Real Life - Always (Stu's Extended Remix)
9. Father Stu had a deep devotion to the Blessed Mother. Although the movie does portray his Marian devotion, with scenes of actor Mark Wahlberg praying the Rosary and giving a statue prominent placement in the film, it was even deeper in real life. As Father Bart told the Register: "He loved the Blessed Mother. And he believed in the Blessed Mother. And he believed in the saints until the end. Even the last day before he died, people were in his room praying the Rosary, and he was moving his mouth along with them to pray with them."
Real Life - Always (Stu's Extended Remix)
Parishioners from Stu and Carmen's church in California petition the Diocese of Helena to ordain Stu. The bishop agrees, and Stu is ordained with Carmen, Ham, and his parents in attendance. Stu begins ministry in Montana and quickly develops relationships with people. He is later confined to a skilled nursing facility, where he continues his ministry and people flock to see him daily. Jacob visits him during confession and admits that he never felt capable of becoming a priest and only pursued it to please his father. Stu assures Jacob that there are other ways to serve God and he should not feel pressured to do something he isn't called to do. Jacob thanks Stu and wishes him goodbye, sensing it will be the last time. Stu dies at the age of 50. The closing credits show photos of the real-life Stu as a child, young adult, seminarian and priest.
I have had the privilege of caring for Father Stu for the past few months at the Big Sky Care Center, where he lived. Although I have not known him for very long, I came to understand that he touched so many peoples lives in such positive ways. He was a true asset to the community and will always be missed. So many love you Father Stu and we will always know your guiding spirit is with us forever. Thank you for everything you brought to the table of life.
After Tom Prinze dies at Jennifer Jolie's exploded mansion, the killer credits himself as Maureen's killer, with a photo left behind at the scene of the crime. This is in deliberate contradiction to the known events of the original film's ending, sparking a chain of events leading to the conclusion of the real-life trilogy.
Stu:Yeah. Yeah, and it was great because that was something that Sean of Red Giant kind of... He came with a bunch of ideas, saying, "This is more than just frame rate conversion. This is also color correction," and that was where the idea of Magic Bullet as a suite of tools came out. My career trajectory was kind of moving a little bit away from day-to-day visual effects and moving more into doing music videos and commercials, directing. So, I got to sit with colorists working on DaVinci Resolve and see what they were doing, and I kind of plugged myself excitedly into that world of... Color correction is... At the time, people just didn't really appreciate how much of a big deal it was. In fact, I always laugh to think back. When we first were releasing Magic Bullet as a product, all of our marketing was about trying to convince people why they should do color correction, not why they should buy Magic Bullet, why they should just think about doing color correction at all.
Mark:So, I want to stop you because Colorista I buy is based very much on color pots and the wheels, and that whole model. It had very specific choices that over time evolved to work really well in the context of what you're doing in software. Looks is more like Supercomp and some of the other tools that you have commandeered or helped bring into life at Red Giant, where that's got a whole bunch of other stuff, and it's based on a completely different model, which is you start with light, and it goes through these parts of a camera, and then it goes through post-processing. So, it's almost as if Colorista's just the post-processing part. I know that, whether people fully understood that or not, Looks really just kind of lit a candle under nontechnical people to suddenly get access to all of these very accessible try-before-you-buy kind of toys.
Mark:It has always, frankly, amazed me how Stu has leveraged his unique set of skills. Sure, he's got a strong technical mind and a good deal of artistic ability, but the guy's also got a sense of humor, and that's all accompanied by a clear vision of how things actually are, and how they work. If you want more, definitely check out the short film, Tank, but moreover, definitely watch the 20-minute making of video for that animation. It's a testament to how giving yourself clear guidelines and strong limitations, in this case, rather extreme ones, can really liberate creativity. Thank you for listening.
Perma-Stubble. Nothing like the scratchy beginnings of a beard to emphasize that no testosterone isn't in any sort of short supply for this rugged fellow. Yet despite this, actual beards are surprisingly rare.
As well as that, give him a large penis. No, not a Gag Penis. The author will expect people to actually accept that his member can double as a baseball bat. The more blatantly inaccurate ones tend to be written by men (or sometimes by inexperienced women), believing that 11 inches is going to feel really good in bed. (It won't.)
Aesthetically placed scars can keep Marty from being too pretty, while emphasizing his dangerous lifestyle. On the other hand, having zero scars even when it would be extremely unrealistic, such as a badass warrior who's been fighting powerful beasts in the wilderness without a single scratch to show for it. To not have any scars or battle wounds from such a lifestyle is equally Marty-ish.
A greater emphasis on his powers and strength than Mary Sue. Where a Sue author will still write as though there is suspense (Can Mary defeat the dreaded Count Weakling von Moron with her lightning powers, teleportation, super strength, and invincibility?), Stu authors will have fights where there isn't even the illusion of tension. Or if they do need some, Marty will either have an extreme handicap, a time limit, or need to protect someone else (Can Marty defeat the Cyber Uber Dragon? Of course he could! But could he do it in five minutes with one hand tied behind his back and save Duchess Damsel at the same time?)
Conversely, Marty shows an aversion to "unfair" powers relative to the setting. After all, if your guy is the only one running around with magical bulletproof skin, he's not really the most badass guy, now is he? Instead, his ability to tank a shotgun to the face often won't be explained at all. He's just that manly!
Make him big and muscular. Even in professions where he does little physical work and shouldn't have time to train to be an Olympic weightlifter. While there's nothing preventing Mary from doing this as well, you won't see it happen very often because being muscular takes away from feminine charm in the eyes of most writers (if Mary needs to be strong, she'll often just practice Waif-Fu). Being over six feet tall isn't uncommon, even if he's only a teenager.
Conversely, make him lean and streamlined, as is common with more romantic heroes; the female audience prefers the dancer's build with swimmer's torso. Overly conspicuous muscles are avoided for pretty much the same reason as they are with the Distaff Counterpart: they detract from physical grace.
Cool Guns,Cool Swords, Hero's Classic Car... The Marty Stu will usually travel in and/or fight with something WAY COOL, and the writer will not let the reader get away without understanding just how cool it is. Basically, if female Mary Sue writers go overboard about making sure that the reader knows how crazy, gorgeous and revealing each of their character's one-per-chapter new costumes is, male Marty Stu writers will do the same about the exact model of revolver he uses and what cartridges he puts in it to kill what kind of monster, or precisely how he souped his Jaguar E-Type V12 up to 500bhp. In order to afford all of these cool toys, travel to glamorous locations, and otherwise generally live the high life, he may be a member of the Fiction 500.
If he doesn't use firearms, he will be a master of some kind of fantastically-obscure and specialized (if not imaginary) martial art which will likewise be discussed in excessive detail. Bonus points if it's a martial art that the character would in the real world have no opportunity to learn, such as an eighteenth-century nobleman who single-handedly invented modern Mixed Martial Arts or an eleventh-century knight who went crusading and learned kung-fu from a wandering Chinese master who somehow made it to Palestine.
If written by a man, he will have had lots of sex with lots of women to prove his sexual virility. If he's written by a girl, he may be a virgin, proving that he's deeply sensitive and dedicated. Either way, the sex he dishes out will be the best ever.
Even in the rare instances where he uses his words to solve problems more than violence, he will still be said to be extraordinarily capable in a fight. Often, the entire reason he uses his negotiation first is that he's so manly and strong that he can't actually fight without the risk of killing someone.
He has an Eyepatch of Power because nothing says badass like missing an eye and still being the most capable guy around. Also, because pirates are cool. Similarly, he has a bionic limb because of some terrible accident where he was rescuing somebody or doing something else heroic. Logical downsides like a reduced field of vision are forgotten.
Rather than having an overly long meaningful name preferred by Mary Sue writers, Gary Sue will simply have an Awesome Mc Cool Name often with his own Red Baron.
Often the case for younger Marty Stus, he'll have some position or power of authority that doesn't make sense for someone his age. For example, he's secretly a military special ops agent, or he's asked by his school to train his classmates.
He is likely to be a Cultured Badass. Along with general asskicking duties, they will be any combination of Sharp-Dressed Man, Badass Bookworm, Renaissance Man, think that Wine Is Classy, play chess, like opera, jazz, and classical music, and otherwise be Sophisticated as Hell. They can easily pull off moves like kissing a lady's hand or other such chivalrous gestures (difficult to do in modern times). This sharply contrasts the rugged, blue collar, Jerk Jock meathead.