Fantasy/Animation

[wiseman]

Anybody know any production companies looking for fantasy or animation screenplays for the whole family?

[Takezo]

My take on this as from last fall is that the market and studios are completely oversaturated with animation projects now (up to their chests). lol

My nephew (who is involved in financing) told me of how he went up to Richard Zanuck's place--and they were pitching him and his partner several animation projects (with art, etc.) in a big dog-and-pony show. I don't think they've achieved lift-off with any of them.

Then I read in the trades and the Times about how saturated the market is late last year.

There's only a few production companies that have a lock on this, and the main one is Pixar--and from what I get, this is a very closed shop. And they are the main supplier of feature anime to Disney which is another. Don Bluth? is he still working on stuff?!

This the main reason I got out of TV animation also. There are not many avenues to market your stuff.

But if I can think of something, I will pass the info along to you in a PM.

T

[Cockeyed]

Terry Rossio makes a very convincing case for how this is a hopeless cause here:
http://www.wordplayer.com/columns/wp22.Ink.and.Paint.html

I have been working my way through his Wordplay columns and and commend them as one of the best resources available. One of the most successful screenwriters of recent years, he takes time to offer wise, insightful, witty, challenging, sometimes chastening, and remarkably generous advice and stories from the trenches.

--Jim

[Code7Films]

I have an animation script with Sony right now. Like anything, you need a great script to break down the walls...

[Johnnycomelately]

I have an animation script with Sony right now. Like anything, you need a great script to break down the walls...

And would you care to share the logline for that script? Or genre, at least?

Thanks.

[Code7Films]

And would you care to share the logline for that script? Or genre, at least?

Thanks.



Ummm... No, not while things are pending.

[Joaneasley]

Requests for animation scripts show up sometimes on Scripts Wanted websites, Craig's List, InkTip, etc.

Sometimes a company that's been animating TV commercials or the opening credit sequences for other people's movies wants to make its own feature.

Sometimes out-of-work Hollywood animators or animation students want to make their own movie. Sometimes it's a company in India.

Though I've seen such listings here and there, sorry to say I can't point you to anyone specific now. It's true such jobs can't offer studio-level pay, but there's a chance of breaking in.

[Bono]

I have an animation script with Sony right now. Like anything, you need a great script to break down the walls...

I was just going to ask if there's any chance to sell an animated spec... I guess there is hope.

It seems impossible, but then again, so does selling any script.

[Pasquali56]

Regarding animation in India, I have first hand experience with a company there. Several years ago, this company purchased outright a screenplay of mine for a 3-D animated film -- supposedly to be released worldwide (including the U.S.). This company had experience producing animated films for the Indian market, but wanted mine to be their first production outside India. They also had done outsourcing for other companies.

To date, the screenplay has not been produced -- and its production is now on hold. What I learned, in a nutshell, is that the company was extremely naive in thinking they could produce a quality animated film on their own and find worldwide distribution. They hadn't a clue on how to go about a major production like this on a universal scale.

Yes, the animation market is one of the toughest to break into as a screenwriter. If you're on the outside, you need a really tight connection to someone on the inside -- and I'm talking the head of Pixar. Your options here are even more limited than live action. Sorry to be so negative, but I'm speaking from my own experience. Hope you have better.

[kidcharlemagne]

I've had our concepts considered at a number of studios like Disney, Dream Works and Sony but nothing was picked up. Pitched a couple of smaller companies at Cannes last year but they never got back to me except one European company who met with me again this year and is now re-considering 2 of our projects.

I met with the head of feature animation on the Disney lot a few years back and he said they make a film (not even sure if they still do) every 2-3 years, have 300 artists in-house so ideas are developed in-house.

Unfortunately, have to echo what everone else says: it's tough because the outlets are far, far fewer than for live-action. When I pitched Sony a few years ago they were open to being pitched new ideas though--not sure what the current status is now.

[Johnnycomelately]

I've had our concepts considered at a number of studios like Disney, Dream Works and Sony but nothing was picked up. Pitched a couple of smaller companies at Cannes last year but they never got back to me except one European company who met with me again this year and is now re-considering 2 of our projects.

I met with the head of feature animation on the Disney lot a few years back and he said they make a film (not even sure if they still do) every 2-3 years, have 300 artists in-house so ideas are developed in-house.

Unfortunately, have to echo what everone else says: it's tough because the outlets are far, far fewer than for live-action. When I pitched Sony a few years ago they were open to being pitched new ideas though--not sure what the current status is now.


What about a live action with CGI? Is that as tough as an all-animation film? I'm talking about something like Babe, the Gallant Pig, where the actors and the animals are real, but they make the animals talk.

Thanks.

[Takezo]

Adding to what Pasquali said....

This Indian company did not realize what they were getting into.
Yeah this is correct with other production companies also.
Once commited (funding, etc) and greenlighted, an animation project takes 3 years or more of prodution until it is finished.

The modern process is extremely expensive.
There's only one company in Japan (Studio Ghibli) that still makes pics with hand drawn cells--an even longer process.
A Pixar flic is just as expensive as making a tent-pole live action movie.
And it takes three times longer.

Pitcing to Disney and Pixar is futile--the ideas come internally. Forget it, unless you are JJ Abrams or S. Spielburg.
Or the only way to get into the door is to have a book (you've written, or have the rights to) or the rights to something (toys, whatever) that has been well recieved (sales, etc).
Then they will take you seriously.

You are very limited for outlets for your animation work.
This is why I got out of the animation business years ago.

And responding to Johnnycomelately...

No, films like Babe are a different ball of wax.
These are live-action films with CGI and you will have more outlets.
However the only thing you are going to run up against is that some producers see any kind of sci-fi, CGI, water, space-ships and their eyes glaze over.
All that flashes before their eyes are $$$$$ and it turns them off because it's expensive.
If you have such a script, you have to target these production companies that are not afraid of such material.
I would not send Babe III to Oliver Stone or Woody Allen (extreme examples).

T

T

[maralyn]

Ah yes, the anti gravitatonal world.

But there are many ways to skin a cat. The Wallace and Gromit people started with animated shorts that were instantly loved. Then Chicken Run. And then that other one, that I didn't see. Sorry, I don't see everything.

But that's right, if you're not a hugely big someone, or much loved by the public, then it's a tough sell. As in they don't even want to hear your pitch.

Animation has absurd politics. It's founded on very intense collaboration. A small team has to get along at very close range in what's mostly a small dark room, and share a vision, for YEARS. Yowza's, that's just not easy. A lot of animation projects fall through early for precisely that reason. Which is why often it's only the in-house ones that survive., Established teams with a definite hierarchy.

It's a very good idea to start small. Team up with an animator. Go to an animation festival, and write a short for whoever's work you liked best.

[Johnnycomelately]

And responding to Johnnycomelately...

No, films like Babe are a different ball of wax.
These are live-action films with CGI and you will have more outlets.
However the only thing you are going to run up against is that some producers see any kind of sci-fi, CGI, water, space-ships and their eyes glaze over.
All that flashes before their eyes are $$$$$ and it turns them off because it's expensive.
If you have such a script, you have to target these production companies that are not afraid of such material.
I would not send Babe III to Oliver Stone or Woody Allen (extreme examples).

Well, thank you for, Takezo, for making that distinction for me. I wasn't sure it was a sub-genre that was "break-inable" but looks like it might be possible. Really hard, but possible, and easier than animation.

[Takezo]

Actually this kind of a film has an even better chance of being picked up.
Family films make ****e-loads of money.
Keep it family--clean and fun, and you will have a winner.

As long as you don't have the little girl star shot in the guts with a Luger in the declining action--like that donkey Mexican director (Guillermo del Toro), did in "El Laberinto del fauno" you're good to go!

Do not shoot your characters in the guts with a luger.
This is not a good thing to do in a family film.

At least I think so.

Also if you get hired to do a re-write of "Old Yeller" --the dog lives this time. Okay!?
Don't shoot Old Yeller!
Kiera Knightly or Charlise Theron (playing a vet) comes in at the end, in the nick of time with a miracle experimental vaccine.
On a helicopter--which winds though a canyon that is the only way through an approaching forrest fire.

Think Michael Bay or MCG.


T

[Johnnycomelately]

http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1003973108

First - this article talks about the Scandanavian animation industry and makes some interesting points. Perhaps there's some "break-in" opportunity for those willing to go outside the US with their ideas, though I'm not sure how nationalistic these studios are.

Second, relative to Takezo's last post, funny you should mention Old Yeller, a movie I have never forgotten precisely, I think, because of that heartbreaking ending. All those old animal/family movies used to have some real heartbreak " life lessons" in them. I guess today's audiences are used to more sugarcoating in their family films and take their horror straight up.

[Pasquali56]

Regarding animal/dog movies, Marley and Me had the dog being euthanized in the end. I read the book and that was enough for me. I've had to see my own Lab euthanized and don't want to see it again -- even in a film.

[maralyn]

But I think it's important to just write what you want. Especially in the early days. It's important to be excited by it. Or you won't finish it. And finishing scripts is a really crucial component to writing.

But also, new fx facilities are popping up all the time, and often they can suddenly get excited by the prospect of animation. And then all of a sudden they want a script.

Quite a long time ago, I toyed with writing an animated feature, then I dilly dallied around not really thinking I could sell it, so put it aside, and then all of a sudden I got a call from a dev exec I'd worked with a year ealier, who had teamed up with a facility in Singapore and wanted an animated script. Then and there.

Uhm, and I didn't have one. Damn, shoulda just written it.

And anyway, it's good to experiment in different genres. Loosens you up as a writer. Helps you find your strengths.

[Johnnycomelately]

But I think it's important to just write what you want. Especially in the early days. It's important to be excited by it. Or you won't finish it. And finishing scripts is a really crucial component to writing.

Yes, I find that the biggest issue is finishing the script, not coming up with the idea. And I'm excited about this live action/CGI thing I've been playing around with, so now I better get to work!

Thanks for the nudge, Maralyn.