[...] 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. [...]