Female-led sci/fi, horror and fantasy franchises:

Resident Evil: 5 films.

Silent Hill: 2 films.

Underworld: 4 films.

Alien/Prometheus: 5 films.

Scream: 4 films.

Paranormal Activity: 4 films and 2 spin-offs.

Hello yes this fucker is my new mun faceclaim…Which might get confusing given Yuan has adopted him as a faceclaim for Morgan. Whoops.

Aha yes anyway tried to make a muse out of him but the fandom is really empty compared to over here. I’m not dumping him quite yet but Chrom is still the main focus. If anyone wants to interact with Karma though, I’ll blog hop but literally I think there is one active rper for the protagonist of this series.

But yes faceclaim is now a character I identify with rather than Kuroha because Kuroha. I might jump back to using Kuroha though if it gets confusing - and by that I mean I get confused - with seeing the Karma icons used by two people as face claims.


Here are some stills from my thesis film. Its about a grim reaper who struggles with her job. 

It was super fun to shoot and to edit!!! I wrote the script and it was so awesome to see it come to life. It was also a dark subject for me- but still fun! And we had scythe fights…..

One thing I learned in reference to that: WHEN YOU TEACH CHEORGRAPHY TO ACTORS YOU SHOULD HAVE THEM REHEARSE LINES HOW YOU WANT THEM TO BE SAID. Because sometimes they’ll have trouble changing the lines or the delivery after they’ve practiced it for so long a certain way. :)

Learning is fun. 


Vatican Library Digital Archiving Project:

This is the story of the NTT DATA project and the digitization of the manuscripts in the Vatican Library.

The overall project, began by the Library a few years ago and now underway, involves digitizing all the manuscripts preserved in the Library for a total of 82,000 units, about 41 million pages.

The images show the locations and activities in the protagonists’ own voices. The observer travels in the very places as they are revealed: the bunker, consultation rooms, restoration, and the photo department, where the manuscripts are digitized.

Dernier quartier de #Lune du 12 avril 2015 , Miroir, Oh mon #beau miroir, dis moi …

Dernier quartier de Lune du 12 avril 2015 , comme le reflet d'un miroir

Des jeunes jouant de la musique pour les passants ayant reçu un peu de réconfort vont à leur tour donner un peu de reconnaissance d’amour et d’humanité … <3

Comment vivre ce Dernier quartier de Lune réactivant les deux protagonistes en astrologie servant en toile de fond  à cette crise mondiale qui n’aura épargné aucun pays. Un Dernier quartier de Lune qui va revenir sur des situations passés qui…

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I gave myself a test today.

So while staring at my page I didn’t know what to write (This is the first time I’ve written in months.) So I tried to rack my brain and I came up with this: How about I write everything I know about story down so that I can know what I don’t know or fully understand about story. I mean I read all of these books but just about how much of it is sticking?

So here it is, 750 words about what I know about story. 

What I know about story:

When it comes to script writing, active verbs should always be used. 

Story can be structured into three acts:

Act one is the exposition to the problem and the character’s wants and the obstacles facing him/her. This also may expose some sub plots in introduction. Act one ends with the inciting incident which spurns the main character into action to gain what they want.

The second act begins with the character formulating a plan to get what they want or reluctantly discovering what they want because of the inciting incident. This is primarily the time when there is a reaction to the inciting incident and the character acts on his/her own personality to come up with a solution or do something outside of their normal routine to get what they want. The act two break normally arrives during a belly of the whale moment- all of the main characters attempts to get what they want have failed and they must be forced to make a decision weather to continue to work for what they want or to re-evaluate what they want. 

Act three begins with the decision of what the character really wants. This spurns them into action and they put forth all their efforts into getting what they want. The climax occurs at the height of the emotional and physical efforts when the character’s resolve is most resolute. This is the height of conflict. After the climax there is falling action where the main character must now deal with all that he/she has learned/done during the course of the story and must mend/break ties and accept responsibility for them. 

Character derives from what a character wants and how far they will go to get it. 

So from this we can find two rules: A character has a want and a character has stakes. The stakes are what separates the character from his/her want. These are character objectives and character stakes- every dynamic character will have these. 

Within the story there are also Super Objectives and Super Stakes. A character may want cheese as his character objective but his Super Objective might just be to not feel hungry, now weather he gets the cheese or he decides to eat an apple instead or maybe he’ll go through this whole ordeal to get food and in the end he finds that he’s not hungry (Kung Fu Panda anyone?). 

But character is also made through traits that the writer gives him. There is a driving trait that is displayed most predominately and then there is also sub-traits that serve to make the character more dynamic. Now these traits aren’t discovered by the character saying “I am Shy.” The character interacts with other dynamic supporting characters that serve to forward the sub-traits of the main character. For example a shy character may interact with their outgoing friend. Without saying anything on the nose we can see the differences between the way the two of them dress, stand, act and talk. We know now that the main character is shy just by seeing the differences between the two of them. 

A character must also be an active participant. Its okay for a character to be passive in act 1 until the inciting incident spurns them into action but it does not always make for good drama. A worth while character should be actively seeking a solution to his/her problem. This is very unlike real life where as humans we generally avoid conflict instead of seeking it out. We will obey and grumble without actually doing something about it (speaking quite first hand here). 

All conflict must be an active conflict. There are many different kinds of conflicts depending on which scholar you talk to. The most basic are these:

Human vs. Human

Human vs. World

Human vs. Self

So basically, open conflict with another being, conflict with an establishment/group of people, or conflict with yourself. All conflict must be dynamic, a battle of wills- your antagonist, weather its the world, a human or inside yourself should always be in the right in his/her/its own mind. People are not created evil. The antagonist should think that they are the protagonist, but if we are in the protagonist’s POV they are the antagonist. 

What do I not know now that I’ve written this:

-Ego and super ego and that stuff..?

-Alternate structures apart from the three act structure

-Many active verbs.

-How to structure a character…. there’s quite a few chapter in Robert McKee’s Story about that. 

-Apparently I need to revisit theme and things like that too since it didn’t come to me first off. 

What else did I miss?

Happy Christmas to all of my followers!!! Also it’s the Active Protagonist’s one year anniversary today! Last year, Christmas day, I read my new copy of the “The Art and Making of Beauty and the Beast” from cover to cover. I then made a promise to learn everything I could through reading and blogging.

Happy Anniversary and Happy Christmas!!!!!

Film Theory for the day: Andre Bazin.

Although Andrew Bazin is one of the older Film theorists, he makes some very valid points.

Originally film was seen as preserving life after death in the way that we use photography today to remember out loved ones. 

But he remarks that unlike painting, photography is purely objective. In french the lens of the camera is referred to as the object-if meaning the objective, which is lost in the english translation of the word to lens.

“The objective nature of photography confers on it a quality of credibility absent from all other picture-making.” He says that film is the ultimate form of likeness above all realistic techniques of painting. The advantage of photography is that it is ‘objectivity in time.’

But in this way he also concludes that in watching cinema you can be sure that this is the highest realism- that everything is real. But this has never really been true. They hypothesize that now you can’t go see a movie without seeing at least 15 mins of visual or special effects, that are not real. 

Although Bazin’s “What is Cinema?” essay is a little outdated we can still see how even in the early stages people were starting to see cinema as an art and not simply a fad (the Lumiere brothers thought that it was). This all could be related back to the innovations of Melies- but this is where we can see that Bazin’s theory of absolute realism can be disproved from the very early on. 

Young Hitchcock.

So for my theory class I’ve been reading Francois Truffaut’s study of Hitchcock. 

In the introduciton and first section alone gives you an awesome picture of who Truffaut and Hitchcock really are.

Truffaut tells this awesome storya bout how when he first met Hitchcock he fell into a fountain and went to his meeting with him soaking wet.

Hitchcock then told him that they would re-schedule. But years later Hitchcock still remembered Truffaut from that incident. 

We discussed in class how Truffaut was a news reporter before becoming a filmmaker which is what influenced him to create this book. 

He remarks that for being a man so in love with the idea of fear and suspense, Hitchcock was a very fearful man. 

Section 1 starts out with Hitchcock discussing his childhood. He was a quite and obedient child, partially because when he was five his father took him to the police station and locked him in a cell saying ‘this is what we do to naughty boys.’ He was the type to silently sit in the corner and say nothing. He was very absent minded and tried to be an engineer and an artist before becoming a title card maker for silent films in Islington, London.

He says that “Many a bad picture was saved in this way [through title cards]. For instance, if a drama had been poorly filmed and was ridiculous, they would insert comedy titles all the way through and the picture was a great hit.” Which I had never thought of before. I guess its a bit of a cheat, but whatever you can to save the picture always seems to be the motto in editing and in making a movie.

He also remarks that the director’s “talent was measured by the ability to make a picture requiring the fewest titles.” This goes back to the preverbal nature of cinema described by McKendrick in his book “On-Filmmaking.”

Hitchcock himself never really wanted to be a director and in fact, his first picture was pitched to him from someone else “Balcon said, 'how would you like to direct a picture?’….I was very happy doing the scriptsion and art direction; I hadn’t thought of myself as a director.”

His first picture was characterized by a lot of financial and actor troubles but it solidified his fascination with the abnormal.

Hitchcock did a lot of silent films before he ever became the master of psycho and vertigo that we know. 

This week we’re watching his British silent film “The Lodger” to fully analyze his body of works. 

francisglebas asked:

Hello, I must be going. Thank you for the very kind words on my book. Since you were so sad to finish it I raced to finish my new one called The Animator's Eye due out in August. Love the title of your blog- the Active Protagonist. Here's my question, What is the active protagonist trying to achieve? and what obstacles are in the way?

Hello Mr. Glebas!

            I was pleasantly surprised that you found my blog. As you can see, I loved your book and I learned so much from it. Your lessons from the book have helped me tremendously in my work here at Film School.  With your help, I was able to animate a short segment in my last short film. In addition, when the Dean of our Film School asked who in our senior class could storyboard, I was one of the few who raised my hand in confidence. I’m excited to hear about your new book; it will definitely be the next book that I add to my ever-growing library.

           The Active Protagonist began when I decided to become an active learner in my education. My film school teaches widely about set protocol, lighting, and cinematography- but they do not really focus much on story or visual design. I arrived at a point this past winter where I became tired of complaining about not learning what I wanted to learn and thus I set out to learn as much as I could.  I guess you could say that my obstacle was myself. I had a naive opinion that university should teach me all that I need to know. Through this blog I discovered that I alone am responsible for how much I know and learn. It has since become a constant source of inspiration and encouragement. I don’t want to know everything; that would be ludicrous. I simply want to learn about all the elements that combine to make a film and how I can better understand them as an artist and a collaborator.

           At film school I am learning a lot about live action, but I have always been influenced and inspired by animation. The more I read about the art and the process the more I am encouraged to pursue a career in animation in either story or visual design.  I know I have a lot to learn but that is what the Active Protagonist is all about.

           I’m looking forward to your new book and thanks for writing to me; it was another great source of encouragement to continue this learning process. 

-Jen Ligler, The Active Protagonist.