According to this calculator, I could drink 126.71 cups of Instant Coffee (in one sitting) before dying. Haha. Still safe.

Also:

Facebook - 1, Tumblr - 1, Thesis - 0.

NOT OK!!!

Bawal humiga. 

from: http://www.hollywoodlitsales.com/cf/journal/dspJournal.cfm?intID=2720

Or more accurately, Sorkin caught the dialogue bug, since he doesn't have near as much fun writing plot: "I don't have stories to tell...I'm not one of these guys who grew up around the campfire saying let me tell you another one, I got a million of them." Despite his award-winning career, Sorkin says, "It's a terrible struggle for me devising an intention and an obstacle that I feel holds water and that's interesting. I would much rather blather on [with dialogue]."

> I can relate! Ganito din ako. Bobo talaga ako sa plot things! At favorite ko ang pagsusulat ng dialogue, kaya ansakit gumawa ng treatment lang, yung wala pang dialogue. It's usually the last thing being put on the script.

"Sorkin doesn't speak into a tape recorder to get the rhythm of his trademark dialogue down, either. Sorkin: "I tried doing that but I can't. When I tried using a tape player, when I tried dictating I'd freeze up immediately. It's walking around talking to myself, it's being in the car and talking to myself." Indeed, Sorkin seems practically a Mennonite when it comes to technology: "The problem I have with these new-fangled computers is that they don't make a good sound...The [clacking] sound a typewriter made you felt like you were working, felt like you were doing a day's work."

> That's why I love this laptop! The keys are clunky enough to make a sound.

Sorkin soon learned from fellow screenwriter William Goldman to "screw the format" -- don't worry about camera angles, tracking shots and close-ups, just write a script that hooks a reader on an emotional, page-turning level. Unless that happens, all the camera angleSo "Men"'s director Rob Reiner taught Sorkin how to do the "walk and talk" -- the characters would get out large blocks of dialogue while moving from room to hallway to parking lot, usually in one long Steadicam shot. This allowed Sorkin to keep his lines without sacrificing visual energy, and is something he used quite frequently on "The West Wing".s in the world won't save it.

> I say, screw the process too! Hahaha write all the dialogues that pass through your head :)) Edit later.

Sorkin "also like[s] description to take as much time for the reader as it's going to take to happen onscreen". If a woman storms into a room and storms back out again, Sorkin says, "I'm not going to describe what she's wearing. It couldn't be less important." Pace and flow trump those kinds of details.

> Makes sense! Wardrobe kayo na bahala dyan hahaha.

So "Men"'s director Rob Reiner taught Sorkin how to do the "walk and talk" -- the characters would get out large blocks of dialogue while moving from room to hallway to parking lot, usually in one long Steadicam shot. This allowed Sorkin to keep his lines without sacrificing visual energy, and is something he used quite frequently on "The West Wing".

> Gusto ko rin mag Walk and Talk!

Nevertheless, Sorkin admits, "Writing something well, writing something that people like, that's funny or good or emotional, it's my only means of showing off. And that's something I like to do. And so if I have an idea for something I want it to get on paper as quickly as possible so I can show it to people as quickly as I can and get that affection I so crave from strangers." So if you're looking for love, get out there and write -- I know I will!

> I love that! Kind of feel that way myself.

Joss Whedon's Top 10 Writing Tips

Here's Joss Whedon's Top 10 Writing Tips, which was initially published in Channel 4's talent magazine by Catherine Bray, who has kindly given me permission to reproduce the article in full here. Thanks, Catherine!

(If you are visiting this blog solely via this article, you may want to check current posts & updates here; news & info about the UK scriptwriting scene).

---

“Joss Whedon is most famous for creating Buffy the Vampire Slayer, its spin-off Angel and the short-lived but much-loved Firefly series. But the writer and director has also worked unseen as a script doctor on movies ranging from Speed to Toy Story. Here, he shares his tips on the art of screenwriting.

1. FINISH IT
Actually finishing it is what I’m gonna put in as step one. You may laugh at this, but it’s true. I have so many friends who have written two-thirds of a screenplay, and then re-written it for about three years. Finishing a screenplay is first of all truly difficult, and secondly really liberating. Even if it’s not perfect, even if you know you’re gonna have to go back into it, type to the end. You have to have a little closure.

> Tama! Ansaya ng feeling pag nakatapos.

2. STRUCTURE
Structure means knowing where you’re going; making sure you don’t meander about. Some great films have been made by meandering people, like Terrence Malick and Robert Altman, but it’s not as well done today and I don’t recommend it. I’m a structure nut. I actually make charts. Where are the jokes? The thrills? The romance? Who knows what, and when? You need these things to happen at the right times, and that’s what you build your structure around: the way you want your audience to feel. Charts, graphs, coloured pens, anything that means you don’t go in blind is useful.

> OK, go try mo to. The way you want your audience to feel, huh. Challenging.

3. HAVE SOMETHING TO SAY
This really should be number one. Even if you’re writing a Die Hard rip-off, have something to say about Die Hard rip-offs. The number of movies that are not about what they purport to be about is staggering. It’s rare, especially in genres, to find a movie with an idea and not just, ‘This’ll lead to many fine set-pieces’. The Island evolves into a car-chase movie, and the moments of joy are when they have clone moments and you say, ‘What does it feel like to be those guys?’

4. EVERYBODY HAS A REASON TO LIVE
Everybody has a perspective. Everybody in your scene, including the thug flanking your bad guy, has a reason. They have their own voice, their own identity, their own history. If anyone speaks in such a way that they’re just setting up the next person’s lines, then you don’t get dialogue: you get soundbites. Not everybody has to be funny; not everybody has to be cute; not everybody has to be delightful, and not everybody has to speak, but if you don’t know who everybody is and why they’re there, why they’re feeling what they’re feeling and why they’re doing what they’re doing, then you’re in trouble.

> Uh oh. eto ata ang problema ko. I don't write dialogues pala, I write soundbites. :o Must avoid

5. CUT WHAT YOU LOVE
Here’s one trick that I learned early on. If something isn’t working, if you have a story that you’ve built and it’s blocked and you can’t figure it out, take your favourite scene, or your very best idea or set-piece, and cut it. It’s brutal, but sometimes inevitable. That thing may find its way back in, but cutting it is usually an enormously freeing exercise.

> Yes, like all cutting. Haha. Bye carillon scene?

6. LISTEN
When I’ve been hired as a script doctor, it’s usually because someone else can’t get it through to the next level. It’s true that writers are replaced when executives don’t know what else to do, and that’s terrible, but the fact of the matter is that for most of the screenplays I’ve worked on, I’ve been needed, whether or not I’ve been allowed to do anything good. Often someone’s just got locked, they’ve ossified, they’re so stuck in their heads that they can’t see the people around them. It’s very important to know when to stick to your guns, but it’s also very important to listen to absolutely everybody. The stupidest person in the room might have the best idea.

7. TRACK THE AUDIENCE MOOD
You have one goal: to connect with your audience. Therefore, you must track what your audience is feeling at all times. One of the biggest problems I face when watching other people’s movies is I’ll say, ‘This part confuses me’, or whatever, and they’ll say, ‘What I’m intending to say is this’, and they’ll go on about their intentions. None of this has anything to do with my experience as an audience member. Think in terms of what audiences think. They go to the theatre, and they either notice that their butts are numb, or they don’t. If you’re doing your job right, they don’t. People think of studio test screenings as terrible, and that’s because a lot of studios are pretty stupid about it. They panic and re-shoot, or they go, ‘Gee, Brazil can’t have an unhappy ending,’ and that’s the horror story. But it can make a lot of sense.

8. WRITE LIKE A MOVIE
Write the movie as much as you can. If something is lush and extensive, you can describe it glowingly; if something isn’t that important, just get past it tersely. Let the read feel like the movie; it does a lot of the work for you, for the director, and for the executives who go, ‘What will this be like when we put it on its feet?’

> Hmm, magkaiba sila ni Aaron Sorkin ng approach no? But what is important is that it works. Also, i think that because Aaron is heavily involved in the whole production process anyway, mas keri niyang maging direct to the point.

9. DON’T LISTEN
Having given the advice about listening, I have to give the opposite advice, because ultimately the best work comes when somebody’s fucked the system; done the unexpected and let their own personal voice into the machine that is moviemaking. Choose your battles. You wouldn’t get Paul Thomas Anderson, or Wes Anderson, or any of these guys if all moviemaking was completely cookie-cutter. But the process drives you in that direction; it’s a homogenising process, and you have to fight that a bit. There was a point while we were making Firefly when I asked the network not to pick it up: they’d started talking about a different show.

>Choose your battles. Great advice.

10. DON’T SELL OUT
The first penny I ever earned, I saved. Then I made sure that I never had to take a job just because I needed to. I still needed jobs of course, but I was able to take ones that I loved. When I say that includes Waterworld, people scratch their heads, but it’s a wonderful idea for a movie. Anything can be good. Even Last Action Hero could’ve been good. There’s an idea somewhere in almost any movie: if you can find something that you love, then you can do it. If you can’t, it doesn’t matter how skilful you are: that’s called whoring.”

> Aw. Ayun naman e, pareho sila ni Aaron. At ng nanay ko, for that matter, haha. It all comes down to love. It never gets old.

from: http://dannystack.blogspot.com/2009/01/joss-whedons-top-10-writing-tips.html

andami ko pang nasa hd. :( buuuut  i can't that's sosad yes? fackyough thesisse!

Fall in love with your characters :)

shoot thesis or die trying mode

Nakikinita ko nang magshushoot ako. GAME ON GAME ON GAME ON!!!!!! :D

"as the water rises, so must the boat."

You will be sorely missed.

ok naeexcite na ko hahaha iloveth!!!

This might just work :)

Thank you God!!!

I owe it all to you. ♥

Ask and you shall receive nga naman. A hundred times better than what you asked for! 

Kinikitaan ko na ng kinabukasan tong script na to.  :D :D :D

I LOVE YOU!

Grabe Ikaw lang po talaga ang sagot. ♥

Celtx you're a Godsend!

So apparently, not.

Tatawa nalang ako.

ano na ano na ano na!!!!!!!

hahhaha nahahyper ako.

kelangan ko na matulog please?

but mind's awake

Nakakastrike-3 na po ako but I must impose on your understanding once more.

Let me, please? :(

Why should it be?

Who is this Rebecca Black and what is her relation to Sirius Black? 

Oh. How... perceptive of her. :))

Out of this rut. Soon.

One week from now is our their defense.

I'm so happy for them, but

this is so depressing. :(

That i feel I don't have any friends. That I'm such a loser. That I am useless, worthless, Not Deserving. 

of Life. Particularly, this life.

Ayoko na.

Bye

Sa trailers. Sa posters. Sa mga taong gagraduate!!!

Ok, i brought this upon myself, now I have to live with it.

UGH I just hope it's worth it!

There's no company like family. :) I love them to bits!

My parents are in the living room. Tatay is playing One Tin Soldier on the guitar, while my Nanay sings along. Beautiful.

direksyon! kelangan ko ng direksyon.

So much happiness! I could not have a better family. Thank you po!

mnl - cdo
jun6
jun8

cdo - mnl
jun1
jun2
jun3
jun7
jun8

Ayoko na, nadedepress lang ako. Time for some Jane Austen!

Do not yell. At all. NASAAN NA ANG MANNERS. REGENCY FAIL

Nakakainis yung pagkafail ng aking propriety. Sorry hindi ako makaget over. Also, must really be more alive! Ampangit na ng aura ko. Aura? hahaha. Pero seriously! Fall in love fall in love fall in love!

Wow grabe. Grabe na talaga ang kaadikang ito!!!

"JAN JAN I LOVE YOU!!! walang masama sa iyong ginawa! naghahanap buhay ka lang! wala lang silang magawa kaya binabatikos nila si willy! inggetero sila." from: http://www.betterphilippines.com/righteous-indignation/willing-willie-jan-jan-controversy-or-why-philippine-tv-sucks/

Comments like this make me cry more. WHAT HAVE WE DEGRADED INTO! 

Paano ba. Paano bumangon.

Those who can afford to help, find it the easiest not to.

GET. A. MOVE. ON!

All those Ark musik autotuned viral musicvideos on youtube featuring underaged wanna-bes have saturated me to a point. Maria Aragon you're a breath of fresh air.

http://www.youtube.com/watch?v=f7yWHd5y_hg

Grabe. Award talaga ng procrastination skills ko.

Thanks to you, Future.

So I just read Roger Ebert's review on a movie I just reviewed, and it is SO MUCH MORE FULL of substance and wit and analysis comopared to mine, that I just feel so bobo. More than four years in film school and that's all I can come up with? It's not only stupid, but also Very Sad Indeed.