Original subtitles

I will also leave you here 22 Pixar rules

which should always be taken into account.

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

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

Let's look very quickly one by one.

Characters are admired more for what they try

than for what they get.

This has a lot to do with identification,

that we get hooked with characters that try,

and we try with them.

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

not what you consider more fun as a writer.

The two things can be very different.

This is very important,

because we want to be funny,

the fascinating, the intelligent, writing something,

but all we can do is bore our audience.

Let's be generous in that regard.

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Being clear on the matter is important,

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

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

We have to be clear

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

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

Am I right or not?

The movie, series or content that I made,

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

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

if we want to work with this paradigm

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

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

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

to see if our story fits this type of narration

or we can get to count it this way.

The only thing this does is help us organize.

Simplify, focus,

merge some characters with others, jump over the ramifications.

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

you're actually freeing yourself.

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

that seem super important to us.

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

Although something has cost us a lot, we really think

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

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

to set it aside and move forward.

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

Face your mathematical opposite, put him to the test.

How are you doing?

This has to do with finding an antagonist

and try to work with what would be its opposite,

your opposing character.

It is interesting, to reach the maximum possible climax,

see how our character is, and based on that

see how his antagonist would be.

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

Seriously, endings are the most difficult.

Have yours ready as soon as possible.

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

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

If not, what we are doing is a creative exercise

to see if any of our creativity is released

to get to the end.

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

without knowing how it will end.

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

In a perfect world you would have both

a perfect ending and story,

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

This is about seeing when a story ends.

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

it runs out of time or money.

There is necessarily a time when we have to close.

Our work is done with a deadline,

or because the job is done enough

for our moment.

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

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

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

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

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

You must recognize it before learning how to use it.

It is interesting.

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

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

that we like, etc.

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

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

We have to know each other.

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

A perfect idea that's only in your head

you will never share it with anyone.

I not only use paper but I use blackboards

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

how the brain begins to work differently when starting to sketch

or we start writing. I advise them too.

Throw away the first thing that comes to mind,

and the second, third, fourth, and fifth.

Get rid of the obvious, surprise yourself.

You have to be demanding.

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

For me it is important to write them

in a journal or in a notebook

so I can go back, Hansel and Gretel type,

about the contents that we were thinking

and see what were the things that we were discarding

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

Give your characters opinions. The liabilities and the manageable

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

but they are poison to the audience.

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

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

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

Why tell this story precisely?

From which of your passions does your story feed?

That is the key of the matter.

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

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

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

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

They can help us a lot to unleash creativity.

We can sublimate our problems in an extraordinary way

and speak like nobody about certain anxieties and certain happiness

or of certain ideas, because they are ours.

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

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

Your honesty adds credibility to incredible situations.

For that I think we should have the ability to think

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

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

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

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

What's at stake?

Why am I writing this? What is at risk?

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

or looking without blinking at the screen,

because there is something important that is at stake.

There is no job wasted.

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

What you have done will be useful later.

So I like to keep diaries, keep notebooks,

because that we write all morning or a whole week

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

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

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

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

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

an image for something else.

Know yourself:

distinguish between doing your best and showing off.

Narrating is a matter of trying, not debugging.

I personally insist on not showing off

and not wanting to show others how you write

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

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

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

the best we can do is put our ideas and essence

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

or as grace or as a wink.

The important thing is to talk about what we really know

and there we will be on stage,

through our characters and our conflicts.

Using matches to get your characters into trouble is great,

use matches to get other characters out of a bind,

is cheating.

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

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

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

Beyond that, I work a lot analyzing movies

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

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

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

Identify yourself with your setting and your characters,

don't make them react cool, he says.

What would lead you to act as they would?

Again be honest and try not to show off

and be functional to the story.

What is the essence of the story ?, Finally.

And the easiest way to narrate it?

If you know that, you can start working.

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

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

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and go as if it were an equation, simplifying.

So in principle, these 22 Pixar rules

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

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

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

We already have the first script in our series.

Surely it was very difficult for us to write it.

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

but while they do that,

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

and finish closing our presentation.