Our storytelling means aren’t the only thing that’s changing about writing for TV, film, and every other medium you can think of. Our whole society is on the move as well.
Warning: Essential info for all writers and directors, et al, follows:
by John Lasseter
Then, we came to lighter cameras, to handheld cameras, steady cams, and on and on, all the way down to now.
There’s a unique thing to a GoPro.
There’s a unique thing to an iPhone?—?the way things are shot and the way it’s held. It just gives it a vibrancy you’ve never been able to have before.
I believe new film grammar is going to come from these things.
It evolves, it changes, and it’s in great part because of the technology.
In my own field, in animation, a seminal film in the history of animation isSnow White and the Seven Dwarfs, Walt Disney’s first feature-length film.
People thought Walt was insane.
“People aren’t going to sit still for a feature-length cartoon. Are you nuts?”
But Walt was a visionary.
Walt saw beyond what people were used to. They were used to the short cartoon.
There’s a famous statement by Henry Ford that before the Model T if you asked people what they wanted, they would say, “A faster horse.”
My own partner at Pixar for 25 years, Steve Jobs, never liked market research. Never did market research for anything.
He said, “It’s not the audience’s job to tell us what they want in the future, it’s for us to tell them what they want in the future.”