As taken from Voglers site, more info here. It describes the typical adventure of the archetype known as The Hero, the person who goes out and achieves great deeds on behalf of the group, tribe, or civilization. Its stages are: 1. The hero, uneasy, uncomfortable or unaware, is introduced sympathetically so the audience can identify with the situation or dilemma. The hero is shown against a background of environment, heredity, and personal history.

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It was and I had been working in the story department of Walt Disney Studios, primarily on the live action side, with little involvement with the separate, closed-off world of animation. I had developed a reputation as a guy with broad general knowledge and a talent for ferreting out good story ideas from folklore and history. I had discovered Campbell in film school at the same time the first Star Wars movie came out, and was convinced his myth-flavored memes had something to with the galactic cultural impact of the franchise.

I distributed copies to my fellow script readers and a few executives at Disney but got little response. However, according to friends of mine who were in the room, the credit went to a mid-level exec who had plagiarized it by removing my cover sheet and submitting it under his name. Katzenberg was excited about the memo. This was a bold and risky move, jumping over many levels in the chain of command and penetrating the sacred veil of the inner circle of power, which was as forbidding as the disembodied head of Oz the Great and Powerful.

To my amazement, he called me as soon as he received the letter, and told me there was a place for me in the recently-revived animation department.

They were on a roll after the success of The Little Mermaid, Beauty and the Beast and Aladdin and excitement was high over the next major project, Pocahontas. But I was sent to work with the group developing King of the Jungle, considered to be the B team, with more modest expectations.

I later learned Katzenberg himself had urged that his writers, directors and top animators read The Memo which seemed in his mind to be a good match for the needs of this story. According to studio legend, the story that became The Lion King had a personal element for Katzenberg, reflecting in some way the deep emotions he remembered from a fateful moment in his own coming of age.

In the audience were some story consultants like myself, the writers and department heads and some Disney old-timers called in for their reactions. The production was already pretty far along, with some scenes roughly animated and a few fully animated and colored, including the spectacular opening number, The Circle of Life.

When Allers and Minkoff finished their lively presentation, I joined in the discussion, making a few suggestions that seemed in the spirit of why I was there — to lend some mythic dimension to the story of the young lion king. Although I feared it was too late to make changes to the beautifully animated Circle of Life number, I made a couple of suggestions that were taken to heart and found their way into the finished film.

Most of my notes involved the character of Rafiki the baboon who serves as a kind of comical Zen master and occasional life coach for young Simba.

At that point he was ill-defined as a mythic Mentor, failing to perform the essential functions of that archetype. The shaft of sunlight idea met with general agreement — in fact there was a kind of spark of excitement in the room — and I spotted some of the animators sketching the scene on their drawing pads.

In the finished film, the shaft of light is timed perfectly to coincide with the climax in the musical composition, and the effect is quite dramatic. I was happiest when the team took one of my notes and ran with it, usually transforming it into something excitingly different from what I could have imagined. This was effectively translated into the visual language of animation with a scene of Rafiki sadly smearing a cave drawing of Simba because he fears the cub must be dead.

This was realized in the film by brief transitional shots that showed plants withering and waterholes drying up. At the beginning of the second act, the lights come up on an empty stage, covered with a circular piece of blue silk fabric that represents a watering hole.

Then, it is slowly pulled from the center down into a small hole drilled into the stage floor, so that the waterhole seems to dry up before our eyes. I got the shivers when I saw it. The simple bit of stage magic was more powerful than the fanciest, most expensive movie special effects that you could imagine.

When I saw the fully-animated final version of The Lion King, it was clear that the directors, writers and artists had done their best to give the story some of the majesty and timeless quality of myth. Rafiki is at his best here as a wise-cracking Yoda-like teacher who issues knocks on the head along with pearls of wisdom. The scene is another connection to Hamlet, mirroring a scene where young Hamlet confronts the ghost of his father, who urges him to confront the uncle who murdered him.

There was a lot of suspense around the release of The Lion King. Mainly because people were enchanted by the talents of the animation team, the gorgeous renderings of the animals, the earthy, Broadway-influenced comedy of Timon and Puumba and the exuberant, African-themed music. To complete the story, people want to know what happened to the plagiarist.

Many people knew about his plagiarism and he might have endured slight damage to his reputation, but I doubt it. At the time, I offered this prayer I learned from an old screenwriter, a veteran of Warner Bros. I have been hoping for a chance to unfurl my still-evolving ideas about the power of storytelling before a home-town audience, and the opportunity has come at last. On Jan.

Century Blvd. Los Angeles , on the corner of Century and Sepulveda. Note that the venue has changed. If you live in or near the Los Angeles area, this is a rare chance to hear me explore the ancient roots of story and the exciting modern developments of storytelling for TV, movies, novels, games and the Internet, without having to travel to Sweden.

I explore the essential operations that must be performed to make an emotional connection with the audience. I look at the latest discoveries in science about how stories move us so deeply, through the brain and the organs of the body.

I share my beliefs about how stories teach lessons through want and need, and how polarity, catharsis, conflict and intention can all work together like beautiful music to create stories with a ring of psychological truth. I demonstrate how these ideas have been applied to make successful, emotionally satisfying movies and TV shows. My recent travels have expanded my thinking quite a bit and I will gladly share with my L.

For example I work in a program The Puglia Experience in the southern Italian region of Puglia that concentrated this year on developing TV and Internet series that could be shot in that beautiful and culturally diverse region.

My career in Hollywood has been almost entirely in feature film development, but like everyone else I am fascinated and thrilled by the recent flood of new energy and potential in TV formats. I began to understand some of the design principles that the creators of those shows are employing, and I had a chance to apply those principles to sixteen long-form storylines being developed by the workshop participants.

The lessons I learned from that work will be part of the 2-day L.



Demontfort University Official Website Humanities. Vogler has since spun off his techniques into worldwide Masterclasses. The habit of active comparison is a survival mechanism chrlstopher to human nature. Joseph Campbell departed from this approach by bending the traditional straight line into a circle, as you will see in the diagram below. But in the other direction, flying fast from East to West, you are traveling against the rotation of the chrristopher.


Christopher Vogler and The Hero’s Journey… The Outline, Archetypes and Mythical Memo

We crossed the International Date Line somewhere around midnight Sunday, automatically re-setting the clock to midnight Saturday and starting Sunday all over again. I travel quite a lot these days, or at least this is a busy season after a couple of years of not much travel because of the world recession. You go where the Earth is going, you just get there a little faster. But in the other direction, flying fast from East to West, you are traveling against the rotation of the earth.


Christopher Vogler




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