What's inside: ART, illustration, fanart, slash, comics, video games, movies and history nerdness. Often nsfw. Sadly, no relation to Han Solo, but I draw and write Iron Empress!

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Reblogged from d2cm  2,178 notes

rufftoon:

Animated movies of 2014 released in North America

Here’s the line-up I managed to find so far for this year. I hope I haven’t forgotten any. There may be a few other movies from other countries that may get limited releases, like Monster In Paris or Rabbi’s Cat last year.

Not all movie posters are final and some don’t have posters yet.

FEB 14th- Escape From Planet Earth (Rainmaker)

March 15th (limited release, wider release on March 29th) From Up On Poppy Hill (Ghibli)

March 22- Croods (Dreamworks)

May 24th- Epic (Blue Sky)

June 21st- Monster University (Pixar)

July 3- Despicable Me 2 (Illumination)

July 19- Turbo (Dreamworks) 

August 4- Planes (this one is a bit of a surprise, as I thought it was only a DVD release) (Disney- Pixar)

Sept 27- Cloudy 2 (Sony)

November 1- Peabody and Sherman (Dreamworks)

November 27- Frozen (Disney)

nailbats:

thatisawesome:

The 22 rules of Storytelling, according to Pixar

#1: You admire a character for trying more than for their successes.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.
#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.
#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.
#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.
#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.
#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?
#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.


this is a good list of pointers!

nailbats:

thatisawesome:

The 22 rules of Storytelling, according to Pixar

#1: You admire a character for trying more than for their successes.

#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.

#3: Trying for theme is important, but you won’t see what the story is actually about til you’re at the end of it. Now rewrite.

#4: Once upon a time there was ___. Every day, ___. One day ___. Because of that, ___. Because of that, ___. Until finally ___.

#5: Simplify. Focus. Combine characters. Hop over detours. You’ll feel like you’re losing valuable stuff but it sets you free.

#6: What is your character good at, comfortable with? Throw the polar opposite at them. Challenge them. How do they deal?

#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.

#8: Finish your story, let go even if it’s not perfect. In an ideal world you have both, but move on. Do better next time.

#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.

#10: Pull apart the stories you like. What you like in them is a part of you; you’ve got to recognize it before you can use it.

#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.

#12: Discount the 1st thing that comes to mind. And the 2nd, 3rd, 4th, 5th – get the obvious out of the way. Surprise yourself.

#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.

#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.

#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.

#16: What are the stakes? Give us reason to root for the character. What happens if they don’t succeed? Stack the odds against.

#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.

#18: You have to know yourself: the difference between doing your best & fussing. Story is testing, not refining.

#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.

#20: Exercise: take the building blocks of a movie you dislike. How d’you rearrange them into what you DO like?

#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?

#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.

this is a good list of pointers!

Reblogged from markdoesstuff  204,439 notes
panasonicyouth:

kyssthis16:

abowlofbranflakes:

peecharrific:

thefrogman:

Pixar Lamp Halloween costume.
[video] [moar Frogman GIFs]

LMAO I HATE YA’LL!
looooooooooooooooooooooooooooooooooooooool
that lil boy gon be mad as hell when he has to hop for 3 miles while he trick and treatin looooooooooooooool

I love it!

They win the internet, yo. GET THIS PERSON A SCHOLARSHIP!!!!!!!

THIS IS HOW YOU HALLOWEEN, FOLKS

panasonicyouth:

kyssthis16:

abowlofbranflakes:

peecharrific:

thefrogman:

Pixar Lamp Halloween costume.

[video] [moar Frogman GIFs]

LMAO I HATE YA’LL!

looooooooooooooooooooooooooooooooooooooool

that lil boy gon be mad as hell when he has to hop for 3 miles while he trick and treatin looooooooooooooool

I love it!

They win the internet, yo. GET THIS PERSON A SCHOLARSHIP!!!!!!!

THIS IS HOW YOU HALLOWEEN, FOLKS

Reblogged from cleolinda  141 notes
cleolinda:

Character shot of Princess Merida (voice: Kelly Macdonald. Trufax: was originally cast as Reese Witherspoon somehow?) from Brave, the next Pixar movie.
[Image description: Background of misty forest and tall standing stones. Foreground, a young Scottish girl with the most amazing curly orange-red hair. It kind of reminds me of variegated yarn. Also, huge blue eyes. Cerulean blue* dress, with white linen (probably?) undersleeves pulled out at the elbows, and rough gray cloak. She’s holding a bow horizontally and is reaching back for an arrow—she’s either about to shoot or is going back for another one. The bow itself has an inlaid Celtic design. The best description of her expression I can come up with is AW HELL NO.]
[*I actually went to Wikipedia, looked up “blue,” and did the best color match I could. It was either “cerulean” or “Yale blue.”]
If you can, make sure you look at the full hi-res image. The texture of the hair and fabrics are amazing.

cleolinda:

Character shot of Princess Merida (voice: Kelly Macdonald. Trufax: was originally cast as Reese Witherspoon somehow?) from Brave, the next Pixar movie.

[Image description: Background of misty forest and tall standing stones. Foreground, a young Scottish girl with the most amazing curly orange-red hair. It kind of reminds me of variegated yarn. Also, huge blue eyes. Cerulean blue* dress, with white linen (probably?) undersleeves pulled out at the elbows, and rough gray cloak. She’s holding a bow horizontally and is reaching back for an arrow—she’s either about to shoot or is going back for another one. The bow itself has an inlaid Celtic design. The best description of her expression I can come up with is AW HELL NO.]

[*I actually went to Wikipedia, looked up “blue,” and did the best color match I could. It was either “cerulean” or “Yale blue.”]

If you can, make sure you look at the full hi-res image. The texture of the hair and fabrics are amazing.