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Before “hacking” had a name, it had a cereal prize. General Mills slipped a tiny plastic whistle into Cap’n Crunch boxes in the late ’60s. Turns out, that toy chirped at 2600 Hz — the exact tone AT&T used to signal “this trunk line is open.” Kids (and a...

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Steve Jobs on storytelling lessons he learned at Pixar. Says "no amount of tech will turn a bad story into a good story" and Pixar's early films (Toy Story, A Bug’s Life, Monsters Inc) had to prioritize a good story because animating so expensive: ◻️ "In a live action movie, the director goes out and shoots a lot of film — typically 10x to 100x more footage than will end up on the screen. Then they take it all into the editing room and that's why sometimes you see a movie and you go 'that stunk, didn't they know?' Well, the answer is 'yes' but they knew it too late in the editing room and...by the time they knew it, the actors were gone and the sets were down and they were out of money.” "In animation, it is so expensive that you can't afford to animate more than a few % more than it's going to end up on screen. You could never afford to animate 10x more. Walt Disney solved the problem decades ago and the way he solved it was to edit films before making them: you get your story team together and you do storyboards." "In Hollywood, one of the most popular sayings is 'story is King' but it turns out it really isn't. Because when push comes to shove...when a movie is in production and there's a lot of mouths to feed — and they're waiting for stuff to make and the story is not working — almost everybody says 'we will just have to make the movie'. And one of the things that I'm proudest of about Pixar is we have a story crisis on every movie...and we stop [everything to] fix the story." ▫️ *** D3 Conference in 2005:

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"We are not a creedal people. We have no Nicaea, no list of clauses you must recite to be counted among us. And yet in 1995 the leadership put the doctrine of the family on a single page, signed their names beneath it, and that one page has become our shibboleth. You know the word. At the fords of the Jordan the men of Gilead caught the fleeing Ephraimites by a single sound. Say shibboleth. The ones who could not shape the sh, who said sibboleth, were known in a heartbeat for what they were. A shibboleth is the syllable you cannot fake, the confession that reveals which bank of the river you are standing on. But here is the strange thing about ours, and it took me years to see it. Every other shibboleth in history was a word. A password. Something you said. Ours cannot be said at all. We have no creed to recite, so the test could never live in the mouth. It had to go somewhere the mouth cannot reach. It had to become a life. You do not pronounce this one. You build it, and the building shows. It is a man and a woman who took the covenant and then kept it, through the years and the dullness and the nights they wanted to leave and stayed, for time and for all eternity, while the whole world assured them the vow was a formality and the exits were always open. It is a house with too many children in it by the world's arithmetic, the family that refused to treat a child as a luxury to be deferred and took it instead as the entire point, the cord carried forward into the next generation, the one most of the world has now decided it cannot afford. It is the clean life. The thousand small refusals the world finds quaint or insane. The body kept. The appetites bridled. The Sabbath honored. The long sobriety of a people who say no to a hundred easy things on a Tuesday when no one is watching. These are not three rules. They are the welding itself, done with a body, in time. And none of it can be faked at the ford. You can sign the Proclamation in an afternoon. You cannot fake a marriage of forty years, or a table that loud, or a life that disciplined. The signature is easy. The life is the shibboleth. And so is the nerve to say it out loud, to stand up in the open and say that family is between a man and a woman, plainly, publicly, and where it costs you to say it, and to refuse to file the edge off the word because you would rather be liked, or because you have weighed the persecution and decided your own comfort is worth more than the truth. Anyone can affirm the parts the world still applauds."

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Steve Jobs talking about Pixar and storytelling. Says "no amount of technology will turn a bad story into a good story" and that Pixar's early films had to prioritize a good story because the cost of animating was so high: ◻️ "In a live action movie, the director goes out and shoots a lot of film — typically 10x to 100x more footage than will end up on the screen. Then they take it all into the editing room and that's why sometimes you see a movie and you go 'that stunk, didn't they know?' Well, the answer is 'yes' but they knew it too late in the editing room and...by the time they knew it, the actors were gone and the sets were down and they were out of money.” "In animation, it is so expensive that you can't afford to animate more than a few % more than it's going to end up on screen. You could never afford to animate 10x more. Walt Disney solved the problem decades ago and the way he solved it was to edit films before making them: you get your story team together and you do storyboards." "In Hollywood, one of the most popular sayings is 'story is King' but it turns out it really isn't. Because when push comes to shove...when a movie is in production and there's a lot of mouths to feed — and they're waiting for stuff to make and the story is not working — almost everybody says 'we will just have to make the movie'. And one of the things that I'm proudest of about Pixar is we have a story crisis on every movie...and we stop [everything to] fix the story." *** D3 Conference in 2005:

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Steve Jobs talking about Pixar and storytelling. Says "no amount of technology will turn a bad story into a good story" and that Pixar's early films had to prioritize a good story because the cost of animating was so high: ◻️ "In a live action movie, the director goes out and shoots a lot of film — typically 10x to 100x more footage than will end up on the screen. Then they take it all into the editing room and that's why sometimes you see a movie and you go 'that stunk, didn't they know?' Well, the answer is 'yes' but they knew it too late in the editing room and...by the time they knew it, the actors were gone and the sets were down and they were out of money.” "In animation, it is so expensive that you can't afford to animate more than a few % more than it's going to end up on screen. You could never afford to animate 10x more. Walt Disney solved the problem decades ago and the way he solved it was to edit films before making them: you get your story team together and you do storyboards." "In Hollywood, one of the most popular sayings is 'story is King' but it turns out it really isn't. Because when push comes to shove...when a movie is in production and there's a lot of mouths to feed — and they're waiting for stuff to make and the story is not working — almost everybody says 'we will just have to make the movie'. And one of the things that I'm proudest of about Pixar is we have a story crisis on every movie...and we stop [everything to] fix the story." ▫️ *** D3 Conference in 2005:

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