Pro animation scripts are different in that they run 30 secs to the page, not 1 minute to the page. This is because every shot is a scene, each with their own scene heading and new action
Code: Select all
EXT. WALLACE'S HOUSE - DAY 21
Wallace is bent over a silent lawnmower, looking puzzled. Grommet runs up with large mallet in mouth.
Wallace:
(delighted)
Ah, that should do it Grommet me boy.
He takes the mallet in his left hand.
CUT TO:
EXT. WALLACE'S HOUSE - DAY 22
BCU of lawnmower engine.
etc
The secret of script writing is editing. Write it once, the go back over it 2-3-4 times looking at how it flows. Is it working to length - writing to length is one of the hardest things to do ... the story might be great and the words perfect but if it's two pages long, its still wrong.
Once the script is done, you need to storyboard it. to get the camera angles right, the position of all characters working so continuity from scene to scene is right. Often people digitize the board and import it into Premiere Pro, and run it against the actual/or self recorded guide voice track. This becomes the blue print of the offline edit, the roughs and final colour being cut into the "work-print", replacing the storyboard panels. This way you see the whole film developing, see potential continuity issues BEFORE you start a new scene.
There also needs to be model sheets ... the guide drawings of what your characters look like; animators need to have those so what animator A is drawing, will match what animator B will has drawn.
Then there are backgrounds: Often overlooked in planning but they have a huge effect of the final look of the film. Will your characters sit on the background naturally? This means not just the rendered texture but the colours, detail and contrast.
Voice track comes first in animation - post sync is hard, expensive and rarely looks as good. But its unusual for all the actors to be in the same place at the same time to record. So that introduces a new problem - the audio doesn't cut together - different actors interpret the script differently - some might read a line surprised when in fact it should be a statement. Or the recording quality made over time or place produces a different ambient which doesn't work when cut together.
There are a raft if problems needing to be resolved even before you start animating a single frame.
Pitch Books:
Due to the huge cost of animation production (both time time or money), it is common to make a pitch book: This is a informational pack you take to the money people, other collaborators, etc, to sell the idea.
Pitch Books still take time to prepare, but can often be the difference between getting a film made or not. In a PB should be a copy of the script, model sheets, a synopsis of the film or series, who the key actors are (especially if they are "names"), and some high grade set-ups (characters acting out on actual backgrounds). The setups are key as its the first thing a TV exec will look at - does the content look like it will fit with their channel. If its a YouTube Download, then the visitor will still use the same decision method to see it its worth their while watching. Often a test animation/clip will be included, just to see how it "works". Not essential and I have submitted many PB without video. But it can help improve a proposal getting support from money people, people who are notoriously bad a evaluating written works and stills.
So Marvink. if you want this to be an animated epic, then the script should be in animation format, and to the right length. You might want to check out the Adult Swim channel as it sounds like this might be your best option to place this. Look very carefully at their running times - I don't mean their 30 minute program slots: I mean the amount of programming used in a 30 minute slot - the minus adverts, program trailers and other channel inserts. Your 30 minute script might just be 27 minutes or less. Look at the title sequences too - most stations have a policy on how much title you can have - a 3 minute title sequence might save you $50,000 on a series but it won't fly with broadcasters. BBC publishes a very good producers guide, with all that information in it. (Google it).
Best of luck with it. The idea is interesting but placing it with a TV broadcaster will be very difficult. Programming to teenagers is the hardest to sell and if it content deemed risque, it will close the placement options even more.
Personally, I think the story stands a better chance of being published as a book; If its successful, there will be producers who will pick it up as an animation project. Somewhere I read that as much of 60% of all children's programming came from published books.
Hope this helps.
Rhoel
