Development Program : Staging as Applied to Presentation of Story and Gag Ideas

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Page 13 of 16

From the collection of Hans Perk at A. Film L.A. and reprinted here with his permission.

[...] boy, but he tells her if she has the power to give him life, to give it to Gepetto? Pinocchio is willing to make this sacrifice for Gepetto. To me, the weakness in our present story is that Pinocchio only justifies getting to be a real boy by trying to do something brave; couldn't he sacrifice something that means a lot to him?

Q. When the Fairy comes to give him life, he might says "I DON'T WANT IT NOW. GIVE IT TO MY FATHER!" He gives up the one thing he has been striving for.

A. When Pinocchio learns that his father is inside the Whale and decides to go rescue him, the Fairy tells him he may lose his life, and he says he doesn't want to live without his father,

Q. Then this new ending would top it. The thing Pinocchio has been striving for was to become a flesh and blood boy. He now has earned that chance, and wants to sacrifice it for his father. You put it over right where you want it.

A. The way the continuity runs now, your sympathy is transferred from Pinocchio to the old man, when he thinks Pinocchio is drowned.

Q. The new suggestion would eliminate a certain similarity between Pinocchio and Snow White.

AA. We are all too apt, when sitting in story meetings, to listen to a suggestion and like or dislike it without analyzing our reasons for doing so. We should know why it is good or bad before accepting or rejecting it.

Q. I have one question concerning technique. We have learned cutting on shorts, based on our sweat-box routine of looking at a thing and timing and cutting out waste space. Now we are carrying that cutting technique into our features, although we are spending more time on character building. People say they see things the second time they see our pictures that they missed the first time. Are our pictures harder to follow than others? Is our cutting technique right, or not? We become familiar with a scene and chop part of it off. Then we become familiar with it once more, and chop off more of it.

A. I feel that we are right in the chopping that we do. The audience sees much more in our pictures than they do in other pictures. We still get our points over, because we get our reactions out of the audience. [...]