I used to draw with this old Disney artist named Sam Singer, he worked on Snow White. He told me he got in fist fights with co-workers daily. “You have to understand, back then, Americans thought what Hitler was doing was good and they would tell me to my face.”
Sometimes I hear people say “I’m not very good at writing” but they don’t realize it’s a practiced skill just like drawing. You have to run through a ton of badly written scenes/ scripts to learn how to write. Here’s some tips I’ve learned over the years.
I quit the studio system because I wanted to make cool stuff and people literally told me “bring us something less cool with pop music, like Trolls.” I’m still not free to create original stuff until October, but I can’t wait to make cool independent animation
Biggest problem with getting good quality shows on Netflix, there is no financial incentive to deliver a great show. You get paid the same no matter what you give them. I honestly think this is why you don’t get more Squid Game level shows from Netflix.
@charlesvalsechi
He said it wasn’t even an animation specific thing, that was just the sentiment of most Americans back then and it’s revisionist history that it wasn’t that way.
I want to just make shows 1- 5 min at a time for social media instead of a traditional show for streaming services. Next month on the story sprint the Theme is “Evil Girls” and I’ll be doing a weekly class on storyboarding 1-5 minute films.
My daughter said “wait, let’s start over.” At which point I thought she was going to start the conversation over but then she crawled into a ball and said “ok I’m a baby inside mommy’s belly and I’m gonna be born Wahhhhh!” Like she meant fully start over her life.
Number 1) don’t write without a specific voice in mind for every character. I’ll use a friend or even actor or combination to get a clear voice in my head. Don’t write generic characters make them specific.
I remember this really good artist told me “drawing is like breathing, it’s so easy I don’t even think” but I’m 42 and every time I sit to draw it’s like I’m getting in a fight and I don’t show the 150 fights I lose for every fight I just get lucky by sheer force of will.
One of the most horrifying things about working in animation is the first look deals We all sign when working at a major studio. They own everything you create for next to nothing. I’ll never sign that type of contract again, but We need that predatory practice to stop.
Why I wouldn’t do NFTs. 1) First and foremost, I think they are predatory. Too many people will be left at the bottom of the pyramid like the beanie baby fad. 2) I believe with every fiber that We should be focused on the product itself (art, movie, show)
I graduated from college in 2004. I was rejected from every job until 2006. Then I pitched movie ideas for 7 years getting rejected until selling my first movie Lucky to DreamWorks which was canceled when they announced Luck at Skydance. Still can’t believe Kipo was made.
Number 2) don’t be scared of a script. I wish I had started scripting earlier instead of writing while boarding. You’re missing out on making your scenes 10x better. Also John Hughes wrote his movies in 3 days. Write your entire movie in 3-5 days, your entire pilot in 2-3 days.
Before Kipo execs kept trying to convince me to “find the kid entry point” “put them in school” and I’m like what? Kids hate school. Why would they want more school in their cartoon? I wanted to watch Scrooge McDuck climb a mountain when I was a kid, not see a classroom.
Imagine if a streaming service created a dedicated YA animation division. Then you would have a lot of shows like Kipo, but there would be a dedicated YA team to target that audience. I’d love to see it happen. I’d love the chance to make more shows like Kipo.
#kipo
If it’s supposed to be funny, you better laugh out loud, if it’s supposed to be scary, you should be scared. If you’re bored, cut it. It’s better for the audience to be confused than bored.
Jump back and forth between the two creative methods. Try one movie where you plot it out, you break down similar films, analyze how many scenes are in each act and where the plot points are. Then write a movie without any plan straight ahead. You need both skills.
Write from the pit of your stomach, not your head. Don’t have character say “plot” you think the audience needs to know. Just follow real characters and feel everything they say.
I feel like I got way better at drawing from the drawing sprint. 1 week left to join. Wonder how much better I’ll get at story/boarding from the story sprint 😂
💚PLZ RETWEET!!💚 today’s the day! Bob’s World episode 1 will be on my YouTube
@wizzymmd70
@ 8:00pm CST! Thank you for the support on this project❤️. There’s a lot to talk about. I’ll make a thread. all animation/backgrounds in this episode were done by me!!
#drawingwhileblack
Remember when animation switched from 2d to 3D and people had their blinders on like “no, that will never happen” and then story went from paper to digital and some people didn’t adjust. There is something new happening that people don’t seem to be paying enough attention to
My biggest lesson from live pitches. You have to set up every thought, one thought at a time like dominos with precision and clarity. If one thought isn’t perfectly clear, the dominos won’t fall.
I learned to write by pitching scenes live every week for about 5 years before I got the hang of it. Now you can post and get reactions. You can look at analytics to see when people stopped watching. At first I failed a lot, then was half successful. But it took about 5 years.
Some streaming service out there has to want to make YA content. We have a Wolf movie ready to go. We got an Emmy nom for the show, I think this movie could change the way we view animated movies.