Palavras especiais que recebi antes dessa viagem, verdadeiros presentes! :)
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That's because Catmull and Pixar's directors think it's better to fix problems than to prevent errors. "My strategy has always been: be wrong as fast as we can," says Andrew Stanton, Director of Finding Nemo and WALL-E, "Which basically means, we're gonna screw up, let's just admit that. Let's not be afraid of that." We can all work this way more often.
So, for instance, Pixar does not begin new movies with a script. Far from it. Film ideas begin on rough storyboards until they work through thousands of problems throughout the process in order to take films from suck to nonsuck.
People at Pixar describe storyboards as the "hand-drawn comic book version" of a movie, a blueprint for the characters and actions. Storyboards are three-by-eight inch sheets of white paper upon which Pixar's story artists sketch ideas. As Joe Ranft, who was one of Pixar's master storyboard artists described it, "Sometimes the first try works, while other times a dozen or more passes are required."
They must persist. Pixar used 27,565 storyboards on A Bug's Life, 43,536 for Finding Nemo, 69,562 for Ratatouille, and 98,173 for WALL-E.
This process of rigorous critique, and even major change, doesn't end once the initial script has been approved and the first version of the film has been created on what are called "reels." Reels contain the work-in-progress storyboards, combined with a voice track, that are shown internally before Pixar moves to the expensive digital animation phase.
"Every time we show a film for the first time, it sucks," Catmull will say. People then email their comments to the director to explain what they liked, what they didn't, and why, and substantial changes are made.
In fact, directors say that Pixar's films will suck virtually until the last stage of production--problems are constantly identified and fixed. Finding Nemo had a massive problem with a series of flashbacks that test audiences didn't get that had to be fixed, while Toy Story 2 had to be completely rewritten a year before it was released. (Pixar film release dates are set in stone, which serves as a constraint.)
What we see is not effortless genius. Through tireless iteration, toil, and (often) sleepless nights, the films start to come together.
Depending on the form it takes, perfectionism is not necessarily a block to creativity. A growing body of research in psychology has revealed that there are two forms of perfectionism: healthy or unhealthy. Characteristics of what psychologists view as healthy perfectionism include striving for excellence and holding others to similar standards, planning ahead, and strong organizational skills. Healthy perfectionism is internally driven in the sense that it's motivated by strong personal values. Conversely, unhealthy perfectionism is externally driven. External concerns show up over perceived parental pressures, needing approval, a tendency to ruminate over past performances, or an intense worry about making mistakes. Healthy perfectionists exhibit a low concern for these outside factors.
Pixar's culture is defined by a pursuit of excellence and quality. Being able to go from suck to nonsuck when developing a new film is a process of ongoing prototyping, a process that facilitates experimentation by the animators as it allows for a rigorous and continual scrutiny of the work in progress, enabling Pixar to practice healthy perfectionism.
The point of describing Pixar's creative process is not to say that we should all implement such a process on our own. It is not always possible to have people assemble regularly to offer feedback, for example. But finding ways to fail quickly, to invest less emotion and less time in any particular idea or prototype or piece of work, is a consistent feature of the work methods of successful creators. Despite the myths, it's hard work.
As Pixar's chief creative officer John Lasseter expresses his perfectionism, "We don't actually finish our films, we release them."
I stole a key,
Took a car downtown where the lost boys meet,
I took a car downtown and took what they offered me.
To set me free,
I saw the lights go down at the end of the scene,
I saw the lights go down and they're standing in front of me.
My scarecrow dreams,
When they smashed my heart into smitharines,
I be a bright red rose come bursting the concrete.
Be the cartoon heart,
Light a fire, light a spark,
Light a fire, a flame in my heart.
We'll run wild,
We'll be glow-in-the-dark.
All the boys, all the girls,
All the mess in the world
All the boys, all the girls,
All the mess that occurs.
All the high's, all the low's,
We'll run wild,
We'll start glowing-in-the-dark.
So we'll run wild,
We'll be glow-in-the-dark.
I turn the music up, I got my records on
I shut the world outside until the lights come on
Maybe the streets alight, Maybe the trees are gone
I feel my heart start beating to my favourite song
And all the kids they dance, All the kids all night
Until monday mornig feels another life
I turn the music up
I'm on a roll this time
And heaven is in sight
I turn the music up, I got my records on
From underneath the rubble, sing a rebel song
Don't want to see another generation drop
I'd rather be a comma than a full stop
Maybe I'm in the black, Maybe I'm on my knees
Maybe I'm in the gap between the two trapezes
But my heart is beating and my pulses start
Cathedrals in my heart
And we saw oh this light I swear you, emerge blinking into
To tell me it's alright
As we soar walls, Every siren is a symphony
And every tear's a waterfall
Is a Waterfall
Oh
Is a Waterfall
Oh Oh Oh
Is a, Is a Waterfall
Every tear
Is a Waterfall
Oh Oh Oh
So you can hurt, hurt me bad
But still I'll raise the flag
Oh
It was a wa wa wa wa wa-aterfall
A wa wa wa wa wa-aterfall
Every tear
Every tear
Every teardrop is a Waterfall
Every tear
Every tear
Every teardrop is a Waterfall