ATA: Constructing a Story - Advanced Visual Storytelling | Daniel Gonzales | Skillshare

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ATA: Constructing a Story - Advanced Visual Storytelling

teacher avatar Daniel Gonzales, Animator

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (2h 45m)
    • 1. Your Story Structure

    • 2. Your Story Structure (Part 2)

    • 3. Your Visuals

    • 4. Your Visuals (Part 2)

    • 5. Your Visuals (Part 3)

    • 6. Why Artists Create Stories

    • 7. Why Artists Create Stories (Part 2)

    • 8. Story Problems and Characters

    • 9. Story Problems and Characters (Part 2)

    • 10. Story Problems and Characters (Part 3)

    • 11. Bonus Q & A Session

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About This Class

My name is Daniel Gonzales and I'm an animator at The Walt Disney Animation Studios


What Is This

     A traditional art education rarely takes you through the ABC's of visual story telling. My goal was simple when I uploaded this workshop almost half a year ago: To try to make this the most accessible experience I could. There are over 15+ personal videos (10 min. each) that are available and easy to follow. I emulate a tone that reflects how a critique would sound behind the scenes at a professional studio. I will teach you how to tell a story and bring it to life with uniqueness and specificity and teach you everything I learned from a professional perspective.


Whether it's the 1930's or 2013, Artists at Disney never stop learning or teaching

What You Will Learn

     Storytelling is one of the oldest art forms that humans have. Stories have been shared in every culture as a means of entertainment, education, and cultural preservation. In this class you will be exposed to the essential idea of a narrative story structure with beginnings middles and endings. There are many tools to execute a successful story both verbally and visually and these workshops will teach you how. There are hardly revolutionary new ways to learn age old art forms so I will not promise that, what I will promise is to give a new perspective on how to understand common fundamental elements and use that foundation as a spring board to grasp advance concepts of story telling. 

  • How to execute a story with all it's parts working in unison. 
  • How to injecting substance and life into a story to separate it from generic storytelling
  • How to recognize problems and solve them as your work
  • How to critique others and vocalize your self when it comes to talking about story


 Me and the rest of the animation department at The Walt Disney Animation Studios.

What I Promise

     I will not gurantee you will master story telling but I will give you a fighting chance to succeed and have access to the same knowledge industry professionals have. I've taken classes and sat in on lectures from the greatest Pixar directors during my 3 years at Pixar. I have learned from story telling masters here at The Walt Disney Animation Studios. I will not hold back when it comes to tryong my best to tell you everything I have learned from these amazing people. I firmly believe knowledge must be passed on.

Final Project      

      Your final project will be a finished story that you have created! I hold events and Challenges where the best stories get 1 on 1 face time with me and also receive prizes such as personal hand drawn drawings of your favorite Disney characters.  


My credits include Disney's animated feature "Frozen", "Wreck it Ralph" and more 



My class does not reflect disney or any studio I work with, It reflects the accumilative knowledge I have gained from my learning experiences at many studios. 

Meet Your Teacher

Teacher Profile Image

Daniel Gonzales



           Meet Daniel, he has been animating for 13 years for studios including PIXAR Animation and The Walt Disney Animation Studios. He has helped make films such as "FROZEN", "MOANA" , "ZOOTOPIA," "WRECK IT RALPH" and more! For the last few years Daniel has been traveling the world across 5 continents. 

Daniel moved from his hometown in San Diego, California to attend San Francisco’s California College of the Art. Daniel received attention for his artwork at an early age. His entrée’s in the Museum of Latin American art and The U.S. District court for the southern District of California, that are still on display, would be the start of a promising career of fine art, teaching, public speaking,... See full profile

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1. Your Story Structure: - everyone. - My name is Daniel Gonzalez. - I'm her teacher. - You guys don't know me. - I work at Disney. - The Disney animator have been there for a few years. - And before that, - I was up at Pixar and, - well, - I just want to thank you guys for taking my class. - It's, - um it's gonna be a lot of fun. - The last one was a lot of fun. - And welcome back for those who have taken it, - I, - um Last time I taught on Lee about visual storytelling, - A little bit of the basics, - But here, - we're gonna learn about story, - and I'm gonna try to make it as accessible as it can, - but it's still a hard subject, - Still hard subject. - And I'm gonna push you guys really hard for those who I do comment on in the feedback. - But you guys gotta push each other on. - I encourage you guys toe, - leave feedback on each other, - and you don't learn how to take a critique. - Learn how to give a critique. - If you guys aren't sure, - try to look through the projects and see one of my feet backs and try to give the same to - somebody else who doesn't have feedback and see. - Um so for those who are returning, - they know my style of teaching is pretty casual. - I wanna let you guys know that I usually do my recordings all in one sitting. - So you guys are gonna catch all my mistakes and all my brain farts and everything. - It's a I don't like to add it because it's as if I'm in front of you and I feel it makes me - more human. - It feels like teachers make mistakes, - too. - And if I do make a mistake and I correct it, - I want you guys to see how I go about fixing it, - or I just I just think it's a better overall experience instead of trying to be all fancy - and try to You don't tryto just look good. - I just want to give a good teaching experience, - and I don't care how it's done as long as you has learned. - All right, - So enough of the intros, - Let's get started on this presentation. - I'm just gonna go through the first lecture I have up. - I also have it in pdf style without my voice over so you guys can just check it out if you - guys need to go back to it. - I'm gonna do that with every lecture. - So he has had the option of Listen to my voice or not? - Depends. - So story, - story, - story story story is hard. - That's all I got to say. - It's one of the hardest jobs at Disney and Pixar, - and it's mainly for the reason that without a good story, - it doesn't matter if everything else is good. - Doesn't matter if the visuals air good. - If the special effects are good, - even if the animation is good without a good story, - you don't have a movie or nobody will care. - And that's why I thought I would focus strongly on story in this class, - because visual storytelling is I'll still touch upon that. - And it's all fine and useful tools. - But what's the point of drawing a story if your story isn't worth drawing? - See what I mean? - So let's try to get the basics of story out of the way. - Very, - very, - very crude, - you know, - for those who might not have any background story, - and if you do consider yourself a natural born seri to storyteller was always nice to - freshen up, - so ah, - stories are simple, - they might seem complicated. - Um, - you know, - tales of two cities and, - you know, - divine comedy. - My seem complicated, - but they're not stories you need to focus on what you want to say. - Just one thing you want to say and say that it's when you try to put too many philosophies - and thoughts and ideas into a story. - It starts to fudge it up and make it all muddy. - And when it's unclear when your story is unclear of what it's saying or what it's about, - that's when you lose your audience. - So just the more simple, - you make your story better. - Your story's gonna be, - and you'll see later on how you inject depth and substance. - But right now I just try to make your stories. - Simple is possible. - Look at your story and ask yourself, - Is it the most simple? - You know, - simple. - Is it the simplest that you could make it? - And, - um, - all right, - I listed seven steps that I learned Oh, - by the way, - by the way, - I do not. - And these aren't all The information I've given you isn't from me, - and it's not from someone else. - It's more like I learned this mostly for my mentor, - Mark Andrews. - He directed, - um, - well, - he's worked on a lot of things. - It's worked on Samurai Jack, - Johnny Quest, - The first Spider Man Brave, - he's on I learned story from him on. - Sure, - he learned it from a lot of people, - including directors like Brad Bird. - You know, - those who worked on The Simpsons and did the mission Impossible movie. - And so what I want I'm trying to say, - is that this is just knowledge being passed on, - and other people might say this diff different ways. - But it's still knowledge, - and I hope that one day you guys get to pass it on to somebody else. - On that note, - Here are seven things I listed where his mop material right seem. - I hope you guys can see that it's, - um, - shirts, - simple. - But once upon a time and every day until one day, - and because of this and because of this until finally and ever since that day, - that's how I was taught to break down the story. - I'll tell you why. - It's because each one of these sentences, - in order for them to make sense, - has to rely on the sentence before. - And that's how you want your story to feel like it's just one long tell. - It's not just separate things mushed together like like puzzle pieces that don't fit - everything has is cause and effect. - And so let me move on Act One or the beginning Usually it's gonna be once upon a time every - day and until one day that's gonna be your act one and see what did I right here? - Okay, - in the beginning, - don't worried too much about or don't over explain yourself. - You do want to set things up, - but don't over explain yourself. - If you are sitting up magical story such as beauty in the beast right away, - you wanna introduce magic and spells and curses and everything? - It's when you don't introduce something that's crucial and you introduce it later on in - your story. - That's when you're gonna you're gonna freak out your audience. - You're gonna They're gonna be enthralled in your story. - They're gonna be along for the ride. - And then when you introduce something huge too late into the film, - you're gonna push them out of their zone. - They're going to buy Well, - well, - well. - Hold on. - Where did that come from and they're going to start thinking like that doesn't make sense. - And then you lost. - Then they're no longer thinking about this story or believe in characters. - Um, - let's see, - so you could think of stories of a joke. - I always always you're going to see me refer to jokes a lot because jokes, - good jokes, - mind you are masters of setting things up, - especially in the beginning. - And they're masters at baiting you and deliverance. - And so you're gonna see me refer to those a lot and they do it so efficiently. - They're so short you don't have toe go into 1/2 on hour to tell a joke. - You could tell it right away, - and your story should have. - You should have the same angle when trying to read your stories. - Make it efficient. - Try not to talk too much. - And how little do you actually have to say to get your point across? - If we're doing it in visuals, - how little do you have to draw to get the point across? - I always think about that. - Um, - so here, - let me read off this. - You can think of stories like a joke. - You could set up is crucial to the punch line. - It sets up the world of the story. - The horse walks into a bar. - I always like that beginning because nobody ever say is nothing everybody's like. - And then and nobody's really be intention of the fact that horses can't walk into bars. - No, - it's because it's the beginning. - People will buy whatever you give him, - all right and see, - um, - all right, - So in the movie, - here's an example in the Raiders of the Lost Ark opened. - Seeing you find out a lot about the film, - you find out what is what it's about, - what it's not, - and you get a lot of information. - Some basic but just it's still information. - Good with a whip. - He's a good guy. - It's, - um, - is an archeologist, - but he's really smart. - He always seems toe survive barely by the skin of his teeth, - and he's always in bad situations, - but he always gets out of them. - We also get to meet the good guy at the end of the first time in the bad guy at the end of - the first scene. - And by the way, - if you if I am talking about a movie you have not seen. - Please go watch it as soon as possible. - I know you know somebody was Netflix. - Or if there's if there's still blockbusters in business around where you are, - just go around the movie. - Um, - but anyway, - about Raiders of the Lost Ark, - it sets up what kind of movie is gonna be, - and it stays true to that for the rest of the movie. - Um, - one nice detail I like to mention is that it also sets up in these fear of snakes, - and that's a character thing. - I'm not gonna go too much into characters in this lecture, - but that's a character thing. - It's showing that, - you know he's not the brave Superman, - not a favorite afraid of anything is he does have fears. - He is human. - He's just like you and me, - so that makes him relatable. - And that makes the story that much more believable. - Um, - would you see what you don't see also saves a lot Not gonna show. - This is why the fourth Raiders of the Lost Ark is so bad. - The the beginning. - It's very natural. - It's a lot of real life situations. - That very end of the movie they introduced aliens. - You you sure you talked about aliens? - But you kept it pretty modern in real life and close to reality that the very an you do - glowing rocks and floating space ships. - That's why a lot of people did not like the Indian of the fourth Indiana Jones. - But that's on beginning. - It's pretty, - general, - but I'm trying to just give you the concept of the beginning. - Oh, - always remember, - if you're ending is bad, - it's because you have a bad beginning. - I'll explain. - Actually, - alum. - That's why endings air so hard. - You ever find out you try to start a you got the most awesome beginning. - You have a pretty decent middle with a lot of action. - It's starting to fall apart, - but it's still cool that in the ending, - every ending you think of just doesn't seem the type. - The story well, - it's because you didn't set things up right in the beginning, - you didn't. - You have to establish where you are before you establish where you go. - If you don't have a place to go, - how you gonna end the story? - You have to set up problems you have to set up once you have to set up flaws. - You have toe set up. - What? - The character has toe change in order to become better. - You have toe, - you know, - show the op schools. - That and then that gives you some place to go. - And that gives you I think, - bright ing wise That just gives you a golden worked up to. - I always try to do your begin in your and at the same time. - If this guy starts off poor, - maybe he'll end up rich at the end. - And then you just work on the middle. - Just try it like that, - see if that helps you. 2. Your Story Structure (Part 2): - And while you're setting up your world in your beginning and your first act, - let's say, - Well, - you're setting it up. - But then you have to interrupt it. - Nobody wants toe. - Just see a story about a guy brushing his teeth. - Let's say he goes to the bathroom because we know he's gonna brush his teeth and then he's - missing his toothbrush. - It's a stupid story, - but you see how he said, - if the pattern of waking up in the morning going to brush teeth and that one day he gets - there on horses, - toothbrush, - he lives by himself, - who would have taken it? - I don't know, - See, - that gives you a place to go, - gives you a question and answers questions and answers. - Always about that fine balance questions enhancers. - You give the audience questions to keep them in the story, - but you have to give him answers once in a while to feel like the rewarded for paying - attention. - Kind of all right, - I see what I wrote down here. - This is where your story really starts, - but it does not have to be where your conflict starts. - For example, - if your story is about an affair, - this doesn't have to be the partners in the story where the fair starts. - It could be where the two characters who have a fair meet for the first time. - Another example was about a woman who can't pay their rent established in the beginning, - hard times lost her kid cause you can't afford to feed it. - She lives in a shack under a shack. - It's like just life is bad for in the first act ends when she finds a bag of, - ah, - $100,000 she saw the person that dropped it. - So she goes over and picks it up. - What does she do? - She give the bag, - or does she keep it for herself? - See, - now we have someplace to go. - We have a question. - What is she gonna do? - She keeps the money. - What does that mean? - What are the consequences of that? - Well, - that's a story. - Was that worth keeping the $1000? - Does it cause more trouble than it does good, - Of course, - we're gonna set it up like that. - That's the best thing that could happen. - But then you started to introducing problems in your second act, - and then the conclusion is well whatever you want to say. - Was it worth finding that $100,000? - Or is it better to be honest and just give it away? - I don't. - But whatever you choose to say, - make sure your second act supports that. - Alright. - Ah, - this is a good What is the analogy? - You just caught analogy. - Think of the end of your first act like a courtin close in the play. - What image you're gonna leave your audience with. - How are you going to keep your audience hooked and get them to come back? - Well, - if it was a play would be Erin mentioned. - But for us, - it's just how you gonna keep them hook and you still interested in the movie? - This should always remind you to raise the stakes for characters and the stakes. - Bo Cab Lesson Stakes is not what you kill vampires with. - The kind of stakes I'm talking about is it's how harsh are the consequences? - What's it's Superman doesn't save the bus from falling down the cliff. - Sure, - that's bad. - Driver Dies. - Raised the stakes by put in 25 Children in there. - Raise the stakes by saying not only does he have to save the bus, - but there's a bomb on the bus. - Oh, - my God. - Raise the stakes even further by saying his son is on the bus. - Whoa, - now it's personal. - Can we raise the stakes even more? - I don't know. - But that's how you raise stakes. - Um, - all right, - let's see, - um, - or here's an example of a good set up and ending on that moment now that you know should - hook the audience. - Here it is. - A woman is released from a psych ward. - She's in there for being addicted to soap operas. - She say she she's cured. - Carol say's I don't care of Bruise Mary's Wander or not, - she's saying she's cured, - but that her friend responds. - Carol Bruce is dead. - Carol's eyes widened at the news, - and then bam! - Scene ends are now. - The audience should be like because of the queue of her widening her eyes. - That means she's hooked again. - You didn't really have to say that, - but with you know, - good acting or drawings, - he could show that that she's hooked again. - The audience is like, - Oh, - man. - Now she's hooked again and we'll see what happens. - Second act. - Just just remember if this sounds to dumb down. - Don't worry, - it gets tough and you guys are gonna see how tough ones I start given feedback. - Second act. - The transition to the middle of your story should revolve around cause and effect. - Whatever happens next will be the result of the curtain closing event. - This is where your character reacts. - Alright, - So second act What I put in my own words is where your second acts gonna be long. - It's gonna be the longest part. - Your story. - You want to try to break it up into sections you wanted to. - You want to know where you want to go? - You want to know? - Let's see what a right there are. - Oh, - I talked about splitting the second act into two parts to keep your audience interested. - For example, - if there is a story about a woman had lover and they decide to murder her husband for the - insurance money and you set that up in the beginning eso second act you that's a in the - first half. - You have them planning it out. - Hi there and kill it or they're gonna stage it. - They're gonna make it look like an accident. - And then halfway through your second act, - they do it. - Bam! - You could think of that like a mini hook. - How you know, - keep your audience interested, - like halfway through your story. - And if we go back to my structure into the not price structure to the structure, - it's this part because of this. - Because of this, - this is your second act. - See how it's too two of them because of this and because of this, - so until one day they plan to murder the husband because of this, - they kill him. - And because of this, - then we have to see if you know they get away with it. - If that's you could make that this is the second part of your act. - Are they gonna wait, - getting get away with it and then we move on to the third act. - And if we're still going off that murder, - the husband murder story, - your third act would be the climax, - the point where if you decide for them not to get caught, - it's the part where they're about to get caught, - and it's how to get out of it. - If you are deciding that they should be caught than your third act in your climax will be - of them about to get caught, - and then they get away. - But they slip up so that the cops do end up catching you. - Just you just try and make it has climactic. - You just You have to make sure the stakes are high. - You have to make sure it's the most intense part of your story. - What else does he here? - Okay, - AC three is began the chain of events that lead to your climax. - This was a C S I cop drama. - This is where the investigator finds the clue that puts him on the killer's trail. - Okay, - so the reason why I said hold on to your butts is because I'm referencing Jurassic Park - because I feel that climax starts when they restart the computers. - Don't worry, - I'm not spoiling it. - But there isn't anybody that has is taking my class. - I hasn't watched dressing park. - Um, - so when they turn on the computers, - I feel everything before that was just, - you know, - just just story is just a second act is just cool things You want to happen that, - you know, - are part of the story. - And then the beginning of the end is when they turn restart the computers because once they - start the computers, - that's when that's when people start. - You know, - people are still dying, - the rap they bring in the Raptors, - and that's when that's when they're, - you know, - have to get off the island. - That's when the hope starts. - We can get off this island. - Let's go and then it becomes Are they going to get off the island? - And then it gets all dramatic with the Raptors and the T rags and people are dying left and - right. - That's the climax. - So we watch the movie and check out See how they did their pack. - Three. - So ended. - Your action happened very quickly following your climaxing things should be going back up - when you're doing your beginning. - You're going slow because people are people are soaking up information there knew this. - You have to be very, - very just patient with your audience that need to start speeding up in Act two here and - there. - But AC three, - you don't have to go slow. - They have all the information. - They should have all the information they need to follow along everything you established - in the beginning and I built everything that has been going on in the second act. - Now what happens in Act three are just results. - That's why you could go back, - back, - back, - back, - back, - back. - And that's why some act threes or so intense or just a lot of things are happening. - See, - um, - just they should be the I have three should, - and quickly that should be short and sweet. - Um, - once you endure AC three resolutions, - what I'm trying to talk about is that after a climax happens, - um, - I want to just end the story as fast as you can. - You do have toe. - You do have toe, - can't just end store in the climax. - You have to show what happens afterwards that life goes on and why will. - It's it's It's because the story should be a moment in your character's life. - It shouldn't feel like superhero movies tend to do this. - Where you feel that before the movie start, - everything was fine and dandy. - And then once the cameras start rolling, - the bad guys like oh, - should I should should I attack earth now? - Are you guys watching? - Okay, - I'm gonna go attack Earth and then all the action starts, - and then once it Once the movie ends and like nothing really happened, - everybody's, - like, - just happy because that managed to come and save the day. - So your story, - though, - should feel like there was life before your story and life goes on after your story. - Like I like to point towards the movie up up. - Definitely feels there was life before the story because it shows you that there was life - before story shows how the old man met his wife at the very end. - It gives you a hint that life goes on because he keeps his relationship with the kid and - they continue their friendship Until, - who knows, - total guy dies. - I don't know. - I don't know, - but I'm getting off topic. - All right, - Um, - see what else? - I have not talked about characters yet. - That's where the real work comes. - And yes, - characters are hard, - but I love it. - Use this simple first lecture to double check the structure of your story. - Yes, - do that. - I know you guys. - Um, - there's a few people who posted projects. - And if you find yourself in the same situation where you have a beginning or you have a - nice idea, - but you don't really know. - There was one story about a girl going to the woods finding a wounded creature. - All right, - cool. - Beginning or what? - My brother would say. - Cool story, - bro. - But you don't have a middle. - You don't have an end. - Find out your end. - A lot of hurt. - His one director say, - find out you're ending first, - then come up with the rest of your story. - So hopefully this is so simple that you guys can just quickly bam out of story real fast in - the night and try to fine tune it. - All right? - Oh, - please don't end your story like the picture I have here. - Just just don't kill everyone at the end. - That's a cop out. - Don't do that. - All right, - So my lecture, - Probably when way over the 10 minute mark I was aiming for, - but it was worth it. - Good things were said, - And I hope you guys, - um, - enjoy the rest of this class. - Post your work Often updated often. - And chicken. - Ah, - lot of your learning is gonna be in your in the project section of this class for here is - just I'm just given info. - I'm just giving structure. - I'm just giving that fire to ignite you and get you started. - The learning comes from doing and making mistakes. - Actually, - no, - you're not even learning. - When you're doing that, - you're learning when you're fixing your mistakes and your mistakes get plant out to you. - And who better to point them out to you, - that me or someone else who has insight or has perspective on your story that you don't? - Because let's be honest, - we've all done some. - We've all worked on something where we become jaded that we've been looking at it too long - and we just cannot see the obvious problems. - That's why feedback is so important. - That's why, - as an artist you have to learn how to work with others, - how to give feedback and take feedback. - Because sometimes when you're giving feedback, - you're gonna find mistakes and other people's stories that you didn't realize that you had - . - And then after you correct their stories and you go back to yours, - you're like, - Whoa, - I got the same problem. - Oh, - I know what to do cause that just told that guy what to do and see how that works out. - It comes full circle. - It's a lot of organic unstable. - This given the tug and the pool on the take and all that stuff. - All right, - I'm gonna end this lecture. 3. Your Visuals: - everyone. - Welcome to the second lecture in the week one. - Um, - right off the Badgers want apologize. - I had no idea. - I was talking for half on hour. - I only meant to make it two minutes long, - but I'm gonna keep that video just a because I think I said some good things in there that - you guys could benefit from. - All right, - um, - we're gonna talk about touch upon visual storytelling. - I have to because it did call the class that, - but no, - I just want to go over. - I usually say there are no rules when you make a story. - But there are some camera rules that have been fit found by multiple generations of - directors and story borders, - toe work, - animals. - We're gonna include a few tips, - and I'm just a 101 of how to visual least tell a story. - If you guys, - if you guys took my last class, - I mostly touched upon how to tell a story through a visual in this lecture on to talk about - how to tell a story with visuals. - So I hope that kind of made sense One is a story inside of them oven image. - And this one is a story told by images. - All right, - there's a difference and get down to it. - Oh, - the reason why I have my set up the way it is right now is because I'm like, - What's more boring than listening to Danny talk for half a Knauer? - So I thought I'd said this up. - It's gonna watch me doodle while I talk. - Uh huh. - Are you guys gonna see if I can multi task? - Well, - I'm gonna find out to All right, - so, - um ah, - yes. - Backgrounds. - I do want to show. - I just wish I could draw all over this. - Um, - right now, - if you'd never. - If you do not take my last class, - I would recommend for you deposit. - And I have to your oils right here. - I would recommend to pause and check those lectures out there from my last class. - And I thought I'd include them here because because they're useful. - You guys need it. - But deposit check those. - Um, - check out those lectures. - One lectures about They just tell you how to portray motion through images. - Um, - the second lecture is about it's a scene is a scene I did out of memory. - That one of my mentors or one of my teachers did. - It's just basic seen that I would usually guys to refer, - backed and shows you how detailed your president your presentation should be. - If you want to make it that detailed, - if you guys are gonna shade, - try to shade as clear as I did in that one notice. - I'm not talking about the drawing quality. - I don't care of you guys. - Draw stick figures, - but just make sure it's clear that lecture also touches upon. - You could use it to reference pacing. - You get used to reference all the things I talked about in the first lecture. - So once we're done checking those out, - come back to this video on posit and continue on. - Oh, - another thing I included Ah, - book in here that I thought would be useful was called Hans Baker Dream Worlds. - I, - um, - referred to it a few times when doing my first class because I learned a lot of stuff from - that book, - and it's a book. - One of my teachers recommended to me. - All right, - so let's move on, - Shuts. - I don't mean tequila shots. - I mean, - um, - I'm gonna go through basic shots basic What we, - I guess, - could call boring shots there. - Just the one on ones of how of different shots there are in a cinema. - There's, - um oh, - I refer to them Right here is your bread and butter shots. - Your bread and butter shots are just basic. - It's it's what's bread and butter to your breakfast is just not the good stuff. - Not the exits, - not the hand. - It's not cereal. - It's just It's just filler right near Butters. - All melted right there. - Year. - Um, - it's It's just it's something to contrast your beautiful shots. - Danny, - what's your beautiful shots? - I didn't even understand when you talked about that in your last class. - I know. - I know. - Beautiful shots are. - I try to explain it. - Good. - Right here. - Um, - beautiful shots, - Very creative shots. - You're the shots. - You go all it in artistically too, - while your audience it's your bread and butter shots are boring. - Basic fundamental shots, - mid shots, - long shots, - close ups. - Your story needs healthy balance of both shots. - If your story has too many beautiful shots than your story, - my end up looking like the film Tree of Life. - Even if you guys hated that film. - Watch it again and just think of it like this. - Just think of it as one long paint and imagine that movie up on a 60 inch screen and - gallery for you to show up at any time and just be able to enjoy 15 minutes of it and then - walk away. - Little little known fact that that director actually has a six hour cut of that film. - Yeah, - you thought three hours was already too long. - He wanted to make a six hour movie. - I actually want to see it. - All right, - let's go. - If it consists of Onley bread and butter shots, - I'm talking about your story. - Then your story might come out looking like an episode from I Love Lucy, - which is basically a sitcom like The Flintstones or The Jetsons or anything like that. - It's It's just we shots, - long shots, - establishing shots and close ups. - I'm acting and comedy are usually do very well with the shot like, - but the show friends they don't they don't do any crazy zoom and camera pans in that show. - It's just they let the when you're using a lot of bread and butter shots like comedy does - you. - It's so people don't get distracted by the camera. - Moves at the acting or the story or the comedy carry the viewer. - All right, - um, - but I do want to state there are still endless ways to use bread and butter shots - creatively and still get a strong reaction from your audience. - I would touch on that near the end of this lecture. - Mm. - Put a lot of pressure on myself because I don't remember if I talked about that by the end - of this lecture. - But I will say that, - um, - ways toe. - You could set up patterns with Pete's shots. - You could set up like that, - say, - used, - uh, - a wide shot, - a medium shot, - a medium shot, - a medium shot, - a white shot medium shot. - And then you go in for an extreme closer to the eyes, - and then you come out to a white shot. - Well, - when you look that at those series of shots as a whole, - which one sticks out, - obviously the close up. - It's the only one of its kind, - so that is where the emphasis is. - That's how you set up a pattern of like all right, - of I'm showing shots from a distance from a distance. - Bam and zoom in. - That's how you set up a pattern breaker pattern. - Those air ways you could use bread and butter shots. - There's tons of ways, - but that's one example. - Let's see the wide shot. - I'm gonna go through these fair quickly because of the last lecture. - Took half a now and that was my shortest lecture. - I don't want this lecture to be two hours. - Maybe I won't draw as much. - But then maybe I will. - All right, - Dan. - All right. - The white shot usually used to establish the area The scene takes place. - Most things will start with a wide shot to let the audience know we're in a different place - now than lasting. - It can be. - Give me very drying, - too, - to be jumping from a location to location if you do not let the audience know where they - are. - What I mean by that is that if I show a close up off this character and a desert and then I - show close up of another character and Hawaii. - But I wait when, - Well, - when do we change locations? - It's like you have everything you gotta show through visuals. - So that's why that's when the show friends I'm gonna refer to that again, - is whenever they change scenes, - they always show the outside of the building. - It's really fast, - but it's just to let you know you're in a new spot that whenever they're about to start - seeing inside one of the apartments they should outside of the building you it's not - important and never gonna remember it. - But they still show it because it's I just needed. - So it's a white shot. - The long shot is usually, - um, - you put the whole body in there. - It's a good shot to let that characters act in. - And because you don't have to do a lot of panning, - they still have space to walk around or gesture. - It's on. - It's a good shot. - What did I talk about here? - Right to talk about? - All right. - Moving on medium shot. - Oh, - okay. - Here you frame a person with four or five feet. - It's an odd distance to be away from the character, - but it works. - When it used writers called a plane, - American actually literally got that off just by googling it, - um, - medium shot. - It's just just closer is like there's no I guess there's no reason why these shots exist - only because there used a lot and they've been used so much that people have given them - names. - You could think of a new shot to invent. - Use it. - But as long as it fits the purpose of just telling your story, - you can't just use it because it's cool. - That's hate. - When movies do that, - they just they just they spend so much time showing the guy flipping, - do everything with his gun and put it back in his holster. - And then it's like, - Was that really necessary? - Was that part of the story? - Sure, - that's cool. - But unless you're introducing character and showing that he's a bad ass, - why are you showing you this? - This character dies in 10 minutes. - It's it's It's just a waste of time. - I hate one. - Movies do that. - Um, - let's see, - if you haven't watched Fistful of dollars or the film the good, - the bad and the ugly get on it 4. Your Visuals (Part 2): - all right. - Medium, - medium shot. - Just you just cut it. - Um, - Social network. - Good movie. - Do I really have to say if it's a good movie guy should know what it is. - If you guys haven't watched it, - ask somebody. - Find out what? - It isn't watching a small picture. - All right. - Um oh, - this is what I touched upon. - It's just just names. - They're just shots. - They're just examples of shots you can use. - But these are shots that are used off moving out the close up here. - I have arguably one of the most famous close ups ever. - Um, - close up, - Israel personal shot. - Use it wisely. - You will notice. - Most directors will only use it to emphasize one line of dialogue seeing ones and then or - not just one line or maybe a few lines or just an important moment. - That's when you use a close up. - Let's see him. - It's a good shot that shouldn't be abused here to our riders. - Are you all right? - So that's the close up here is extreme. - Close up. - Um, - again, - the shot. - I feels the most abuse shot ever. - There's too many people that use it just because they feel because they feel it feels like - an artsy shot, - and when is used right? - It is an arty shot. - It's awesome. - It can set the mood like that. - But things usually use an extreme close up our human eyes and mouths or objects. - But it could be used to set the mood if used early in a scene, - or to emphasize the story point or a dialogue. - Be creative with the shot. - This is this is you will find. - Probably this is really think this will turn into your favorite shot, - but try not to abuse it. - Oh, - I do want to ask. - There is a shot. - There is episode on The Simpsons, - where certain Zwart starts off with Homer eating a sandwich. - There's is, - you know, - that's his mouth. - These air, - his fingers. - There's an episode that starts off like that 10 points we can ever who? - Whoever can find that out. - I tried hard looking forward. - I couldn't find it. - I know it exists, - but, - um, - it starts off with him. - Eating a burger really is an extreme close up shot. - I think it's the most extreme close up shot I've ever seen in the sense that I can remember - The Simpsons using. - It's, - um he's eating a burger and in the back around, - Marge walks in and then say something. - But the camera never changes. - She ends up. - You know, - I think that the doorways back there and she ends up, - like, - showing up right here. - Well, - you know, - her hair's like that, - but, - you know, - so a little extra homework if you guys are up to the challenge. - Um Ah, - here. - I give you incentive. - Where? - Finds that out, - I guarantee beat back immediately. - I don't care if I got 10 minutes and I'm at work before meeting starts. - I will give you feedback immediately. - All right. - Appeal. - View shot. - Very important. - Very important. - This is, - actually, - um, - use this shot to get the audience, - get their art, - get their hearts pumping. - You gotta get its when use it when you want to scare them, - or you wanna let them know how intense is moment as you When you want to put them in the - shoes of your character just like these two examples I have right here. - Um, - one of the looking down on the character also also, - um, - no, - I'll finish this. - First people view looking down the character and then you. - The next shot is Oh, - that guy was looking down. - But now I'm looking. - He's looking down at me. - Oh, - I must be in the p o. - V of the character who was on the floor and then probably saves a line. - And they pulled the trigger. - Very loud noise that probably goes toe white and you flinch because you must. - I feel like how to be shot in real life. - You know, - I don't look at a gun at that angle every day, - so it's scary. - That's how you get an audience into the story or into the moment. - Peel the shots. - What I was going to say is that if you guys remember in the first lecture of my last class - , - I talked about down angles and up angles. - Notice how, - notice how the first angle is off the camera, - looking down on the guy. - This is him on the floor, - groveling when you're in when you're in. - Ah, - when you're in a power position, - don't you find yourself standing over somebody? - So when you will put the camera to look up at this guy, - he still seems stronger because He's above you when you're fine. - If you If who? - If you have ever been unfortunate to be in a fight and you're on the ground and you look up - the guy or a girl, - people get beat up girls, - too. - You know he has power over you because he's standing over you and he could probably deal a - lot of damage. - Who else has looked up to usually Kings Aaron hi seats so they can look down on you so you - could feel inferior. - That's the power of, - you know, - messing with your camera, - using the angles to give your shots and emotion. - I was a little bit off topic for this lecture because I'm just talking about the basic uses - of these, - um, - types of shot. - But I just wanted a do a little shout out to the first lecture. - Call you guys is attention to that. - All right, - moving on Dutch angle. - I just thought it was important to show in here because it's just people like do that - screen tilt, - and I would not recommend doing it unless you have a reason to do it. - There's it's it's it's the worst have you could develop to do things when you have no - reason to do them or to add something to a story when it has no reason to be in that story - . - You could tell your story has too much stuff in it. - If you could take stuff out and your story still makes sense, - Alright. - If your story doesn't make sense, - I mean, - you gotta add stuff to it. - All right, - here we go. - Just mention about battlefield Earth horse movie to abuse this shot. - You haven't watched it wash it. - Yes, - I know. - It's a bad movie watching. - Anyway, - You see how things aren't done in order to know how to do them, - right? - Um, - dialogue in the 1 80 Okay, - I'm just gonna read through this because it's it's pretty. - Could be pretty confusing. - I don't want to get to the images. - Um oh, - actually, - maybe I could just demonstrate it on an already drew pictures. - So I want to say, - knowing about screen direction, - consent your film. - Apart from an amateur film, - the concept is easy. - Screen direction is the movement. - The viewers eyes air, - moving across or orientate on screen with what that means is if you have a character - running from screen. - There's a screen left because on the left side this is screen right because it's on the - right side of you have a character running that way, - and he is, - um, - outside. - He's about to run inside a house, - then your next shot. - When he comes through the door to go to the bathroom, - he should still be running screen left to screen, - right? - It doesn't make sense for him. - Then all of a sudden be running this way, - that screen direction. - That's a simplistic as I could put it, - Um, - all right, - in the dialogue, - once you establish where the characters are standing, - whether they are the are the more on screen left center screen, - right bottom or top middle. - I don't know how many other areas of the screen that could be. - Um, - make sure you keep the character in that spot in relation to the other character. - And what What I mean by that is is this, - um I have two characters right here staying inside my side. - One screen left, - one screen right, - But you could also see that one is taller than the other. - So whenever I change shots, - I'm gonna make sure their relationship not only to each other but to the screen he's still - on screen left the big guys still on screen, - right? - And when I switch the big guy still taller, - the little guys still a little. - And even when it's there just by themselves, - the little guy's still favoring the left side. - Big guys still favoring the right side. - They don't have to be bigger than each other because the other one is on the screen so you - could make him the same height if you want. - And, - um oh also did the shots in this order because it shows and accordion accordion as a - pattern that you could do with basic shots. - You're out. - This is Hey, - how are you doing? - I'm not that marriages had a bad day. - What kind of bad day My dog died, - and then you come out. - It's an according it goes in until the point where the emphasis or climax and then you come - out is your resolution. - It's a very simple pattern, - but it works wonders, - and every director does it watch any action film, - and if it's pretty, - if it's a good film, - you'll see it would be you see it used are now This is a picture of the 1 80 1 80 is notice - how Over here I never do big guy on the side of the screen and the little guy on this side - of the screen That would be wrong. - What would have to happen in order for the camera to get on that side if I'm looking at it - from above? - Here's the big guy. - Here's a little guy. - If the little guys on the left hand side, - that means the camera is over here. - This is the left hand side of cameras. - The right hand side of the camp, - right hand side, - left hand side. - If I'm gonna make I want to say fat, - but I want anybody. - So if the bigger guy is gonna end up on opposite side means you would have to put the - camera over here. - This is a big no, - no, - because imagine there's a line right here. - Bam, - bam, - bam, - bam! - This is 180 degrees. - Once you put the camera on this side, - you cannot cross it because that will flip these characters that will flip the position of - these characters not that. - I mean flipped that. - Then he's gonna end up on his head. - All right, - let's go. - Let's go, - Let's go! - Make it through this. - I'm almost done, - Ray. 5. Your Visuals (Part 3): Yes. All right. Clarity. Being clear in your drawings is the number one thing you should pay attention for. The reason why I put these examples up is because they're clear. They're funny because they're clear there. This one, this T rex one has silhouette value. And that means it's not a T rex words, etc. He's like, it's looking at you. Is there his feet, either his hands and then he has it sticks right here. See, this is not a good silhouette value because I'm getting carried away from with myself. I can't stop. I can't stop. I'm just gonna Okay, I gotta stop somehow. Um, here. I know how. So what value means can I tell what the hell this is? If I was to fill it in, Can you tell what this image is? You still tell because you could still see the drawing. But can you tell what it is? If I just did this? No, I don't did I don't even know what the hell that is. Um, but this even if you make it all one color, you could still kind of tell what it is like. It's in at it like it's just not physically possible for him to turn like this and have his arms like that. But they do it anyway because it's clear and you still get it. That's what silhouette value does for you. Um, this one up here is just it just clear Little turtle with Big Turtle with this guy. And you could tell the relationship with one sentence. That's the guy. And without one sentence, you could tell you could tell what the situation is and what's gonna happen afterwards and what had happened before. That's efficient storytelling, that storytelling one image. And it's funny because it you know what it appeals to your background knowledge of. You guys have played these games. All right, Um, so that's clarity for you. Smoove on patterns, patterns. I'm not gonna read the paragraph. I'm just gonna go straight to the pattern. Same picture of same picture, different picture, very short pattern. 112 But it's still pattern, and the emphasis is when the pattern changes. This is a disgustingly obvious example, but it's the same concept when you're doing the story. Yours like, um, I'm trying to get through the door, so I ran my shoulder through it. Bam! Oh, it doesn't open. I'm gonna try it again. It doesn't open well this time. I run towards any ticket. I changed the pattern and the door opens. It's It's the same concept, but it's it's it's still simple. Still simple. Imagine bigger patterns. What are bigger patterns that happen in movies? I'm gonna try to bring Storm Run spot right now. Let's say when there's three. Billy Billy Goats. Gruff. Do you guys know that? No. That story about the three Billy goats trying to cross the bridge and was a troll underneath, and it sets up a pattern at the very end of the story that breaks the pattern. A Hey, I Stories have patterns. Movies have patterns. I can't think of anything else right now. But, um, there's a lot of examples of of pictures like this going on the Internet, and they all rely on patterns or you're a recognition of patterns. I do make a point right here that if you don't think that the pattern lends itself to the comedy, try to re dry or imagine that every picture was different. Would it still be funny? Don't try it. Try drawing it yourself pattern to This is a pattern because sneakers or commercials work because they do the same commercial just with little variations and the pattern and always is when you give a snickers to someone than the the end of happy. And so I put this one and I thought it was hilarious. Um, I just want to bring attention to the patterns that could be set up and supported with recognizable elements. Here we have a North Korean leader, Kim, Another Korean sigh, clear poses and facial expression. Sell this joke. But there is another layer that Okay, So, um, one thing that I want you guys to think about when you guys are drawing is don't focus on doing a and that may well be correct drawing of the person. But this this doesn't really show me anything. I rather have a stick. Figure his eyes like that because that shows an emotion that shows what the characters feeling. This is just a good drawing. It doesn't give me anything. I would rather have. I would rather be able to read what this basis seen, you know, button here you put hair. If you want, they get into a woman, I guess Make it into Adam's family It. Okay, so, um so I just wanted to bring up that point because I see a lot of people trying to do good drawings. And I don't care about the quality of your drawings that care about if they're communicating what you're trying to communicate in your story. Keep that in mind from your retouching. Your stories. In conclusion, there's a little picture of a wide the wide language of camp. What am I trying to say here? Alfred Hitchcock would x Oh, the whole lecture in general is just a tiny, tiny window into this whole world of cinematography and the different shots they use. Alfred Hitchcock would experiment a lot of different ways and trying to like people point to him saying He said, Greg, great pioneer, and he established hum the language of cinema. He the only way he was able to do that because he experimented. We only remember the stuff that worked, and we use that now we use longshots, middle shots, it all these things like that. But he also did a lot of movies that didn't work. He tried to do a movie, all in one shot. He tried to do a movie with only one set from one angle. It's like he tried a lot of different things to see if they worked. And so what? I'm trying to what? Why? I point that out. It's because I want you the just remember that this is not the full extent of possibilities there are. There are tons of other things and tons of other ways. You guys can tell a story through visuals. I'm just giving you a window to try to get that fire started. So you guys can start thinking because good stuff happens when you guys are in the flow and you guys are experimenting and just going with your gut. It's nice to have background knowledge, but I want you guys to start creating for yourselves and try to find out what's the best way to tell your story. He has one experiment. Go ahead. I will be more than happy toe, give feedback and, you know, try to us see how we can make your weight work if you guys aren't going to go traditional. Actually, I would encourage you guys go a little bit outside the box of you guys dare. But if you guys were just barely starting and just want to get a basic foundation and just visual storytelling in the way and it's done nowadays, then don't go outside the box and try to master the what do you that's already been established? Um, on that note, I guess I can leave you guys with that. I do want you guys to take these lectures. Apply them to your story. These are very simple lectures and a mainly talking about the last one that just tells structure of story and finish your story. Even if it's not in visuals, write it out and finish it literally. Oh, I don't have that lecture up. Go back to the seven points and finish those sentences. Once upon a time. What to finish that sentence and every day, what finished the sentence and then do that for all seven things a V. Make sure you could finish your story like that. And actually, when you post your project, put those seven points up with one sentence each, and so people can reference that when they look at your visuals. And so then they could say Yeah, I'm not getting that. You said that this happened because of this, but it's not coming across individuals, because then you get feedback, and then, you know, then people learn. So trade that out. If you got visuals up, put it up. Have you guys got a story up? Put that up to and also put up the seven points. The seven point structure that I did, um, should help you guys up if you guys are in a tight spot. And, um all right, I'm gonna end this lecture cause I guarantee it went over half an hour. I'll let you guys be and I hope to see a lot of projects, or I hope you guys get to see a lot of projects from each other and get feedback night. Where's the offered? 6. Why Artists Create Stories: - Hello, - everyone. - Third. - Yes. - Third lecture. - And now we're gonna talk about I'll give your stories, - substance, - because right now you guys should have a story. - But your guy should feel like it's it's missing something. - It's just the right now is just things happening. - It's just empty structure. - And what we're about to talk about is how to put a little bit of meaning behind your story - . - And eventually, - in the next lecture will talk about characters themselves. - Um, - one thing before we get started, - I I'm aware that this class is gonna be around long after I make these lectures, - and I'm checking in on this class page and everything. - So what I want to leave you guys with is my email. - No, - no, - no one. - And what I want you guys to do with this email Is that for the future learners? - Did I do I want to that you know, - I want you guys to feel free to send me your work, - and I will give a quick bit of feedback to it. - I'll try to check in on this class once in a while. - Once I get back. - You don't to be honest. - Sometimes I won't have time and I won't leave you guys with that. - That is an E that is a hideous E. - But that is nonetheless, - Honey. - But yes, - if he has everyone few back for me more than welcome to send me work and I usually go over - work on. - My blogger used to go over work through emails, - but all right, - let's get to this lecture, - and we're gonna talk about Why do artist make stories? - And the reason is this quote puts it in a really good perspective. - It wise man speaks get because he has something to say and a full because he has to say - something. - And I hope that makes sense to everyone, - because when you someone who tells the story should tell story because there's a reason to - say that story, - there's there's there's something that learned from the story or there's a emotion, - your trainer or less in each. - You guys are trying to communicate. - Your stories have to be personal. - You guys have to stories air best told when you make them connect with your life. - But Danny, - I want to do a SciFi story about, - like one epic Star Wars scale type story, - and I'm like, - That's fine. - But if you guys think what Star Wars was about, - it wasn't about just all lasers and spaceships. - If you guys look at the character of Luke, - it's really about believing in yourself, - because what's something that happens throughout the whole thing? - People are telling them he's great. - Your you could do it, - especially his uncle, - or what we find out was really his uncle. - But Obi Wan Kenobi, - because I'm saying, - Luke, - your you could do it. - You're fine and Luke is always like, - No, - I can't I can't But he's like, - use the force. - You believe in yourself in other words, - because Luke doesn't think one person can make a difference. - But the point that hands of finding out that one person can make a difference if they - believe in themselves, - and if you guys look watch that movie again, - you guys will see that. - Same with Luke. - And so what? - So that's what themes are. - Themes aren't the forefront of your story. - They're just a layer of your story like you have your structure of your story and you have - a character. - Give a theme to that character. - Give a theme to these situations right here. - Talk about, - um, - the best storytellers are Those who are are invested. - You have to believe in your story, - and you have to think it's good. - And usually when you tell a story about something you're passionate about and you mix it in - with something personal, - like for example, - for example, - um, - I told the story, - Let's say, - tell a story about a monster in the closet or something like that. - They monsters, - Inc. - But the way I make that story personal is that I put in a scene where I really was scared - one time, - and I remember how I was scared. - And I remember I would hide my head underneath the blankets but get so hot I couldn't - breathe. - But I didn't wanna put my head outside the blankets. - So what I ended up doing was making a tiny little space for my mouth. - The breeds and cool air. - See that specific and that's personal. - Take that kind of feeling that you're so scared you're going through like I put myself - through just physical trauma, - being hot underneath blankets on a summer day and inject it into your story like your whole - story. - doesn't have to be about your personal life. - But if you can inject some moments of truth in your story, - it will just feel that much more relatable. - Guarantee there's someone else out there. - It's done the same thing. - So trying to make your stories personal inject some of yourself into it. - Um, - without this connection, - that story is most likely not worth telling in the first place. - What I'm trying to talk about, - There's the theme. - Get it? - Yes, - have toe make that thing personal to something you guys that story teller are already - relates to. - And because he could relate it when he tells it, - other people are gonna be able to relate to it. - Here I give the example of E. - T. - Um, - E T. - Was a film about about an alien. - That is true, - but that's the surface layer. - That's just the structure of the movie. - What it's really about is about a boy learning empathy and how to put himself in two other - another's shoes. - And if you don't believe me, - watch that movie again. - And if you never watched any TV, - got to start watching movies, - go try to rent it, - Um, - here when I'm with this image, - just Gould. - A storytelling image put on the lecture. - But I do want to point out that you guys can see who the focal point is. - He's the guy in the middle. - He's the brightest human in that picture, - and the brightest human is always gonna be the focal point, - even though the moon is a focal point, - too, - because it's bright. - But because it's not human, - it's not the focal point. - But Danny, - how do you know is because you're I naturally wants to go to what's recognizable and what's - more recognizable than another human being. - Exactly because you're a human being, - you're always gonna go towards the human figure in an image, - and, - um and so, - yeah, - I, - um, - put that example into its a very busy shot. - Could without the colors, - would be really hard to see. - Like what am I looking how to fiddle is back and why it would be really hard to see, - but notice how there's to read people surrounding the person in white. - Even the person white has a little bit of red around here is because they're framing the - focal point Notice. - All this had had head circle wagon had had had had headed there. - This guy is the center of attention. - So see how he's made this artist use that to draw your eye to that focal point. - Just a little bit of visual storytelling there for you, - you know? - All right, - I'm just gonna read off this to get through it. - Stories that teach. - Why do stories survive while others air forgotten? - Hey, - stop fable. - Still around three down, - 3000 years. - Here's an Okay, - Well, - I'm no, - I'm not gonna read this story because you guys can read it because I also included the the - lectures in, - like, - pdf form for you to check out. - But basically, - what the story is is there's, - ah, - stories survive because they teach something or the old ones Do they teach morals or the - teach lessons? - But if you guys look in modern day times and you guys ever go to a playground, - usually the locals have a story, - and I hear I'm telling a story about about these kids will tell all the time. - And a lot of them told it just because it was cool because you know, - they No, - if someone who who died but the point of the story was really to inform other kids what to - do after they hit their head. - So take a moment and read this story when you get the chance. - Or maybe you guys have read it already because I do take a long time on the slide. - But stories like this they survive. - They might fade out depending if they're not total over and over. - But the ones that are good ace out fables, - Grimm fairy tales like all those old ones like Bible stories. - It's the old, - like, - very old set of stories that have been around for thousands and thousands of years. - So think about if you want your story to be remembered, - what are you going to teach? - What? - Do you know what knowledge you're gonna pass on if drastic Park is cool? - Because if I'm ever on an island with dinosaurs, - I'm gonna know how to survive that. - Don't move. - When a t Rex is looking at you. - See, - there's stuff that every story can teach you. - I know we all know how to survive a zombie apocalypse, - but I know we all watch Saami movies. - Um all right, - so let's let's move on 7. Why Artists Create Stories (Part 2): - on themes, - stories that survive often to Gia. - Moral of the story of King Midas tells us a tale about greed. - The Bible is a book of that teaches morals unless and through stories such as the one about - Job or David and Goliath. - Right, - here's, - ah, - image of King Midas. - And if you guys aren't familiar with King Midas Hughes, - the king who got his wish granted, - that was, - too Everything that I touch. - I wanted to turn to gold because he was greedy and he liked gold. - Well, - little did he know that that power was literal. - So when he touched his daughter, - she turned to gold and died. - And so then he learned his lesson. - Some things aren't worth gold, - and so that's the story of King Minus. - It's very simple, - gets the point across it and teaches, - um, - about this image. - Visual storytelling wise, - the focal point is obviously the king, - but more so his head, - because it's framed with a circle. - His colors make him pop out because you're complimented nicely because they're surrounded - by goat, - teams continued. - All these stories have themes, - but if theme cannot be a word like pride, - a theme is a sentence such as pride leads to self destruction. - Or if you guys want another theme involving the word pride, - it could be pride. - Sometimes some pride is sometimes a necessary evil. - So themes are not words like I did not want anybody saying my FEMA's love or anything like - that. - No, - get sentencing it specific because when it's specific and you have limitations and that - within those limitations you get creative. - And then with that creativity, - you bring the best out of you and its streamlined very specific. - That means it makes it unique. - Having a word is a theme. - It's like saying your theme is Read the Color Red, - which really isn't saying anything at all. - Specific. - Being well will help us story be original. - Stick out from the rest, - which is what I just said. - Um, - here's another image of David and Goliath made by Caravaggio, - one of my favorite painters, - and, - um, - here he just he lied. - He's a master at leaving the I. - The first thing you see is a shoulder or the arm, - and then you follow that down. - You see the giant's head, - you see the wound, - and then you kind of explore the rest of the image. - You might go straight up and see David's face, - or you might go to the foot, - go up the leg, - go across it back and then see his face. - But either way, - he's controlling where you look, - whether you liked it or not on your first of union and you, - you should think same kind of concept. - When you guys are making your images. - What what do you want me to look at first? - What do you want? - Me look at second, - What do you want me to look at? - Third, - if there is 1/3 object, - don't just drawn image for the sake of drawing an image. - How plan Behind your image. - Here's some story thing Comparison E T. - Verses. - Iron Giant told you guys earlier that E. - T. - Was about a boy learning empathy. - I still stand by that. - No, - Danny is about really wanting to get home. - No, - it's deeper than that. - The theme is deeper than that. - It's not superficial. - It's down. - On the surface, - you have to look for the theme. - So both movies about aliens from outer space who befriend a boy. - Her themes air different, - which helps separate the two movies together. - You hardly ever see someone comparing the two and saying how similar they are. - Instead, - look at these awesome posters and, - um, - if you guys haven't watched the Iron Giant, - I didn't get a lot of publicity when it came out. - Bad marketing, - not the fault of the movie. - It is an amazing movie with amazing animation. - Yeah, - I should check it out. - Directed by Brad Bird, - E. - T. - Spielberg. - Also very good movie. - So E. - T. - Is about a boy learned and put himself into other people's shoes to see how they feel. - In the beginning of the movie, - the brother yells at the main character and literally shouts, - Geez, - what are you gonna learn? - How to put yourself in other people's shoes for a change and see how they feel? - So that's one way to get your theme stated. - You literally say it. - But the main character didn't learn this lesson there. - Otherwise you wouldn't really have a movie. - So as soon as the eagling and appears, - he's like, - I'm gonna keep him. - He doesn't say, - Can I keep him, - or does the alien even want to stay? - He just automatically makes a decision without any consideration Alien. - What its plans were so soon after the alien the boy form a connection. - That and they connect quite literally. - So whatever E. - T feels the boy feels and vice versa. - So mirror the scene were E. - T is going around the house and eating some food, - and I think he had struck at one point in the kid gets drunk. - This is the theme also. - This is the theme being continued on and developed. - So this boy is now literally knowing how it feels to be in someone else's shoes. - Because how he's an E T shoes and feeling what he feels. - As the movie goes on, - you see instances of the boy learning empathy and him responding to it. - For example, - remember the scene were, - um, - they're about to dissect frogs, - and then he gets the biggest urge of you. - Just want to let them free. - That's them feeling sorry for the frocks, - but they're about to be deceptive, - dissected, - and so he lets him go. - He's learning. - He doesn't know he's learning, - but he's learning. - By the end of the film, - you could see his transformation or his change, - or that he learned because he lets e t go even though he wants him to stay. - He put forth the needs of someone else for the first time in front of his wants. - That's what SETI was about. - The boy in the Alien. - I enjoy it. - On the other hand, - whole different theme. - Um, - Iron Giant is about a robot who lands on Earth, - meets the boy and they become friends. - At one point, - the robot finds out he's actually a weapon, - and that and he finds out in a way that almost kills the boy. - And and so he's Now there's a conflict because this is obviously a a robot that's aware - it's alive, - and he just he doesn't know what to do, - whether he should do what he's programmed to do, - because throughout the whole movie there's an army trying to chase him, - and he doesn't want to fight. - He runs because the boy tells him a run. - So does he do he's programmed doing be this weapon that he is? - Or does he not? - So the story is, - if you would put into a sentence, - it would be a gun who doesn't want to be a gun anymore? - No, - that's a very good sentence. - And that's an interesting sentence for like, - what if a gun had a conscience and it didn't want to be a gun anymore? - What would happen? - How would it feel what problems would come up? - So it's a very good film. - I recommended. - I won't tell you the ending like a do e t. - So do check it out when you guys get the chance, - Let's see. - And well, - really is it can be it. - And my lecture, - huh? - What do you know? - Okay, - that's themes. - Have another lecture coming up its characters. - You guys enjoy that one. - When you guys were thinking of your own themes. - Don't go crazy. - Just come up with anything that is close. - You guys can always change it later. - Don't spend a whole day just thinking about a theme. - It has to be good. - No, - you just can change your theme. - So just pick anything and go with it. - Just start working. - Working with story. - It's all about redoing work, - redoing work, - redoing work. - You have to put something that's on the page. - You have to put something down on paper drawing or writing wise, - even if it's crap, - because When it's bad, - you could make it better. - But when it's stuck in your head and you're just over thinking it, - how are you gonna make that better? - When it's stuck in your head, - you have to get it out and see that it's bad and then fix it. - If it stays in your head, - you're gonna be like, - What's it makes sense in my head. - It's good. - I don't wanna have to do the story that's already good. - It's perfect. - It's in my head, - you know? - Just just start somewhere. - And then it will become what you wanted to become, - which is a good story. - All right, - so you guys in the next lecture 8. Story Problems and Characters: - Hello, - everyone. - This is gonna be by far my favorite lecture just because it talks about characters and also - talk about problems you guys are probably experiencing just about now when we've talked - about structure, - we talked about themes. - How the final element is your character. - Um, - one time I was in class and I was brought up. - What do you do? - First characters or plot on the teachers, - save whichever one you could think of a good ideal for first. - Like you don't always have to start with the structure. - If you guys have, - ah, - good character in mind, - make a story revolve around him. - But if you guys can think of a story, - just find a character to plug in there and that the events Carrie the character. - Um, - I just want to put that out because I was just thinking about that right now. - It's Ah, - it's a good question. - And I thought if anybody had it out, - there was one. - Answer it right here in this lecture. - So stories in fixing their problems, - jokes, - jokes If you have a problem, - study some jokes, - look at how they're set up. - Okay, - how does that patterns look at how they deliver. - And it's good. - Comedians are master storytellers because they have to do it on the spot they have to do in - front of people, - and they have to do it good every time. - Otherwise, - there goes their job. - They you have to tell it good. - You have to be funny. - So and so watch some comedians. - Look at there. - Just look what Just look at them, - do what they do best because their jokes, - they're so efficient. - They're so simple. - They only have enough information to sell the punch line and no more, - no less. - And so take that kind of thinking back to your story and make sure your stories has only - what it needs to have. - 01 thing that I mentioned in my last class is that you have to be a slave to your story. - Your story is not your slave. - I mean, - you cannot do whatever you want with your story. - I know that's a big bubble burst to a lot of you guys, - but it's true is true. - Once you start thinking of a theme and a character in a structure, - there's ONIS. - Sometimes you have to do what's best for the story, - even if it means taking out your favorite idea. - If it makes a story work better, - you have to do it. - If you can't do whatever you want to your story, - just keep that in mind. - You must do what's best for the story, - and sometimes that's making our decisions by having to take stuff out or change things. - But Danny, - I want them to have an epic battle on a spaceship that's about to crash into the sun. - Well, - if that's not you, - that's cool. - You could get it to your story toe lead up to that situation. - But if it's not necessary and there's no reason for that to really happen, - then it doesn't need to be in your story. - All right, - so here's joke. - Um, - not gonna butcher this joke Fight telling it, - but read the stroke. - It's on an example of efficient storytelling. - Every line in the joke is to set up the punch line, - so I'll give you 30 seconds. - Every joke. - Well, - I read, - but I just draw the gag of the joke. - Danny, - I could just pause, - read it. - You don't have to draw something. - Everything. - I'm just using this excuse to draw because I feel like drawing. - Hey, - what are you doing? - You do? - I don't know. - Okay, - if it's a I couldn't do that on my own time. - In the meanwhile, - um, - meanwhile, - here's another joking example, - which I thought this job was pretty clever. - I will read this one. - Duck a duck, - walks into a bar and asked garden and grapes. - And the bartender, - Confused, - tells the duck that until his bar doesn't serve grapes, - the duck thanks him and leaves. - The next day, - the duck returns these days. - Garden and grapes again. - The bard, - the bart with the bar, - the bartender said. - The bar teller again, - the bar teller tender tells him No, - The Bard does not serve grapes, - has never served grapes and furthermore, - will never serve grapes. - The duck a bit ruffled thanks them and leaves the next day of the duck returns. - But before the deck and say anything, - the bartender begins to Yeo. - Listen, - duck, - this is a bar. - We don't serve grapes. - If you're gonna ask for groups again, - I will. - Now you're stupid. - Duck beak to the bar. - The duck is silent for a moment, - and then ask gardening. - Now's confused the bartenders is no good, - says the duck, - and then say is Got any grapes? - This is where you laugh and clap. - Just good job. - Danny told that perfectly. - I know I didn't, - but it's a joke. - It's It's the stupid joke. - Okay, - I admit. - But it's a joke and it's efficient, - and it's bare bones. - How every story should be theme trouble. - Does your story sound too preachy? - Here's your theme. - Too obvious that you need to dramatize your thing. - Never make it the spotlight of her film. - Remember, - you have to hide it. - Hide it in the story. - In the structure in the movie dress park It was never Dr Grant. - Get over your hatred of Children so we get off the island. - It was more if you seen the movie, - you could agree. - That was more like, - Oh my God, - a dinosaur is gonna eat me Run In the job of the same thing the main character has a fear - of water. - He conquers his fear once he destroys the shark move movie. - It was dramatically about sharp, - but it was really the thing was conquering and facing your fears. - I hope that made sense helps you out with your theme. - Too much information. - It's Ah, - it's again the same topic of the duck. - The reason why I always I always come back and realize you guys take out stuff, - have too much information. - Take it out. - It's because a lot of stories air complicated are over too complicated and they need to be - You Take stuff out until your story doesn't make sense anymore. - And then once you see that you broke your story than just back up a step, - add the last thing you took out. - And if your story makes sense, - then that's the sweet spot. - Then you have all the information. - You need it. - You have all the information that your story needs. - All right, - So look too short Stories. - They hardly have any fat. - Every sentence and every word has a point. - Make sure your story is rid of unnecessary story points. - Dreamliners story and read the short story by a stop. - This is actually a good story, - so I'm gonna read it. - Once there was a farmer who had many sons and whose many sons were always bigger in - fighting with each other. - One day, - the farmer called his son together he had with, - um a bundle of sticks tied together. - He commanded each son to take the bundle and break it in half. - In turn, - they tried and failed. - The farmer then untied the bundle, - handed each son a single stick and told him to break the sticks now which they did with - ease. - You see my son, - said the farmer. - If you are of one mind and unite to assist each other, - you will be unaffected by all attacks of your enemies. - But if you are divided amongst yourselves, - you will be broken as easily as he sticks for the story. - Survived for thousands of years. - 3000 years, - to be exact. - Just like the jokes, - short stories have no excess material. - This one has the theme of In unity. - There is strength. - So imagine if you would make this into ah visual story. - If you would draw the visuals of this story, - you have all the information. - All you have to do is draw. - Come out with your story first, - then draw. - You could draw to to inspire the story. - Your story has to be solid in order for your drawings, - you know, - to be good. - And I'm not talking about them being good drawings. - I mean, - they're being successful drawings that tell a story continuing 9. Story Problems and Characters (Part 2): Okay, This is a tool for when you're writing your story. It's called mirror characters. It's my by far my favorite tool to use while writing the story. For example, in Three Little Pigs, the 1st 2 pigs we encounter are mirror characters of the third Or do I mean because they're all given the same situation? And by observing their decisions and reactions to the situation, we can measure the success of the third Pig to the 1st 2 pigs. If that makes sense, by seeing alternate decisions, we could see the wisdom in the Third Pig in his decisions. So you see there just to reflect different scenarios or different conclusions to situations . Um, another example of using mirror characters would be Just think. I've seen this in a E R. C s, I show. Or maybe it was great anatomy, I don't know, but in a medical drama, there could be a doctor who has a drinking problem. He then has to treat a drunk driver that just came in from a car accident. The patient is a mere character of the doctor because the lifestyle third of the patient reflects wore a possibility of a scenario that the doctor. If he stays with his drinking problem, you might end up, you know, encountering what if he does end up drinking too much one night and driving and ends up the same car accident. So that's another way to use mirror characters. It's It's the symbol concept, but it's very effective, very effective. Um, okay, so the next few slides air long. I'm not gonna go through them in detail because you guys can. I think I did a good job typing it out and you guys composite, but I will go through them briefly and tell you what was my intention and what I'm trying to teach right here. It's, um it's still about mirror characters, and I just want to point out a few mirror characters. And in this book called Mice of Men, if you haven't read it, it's a very short book. You could read it in a weekend. That's how short it is. Once you buy the book, you're probably gonna be like, yeah, actually, have live. Danny can't read this in one weekend. It might take me three. Anyhow. Read it. Um, so the author, John Steinback, he's, um just a master at using mirror characters and stories about two guys. The theme is that you can't live without companionship or or something like that, and and there is a problem because one of the characters he keeps this guy around the He keeps a big guy. He's a bit mentally handicapped. He's a bit slow and he's hugely strong, and he causes more trouble than he is worth. But the guy keeps him around anyway because, well, he loves the guy and their best friends, and so he keeps him around. And so throughout the whole story, you're gonna the author brings up situations where other people are faced with the same problem or dilemma, and you see how they handle it or you see the consequences of their decisions. And you start thinking, Well, how well are two characters? Air ended up fine. But as the story progresses, you're going to see that, you know, decisions do have to be made, and it's just is just great. It's a great buildup. So here I will, um, just give us time deposit. Read it. Oh, no. Actually, what I will talk about is the image. Um, it's a great image because the focal point is right in the middle. I don't like how his head almost touches this bank because as a tangent and tangents or bad if he has, um, I don't think that's in my lecture. But you guys who took my first class will remember me commenting on that a lot, just it za bad habit to do tangents. But this is a good image because their silhouettes talked about silhouettes earlier. Well, here you go. And if you guys kicked out my first lectures from my first class, you guys well, remember that talked about the number three and how things are better and on numbers and even numbers. Why is that? Because with odd numbers, it's not. It's it's It's asymmetrical, symmetrical. It's not symmetrical, and and when it's uneven, a leader emerges, and so there is or grouping or separation happens when there's odd numbers. When it's even numbers, it's everybody has a pair. Everybody has a partner. There's no focus on anything here. There's a there's 3123 You make the 3rd 1 bigger and even those same. It's darker to silhouette to make it bigger and a different shape in these two little bits stick out or maybe is the treat. It sticks out. But the only reason why the tree isn't the focal point is because it's on the edge and it's framing these two guys and see this framing. How that this size. Do it over here. So here's your focal point. That's what you have a frame right here. And so see down here we will. Well, there's nothing down here. Yes, there is. There is the flowers down here. So see how that's framing the focal point. Then you have this bank right here pointing straight at it. But then you have this line over here. You have this bank. You just have a line right here. That doesn't really do anything but put a nice little box around these guys. That's why they're the focal point. Focal points don't happen just because they're better drawn or that they're the middle of pictures because the elements around it support and are telling you. Hey, look at this. Look at this. Look at this. It's another lesson in visual storytelling. Let's go. Oh, yes. Composite read it. Here. I start. I actually typed out a few pages of the book to to just give you guys an example of his writing. Maybe get guys excited about the book, but it's, ah, it's, isn't it? It's a few pages that have an example of a mirror character, and if you haven't read the book, sure, it might be a bit boring. But if you guys read the book and you guys read this, this is the scene that I that I typed out. Don't you guys will probably read it with more insight now that you guys know about mirror characters and it is a live action movie, you guys, you guys don't feel like reading the book. You guys can watch the movie. Here's this. The scene continued. Could you guys composite and read it? But I'm gonna move on 54321 and the scene ends. So, um, you guys can just read this page? Do you want to say it's an amazing book and read a long time ago? And I do feel like reading it again now after doing this lecture. But, um, maybe those who did read it, which is probably two of you guys, um, to me, which he has thought about it. So characters and their arcs Finally, Danny, we're talking about characters. Um, character arc. It is not an arc like a rainbow. It is more just a transition from or a to be. And if your characters are weak and flat and they feel like they're not human, like they just rolled lots of people that, like the if they don't feel real, that means you probably have a weak character arc. And what does that mean? That means the change in the character has to be one drastic enough. And to has to be hard. Well, and I didn't type that out, but when I mean has to be drastic enough. I mean, like, if he was, If he's oh, Christmas Carol, then if If you're Mr Scrooge, you're like humbug. I don't wanna share my my gold. Oh, yeah, Hurricane. You have your feet, your monocle. I really actually doesn't look like that, but who knows? So he starts off. The story has a It's a very green creedy. It's just full of broad and anger, and by the end of the story, he's changed. He's good, so that's a visual change that you could see through his personality and his acting. But the other thing you have to take to account is it took the whole story for him. The change it took all the events and it took and it was wasn't easy. He was skeptical on the first Ghost and the second ghost. He was like, All right, all right, enough. I seen enough. And the Third Ghost. Even after he said enough, he was shown stuff he didn't want to see. That hurt him. That took him to the brink. That's what I mean when you have to make it hard. It can't be easy on the character, your characters long. What did it say right here? Characters, flaws have to make the change heart and much more convincing. Um, the flaws that Mr Screw Chad was that he treated a lot of people badly, and because he did those flaws, the consequences of those flaws were shown by the ghosts. And so because of his flaws that the change was much more the realization of how bad he was , it was much hard, harder on him, and we'll my voice is going All right, So, um, here I put two pictures of breaking bad. One is of the first season. One is of a later season, and home is just. It is a transformation the main character goes to and the 1st 1 He's awkward. He's not sure he's a bit out of place, and in the 2nd 1 he looks like he looks like he belongs there. And let's see if I survive this lecture without don't have water and ran out, all right, so 10. Story Problems and Characters (Part 3): - character arcs here. - I just put two examples to make this clear. - Toy story buzz. - He didn't think he was a toy, - and when he found out he was a toy might, - I don't know about you, - but that hit me hard to like just his reaction, - how hard that was for him to realize that. - And even once he realized that it was, - it was so traumatizing that he went a little bit insane. - By the end of the story was acceptance. - It wasn't that the change wasn't him knowing he was a toy. - That change was him accepting that because in the beginning of the movie he didn't accept - that. - So that's Buzz and Woody Woody had a character. - Are, - too. - That's what made the story so great Is that all characters, - really There were full circle characters that weren't flat. - Would he was. - He had to learn he had Teoh share Andy's affection. - That was something he couldn't do because he was jealous. - He was used to having all the attention to himself. - He didn't want to share the spotlight. - It was hard for him to realize that in order to keep some of Anne's affection, - he would have to share it because when he tried to keep it for himself, - it just got into situations where they took him away from Andy. - And the more he tried take Andy for himself, - the further he got from Andy literally. - And so even the movie looks dated because of animation so old it's still pretty solid movie - . - If you think about it. - It's not a love story. - There's knows musical songs in it. - There's no I want moment. - Solid story. - Oh, - right here. - Um, - check out what I wrote right here. - Oh, - you must bring your character the brink of physical and or emotional death. - Your characters will be measured by the size of their struggle. - So don't go easy on him. - Don't pull any punches. - Break your character. - Just break them so bad. - But make him recovered from that because it's there. - They're gonna nobody likes. - When the answers are handed to someone that people like to see, - people earn what they what they deserve. - So always keep that in mind. - Heroes, - heroes, - heroes, - heroes. - A hero is a hero because of their struggle and their sacrifice. - Here I put an example of Ah, - there was a man and a Nazi death camp who volunteered to take a place of another man, - and the second man was slated to be killed. - But the second man had a family, - and the first man did not. - So he offered himself to take the place of the family man. - That's a pretty big sacrifice. - A few of us would do such a thing, - but we all wish we would. - That's what makes a hero hero. - He makes the hard sacrifices. - Just because you sacrifice cookies for your diet doesn't make you a hero. - It's wind. - People are eating cookies around you and you still say No, - That's when it's a bit more respectable. - What else to say? - Story. - Huckleberry Finn. - I give you guys the example that, - um, - in the story. - It was a sin not to turn in runaway slaves because in this story, - Huckleberry Finn encounters a slave runaway slave. - But it actually Huckleberry fans days. - No, - I'm not gonna turn him in, - he says. - Then I'll go to hell then, - But where he's a kid, - so he believes he's gonna be punished for the rest of his life of his decision and for him - to say that I'll go to hell, - then that's a pretty big sacrifice in the eyes of that kid. - Always think of a hero as a piece of coal because with enough pressure with enough just - rough pressure, - you could turn that character into a diamond. - If you are ever showing the downfall of your main character, - it must be relatable. - You must feel like you're making a good character turn bad. - Tell us why you turned bad and you have to make it a good damn reason that, - hey, - I would do the same if I was in his shoes. - Movies such as The Godfather. - Good examples of downfalls. - If you are going to kill your main character, - make sure just sure go ahead and there's nothing wrong with killing your main character. - Just make sure they complete their character arc first, - then kill him. - It's very unsatisfying when you're like, - halfway through a transformation. - Then he gets killed. - It's sure that might happen to realize, - but that doesn't make good story. - Finally, - the last light is most important. - Note is conflict. - Your story needs conflict, - and there's two types of conflict. - The bolt revolve around your character, - their internal and external conflict. - This is huge is huge. - This issue. - That's why I saved it for last. - So if there's a physical problem that your character must overcome, - that's external conflict. - On the inside, - there is a dilemma that your character must overcome internally. - That's why that's an internal conflict. - This adds a layer true story that separates it from a flat, - bland tell. - That's only about action or superficial external conflict. - You know you need to put the internal conflict. - For example. - The king died in The Queen died as a story. - The king died on. - The queen died of grief is a plot. - The king dying is external, - the queen dying of grief. - His of the internal grief is an internal conflict. - That's why she died. - External conflicts move the story forward. - For example, - a policeman finds out the murderer in his case is another cop. - The internal conflict would be just to see him. - The murdering cop is that is the main characters best friend who once risked his life to - save his own. - I mean, - once risked his life to save the main character's life, - so that's a that's a pretty tough spot to be in your job. - is to catch bad guys. - But what happens when the bad guys your best friend see, - that's conflict, - Not just cheesy conflict that's come, - That's two layers conflict. - And that just adds the that just makes your story means so much more and that much become - that much more interesting. - In Star Wars, - there's multiple external conflicts and internal complex. - The one analyst to here was about Luke Skywalker and spoiler Alert, - finding out that Darth Vader is his father, - it's it's it could be summed up by saying he's evil. - But he's my father, - externals, - that he does evil things. - He's evil, - but the internals. - But he's my father. - He's my family. - He's gave me life. - There's another conflict that chose not to put in here. - And that's the philosophical conflict, - which is usually your thing for can be summed up in your theme, - which is the question. - Can one person really make a difference? - And that's what Star Wars is. - The external conflict is obviously the empire wants toe wipe out the rebels internal - conflict. - Is Luke not believing it himself being Why needs the first? - When you first see him, - he's like, - Yeah, - I want to go on adventures. - And when he's finally asked by Obi Wan Kenobi, - do you wanna do you want to come on this adventure with me? - It's great. - It's gonna be fun. - Luke chickens out and saves, - and I can't can't. - So his internal conflict is believing it himself. - And the philosophical conflict is. - Can one person make a difference? - These air subjective these air arguable. - But this is what my mentor told me, - and that's the example used just to make a point. - So that's what I'm doing here to you. - So what I want you guys to do is take everything. - It wasn't a lot, - but it's important stuff that told you about characters and add that to your characters. - Try to flush him out, - make a Meriel, - make him feel really make him given problems like you and me would have and apply that. - Apply a theme or identify your theme. - Put your theme in your in your project. - When you're showing it, - just write it down in a sentence. - So right now you should have a theme. - You're seven point story structure and your visuals telling your story and your visuals. - Your story should tell, - you know, - the characters, - the conflict was happening. - What's going to happen? - And for those who aren't doing a full story, - we're just doing a scene. - All this still applies. - Just because the scene is a piece of a story does not mean that the scene does not follow - the same rules as little raw story. - The scene still needs a climax. - It still needs a point. - You still need that you're gonna have to emphasize something. - A scene has an ark. - Two characters have an arc over a scene. - I say he's ignorant, - and then by the end he finds out information that he needed. - Like that's still a narc and you guys still have to be able to deliver that in an - interesting way. - So just break down your scene into the beginning in the middle in the end, - and you guys can think of visuals like that, - too, - Or the focal point can be the beginning of the climax than everything else would be the - body to support that. - It's a stretch, - but it's it's it's all the same. - It's all these. - They're just tools and concepts, - and it's art. - Art can be applied to anything, - so I like four to see, - and I all the are the stories. - And if you guys aren't participating or I hope you guys are at least learning and getting - some insight, - this is, - um if it sounds simple, - it's not. - Just try it yourselves, - you guys, - we'll see. - And for some reason, - if you guys still think you guys have a great story justice, - just wait till I get to it and I give it some feedback and rip it apart. - In story, - you have to leave your ego and your personal attachment at the door. - You guys have toe be invested in your story, - but detach yourselves, - be able to throw chunks of it away and realize that just some of it's bad. - Sometimes you can't salvage apart, - and you have to find a new solution or something new to happen. - This is going back to me saying, - you guys are slaves to your story. - Your emotions are slaves to your story, - your attachments, - a slave to the story. - The story, - after a while is gonna kind of talk to you until you know this is this doesn't work. - This doesn't feel right. - This doesn't belong in me. - Doesn't belong in the story. - And that's when you know you're getting close toe fixing story when you're finishing your - story, - this wind you're starting to see and catch on very fast. - No, - my character wouldn't do this are no, - because this wouldn't happen to my story because there's nothing. - There's nothing cause that it's just happening for no reason. - So once you guys start catching that yourselves and you guys are on the right tractor - gaining that eye for story. - And but as for information regarding your story, - this is the last lecture about that. - So from now on, - just put your story up, - make corrections, - give feedback, - received feedback and that's the only way somebody gets better. - So you're only as good as the community. - You're in the community of artists that you're in. - Or actually, - you know, - your you could be. - You couldn't develop and become talented or skilled by yourself. - But you really find your potential when you're around others that challenge you and make - you want to get better. - And that's why Disney and Pixar really great, - because they're surrounded by amazing, - talented artists, - and they just and there's always gonna be somebody better than you and you when you were - working with that person who's better than you. - Every day you push yourself. - You're like, - I wanna get my work to that quality and you end up doing so because they help you because - you can't be shy. - You have to be able to just put yourself out there and take the critique. - So I definitely need to go get some water. - But I hope you guys enjoyed the lecture and this class is almost done. - I'll see you guys later. 11. Bonus Q & A Session: - Oh, - um, - I guess I should mention something. - I do want to say that I'm most likely going to keep it pretty raw and And have you just - listened to the whole conversation and her Segways? - I want to say that a lot of things I said, - It's still an opinion. - It's not the way or the only way. - I know I say that a lot, - but I really do mean it. - I'm not the authority on storytelling. - I just want you guys to have the insight, - just thoughts of one artist on storytelling. - Anybody's a storyteller. - Everybody tell stories, - so don't get discouraged when you can't come up with a good story. - It's just just keep on trying everybody, - this story teller. - All right, - ask a women. - All right, - well, - personally hurt you many Think of my own questions like love Far. - Okay, - let's start with, - like what makes a professional storyteller different than an amateur? - I just I know you can, - um, - what makes a professional storyteller? - It's not well like the ones that that I work with. - It's not that they draw good or that they just know story inside out. - It's that if need be, - they are storytellers like begins tell a story to your face and still, - And still they could be the story, - as in when you when they pitched a story to the director. - You need to be your characters. - You need tohave if you're If it's an action story, - your deliverance and your just your tone in your voice, - you have to make it feel like action. - You have to have the same energy than of the story that you're telling. - If it's Ah, - it's a sad moment. - You got to be ableto put that energy and how you talk about it. - Like I think that's the biggest thing that can separate professional than an amateur cause - you know, - we could tell stories to each other. - And you're like, - Oh, - man, - um, - I went to a bar last night and but it's dry. - It's not a story. - I'm I'm just retelling something that happened, - but that's not a story. - It's like a movie of the story makes you feel it makes you get excited, - and you gotta be that movie when you tell the story. - That's how, - like, - besides the technical parts of like you do have to know story, - structure and what works, - what hasn't worked, - what's been done in the past. - How can you bring something new to the table and always try something new? - That's just part of being an artist? - And you, - if you're driving abilities air good and you could communicative story through visuals? - Sure, - that's technical thing. - But what really separates a professional is Are they a story? - Yeah. - Are they a storyteller like, - are they in? - Not a natural born Stewart storyteller. - But do you have the ability to convey a story in the human way just by telling that I think - that maybe that just separates a good storyteller from us regular storyteller? - Because I'm sure there's professionals out there that can tell a story in person, - but they could write one down. - But in my opinion, - that's that's That's the biggest difference I've seen from the storytellers that I had met - . - Yep. - All right, - and okay, - cool. - Okay. - You're talking about how they deliver it. - Body language told and all of that. - But how does a writer do that? - Not everyone is part of the visual field. - Not everyone's an artist. - When, - um well, - I guess besides, - the technical parts of you know having a good vocabulary and being ableto draw from - different experiences in life. - To add to your story, - how does a rider become a good storyteller? - A writer has toe, - make the characters feel like people. - That's the biggest thing to make it just to make their stories, - first of all, - just attractive. - It's something that people want to read. - They have to feel like it's a person. - Like if I if I described you to somebody, - I could come up with enough detail stuff that's unique that people can imagine. - Yeah, - that sounds like a person, - not just like a person with two arms and two legs, - but a person who has a personality that has something that he likes to laugh at. - That, - you know, - does something specific when he wakes up the morning and you know that he that has its own - life and that will have their own life even after you're done talking about that like an - eagle's for all storytellers. - But you know, - if you're a writer, - you have toe. - You have to know how to end a page like the last sentence that you end like a page in. - You have to know even that, - even even organizing your pages. - When you write in the book, - you have to know what sentence you're gonna leave off on to make that page turn worth it - like it's a tiny thing. - I know a lot of artists don't I mean, - a lot of writers don't do that, - But when you do turn that page feels good because you know you're getting a whole new page - of information and you can't wait to go through it. - And it's just that suspense, - just like when If there's a theatre play and when you and when, - right before the curtain falls for the intermission, - they always leave you with, - like, - a little bit of a hook or a little bit something that prompts something that promises more - come. - That's even better, - like sentences can do that, - and you just have to. - I know how to keep your reader engaged. - I think like there's no difference if you're a writer. - If you draw, - you just have to know story. - You have to know it's all about your viewer. - It's not about you done, - but the story you want to tell because the story will change from your vision and That's - just because it's a story that counts. - Sometimes your initial idea to be honest is bad, - and you gotta work with your story and figure out what your story needs to make it a good - story. - I'm Andy. - There are any questions with everything that you just I don't that a professional get the - first time what the process in that? - Oh, - nobody gets it right the first time. - That's why it's always great to be around artists because you could bounce your ideas off - them and you know they help you see mistakes. - You can't, - and it's not cheating in a way like, - Oh, - you're not good. - You're just good because of the people around you. - It's more like nobody's or hardly anybody is always right the first time, - and so the process would be. - You can't It's really hard to come up with something good out of nothing. - You have to polish, - you gotta build. - It's like building a house. - You get the raw materials of like wood and then just hardware and you build on that so the - process would be you just have to come up with something bad, - even if it's the worst thing you ever came up with you? - Write it out and then you read it. - And But what? - Like what we do in the studio studio? - It's all the artists are the same when I have my work and I'm a bit stuck or I think it's I - need No one needs to be better. - You just go to the next artist and years and years to you and you asked for the feedback. - And what a story artist does after they get feedback is they throw it all away and start - over, - because sometimes that happens a lot of story. - You get one little note, - and that couldn't change half your story like, - No, - I don't think your guy needs to be nervous, - because if this happened in his childhood, - he wouldn't grow up, - that he would actually be introverted but always angry. - And that changes your whole story with that note. - So story artists start over a lot. - It's a really bad habit to try to salvage your story. - It's you need to get into the habit of letting go. - It's not your story. - Once you start making it, - the story is its own thing, - and it will change if you let it and it will get better. - That's it's just start over. - Don't get attached to your work. - And that's the process. - You re do a scene hundreds of times no one hundreds, - but multiple times as a professional story artist until it's right. - And that's letting go the things you like about the scene as well. - So yeah, - that's it. - In a nutshell. - So where are you? - You're, - um you cut off a little bit midway through your question. - State again. - Am I asking questions about professional? - They're asking questions about storytelling in general, - whichever one which everyone you actually would find interesting. - You say that. - Okay. - Right now. - Okay, - I'm gonna say that cloak. - Really? - And then we think away from you. - Don't say it. - And then you sure? - Okay, - So you keep saying that. - Oh, - yes. - Thrown away. - So this away and all that stuff. - What are you writing a story for yourself, - or are you ready for your soon to be on? - I thought the story was like, - you know, - whatever the author had in mind, - he would just go out and start writing it down. - There is There is what you're talking about you're making it seem like, - Oh, - I gotta write any kind of schooling for my okay, - How clarifying that you get. - That's a good one. - That's a good one. - There's two things. - There is one thing that always stays with the artists, - and that's what you want to say. - But how you say it, - which is the story changes. - Okay, - Yeah, - let me make that clear. - You want toe? - You have to understand that I want to do a cool chasing is not something to say. - I want to tell a story about heartbreak and being alone. - That's a bit more specific. - It's still not something say, - but that's something more specific. - But see the change between wanting to do a car chase and wanting to tell a story about - heartbreak is that you could tell story about heartbreak many different ways, - and that's what you have to just hold on to your theme. - But the way your story delivers your theme is not yours. - It's it's that that can change and you cannot get attached to that. - Okay, - but as long as the message is yours and so that will always stays will stay with the writer - . - But if your If your story makes sense better with, - ah, - 37 year old than telling it through eight year olds. - You've got to make that change, - because you, - um I said think I said this in a lecture. - You are a slave to your story. - Your story is on a slave to you. - And when I say that, - that just means the things that happened. - You have to find the best delivery of your message and that you have no power over because - you sure you want toe? - Tell us you had a vision of telling a story about unicorns finding helicopters. - But you don't. - That's not you can't get attached to that. - But if you wanna tell a story about a thought or feeling that of of something about beauty - versus machines, - see, - that's a bit more abstract. - That's something you could keep and you could use. - Unicorns and helicopters toe deliver that, - but that could be a bad stories. - We might have to just think of a more. - I'll use the word beautiful waves telling your story. - The most effective way to tell your message is what is what you're looking for as a writer - , - and we'll once again. - I just want to point out that it's not like this is not the right way. - The only way to think about it. - But this is the way I've observed by working with the professionals. - This is what I've observed with being exposed all these years to these artists and not just - artists to call themselves artist. - The artist that do it good. - This is their mindset. - I'm just trying to communicate it to you the best way I can. - So this is I didn't invent this. - This is just what I'm observing. - Calling it as it is. - Yeah. - Okay. - How do you ask them? - I was like a reedited. - Um, - and put this. - Yeah. - Actually, - I think the way you said it, - Yeah, - it's even though it's a, - um it's like it was an honest search for a question that but I understood it better by you - searching for it like, - let's say we do find a way to say that question better and or, - like, - just more elegant. - The your search for the question probably reveals mawr of why I answered it the way I did. - You could say something stupid like, - how do you How do you keep your story yours or something. - But see, - that's not the original question, - and I would have answered that differently. - We're not using this thing being my own personal question. - Sure, - I would have no those people that have. - Like I they live the life they wanted communicated toe where they don't have enough room to - just throw it away because it's their actual life's. - And you write about Agassi's You want to tell your life like Benjamin Button style or four - scum like Let's say, - like, - let me know. - Um um, - catch not catcher in the Rye. - But what's the one by the other one by? - There's one by Hemingway with a win here. - Stand back. - Coming? - Yeah, - Well, - what's that? - What's it? - Your family. - Okay, - Okay, - we will help me Remember that, - um, - that Hemingway book about a boxer that goes well, - they are all most of the stories happen in Spain, - but I'm all right. - Anderson also rises. - Yet it's something like that. - As like, - that's just a story about a guy and his in his You. - I think it's about his youth. - It's been a while since I read it, - but yeah, - okay, - let's go with grapes, - a raft and about the you first about him. - Yeah, - it's actually happened instead of like, - it would say that the artist author, - whatever was going about it all Rome. - So instead of abandoning taking a moral point to like, - Oh, - this is what happened to me. - And this is what I found That, - or look, - you got a team. - But I can't one because that's the way I did. - But I want Oh, - okay. - So wrong. - You want to keep the events true. - Okay, - So you want to keep So let me say your question. - Just so I know a man certain it right? - How like things happen in your life. - And you want to be as true to those events as possible. - But how do you still find the best way to deliver this story but keeping you know? - And we're assuming that we're really messed up their can restart because Because it's due - in a month or something. - Huh? - Um, - no, - e o. - Because it's about your life. - Oh. - Then okay, - um, - Then then then it's the delivery. - And then, - in the amount of importance you put on those events so that they're still progression in - those events like, - let's say, - like a story of like, - um, - what's it like? - Nowhere. - Boy was a story about John Lennon. - Did you get to wash it? - Yeah. - Okay, - So nowhere. - Boy. - Those those Those were true. - Those were, - you know, - presumably things that really happened in his life. - And so but do you notice how when they're telling that story, - they spend a little bit longer, - um, - a bit much more time on certain events, - and that kind of sets up other, - Like the weight of another event coming in telling these advance Because sometimes you have - to leave events out like we don't need to know if he had a pet or not, - Even though the pet might have meant a world to him, - you got to find the theme about what you want to say about the character's life and stick - to the events that communicate that. - Like we did not know everything John Lennon did in that part of his life. - But they told us the parts that would make this story impactful. - I got a better with baskets, - whole artist, - and like, - they're each given a certain amount of thing being the scene and the person? - Yes, - each artist going to come up with a different story, - right? - Okay, - because they or that's what you guys are gonna spend more time on this. - Some others are gonna that it's the angle that their cheeses, - you in a minute, - link your story line you different. - Oh, - I could definitely be different. - Oh, - yeah, - yeah, - okay, - becomes a reader or the viewer will be different with the little things that they do like. - Here's a good here's a good way to explain it. - So imagine if that movie was animated, - or imagine if it was done like stop motion or imagined more high budget. - Or just like there's different things to change the quality of the movie right and that - will make it look different and feel different. - Well, - with the way you tell your story, - it's the same thing as using a different medium. - It's just going to give you a different feeling of the same story. - If I would paint story of John Lennon's childhood and he's cut off, - but I will continue with my answer if you if you paint this childhood of John Lennon or if - you write it or if you animate it. - Same story, - different feeling, - same way with telling the story. - It's just it's it's just gonna be different. - Let's see if I could get him to call back. - Oh, - that's my brother, - by the way. - All right, - All right. - So with everything you said about progression of a story, - how do you know when you're doing and game? - Uh, - you could always work on the story, - but you know, - when you're done, - when your audience or whoever you're telling this story to gets exactly what you're trying - to say and it could be unfinished for you. - Wait, - I could still make this better. - But as soon as the stories coming across with as much effectiveness as you imagine, - you're essentially done. - You're doing your job. - You're telling this story. - But you know, - if you want to fix sentence structure or you're gonna make your drawings look better, - that's well, - sure, - that could be improved upon. - But your story works if you're if people are being impacted, - not only not only literally just hearing this story, - yeah, - I could repeat to you what happened, - but if they could feel like for the characters, - that's when you know you're a bit done, - but on a professional level, - like just on your work, - quality wise, - you professionals done when the drawings are just clear enoughto to tell a story because in - storyboard and you're not trying to make every drawing beautiful or crazy, - it's just enough to tell the show the director this this is what is happening and you years - you're using that to tell a story so they don't like the joins aren't the main focus. - They could look sketchy and loose and and bad. - But as long as we're clear, - then then you're fine. - Then you're done with the drawing and you could move on and work on another part of your - story. - And once your story is done, - then you're done because you don't need to worry about the quality of the work. - Need to worry about the quality of the story itself. - So whoever even one color if you want a shade that's extra, - you already done if you already just thinking about that. - All right, - this is in the site. - Okay, - So, - something. - I know that right now when you watch your movie, - but I got no one expects you watching you want like Why the hell did you do that? - But I want to read it. - I feel like, - Oh, - that's the way it's about that because it's written. - It's just a different feel, - um, - that you have to. - You don't have to agree with what the character does, - but you have to understand it. - You have to understand their decision here. - Let me give you an example. - Um, - in The Godfather. - The I think there's a character who, - who actually, - I don't know exactly. - But let's say someone murdered your sister, - you know? - And you know, - he has obviously the opportunity, - the call it in. - He knows who it is. - He could call the police and get him in jail, - but he chooses to go and kill the guy himself. - As long as your story shows how Maddie is and you know he's doing the wrong thing, - you just have to understand why your character is doing what they're doing. - The moment you get your audience to say, - Wait, - well, - why does Why is he doing or what's happening? - Why is he doing that? - Then you then you're failing. - But he's like, - Ah ha can't believe he's doing that. - And when your when your audience is thinking that's that's crazy, - but they understand why he's doing it, - but they still are reacting to like I wouldn't do that then that's fine. - But if you don't know the intention or anything that's going on inside your character's - head, - that's when that's when it's bad. - I need to even enter my second part like that. - He can take up that right. - Anything. - Why do? - Why doesn't it in the right? - Why does it like Maybe that's like how it comes across that way like that. - You watch something like you can visualize them doing something else. - Oh, - should have been there. - But when you're reading it like, - well, - mostly with a story, - we have more information about what's going on in their mind, - and so whatever they're doing, - obviously feels like it's the thing that's meant to be done because you're going with their - train of thought. - Even when it's the first person first person like Lovecraft story like your it's always - told by the in the in the first person. - And so you're going along with their thoughts and their actions, - so their actions are logical because you're following the train of thought of the character - and with and with a movie that's that's almost impossible unless it's being narrated. - So you're you need. - You need cues you need to. - The the acting then has to be good. - The body language has toe qu and naturally to what they're thinking. - I get their nervous. - Then it makes sense why they ran out of the off the stage at the theater. - But if he's just standing there like Napoleon Dynamite and then he runs out the theater - like what the fuck has happened? - You're like, - I don't know why, - he asked. - What are you drinking? - 2% milk? - Because you feel like you can drink whole milk or something like that. - It was funny because it didn't make sense like what? - But then you could kind of tell Oh, - he's trying to hit on her or exactly, - but but But it's the reason why you don't get the queues of his body language that he's - trying to hit on her like if you're watching how I met your mother and you're looking at, - Barney tried to hit on women, - it's obvious with his intentions what they are. - But the reason why I was funding with Napoleon Dynamite is because his body, - then which did not clue you in into anything that he was about to say. - So I lined that came out was just funny. - But you got the intention after the fact that maybe is that switch to that lent itself to - be funny. - All right, - you question, - shoot. - I think I got, - like, - one more than I had planned. - Okay? - So even when a story is done, - I know myself is reminder. - I've never satisfied like a finished story, - but I always know it could be better. - How do I, - like come to terms with? - That's just what it is, - or else I would just keep working and working until it mastered. - That's when you just gotta. - That's when you get authors that don't release their books after seven years. - That's when that's when you need an editor. - Someone Teoh help you out. - You need someone just the bounce. - It's very hard to be artist on your own, - very hard like even like like artists that are famous for being introverts and being on - their own. - Like van Gogh, - he still had a friend he painted with. - He still had a friend he talked to with, - and it's that other mind that can reflect you're ideas back to you in a different way. - Kind of give you a different perspective if you're if you're really done or not, - you just need another mind in your vicinity so you could have the opportunity to see it - through their eyes or just is the same way. - I guess it does the same thing if you step away from your story like let's say you're - writing your story and you get to attach. - You can't tell if it's good or not, - and you could work on it forever. - But you're going in circles. - Don't read it for a month or don't work on it for a summer and then go back to it and read - it. - It's almost gonna be like you're reading somebody else's story for the first time. - You could be that stupid. - Why did it? - Why is this happening in the story? - And then it's It's just stepping away, - stepping away, - clear in your mind and coming back. - It's panners. - Do the same thing and I do the same thing when I anime You're working, - you're working, - you're working. - You taken our break. - When you come back and you're like, - Oh, - it's obvious, - what's wrong? - And when you come back and you're like, - Damn, - I wrote a good story then, - of course, - and you might as well be done. - So it's just you need a refresher perspective. - You can't get too attached. - Well, - that's not bad. - I guess me gives me something to work with. - And if worst comes to worst, - I just titled the lecture Danny raw with a lot of mistakes. - Just throw it out there. - It's not being me. - And Lazy is just like I don't know. - I like the mistakes. - I like one enemy I like. - I like raw animation more than the cleaned up animation just because you see the person's - thought process. - If I take everything, - if I would translate this, - I'll call you an interview and just transfer it to type and just, - you know, - just clean up my answers and get them to the point. - Sure, - that might be flying for someone who's in a rush, - but I know there's something to the pauses to the delays and thought process that just - makes it feel like you're more accessible. - I feel that's why a teacher is better than textbook like what comes first character or plot - ? - It's a hard one. - It's like trying to build a plane while flying it. - But it za plates, - whatever strongest and use. - But whenever I do stories, - you might have had the right one. - I would always club first, - but I will. - Now I wonder, - if I had a character and made a new every old value. - What would she do? - Always, - always. - Yeah, - okay, - let's say you come out with your plot first, - because that's the easiest thing to do. - All of the world's about to be destroyed by an asteroid, - all right, - but you gotta put a character in there, - and this is what I mean when your story changes, - you're not a slit. - Your not the master of your story. - You could put that on your character shoulders, - make your character come up, - give him a personality to make him a person, - and you put them in the plot. - And because you know that character's personality so well, - you know what he would do? - Sure, - let's say you had him, - um, - overthrow the government and stuff, - but then you're like, - No, - I know this character he wouldn't do that. - He will go about. - It's a whole different way. - I think if you have a character that already does specific things like that, - that's a good character. - I mean, - if you could tell what he would do and what he wouldn't do, - like like, - you could tell What? - Um, - just throw me a move around the movie around the movie, - Give me around the movie or forced you know what he would do or what would be believable if - you put him in a situation. - Let's say you throw him, - you put him in a driving class. - Is this first time learning a car learning how to drive a car? - You could imagine his mannerisms are what he would do. - He wouldn't act like you or me. - He would act specific and if you could, - if you already have a character that's that's of specific, - and you could tell that some actions don't work with him, - that's fine. - Keep your character than he is specific enough. - He might change your story. - Let's say you already have an ending in mind. - How your ending happens might change, - but it could still be the same ending that you intended to the same feeling the same. - Whatever. - It's a, - it's a given port. - It's a always in flux. - You're you might think of it. - It's a good plot twist. - Throw that on your character and then see how your character reacts to it. - And then you let the rest of your story developed because of your characters, - actions or something. - Most people have an idea of a plot, - but actually your character will make your story a plot. - That's just a story that's just that's That's a structure that is more of a thing to do. - Character. - First, - let's say Let's say we're doing a movie like Die Hard, - right It's very simple. - Got to catch the terrorist and save the people. - But what character you have in there like, - If it's like if it's a character from Jaws, - he's weak. - He doesn't like to take charge of situations, - or let's say it's Indiana Jones. - He doesn't care how he does things as long as they get done. - Like whatever character you pick is going to change how your story happens. - But it could still be the same story. - It's still about terrorists and saving people, - but your character is gonna the way he does it or she doesn't do plot first, - diehard And then, - well, - let's let's say you do want an action movie like let's say that's what you're given, - That's what your company, - your That's what let's say Universal Studios or somebody What? - The suits upstairs they want on action movie for this slumber. - All right, - Okay, - I got to think of a story. - Has to be action, - but then what's gonna make your story unique is your character. - So you sure you're plot? - You could decide it's gonna be action, - but how that actually happens relies on your character. - But see, - it's a gray area. - Your plot is Justus, - important as your character and your character has enough power to change your plot in ways - you know they can't. - It's like you can't let your character change your action movie into a love story. - I mean, - I mean, - there's some limits because you can't let your character dominate the story. - That's when you get movies. - They're still great movies, - but that's when you get movies like, - um, - there will be blood that's completely character driven. - You're just going along for the ride and seeing what happens, - but when? - But let's say something like Avatar is completely I feel plot driven. - Sure, - there's character in there, - but I don't think that Strong is there will be blood. - Character wise, - like Avatar was like a Pocahontas plot that was well told. - It was an awesome movie, - but it wasn't awesome because of the characters. - It was awesome because plot how there will be blood. - Awesome because of character, - not so much for the plot. - But when you have that balance, - like Shawshank Redemption or something like that, - that's that's That's Well, - obviously, - that's something rare. - Obviously you people exactly, - you know, - and obviously you're gonna get that. - Um, - I was gonna say hipster, - but you get that Avedon guard person that says I don't like Shawshank Redemption. - It was too predictable, - etcetera, - But who cares? - It's that balance. - As long as you have that balance. - Don't care really what people are going to say about your story. - Just make sure your story, - it's the best it could be and that you're making it. - Communicate your idea as best you can, - and that's all you could you. - We've been talking for about half an hour already. - That's fine, - that's way more than I needed, - and I just might just put it up. - I'm trying to decide whether I want this video of myself, - because I calmly record through recording my voice through according to movie. - But I don't think I want people seeing me walk around, - pick my nose. - But this would be the only time they see my face as instructor. - Yeah, - I kind of wanted this lecture done really last minute because it's I don't have to think - about my answers. - If I would have done this lecture, - Um, - they got over 520 five people easily. - It's good. - It's a good number. - It's a good number of people to reach out to, - even if you know, - 100 of them don't even check out the class. - They just bought it from the information. - You narrow? - Yeah, - I kind of regret calling it advance. - I could have just said a deeper look into storytelling. - Maybe that wouldn't have made it so scary. - Because I really like you read the lectures. - They're accessible to people who really don't have a background marketing. - Yeah, - that was that was my fault. - I kind of just wanted to make it. - I really wanted to please the students who did take the first class and wanted them to feel - like this was something more, - which it is. - Something more. - But I didn't want to scare off new people. - That's my fault. - All right, - I'm gonna end it there on now. - I got a debate with myself, - whether I just have it all or at it a bit. - I have one question. - Go for it. - And your answer. - Yes or no? - Not too much. - And the book, - because the book really called Song of Firing. - Um Oh, - like you know how the Siri's is called Lord of the Rings. - But each book has a different title. - Okay, - so what? - But so the series is called a game of Thrones because that's the theme of the book. - That's what that's what. - It all revolves around the theme. - And I got predictions about what the theme is trying to say. - Um, - no, - no, - no. - It's saying something specific, - like I didn't read. - I read up to book three on one book four. - But it's saying something specific, - and I think after this episode, - you're gonna I think you're gonna figure out this theme heart like Really? - Well, - I'm not gonna talk about it cause I don't wanna spoil the book to 500 people. - I'm gonna be a for a while. - I'm not gonna go to sleep anytime soon, - because it because I got to make sure this video upload spy tonight. - So I'll probably up to, - like, - two in the morning. - But, - um, - I'll talk about the theme with you afterwards, - because it I think it's very specific. - It's simple, - very simple, - most likely tomorrow. - All right, - cool. - Since although a world dreamy and finished book, - but I think they're saying they're making books three. - Yeah, - because because what is it? - Is this a season finale or what? - No, - there's one more. - Okay, - it's because because I think the episode you're about to watch is only halfway through Book - three. - That's fine. - Yeah, - all right. - You know, - it's it's it's a good it's a good part of the story. - It's. - And if it hasn't, - you know, - they do describe her hair. - Actually, - she's supposed to have silver hair, - but, - you know, - blond, - white hair care character is she loved main character, - right? - That won't there. - It's hard to put a main character in that in a position to call him a main character. - Because in the first season, - we thought the main character was the dad. - And you know what happened to him? - Exactly. - You're like, - but but I think this is a perfect example of letting the plot override the character, - but still having good characters to drive the plot. - You know, - like like you like, - I need this. - I need this That happened my story, - even though I like my characters. - But, - you know, - the character was so specific that it let this happen. - He was too good. - He did things by the book. - And if he would've just done in, - done them, - otherwise he would still be a the stuff. - The thing that happened wouldn't have happened to him. - But since he was a specific character, - you could argue that he let the plot. - He was like, - Maybe that maybe the writer was I wanted to keep him alive. - But I gotta kill him because his actions air leading to that, - you know?