January 24, 2014

More Ghost Stories shorts are now online

The continuing anthology of animated shorts by Late Night Work Club team.

I Will Miss You - by Dave Prosser


The Jump - by Charles Huettner


Mountain Ash - by Jake Armstrong & Erin Kilkenny


Rat Trap - by Caleb Wood


Loose Ends - by Louise Bagnall


Asshole - by Conor Finnegan


Post Personal - by Eamonn O’Neill


Post Personal - by Eamonn O’Neill


"The American Dream" by Sean Buckelew, "Phantom Limb" by Alex Grigg, & "Ombilda" by Ciaran Duffy

January 23, 2014

Furry Force

Pixar Researches New Painterly Techniques for their CG Films

Last summer at SIGGRAPH, Pixar presented a paper offering some clues about one of the major new directions that CG feature animation is headed. The paper, “Stylizing Animation By Example,” explored how filmmakers could achieve more expressive rendering styles that disregard the perfect boundaries of computer graphics rendering and mimic traditional painting techniques.



Via The Brew

Team Wizard

A Trilogy of Shorts Directed by Masanobu Hiraoka for Yoshiharu Abe





January 22, 2014

Bravoman Episode 10: Heavy Meta Mayhem

"Cycle" by Mor Israeli & Amir Porat

Caveirao


New trailer for Guilherme Marcondes' Caveirao (part of "The Master's Voice" project) mixed-media short film.
"Not many people know this but every night at 3:33AM time is frozen for a moment. During what is a fraction of second to mortal eyes there is a second night, a secret one where the spirits of the city come out to play. That is the story of the eternal battle for the soul of São Paulo, the clash between bohemia and authoritarianism, between comedy and horror."

January 19, 2014

Her


It’d be easy to describe Spike Jonze’s new film, Her, in snarky or silly fashion: “Well, it’s about a lonely schlub who falls madly in love with a virtual woman.” If you immediately think of that obscure 1984 movie called Electric Dreams (or get visions of Philip J. Fry smooching a virtual Lucy Liu), then you’re the sort of sci-fi geek I respect — but let’s get all ideas of novelty and “gimmickry” out of the way right now. Yes, the fascinating and frequently sublime Her is about a man who falls in love with an artificial intelligence inside a computer's operating system, but once you get past the film’s simplest ideas, it quickly blossoms into a weird, warm, and very satisfying statement about the nature of love; how it works, why we need it, and most importantly, what it does to us.

Spike Jonze tends to makes strange films, and that's why I've always liked him. Whether they’re brilliant or absurd is up to the individual viewer, but after features like Being John Malkovich, Adaptation., and Where the Wild Things Are, it becomes hard to ignore, and harder to not like this refreshingly “anti-formula” filmmaker.  I doubt I’ll ever get tired of discovering and rediscovering his movies. And this new one is simply excellent, it raises a host of questions about how we interact with technology and each other, Her is an elegantly constructed piece that seamlessly interweaves drama, design and dialogue.

Supported by one of the most open, honest, and oddly satisfying screenplays in perhaps a decade, at its core, Her is, indeed, about a nice anonymous nobody called Theodore (Joaquin Phoenix) who purchases a super-advanced computer operating system that is powered by a self-aware — and perpetually evolving — operating system with a female voice. (Theodore is no idiot; he chooses the voice that sounds like Scarlett Johansson.) And then Theodore gradually proceeds to fall madly in love with “Samantha.”







In the hands of less inspired writer/directors, a concept like this would hit the screen like Short Circuit, the aforementioned Electric Dreams, or any other sci-fi film in which a man falls in love with a robot, and vice versa. But it’s that reversal — that the “virtual” woman also falls madly in love with a human being — that gives Her such a strange poignancy and off-kilter charm. Buried not too deep beneath a sci-fi / rom-com concept is a wonderfully insightful story about how love begins, how it blossoms, and how it manages to blow itself out. Making “Samantha” a non-corporeal “concept” of a woman is a brilliant conceit. Theodore doesn’t want to create a perfect woman, but technology has allowed him to create a woman who is perfect for him. Suffice to say that romantics of both genders will find much to appreciate in Jonze’s poetically meloncholic, low-key, endlessly fascinating screenplay.



Her is also a non-stop buffet of delights for film fanatics; Joaquin Phoenix is simply brilliant as he goes from slightly off-putting to entirely lovable over the course of the film; Ms. Johansson brings an essential sense of warmth and vibrancy to “Samantha” while using only her voice; the supporting cast does its job remarkably well (particularly Amy Adams, Rooney Mara, and Olivia Wilde); and the “feel” of the film is that of slightly advanced sci-fi mixed with a sardonic tone that never goes for the mean joke or obvious answer.
 
I could dedicate additional paragraphs to Owen Pallett’s score or the quietly dazzling cinematography of Hoyte van Hoytema (who's work I first notice in the striking visuals of Let The Right One In), and I could note how unexpectedly funny and quietly honest this film is, or comment on how Jonze seems to get more confident and accomplished with each successive film, but I think the point is clear...










Her is a very smart, philosophical, and touching movie, and I feel like I’m a slightly better person for having seen it. Not sure you can give a film a nicer compliment than that.

'Cyclope' by Marine Duchet

January 12, 2014

January 10, 2014

The Kingdom (Le Royaume)


Shinjuku: Chapter 3

Trailer for 22nd Crayon Shin-chan animated feature film

The best Sakuga GIF animations made with Flipbook.in

The Ultimate List of Screenwriting Rules, Tips, Laws, Principles, Guidelines, and More

Screenwriting rules…  Foolproof tips and guidelines to help you craft something inspiring.  Laws and principles that lead you down the creative path without losing your way.  Of course, rules in any creative medium are always meant to be bent, broken and reshaped depending on the project.  Regardless, there are so many sound tips out there it was time someone collected them in one place.
Below is an absolutely gigantic collection of screenwriting rules.  Part 1 consists of over 50 articles by screenwriters of all levels, written to inspire screenwriters.  There are literally hundreds of amazing tips for you to digest and apply to your own writing.
11 Laws of great storytelling | Writer’s Store
10 Crucial screenwriting tips | Screenwriting Goldmine
Top 5 screenwriting mistakes | Stigmata Script
12 Screenwriting principals | Write, Write, Write
The unrules of screenwriting | L.A Screenwriters
12 Screenwriting tips for beginners | Screenwriting For Hollywood
Screenwriting: Can you break the rules? | The Single Screenwriter
The 5 immutable laws of screenwriting | About Freelance Writing
36 Basic screenwriting tips | Unforeseen Consequences



This is part 2 of the ultimate masterlist of many resources that could be helpful for writers/story artists/script editors/roleplay.


Improvement
Describing
Masterlists
  Body Language
Grammar/Vocabulary
Writer’s Block

Application (Itself)
Para (Sample)
Prompts

Personalities
Disorders
Disabilities
Jobs/Hobbies/Beliefs
Drugs
Locations
Genders
Supernatural
Other

Biography Writing
Names
Personalities
Personality Traits
Habits
Secrets
Quotes
Mary Sue’s

Para Titles
Starters
Careers/Jobs
Locations/Settings/Activities
Character Developement

Romance (in general)
Smut
Kisses

Plot Writing
Eras

SOURCE: Lover of the Dark


15 General Tips

(1) Tell a great story
Nothing matters if you don’t have a great story worth telling. A tale you are passionate about. A screenplay worthy of your creativity and devotion.
(2) Master the format
Anyone can learn the industry standard for margins & overall structure of a screenplay. However, you have to master the subtleties of white space, slug lines, page counts & more. Not to mention the constant threat of spelling mistakes and grammatical errors. Mastering the format liberates your screenplay of distractions and leaves only the story.
(3) No stage directions
You are not the director. Leave out camera shots & notes for actors. If something must be seen then skillfully describe it.
(4) Show, don’t tell 
Story is revealed through actions and characters. Your exposition shouldn’t be obvious to the reader. Show don’t tell.
(5) Get in late, get out early 
This rule applies to your entire screenplay but also to individual scenes. Cut out the excess and keep your story focused on what matters most.
(6) Know your audience
Never lose sight of who you are writing for even if it’s yourself. Every screenplay should be a perfect match for the audience it’s intended for.
(7) Create obstacles
Nothing should be easy for your characters. Put them through hell so people will care when (and if) they succeed. There is no suspense without obstacles and avoid cheating by giving them convenient escapes.
(8) Clarity
Every sentence should communicate an idea (or more than one idea) and it should be crystal clear. Only you can describe what your screenplay is about. Show people the exciting moments that previously existed only in your imagination. Be clear about your characters motivations and immerse the reader in your world.
(9) Your world, your characters
If you don’t have the answers, how can you ask the questions that drive your screenplay? What is your world like? Where did your characters come from? What is your story about?
(10) Less is more
Nearly every rule in this list is related to this rule in some way. Writing with clarity requires a simplification of descriptions. Hiding exposition can sometimes require dialogue to be rewritten and often shortened. Getting into your scenes late and out often, using white space effectively and rewrites in general all point to this one rule. Less is more. Keep it in mind at all times. Make every single word matter and eliminate the ones that slow your screenplay down.
(11) Write what you know
Writing what you know doesn’t necessarily mean you have to write only what you’ve lived. On the other hand, if you don’t know anything about sharks and want to write about sharks… Maybe you should go swim with some sharks! Research is key. A screenwriter is a student of life. Seek out the answers to better inform your story. You have to know every detail.
(12) Have something to say
You’ve got a great story, vivid characters and your structure is perfect. You still can’t take your screenplay to the next level unless you have something to say. What does your story mean? What is it truly about? You have to know the answers to these questions and build them into every page.
(13) Entertain
Above all else, your screenplay has to be entertaining. When reading each and every scene in your movie ask yourself one question: Is this entertaining? If the answer is no or not really then you’ve got some work to do.
(14) Write, rewrite, repeat
The only thing greater than a good idea is a better idea. Keep writing until it’s perfect. Don’t be afraid of a bad first draft. Be confident that your story will improve with every pass. Write until you adore every sentence.
(15) Write everyday

Screenwriters write screenplays. Find time to write and never stop thinking about what happens next. The more you write the more your skills improve. You CAN write an amazing screenplay as long as you’re willing to sit down and actually write it! (and rewrite it)