, what
you love in them is a part of you.

You must recognize it
before learning how to use it.

It is interesting.

Sometimes when we start writing from
scratch without putting anything on us,

we started using cliches and
things that we saw in other movies

that we like, etc.

It is important to know us and
understand what is happening to us.

That is to understand our
voice, our fingerprint when writing.

We have to know each other.

Putting your ideas on paper
allows you to work on them.

A perfect idea
that's only in your head

you will never share it with anyone.

I not only use paper
but I use blackboards

or I use whiteboards with markers,
and the truth is that it's fascinating

how the brain begins to work
differently when starting to sketch

or we start
writing. I advise them too.

Throw away the first
thing that comes to mind,

and the second,
third, fourth, and fifth.

Get rid of the
obvious, surprise yourself.

You have to be demanding.

Many times one comes up with the
first one and now, he has no more energy.

For me it is important to write them

in a journal or in a notebook

so I can go back,
Hansel and Gretel type,

about the contents
that we were thinking

and see what were the
things that we were discarding

and how we get to the
plots we want to develop.

Give your characters opinions.
The liabilities and the manageable

they can be nice to you, who
is the one who writes them,

but they are poison to the audience.

It is good that the characters
begin to think for themselves.

You will notice that the
characters begin to speak for themselves,

but don't try to be you through
the characters, make them autonomous.

Why tell this story precisely?

From which of your
passions does your story feed?

That is the key of the matter.

We were just talking about it, it
is important that you are present,

trying to solve something that has
intimately to do with what is happening to them.

This does not mean they biopic
or have to write down their trauma

in a script instead of going to the
psychologist, but it is true that the knots that we have

They can help us a lot
to unleash creativity.

We can sublimate our
problems in an extraordinary way

and speak like nobody about
certain anxieties and certain happiness

or of certain ideas,
because they are ours.

In principle we should be able
to look inside, and then write.

If you were your character, how
would you feel in that situation?

Your honesty adds
credibility to incredible situations.

For that I think we should
have the ability to think

like the character in that
situation and be honest, as this rule says.

What's at stake? Give us
reasons to love your protagonist.

What would happen if it is not
successful? Put it all against him.

That is great, always try to
be very clear on this question.

What's at stake?

Why am I writing
this? What is at risk?

In that sense, the spectators
will be holding on to the seats

or looking without
blinking at the screen,

because there is something
important that is at stake.

There is no job wasted.

If the thing doesn't work, relax
and move on to another project.

What you have done
will be useful later.

So I like to keep
diaries, keep notebooks,

because that we write
all morning or a whole week

thinking of an idea and I
couldn't come up with anything,

It doesn't matter, because
those seven days were previous work

so that in the eighth the
idea that I need occurs to me.

So I like being able to see
that work that I've been doing

and lastly, if it was useless,
at least you can get out of there

an image for something else.

Know yourself:

distinguish between doing
your best and showing off.

Narrating is a matter
of trying, not debugging.

I personally insist on not showing off

and not wanting to
show others how you write

or how you have great ideas, etc. You
have to try to get out of that place

and if you as a creator
really want to be observed,

to be seen or to be
recognized, I think we all have them,

the best we can do is
put our ideas and essence

and not put ourselves as a
form and a form of writing,

or as grace or as a wink.

The important thing is to
talk about what we really know

and there we will be on stage,

through our
characters and our conflicts.

Using matches to get your
characters into trouble is great,

use matches to get other
characters out of a bind,

is cheating.

We saw it before, very
important not to cheat and to be honest.

An exercise: analyze the elements
of the story that you don't like.

How would you arrange them to
make a story that you do like?

Beyond that, I work a
lot analyzing movies

and doing Excels with the pivot points
and trying to see how they were written.

It is a job that I
do and I like to do,

not only with things I don't
like but with things I do like.

Identify yourself with your
setting and your characters,

don't make them react cool, he says.

What would lead you
to act as they would?

Again be honest and
try not to show off

and be functional to the story.

What is the essence of
the story ?, Finally.

And the easiest way to narrate it?

If you know that,
you can start working.

That is what we saw in the premise
and we worked on the dramatic structure,

and being able to leave
things that don't work aside

Subtitled by
-♪ online-courses.club ♪-
We compress knowledge for you!
https://t.me/joinchat/ailxpXoW3JVjYzQ1

and go as if it were an
equation, simplifying.

So in principle, these 22 Pixar rules

I recommend that you
print them, have them on hand,

and when they are in trouble or
don't know how to solve something,

try to see if any of these rules
can give you a hand to get out of it.

We already have the
first script in our series.

Surely it was very
difficult for us to write it.

My advice is to rewrite
and revise it all the time,

but while they do that,

let's see how to add
it to the project folder

and finish closing our presentation.