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Current time:0:00Total duration:5:57

Video transcript

in the last video we talked about how people listening to a pitch provide feedback to the storyteller now we're going to turn the tables and look at the feedback process from the point of view of the storyteller the one receiving the feedback at Pixar we call each piece of feedback you receive a note receiving critical feedback can be really really difficult you've worked really hard pouring your heart and soul into your pitch only to be met with criticism so it's important to get comfortable with criticism when I'm editing a sequence I find it helpful to ask for the opinion of people I trust and it's it's always helpful to get feedback I don't take it personally I find it very useful the reason they're giving me feedback is only to improve the scene and that's what everyone wants to do when when we're collaborating together on making a film when someone says this just isn't working this is too long that's not funny that's the one that used to kill me it's not funny it's a oh you know I tried to make it funny I thought I was gonna be funny and then here it is and no one laughs everyone's just sitting staring at you you know and you can hear grass grow and snails crawl at that point because it's just you know it's excruciating but that's okay everyone goes through it originally I think I got confused and thought that it was about me but it's not about me it's about the movie if the feedback the notes are about a way to make the film better then you know everybody wins you know like and it doesn't help for me to get my ego involved tell a you know to defend something that doesn't work just because it was my idea the important thing is to remember that the purpose of the feedback is to make your story even better try not to take it personally but rather focus on the work at Pixar everyone is working to make the story better not taking criticism personally is so important it has become a mantra focus on the work not the person after you've gotten notes start by taking a step back to analyze them different artists approach this in different ways the main thing after a pitch is you know you gets got to come down off of it because you you know you're sweating your heart is pounding because you are performing your work in front of a lot of people and so the main thing is just find a way to relax afterwards and for me I used to go shoot around shoot some hoops sleeping on it also helps to like putting some distance between you and your work really helps because you could be staring at something like for me if I work on a drawing for more than a couple hours I start to hate it and like no matter what and I just need to put some space between me and it so that usually helps to just to like take a break and so you sit down and you look at the boards that you've done and you know you think about questions it's like what could I do to make this clearer what could I do to make this funnier and for me a lot of this comes down to list making I'll just sit and make lists you know what could be funnier I will just sit and come up with a hundred things and just don't even think about just write it down to see if I can conjure up something that's funnier some notes might be easy to address and some might be harder I like to start with the easy notes first like what if you made this character bigger in the frame or how about swapping these two drawings addressing the easy notes first helps me feel like I'm making progress and gives me more courage to tackle the more difficult issues later when considering suggested changes make sure they stay true to what you're trying to say in your story keep in mind that your job as a storyteller is not to respond to each individual note but rather look for the spirit of the note the underlying problem the note is a reaction to because there's oftentimes a lot of ways to solve these problems but what's the spirit of the note and usually the spirit of the notes something like the clarity is not there or the the emotional heft between two characters is not there well I want to show motional heft there's 10 ways to do it and especially if you as a story artist can bring something of your own unique self to solving that that's great so for example on Incredibles Brad was getting a lot of notes and a lot of feedback on for this one particular shot in in The Incredibles where Bob and Helen are having an argument about the family and for a long time the feedback was that bob looked like he was domineering and overpowering Helen and it didn't like it felt wrong to the audience like they felt like Bob was too aggressive to Helen so the feedback suggestions was maybe they could be on the beach or on like in a different location but really like Brad looked at the spirit of the note which was that like the two characters visually didn't seem like they were on the same level but in his head they were on the same level he just had to convey that visually so what you will see in the final movie is that you know when she yells at him like it's not about you like she grows like physically and she becomes taller than him and that was the only thing that Brad changed and the and the the feedback after was was great and it wasn't like he didn't do exactly what the notes told him to do he just looked at the spirit of the note and he addressed it and he fixed the problem once you've revised your story and your drawings it's time to read pitch don't be surprised if you have to pitch revise and reap it a few times before it feels right Andrew Stanton likes to say fail early and fail often the more you pitch the better your story will become