The last two of Mr. Gulino's concepts of "focusing your audience on the future" and the two "most powerful" ways to do it: Dramatic Irony and Dramatic Tension.
Also, interesting, in the section on Dramatic Tension is an interesting interpretation of why a movie needs (at least) three acts. Aslo you'll see that he starts to talk about "Sequence Structure", which is mostly what the rest of the book is about: an approach to movies that involves looking at them as a series of eight sequences and why this seems to work in many movies. Most of the book, in fact, is analysis of several varied films and how they reflect this eight-sequence structure and how they use these four variations of "looking into the future" in different ways.
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Whew! Enough talking about story. Let's take a break from the story yakkity-yak and I will try to talk about drawing for a while.
A story artist's job consists of drawing and storyboarding but also sitting around and discussing the structure of the movie and brainstorming how to make the movie better. In the periods where I tend to be in meeting talking about stuff I tend to blog about story. Then in the rare periods where I get to sit and draw I tend to talk about drawing. These days I am sick to death of talking about story and I hardly remember how to draw...I will try to write something interesting about drawing soon.