SAR_act_2.2.2

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Above: FP SAR 28K BLT. SAR [ act 2.2.2 ] : protagonist.

"All I need to make a comedy, is a park, a policeman and a pretty girl."

Charles Chaplin, as quoted in documentary 'Charlie: the life and art of Charles Chaplin' by Richard Schickel (2003)

Learn about protagonist: http://www.independent.co.uk/arts-entertainment/films/features/martin-scorsese-in-conversation-guilt-trips-of-the-great-director-9000873.html

SAR_sarsential™_toolbox_13/14

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Above: PGIA 22K SAR BLMTT. Sarsential 13: mission [ get your stuff together, unite ]

"Zoals alle geniale dingen bleek de geheime succesformule uiteindelijk heel erg simpel te zijn. Net als E=MC². [...] De geheime succesformule ziet er als volgt uit: H + Pr = P5. Dat is de hele formule. Dat is al honderd jaar het geheim van Hollywood. [...] H staat voor Hoofdpersoon, Pr staat voor Probleem en P5 staat voor Plan 5. [...] De Hoofdpersoon kan pas zijn Probleem oplossen met zijn Vijfde Plan. [...] Het Probleem van de Hoofdpersoon is de tegengestelde Kracht, die hij pas met zijn Vijfde Plan kan oplossen."

("Like all great things, the secret formula for success turned out to be, like E = MC², very simple [...] The secret success formula looks like this: P + Pr = P5. That's the whole formula. That is for hundred years the secret of Hollywood. [...] P stands for Protagonist, Pr stands for Problem and P5 stands for Plan 5. [...] The main character can only solve his problem with his Fifth Plan. [... ] The Protagonist's main Problem is to solve the opposing Force situation [ antagonist ], for which he needs his Fifth Plan.")

From Dutch book 'Het Geheim van Hollywood, de gouden succesformule voor schrijvers, acteurs, regisseurs en alle andere filmliefhebbers', by Dutch producer, director and author Paul Ruven, with Marian Batavier, page 11 - 13, first published in The Netherlands by Theatrebookshop, Amsterdam, 2007 (1)

"The invocation of psychopathy to validate the good-versus-evil narrative and all that comes along with it […] is misleading. [P] ower in a complex society arises from story: from the system of agreements and narratives that scaffold our world. Our current story facilitates the rise of psychopathy and empowers the psychopath. [I] t is story, and not force, that ultimately empowers those in power, it is on the level of story, and not force, that we must act in order to take away their power and change the system. That is why advocating force as the primary instrument of change is counterproductive -- it reinforces the very same Story of Separation that is at the root of our condition to begin with. One facet of it is the story of the good people finally rising up to topple the bad people."

Charles Eisenstein, on page 183 of 'The More Beautiful World Our Hearts Know is Possible', published by North Atlantic Books, Berkeley, 2013

Charles Eisenstein's website: http://charleseisenstein.net/

Paul Ruven website: http://paulruven.nl/ 

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(1)  (It figures that) all screenplay teaching books, seminars and the likes are full of wit, completely interesting, yet incredibly useless [ i.e.: being too loud, noisy, vulgair, dishonest, cynical, greedy, dangerous, unpleasant, corporate-approved, loveless ] for storytellers who do not repeat the same thing over and over again. Useful guidelines could come from working writers, such as from writer/director Louis Malle: [ what is story? ] [ answer: ] An attempted quest for unity of the characters: "The central story [ of Au Revoir Les Enfants ] is the arrival of this new boy and how he and Julien become friends." [ what is at the core of story? ]  [answer: ] What is at the core of everything -- which breaks it all up. [ What is an effective structure? ] [ answer: ] Structure is how reality affects story: "When I examined what the structure  [ of Au Revoir Les Enfants ]  should be, I thought it was important, little by little, to see the war breaking in." From: 'Malle on Malle', edited by Philip French, first published in 1993 by Faber and Faber Limited, London. Other sources might include  Jean-Claude Carriere: ‘Does what I’m writing have any appeal, any value, any interest for the audience?': http://www.webofstories.com/play/jc.carriere/69;jsessionid=76FC291F95B079E22FFFC4553E103E3B, Quentin Tarantino "... on Writing a Script" http://www.youtube.com/watch?v=I5NI7kN7P3o, Robert McKee, screenplay-book-author and writing-class-teacher: "All screenwriting books are bullshit. All. Watch movies. Read screenplays. Let them be your guide. [...] The so-called screenwriting guru is really the so-called screenwriting con man. Don’t listen to them, if you don't know their movies. […] If you love and want to make movies about issues of social import, get your hands on Paddy Chayefsky's screenplay for Network.", Six Second Screenwriting Advice and Why All Screenwriting Books are a Con:  http://www.indiewire.com/article/six-second-screenwriting-advice-and-why-all-screenwriting-books-are-a-con  

A new story comes into existence trough a miraculous unity of people. Structure more often than not seems to be present, but not in words (more like a 'backlight', surrounding and shining trough the words). Maybe as an idea, something to trust upon, an instinct. It works counter-intuitive and destructive to apply a structure from a book. Creation is finding and using its miraculous working-power-driving-force while creating the story -- over and over again, from scratch, with a beginners mind. Eventually it is not the preconceived knowledge and application of structure, but the doing-it, that leads to the living and creation of new stories: "When you put your paintbrush on the canvas, you don’t know exactly what you are going to do. You have an idea, you have an inkling, but it is only when you’re actually present, in front of it, when you start to get an idea of exactly what you are going to do, or maybe not even then, and then the structure or the form takes over." (from: The Finger and the Eye, A conversation between Steve McQueen and Marlene Dumas, 2006).

See also: http://bartvanbroekhoven.com/en-US/running/123-sar-epilogue

Flow in the Dark

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Above: Flow in the Dark. Training is making the most of the least amount of time. 

"Stimulate trust. Discipline is not just doing what the boss says. Every player has to take care that his fellow team players know they can count on him. Johan Cruijff: "I am not interested in the player with the ball. I am interested in what happens at the other sides of the field, how they play there, how they take care of the execution of their tasks. The man with the ball has an easy job, but the real battle is happening at the other sides of the field, where the match is made." The key-element in discipline is trust. Johan Cruijff: "[ teamplayers] need to be able to trust upon each other." With everyone of us trust begins with family, neighbourhood, a couple of good friends. As time progresses the world enlarges. Building on that foundation, what follows is a three step ladder. It is the leaders task to see to it that fellow players will get up those stairs successfully. [...] The second step on the ladder of trust is a shift of focus towards stimulation of team-unity, with emphasis on shared operations. The third step is about Identification with other people. Leaders in their role as mentor for developing talent. Role models. Marco van Basten: "I am always curious for certain psychological aspects. How is it possible a player like me, a week later can experience such a fall-back? How is it that a footballplayer later in life knows how to keep a grip on his shape? Why is it that especially a Striker goes trough such a lot of ups and downs? Top-politicians and top-bussinespeople got to also acknowledge their lesser periods. I want to find out what is going on with these people. [trough meeting them, reading biographies, learning from them]" Johan Cruijff: 'I have been very lucky to have met many good people. [Horst Dassler] said: cognitive-intelligence is not the most important thing. He says: the most important thing is knowledge. I am sitting here in a tower with access to almost all information, than you do not make mistakes. But if you have somebody who is very intelligent but has only little information, he is off a lot worse. You do not have to be very intelligent. You need to look after having the maximum amount of knowledge, making you almost unbeatable.""

Pieter Winsemius in 'Je gaat het pas zien als je het doorhebt. Over Cruijff en leiderschap', first published in The Netherlands by Uitgeverij Balans, 2004: http://www.uitgeverijbalans.nl/web/Auteurs/Auteur/Pieter-Winsemius.htm

Johan Cruijff: http://en.wikipedia.org/wiki/Johan_Cruyff

Marco van Basten: http://en.wikipedia.org/wiki/Marco_van_Basten

SAR_sarsential™_toolbox_10/14

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Above: PGIA SAR BLMTT. Sarsential 10: 50.853452°N 0.574787°E [ anywhere ]

"I don't like to repeat. I think the beauty of this sport is that every day is different -- you have different views and different summits. The same mountain, it can change every day with snow, with rain and with different conditions."

Kilian Jornet, interviewed by Amit Katwala, for 'Sport-magazine.co.uk, Issue 366, August 8 2014', found in London Bus 215

"The English peel off the unessentials of modernity very easily -- they 'go native' more readily than any Europeans except the Italians; and the more refined their upbringing the quicker the change comes about. There is no disgrace in it. On the contrary, in my opinion it shows a creditable regard for the real things in life at the expense of the artificial."

P.H. Fawcett as quoted on page 214 by Adam Ballinger in 'The Quiet Soldier', first published in Great Britain by Chapman Publishers Ltd in 1992