*Mademoiselle Gabrielle Bonheur ‘Coco’ Chanel (1883-1971)
In Creativity, Inc., Ed Catmull wrote about the making of Inside Out (2015):
” “…We have our main character, an emotion called Joy, who is effervescent. She literally glows when she’s excited. Then we have Fear. He thinks of himself as confident and suave, but he’s a little raw nerve and tends to freak out. The other characters are Anger, Sadness – her shape is inspired by teardrops – and Disgust, who basically turns her nose up at everything. And all these guys work at what we call Head-quarters.”…
Every Pixar movie has its own rules that viewers have to accept, understand, and enjoy understanding…In Pete (Docter)’s film, one of the rules – at least at this point- was that memories (depicted as glowing glass globes) were stored in the brain by travelling through a maze of chutes into a kind of archive. When retrieved or remembered, they’d roll back down another tangle of chutes, like bowling balls being returned to bowlers at the alley.
That particular construct was elegant and effective, but Andrew (Stanton) suggested that another rule needed to be firmed up and clarified: how memories and emotions change over time, as the brain gets older…
…candour is only valuable if the person on the receiving end is open to it and willing, if necessary, to let go of things that don’t work. Jonas Rivera, the producer of Pete’s film, tries to make that painful process easier by doing something he calls “headlining” the main points of a Braintrust session for whichever director he’s assisting- distilling the many observations down to a digestible takeaway. Once this Braintrust meeting wrapped up, this is exactly what he did for Pete, ticking off the areas that seemed the most problematic, reminding him of the scenes that resonated most. “So what do we blow up?” Jonas asked. “What do we go backwards on? And what do you love? Is what you loved about the film different now than it was when we started?”
“The way the movie opens,” Pete responded, “I love.”
Jonas raised his hand in a salute. “Okay, that’s the movie, then,” he said. “How we set up the story has to handshake with that.”…”
In Slate of 18.10.13., Forrest Wickman wrote that Arthur Quiller-Couch’s 1913-1914 Cambridge lectures, On the Art of Writing, were widely reprinted. In his 1914 lecture “On Style,” the writer known as Q said, while railing against “extraneous Ornament”:
If you here require a practical rule of me, I will present you with this: ‘Whenever you feel an impulse to perpetrate a piece of exceptionally fine writing, obey it—whole-heartedly—and delete it before sending your manuscript to press. Murder your darlings.