Michael Regilio

I was like, I'm going to write a happy ending, but not just an ordinary happy ending. I'm going to write the happiest f***ing ending of all time. My goal was I'm going to drive the audience insane with happiness. And I think that what works about that is the one smart thing I'll say about Little Miss Sunshine is that you're creating a false binary.

at the end where Olive walks out on stage, you don't want her to lose the pageant, right? Because that would be horrible. But you also don't want her to win the pageant because that would be just cheesy, right? And you wouldn't really believe it.

at the end where Olive walks out on stage, you don't want her to lose the pageant, right? Because that would be horrible. But you also don't want her to win the pageant because that would be just cheesy, right? And you wouldn't really believe it.

at the end where Olive walks out on stage, you don't want her to lose the pageant, right? Because that would be horrible. But you also don't want her to win the pageant because that would be just cheesy, right? And you wouldn't really believe it.

And so one of the tricks at a climax is instead of having it be the good guys win or the bad guys win, which is just a sort of thing we've seen a gazillion times before and usually the good guys win, right? is to create a third option that nobody saw coming, like a third door that you didn't even know was there.

And so one of the tricks at a climax is instead of having it be the good guys win or the bad guys win, which is just a sort of thing we've seen a gazillion times before and usually the good guys win, right? is to create a third option that nobody saw coming, like a third door that you didn't even know was there.

And so one of the tricks at a climax is instead of having it be the good guys win or the bad guys win, which is just a sort of thing we've seen a gazillion times before and usually the good guys win, right? is to create a third option that nobody saw coming, like a third door that you didn't even know was there.

You open it up and like in Little Miss Sunshine, it was just having Olive come out and like she loses, like she rips her pants off and is disqualified. But that's something that you're misleading your audience to think that the only choices are two choices, winning or losing, right? And then you go, no, no, there's a third option, right? That's going to exceed the audience's expectation.

You open it up and like in Little Miss Sunshine, it was just having Olive come out and like she loses, like she rips her pants off and is disqualified. But that's something that you're misleading your audience to think that the only choices are two choices, winning or losing, right? And then you go, no, no, there's a third option, right? That's going to exceed the audience's expectation.

You open it up and like in Little Miss Sunshine, it was just having Olive come out and like she loses, like she rips her pants off and is disqualified. But that's something that you're misleading your audience to think that the only choices are two choices, winning or losing, right? And then you go, no, no, there's a third option, right? That's going to exceed the audience's expectation.

The other example is in Toy Story 3. Like we did a lot of work

The other example is in Toy Story 3. Like we did a lot of work

The other example is in Toy Story 3. Like we did a lot of work

to fool the audience at the end so that they thought that woody was still in the car in the college box he was going to college with andy and there's even a few shots pov shots from inside the box so that when andy opens up the box to give bonnie his toys and then finds woody at the bottom of the box it's a surprise not just andy but it surprised the audience right and so

to fool the audience at the end so that they thought that woody was still in the car in the college box he was going to college with andy and there's even a few shots pov shots from inside the box so that when andy opens up the box to give bonnie his toys and then finds woody at the bottom of the box it's a surprise not just andy but it surprised the audience right and so

to fool the audience at the end so that they thought that woody was still in the car in the college box he was going to college with andy and there's even a few shots pov shots from inside the box so that when andy opens up the box to give bonnie his toys and then finds woody at the bottom of the box it's a surprise not just andy but it surprised the audience right and so

I feel like humor is dependent on surprise. Like you got to catch your audience by surprise, but also emotion, like that sadness. I think that one of the reasons the end of Toy Story 3 is so emotional is because you don't expect Woody to be there. You're not expecting Andy to give him away. I feel like you can't be too clever about this stuff though.

I feel like humor is dependent on surprise. Like you got to catch your audience by surprise, but also emotion, like that sadness. I think that one of the reasons the end of Toy Story 3 is so emotional is because you don't expect Woody to be there. You're not expecting Andy to give him away. I feel like you can't be too clever about this stuff though.

I feel like humor is dependent on surprise. Like you got to catch your audience by surprise, but also emotion, like that sadness. I think that one of the reasons the end of Toy Story 3 is so emotional is because you don't expect Woody to be there. You're not expecting Andy to give him away. I feel like you can't be too clever about this stuff though.

Like I feel like you can't sit around and play a chess game with your audience and go, oh, I'm going to mislead them here and do X, Y, Z. But if you can, you just have to be aware of trying to create something new and surprising, you know, especially at the end of your story.