SCHWARTZ: You’ve said that Frank Daniel at AFIwas one of your first film teachers—he said that inorder to make a feature film you should takeseventy index cards and have a scene for eachindex card, and then you have a feature film.

frank danielle at the 1:29 american film institute 1:30 who was dean of the school uh center for 1:33 advanced film studies 1:34 and he taught a way to do it 1:39 um you get yourself a pack of three by 1:42 five cards 1:44 and you write a scene 1:47 on each card and when you have 70 scenes 1:52 you have uh a feature film 1:56 so on each card you write the heading of 1:58 the scene 1:59 and then the next card the second scene 2:00 the third scene four scenes so you have 2:03 70 cards 2:04 each with the name of the scene then you 2:07 flesh out each of the cards 2:09 and walk away you got a script

The Storyspace map view has proven to be enormously useful and durable, letting writers express relationships by clustering as well as by linking. Other spatial hypertext systems -- especially VIKI and VKB (Cathy Marshall, then at Xerox PARC and Frank Shipman, Texas A&M) and ART (Kumiyo Nakakoji, NIST) provided inspiration and encouragement as well. The export template mechanism was sketched in a long discussion at Hypertext '98 with Marc and Jocelyn Nanard (Montpellier) and Daniel Schwabe (PUC, Brazil), and the Nanard's brilliant work on MacWeb demonstrated that Tinderbox agents were in fact viable. Elli Mylonas, David Durand, and Steve DeRose motivated the central role of XML. Mitch Kapor's Agenda was an early inspiration, and James Fallows demonstrated, in essays on Agenda and Zoot, that writers could and would use sophisticated agents.