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Showing posts with label Writing for Animation. Show all posts
Picthure this, a big time animation executive sitting in his office with a cigar in his mouth, just for the look, he doesn't light it. You walk in with your animation script idea. Without thinking to deep, what do you think this executive is going to want from it?
EDD: An original idea?

Precisely, there are three main areas that executives work from when developing cartoons.


  1. Classic Cartoon Characters
  2. Marquee Characters
  3. Original Concepts






LARRY: Erm, I understand you perfectly and I know what that means but can you just explain what they are...for the readers...obviously.

Of course I can. Just Click the links above for explanation...for the readers of course.






Classic Cartoon Characters

Classic Cartoon Characters have "marquee value" which means people are familiar with the characters already and have their audience. Network and Television executives don't want to splash out on characters no one has ever heard of before like you guys 'EDD and LARRY' I never heard of you before!

LARRY: Ouch!
EDD: Yeah I got the picture, there was no need for that.

Wasn't meant to insult you, well yeah I was. That's one of the main reasons you see shows like the The New Adventures Of Winnie The Pooh. 

LARRY: That's show's title is very misleading!

I'm going to ignore that. You can take shows that have been around for years and just change them up and because of their fan base it doesn't need so much work to get it seen and recognised. Pre-existing characters like Yogi Bear was turned into a teenager was called Yo, Yogi. 

EDD: A pup named Scooby doo.
LARRY: Is just a younger version of Scooby Doo.




Exactly. This is taking an old idea and making it High-Concept which means an idea can be pitched in a few sentences and immediately illustrates it's marketability. You want to make sure your idea is High-Concepts because for executives, the essence is all about the money and revenue you can bring in.


The animation process can seem daunting but the results in the end seem to be worth the trouble. 
If you seen the upcoming HBO Series The Ricky Gervais Show produced at W!LDBRAIN  or seen some clips you can appreciate the effort that goes into creating the animated comedy. The New York Times recently published an in-depth deconstruction of the animation process behind the show.

LARRY: Yeah I checked that out. Ricky wanted his character to look like Fred Flintstone.
EDD: Erm in case these guys didn't make it clear where to see it. The link is below. Jheeze do I have to everything around here?





Cartoons are Criminals.


So where can you see the difference between the world in which we live in and the world we want to live in, well at least I would.
Well in the past some what odd couple of years ago, that may be an understatement, lived Isaac Newton, Albert Einstein and some other guys who I didn't really pay attention to in class who figured out the world is governed by what we now know as physics. What goes up must come down except for your age of course and this is what divides the world of humans from the toons. The law of physics.


It's the Law
If you was to get run over truck slammed into a brick wall and impaled on a spike I doubt you would be able to get up brush the dust off your new pair jeans and walk off merrily - you would be dead!
During a live action film when the hero excepts being shot by the stray enemies bullets (like they always do) but ends up in a room filled with bombs which explode at that precise moment you have witness a tragedy. Those limbs aren't going to re-attach themselves, as an audience we know this and film some sympathy unless you have some dark, dark humour.
No notice I said humour in a the cartoon world this would be seen as funny. Events like this in the cartoon world are funny i kid you not. When a certain Coyote runs off a cliff and plunges thousands of feet and flattens upon impact because he was chasing some bird hyped up on speed (reminds me of certain friends of friends) we find this funny. We laugh and the more ridiculous it gets the more the laughter because hysterical, why? It's because it's human nature. We're in stitches because we know those cartoons won't die. The only thing to worry about is the animator getting a cramp in his hand and even still things are done by computers these days, mind you     I have known cases where excessive use of the laptop can lead to hand cramps.
Now this doesn't mean that the cartoons reactions to pain won't be perceived but we know their pain isn't real. A cartoon can handle that bomb exploding and return to their original shape.

No Law's, Cartoons are Innocent.
In the animated world, there are no laws for the cartoon characters to break. They can can be rolled up into balls and thrown down alleys, squashed flat like a bug and stretch like erm..stretch armstrong? The point is that perform physical acts known as cartoon feats that live action characters cannot with the except the live action isn't too far fetched. If i was to jump off a cliff and flap my arms hard, no matter how hard I tried I'm not going to fly but a cartoon can.

Examples


















Cartoon Writers and Animators rely on defying these laws to create the humour and this makes animation unique from other forms writing medium.

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