Pictured: Walt Disney’s parents slash secret anti-muses.

5 Reasons Hollywood Will Never Depict Moms as Normal People

#5. Because Walt Disney Kills Every Mom
If you’re looking for a good starting point for the trend of dead moms in movies, look no further than Walt Disney. I don’t think Disney is capable of making a movie with a mom who survives past the first 15 minutes, if they’re not already dead before the movie even starts.

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Reference List Update

hey guys ! :)
letting you know I updated my ref list with :
 -Setting the Scene by Fraser MacLean (kindly suggested by auilix​ )
2 - animation podcasts websites (great ones, good listens!! also kindly suggetsed by auilix​)
-Story Supervisor Nate Stanton Talks Cars 2
-Podcast about Maurice Noble (nice intro to the “Noble Approach” book listed under bibliography)
-Clay Kaytis inteviews many skilled animators
-Andrew Gordon (pro animator at pixar) started these podcast interviews and the site grew to be a huge collection !
3 - screenwriting tip about female characters :
-How To create a strong female character by Tasha Robinson
4 - A LOTTTTT of documentaries under the filmography section
-The Pixar Story by Lesli Iwerks 
-Industrial Light & Magic creating the impossible by Leslie Iwerks
-The Sweatbox by Trudie Styler & John-Paul Davidson 
-Dream On Silly Dreamer by Dan Lun
-Frank and Ollie by Theodore Thomas
-Walt - The Man Behind the Myth by Jean-Pierre Isbouts
-The Hand Behind the Mouse: The Ub Iwerks Story by Leslie Iwerks 
-The Kid Stays in the Picture by Nanette Burstein & Brett Morgen 
-A Decade Under the Influence by Ted Demme & Richard LaGravenese 
-Midnight Movies: From the Margin to the Mainstream by Stuart Samuels
-6 days to air - How South Park episodes are made on this tight schedule 

alright ! enjoy watching and reading through :) if you wanna see the whole ref list, click here 
and I’m preparing a tutorial about art block, one about feet, and a last one about anthro characters (this one is going to be hard ….) just be patient :)


Director Martin McDonagh with cast and crew on the set of In Bruges. Still photographer: Jaap Buitendijk. © 2007 Focus Features.

Martin McDonagh’s In Bruges was one of the absolute highlights of the previous decade’s cinema and came as a total, gigantic surprise to us, as it was young Irishman’s feature debut. Truth be told, his wonderful 27-minute Six Shooter, which earned him an Oscar in the short film category, cautioned the world that it might be dealing with a potentially extremely talented filmmaker, but we all know not all of successful short film authors deliver on their promise when it comes to feature filmmaking. But In Bruges was so refreshing, such was its screenwriting power and prowess, such brilliant acting it displayed, that it’s very difficult not to regard it as true modern age work of art. We’ve never seen Colin Farrell this convincing, this close to us, this vulnerable and versatile. His screen partnership with experienced and bloody explosive Brendan Gleeson was an honest joy to behold, with Ralph Fiennes chipping in his mesmerizing charisma. For a story this gloomy and somber, the quantity of high quality humor it delivers is pretty unbelievable.

Set in the pittoresque Belgian town of Bruges, it features a heart-warming story filled with imaginatively written characters who constantly spit out lines that are rarely far from hilarious. The idyllic setting of the colorful and painfully charming serves as a nice contrast to the undeniable darkness that lies at the heart of the film, but the overall feeling isn’t that of despair, but of hope and light, of a chance for redemption at a time and place where the soul’s salvation seems positively unlikely. In Bruges is pitch-perfectly shot thanks to prestigious Danish cinematographer Eigil Bryld, the sentimental musical score was delivered by Miller’s Crossing’s Carter Burwell and the script, the very soul of In Bruges and the chief source of its greatness, was written by McDonagh himself. Seldom do you come across film debuts this brilliant.

HBOAccess status update.

So in case you happen to follow screenwriting industry news, HBO opened up its Access open call online, and it was a total fucking disaster.  The website crashed, and I was one of many who got shut out of submitting before I could even get the page to load.  And it’s looking more and more like what flooded the website and filled up the application limit so quickly were White guys who completely ignored the clearly-stated intent of HBOAccess: to provide opportunity for talented WOMEN and POC.  

Lord, give me the self-confidence of a mediocre White man.

Anyone want to take bets on how many of those submitted scripts were about a brilliant but morally deficient middle-aged White man who quotes Nietzsche? 

Anyway, what was I’m sure was meant to be a major PR boon for HBO was a total embarrassing clusterfuck, and now women and PoC who got shut out have a chance to apply for submission waivers, which I have applied for.  I’m still waiting to hear back, so all I can really do is wait.

On the bright side, I made new diverse screenwriting friends on Twitter yesterday.

Break into a TV Writing Career with ‘Writers on the Verge’

NBCUniversal is sponsoring Writers on the Verge, a three month intensive skill-building program designed to help refine writers and prepare them for a position as a staff writer on a television series. NBCUniversal is seeking emerging writers in a budding career who need more professional guidance with their writing and communication skills to break into this industry.

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Setup & Payoff — An Illustration by Tina Fey & Robert Carlock

If you’re wondering how the concept of setup and payoff in screenwriting works, you’ll find a perfect example in the pilot episode of Unbreakable Kimmy Schmidt.

The setup happens about six minutes into the episode: After having been held captive in a bunker for fifteen years, Kimmy enjoys her newly found freedom in New York City by doing all kinds of crazy things. One of these things is freeing a carriage horse in Central Park. The scene itself isn’t particularly funny. It appears to be nothing but a play on the concept of becoming free.

But then, almost towards the end of the episode, the whole thing pays off. Kimmy has just been robbed and lost all her money. She has no friends, no home, no hope. Freedom isn’t always easy. It’s the darkest moment of the episode, and you’re supposed to feel really sad — but you can’t help but laugh when out of nowhere the very same horse randomly trots through the frame. 

Not only does this create perfect parallelism (both Kimmy and the horse are free but lost and on their own) but it also works so well because these two scenes are so far apart that most viewers had probably forgotten about the horse already.  

And that’s the whole trick. Make your setup a natural part of the story, and then pay it off later when the viewers least expect it.

Hats off to the comedic writing talent of Tina Fey and Robert Carlock!


The most studied and analyzed film of Alfred Hitchcock’s career, Vertigo is on every level a masterclass in filmmaking. In 1958 Hitchcock worked with legendary actor Jimmy Stewart for the fourth and final time, and just like Rear Window, they succeeded in making a film that would enter the history books. We’re talking about a first-class thriller full of labyrinths and dead-ends, an expertly constructed puzzle suspenseful from the first to the last scene, but at the same time, on an entirely different level, it’s a meta-film of sorts, a film about Hitchcock’s filmmaking, a careful and wonderfully elliptic study of the master’s obsession with his female characters. Jimmy Stewart has perhaps never been this convincing, posing as yet another ordinary man driven by inescapable passion, a victim of his own desires, a pawn in a game we never agreed to play. Kim Novak stars as the object of his obsession and longing, a mysterious blonde who seems ice-cold at the first glance, but a complex woman who magnificently display a wide range of emotions, such as fear, love and child-like vulnerability. Alec Coppel and Samuel Taylor are two writers responsible for this delightful screenplay, playful and innocent at times, dark and unusually deep the very next moment. Bernard Herrman’s music, recorded in Europe due to a musicians’ strike in the US, is subtle and delicate, somehow moving in loops between tranquility and despair. Alongside the aforementioned Rear Window, Vertigo is without any doubt our favorite Hitchcock ever, and considering the unbelievable portfolio of one of the cinema’s greatest, this says quite enough on its own.

The most studied and analyzed film of Alfred Hitchcock’s career, ‘Vertigo’ is on every level a masterclass in filmmaking


This video by Jacob T. Swinney is exactly what it sounds like: the first and last shots from 55 films paired side by side in splitscreen.

The Tree of Life: 00:00
The Master: 00:09
Brokeback Mountain: 00:15
No Country for Old Men: 00:23
Her: 00:27
Blue Valentine: 00:30
Birdman: 00:34
Black Swan: 00:41
Gone Girl: 00:47
Kill Bill Vol. 2: 00:53
Punch-Drunk Love: 00:59
Silver Linings Playbook: 01:06
Taxi Driver: 01:11
Shutter Island: 01:20
Children of Men: 01:27
We Need to Talk About Kevin: 01:33
Funny Games (2007): 01:41
Fight Club: 01:47
12 Years a Slave: 01:54
There Will be Blood: 01:59
The Godfather Part II: 02:05
Shame: 02:10
Never Let Me Go: 02:17
The Road: 02:21
Hunger: 02:27
Raging Bull: 02:31
Cabaret: 02:36
Before Sunrise: 02:42
Nebraska: 02:47
Frank: 02:54
Cast Away: 03:01
Somewhere: 03:06
Melancholia: 03:11
Morvern Callar: 03:18
Take this Waltz: 03:21
Buried: 03:25
Lord of War: 03:32
Cape Fear: 03:38
12 Monkeys: 03:45
The World According to Garp: 03:50
Saving Private Ryan: 03:57
Poetry: 04:02
Solaris (1972): 04:05
Dr. Strangelove: 04:11
The Astronaut Farmer: 04:16
The Piano: 04:21
Inception: 04:26
Boyhood: 04:31
Whiplash: 04:37
Cloud Atlas: 04:43
Under the Skin: 04:47
2001: A Space Odyssey: 04:51
Gravity: 04:57
The Searchers: 05:03
The Usual Suspects: 05:23