Yeah. I'm going to come see you burn, you son of
a bitch, 'cause you killed my friend!
He died like a pig.
What did you say?
I said that your friend died screaming like a
stuck Irish pig. Now you think about that
when I beat the rap.
He runs a comb through his hair and walks toward the door. Ness, enraged, grabs
him from behind and pushes him past the door.
Ness propels him toward the ledge.
Ness pushes him off the roof. He falls, screaming.
Did he sound anything like *that*?
They're coming outta the walls. They're coming
outta the goddamn walls. Let's book!
Sometimes you have to lose yourself 'fore you can find anything.
Listen to me very carefully. There are three ways of doing
things around here: the right way, the wrong way, and the
way that *I* do it. You understand?
You can make a movie about anything, as long as it has a hook to hang the advertising on.
So on and so forth.
With the right director, the right tone and using some of the original score will go a long way. There are two elements that have always stuck with me, the music by Henry Mancini and the awesome car.
Keep those and this could be really good. Lots of potential.
What are you waiting for? Get on with it.
And you never will. But I've got a job to do, too. Where I'm going, you
can't follow. What I've got to do, you can't be any part of. Ilsa, I'm no
good at being noble, but it doesn't take much to see that the problems of
three little people don't amount to a hill of beans in this crazy world.
Someday you'll understand that.
Ilsa lowers her head and begins to cry.
Rick gently places his hand under her chin and raises it so their eyes meet.
Here's looking at you kid.
I don't care who you are. When you sit down to write the first page of your screenplay, in your head, you're also writing your Oscar acceptance speech.
Snakes. Why'd it have to be snakes?
Asps... very dangerous. You go first.
Any chance of catching these men?
There's a chance, sure.
Just a chance?
I'd be less than honest if I gave you more
hope, Mr. Kersey. In the city, that's the way it is.
I knew it! I knowed I made a good choice!
My bes' friend.
After watching a documentary about Pixar over the Christmas period. I was inspired to watch Cars and Cars 2 over the weekend. For some reason, I've never been able to watch them, I had some kind of mental block when it came to talking cars. I just couldn't wrap my head around animated cars that can talk, which is kind of bizarre. Considering I've just started work on an animated feature, where the primary characters are talking goats.
Anyway, yesterday, I watched Cars. This is a classic example of what Pixar are good at. Attention to detail, and putting the time in when it comes to developing a movie from script to screen. And it shows here, it's about as good as you'll get when it comes to creating and developing a good story.
And I just finished watching Cars 2. I read a few reviews about it when it first came out. Honestly, I don't know why it's had a such a hard time. It's a kids movie, about talking cars and cars that are secret agents. The animation is spot on, and at the end of the day, it's entertaining. It was always going to be difficult to top Cars, but Pixar still manage to set a benchmark for others to follow. I really don't know how they do it, but that animation, whoa,
HOW DO THEY DO THAT?
That's what I'd like to know.
As for what they have lined up next. Monsters University looks like it's going to be a whole heap of fun. And the animation looks awesome.
As for what's coming after that. I've believe there's a dinosaur movie in the pipeline, which looks awesome. Dinosaurs just don't get enough screen time anymore.
Going off on a tangent here, but there's only been Dinosaur (2000) which has some pretty spectacular animation mixed with live action backgrounds and the more recent Ice Age: Dawn of the Dinosaurs (2009). And I think that's it as far as dinosaurs are concerned. So I'm hoping they'll knock it out the park with
The Good Dinosaur when it eventually comes out.
Not sure if they'll keep that title. But it seems to fit with the story they want to tell. I think it's going to be great.
Below is a little short I found online.
The Blue Umbrella
ADULT PI PATEL
I suppose in the end, the whole of life becomes
an act of letting go, but what always hurts the
most is not taking a moment to say goodbye.
Craig Mazin and John August discuss whether studios might ease off on one-step deals and other development austerity measures.
Scriptnotes: Episode: 72
You're gonna need a bigger boat.
That's a twenty footer.
Twenty-five. Three tons of him.
Welcome to Russell’s website. A storyteller who enjoys writing screenplays for movies. Even though the process is hard. It keeps his imagination working overtime.
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