011013 halle
Richelle Wilder
animation has the widest demographic
animation isn't limited by cultural or social boundaries...
katzenburg 'the idea is king. if a movie begins with a great, original idea, chances are it will work...'
great ideas are rare...
the strongest ideas can be encapsulated into a logline, or 'hook'...
chicken run 'great escape with chickens'
flushed away 'african queen with rats'
shrek ' greatest fairy tale never told'
when i ran the development department at aardman...
it was a creative forum for generating ideas...
sometimes the original idea FAILS when you try to expand it...
Scorcese said 'there's no such thing as simple. Simple is hard.'
pitch: plot, characters, world, tone...
now we're talking about leprechauns...
but Katzenburg didn't like it 'and all our leprechaun ideas left with him...'
hitchcock 'all you need is a great script, a great script, a great script...'
the technical differences between writing for live action and animation are negligible...
writer needs to be hugely imaginative...
all the projects I've worked on have featured multiple writers... a lead writer certainly, but multiple writers...
we follow the three act structure...
it's important the bg designs and char designs are shared with the writer, to make sure he's on the same creative track...
andrew stanton... the first draft is nothing more than a starting point, so be as wrong and as fast as you can...
rewriting can be twenty paces back and five paces forward...
rewriting is about 'getting the story right'
rewrite is about making creative ideas the best they can be...
often multiple stakeholders involved in rewrite - all opinion is valuable...
however, multiple voices (if they're not managed properly) can destroy the script
in indie productions, this role is rarely managed...
managed, not dictated... Dictatorial no...
ideas often get put in the script to please the money people, to greenlight funding...
DEVELOPMENT HELL - the rewrite black hole...
caused by the writing process being poorly managed...
Many scripts get put into development hell, very few scripts get out
dev hell becomes an illogical dance, with lots of crap and random ideas being built into the script...
remember the project's potential, remember the hook...
billy wilder - an audience is never wrong. an individual member of it may be an imbecile, but a thousand imbeciles sitting in a darkened room - that is critical genius...
end
show don't tell
anim scripts are approx 80 pages in length, live ation are usually 100 to 120 pages...
character world themes and audience demographic
screenwriting is an art
screenwriting is also a craft
lasseter 'the art challenges the technology and the technology inspires the art...'
act 1 who is the main char what is the story about what is the conflict? (this is the inciting incident) first 10 pages, first 10 minutes
the suspension of disbelief must happen in act 1, the audience must buy in
want versus need is the character arc
the char want needs to be established early
drama is conflict...
act 2 longest in length
develops the action (A plot)
develops the main char
develops sub plots
it's essential to have more than 1 storyline
A plot is the action storyline
B plot is the emotional storyline
then subplots
there must be multiple plots, or the story will be completely linear
there can be multiple multiple subplots, adding texture and charm to the storyline
moving between acts is done by turning points - twists
act 3 is the climax
the central premise of the plot is resolved...
shrek gets his swamp back, but with an unexpected twist (fiona)
tv script format...
single drama
mini series (multiple eps)
returning series (many eps)
script development TV:
development workshop
bible
premise
outline - fleshed out without dialogue
scene by scene - again fleshed out without dialogue
drafts x 2 - dialogue in, story structure, basic structure is movie structure with beginning, middle and end (this is usually where finance is greenlit)
polish - final draft, often done by the script editor - script editor ensures continuity across the series
development by committee is a staple of modern TV script development
broadcaster
co producer
series producer
each of the stakeholders will want an active input in the series development (includes financiers, co prod partners and broadcasters), all coordinated by the script editor
all opinion is valuable, but all opinion is.
an effective script producer or script editor offers the writer creative support and managerial guidance.
katzenburg: every single thing you see onscreen came out of somebody's creativity. It doesn't exist. Nature didn't deliver it to us. Everything had to be dreamed.
end
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