Monday, June 30, 2014
Frank Thomas
any attitdue or expression should not be limited to the face, the whole body should support your statement, just as much care should go into the shoulders and wrists and everything as the eyes
(or something like that, Hyrum Osmond quoted it here
Thursday, June 19, 2014
Point Pusher
Daniel WIlliams pretty intersting
New Class Webinar Preview from pointpusher on Vimeo.
he talks about the idea that the 9 old men were concept artists and character designers, they did it all. Current animator's are just puppet pushers, which is hard, but the old guys used to do more, were bigger artists. Why not, why not go back to doing everything?Screentakes
Jennine Lanouette has some pretty clear videos about story and acting.
Sympathetic Doesn't Have To Mean Likable from Jennine Lanouette on Vimeo.
It's not that he was likeability that pulled the audience in, it was his vulnerability.
Show your main character at a power disadvantage, even for a moment, and the audience will get on board, we all love an underdog.
Some characters don't immediately illicit sympathy.
in Margin Call, the characters are all rich and powerful, but we are introduced to each one in a vulnerable moment (ones dog is dying, one has bad nicotine withdrawal etc)
How bout james bond (invulnerable) we see him at the mercy of his boss
Once you show your character at a power disadvantage they can be a dick afterwards, just have to introduce them in a position of vulnerabllity.
The examination of human deviance is as essential as the triumph over adversity and the glorification of strength.
For the viewer it needs to be personal, a practical matter for the writer. By engineering a sympathetic attachment you enable your viewer to stay with your deviant character and outrageous behaviour in order to reveal the larger cultural meanings contained in their story.
Who Has the Power? from Jennine Lanouette on Vimeo.
power shift on an action is stronger, because it's understood visually also
Lesson One - Visuals and Action from Jennine Lanouette on Vimeo.
have to show how tough max is but also his humanity
we saw him make a decision visually. We understood what he was thinking because of what we saw, how important gas is, and that he messed with this guy. So we know how important both things are and understand what his thoughts are as he considers both.
Dialogue as Action from Jennine Lanouette on Vimeo.
Sympathetic Doesn't Have To Mean Likable from Jennine Lanouette on Vimeo.
It's not that he was likeability that pulled the audience in, it was his vulnerability.
Show your main character at a power disadvantage, even for a moment, and the audience will get on board, we all love an underdog.
Some characters don't immediately illicit sympathy.
in Margin Call, the characters are all rich and powerful, but we are introduced to each one in a vulnerable moment (ones dog is dying, one has bad nicotine withdrawal etc)
How bout james bond (invulnerable) we see him at the mercy of his boss
Once you show your character at a power disadvantage they can be a dick afterwards, just have to introduce them in a position of vulnerabllity.
The examination of human deviance is as essential as the triumph over adversity and the glorification of strength.
For the viewer it needs to be personal, a practical matter for the writer. By engineering a sympathetic attachment you enable your viewer to stay with your deviant character and outrageous behaviour in order to reveal the larger cultural meanings contained in their story.
Who Has the Power? from Jennine Lanouette on Vimeo.
power shift on an action is stronger, because it's understood visually also
Lesson One - Visuals and Action from Jennine Lanouette on Vimeo.
have to show how tough max is but also his humanity
we saw him make a decision visually. We understood what he was thinking because of what we saw, how important gas is, and that he messed with this guy. So we know how important both things are and understand what his thoughts are as he considers both.
Dialogue as Action from Jennine Lanouette on Vimeo.
Tuesday, June 3, 2014
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