In 1931 Walt Disney established a story department with animator Ted Sear as its head. Most of the members were draftsmen who thought in drawings and told pictures in drawing, not through words. Liberties were taken with literary sources.

Each story had to be reduced to a simple plot and have easily identifiable characters to whom people could become attached. Dialogue had to reduced to the barest essentials, the movements and images providing the exposition as often as possible.

Disney and his team did not hesitate to alter the original work that inspired them. During countless working sessions, episodes disappeared, others were invented, secondary figures were made more prominent, and their characters accentuated or toned down.

In his adaptation of “Peter Pan”, the fairy Tinker Bell became more prominent.

In “Snow White”, the queen’s many attempts to kill the heroine that the Grimms described were dispensed with, whereas the dwarfs – undifferentiated old fogies in the original – were brilliantly individualized by Disney.

Collodi’s “Pinocchio” was written in the form of a serial and contained too many episodes and was reduced to a single theme. Disney, who had the Italian version and several English editions, asked Bianca Majolie in the story department to do a new translation of the book for him. That is how the Talking Cricket, who offered to be Pinocchio’s conscience and whom Collodi had cruelly squashed, became the storyteller and one of the principal figures in the Disney version.

In “Sleeping Beauty”, Disney was concerned about the story’s resemblance to “Snow White” and “Cinderella” and insisted on the encounter between Prince Phillip and Aurora before she falls asleep, unlike the original story.

This literary license was necessary in order to give the films rhythm, plausibility and clarity.

When I have perfected it the larynx will show no ring of conviction except the conviction of the person I am talking to. Since it will be largely called upon for the elicitation of the word “Yes,” my teacher (a lawyer) and I are concentrating on that, but in extra hours.

I am learning to bring into it that polite acerbity that makes people feel that far from being welcome they are not even tolerated and are under continual and scathing analysis at every moment.

These times will of course not coincide with the smile. This will be reserved exclusively for those from whom I have nothing to gain, old worn-out people or young struggling people.

They won’t mind — what the hell, they get it most of the time anyhow.

I’m still working on that smile. It is to combine the best qualities of a hotel manager, an experienced old social weasel, a headmaster on visitors’ day, a colored elevator man, a pansy pulling a profile, a producer getting stuff at half its market value, a trained nurse coming on a new job, a body-vender in her first rotogravure, a hopeful extra swept near the camera, a ballet dancer with an infected toe, and of course the great beam of loving kindness common to all those from Washington to Beverly Hills who must exist by virtue of the contorted pan.

I began to see what was happening to Berlin. The small incendiaries were going down like a fistful of white rice thrown on a piece of black velvet. The cookies-the four thousand pound high explosives-were bursting below like great sunflowers gone mad.

And then, as we started down again still held in the light, I remembered that the dog still had one of those cookies and a whole basket of incendiaries in his belly. And the light still held it, and I was very frightened. I looked down, and the white fires had turned red.

They were beginning to merge and spread, just like butter does on a hot plate.

How to express the idea that it’s better to live than to die, that your enemy is your brother.

What symbols stands for vanquishing conflict, where do the emotions have to shift.

How does blind hate become blind love.

From hate to love.

The way to communicate most effectively is to use the lower three organs to arouse interest, and then the brain to deliver meaningful content.

A chakra is a vortex of energy. There are seven main chakra points on the human body which start at the base of the spine and finish at the crown.

You can build a story chakra by chakra. Work your way through the body of your story.

Muladhara (the base chakra representing earth and physical body, survival, past impressions).

Svadhisthana (the sacral chakra representing water and physical vitality, sex desire, earthly emotions).

Manipura (the solar plexus chakra representing fire and individual will, personal power, perseverance, emotions).

Anahata (the heart chakra representing air and Love, surrender, balance, acceptance, devotion).

Vishuddha (the throat chakra representing ether and Communication, expression, higher will).

Ajna (the brow chakra representing mind and seeing, inner vision, intuition, comprehension).

Sahasrara (the crown chakra representing intelligence and God consciousness, spiritual intelligence).

Start from the base and wind your way to the crown and beyond. Keep an eye on the colors.

From red to orange to yellow to green to blue to indigo to violet.