Animation: Development - The Rules

So, after much thought (an afternoon and many evenings and probably years) we devised a set of rules by which to animate by. These are based on the writings of those more learned than us, but also on some basic principles by which I know all creativity and storytelling works by.

Firstly, boundaries. Without boundaries and a blank sheet, you're fucked. So make up some rules, interesting and general ones, and creativity will begin to solve problems and develop ideas inside those boundaries.

Rules are boundaries I guess.

First of all, to our animator. To all creative staff. This must be something new, unique and undone before in your work history to date. Otherwise there'll be no transformation and the idea will be stale, a cliche or derivative and probably someone else's work. Of course, there is nothing new, but we must believe it to be new and hope to get as close to original as possible. It must, however, transform us. Sounds godly, isn't meant to be. But how else to make a mark but break out of all previous moulds.

Rule 2
Constant Movement. I don't know where I got this from. Honestly. But I want constant movement. Characters must always be moving. People are always moving when they speak, and especially when they listen - since most people don't really listen and are actually thinking about something else, or what they are going to say next.

Rule 3
Building on from that - if there is to be constant movement with the character (not fake pans and tilts, which is a cheat way to create constant movement) then the characters must be in constant movement - and their movements must be simple, repeatable and from the INTERIOR of the character. Not the EXTERIOR. Its not to look nice. Its to communicate the core values of the character, not look 'human'. Which means we develop a set of movements for each character based on the traits of that character. And with, say, four basic movements, we vary those, both in how we mix them (1 and 4, 2 and 3, 3 and 4, 1,2 and 3, etc, all variations possible) we also then mix them in VOLUME of movement.

So, a subtle 1 and a strong 2, etc.

We'll still need eyes, etc and mouth shapes, but this combination of movements, in constant motion will keep the character interesting to the eye, as well as responding to the environment. But, all based on the INTERIOR states represented in PHYSICAL MOVEMENT.

Rule 4
Building again from Rule 2 and 3 - Rule 4 says that the movement must be funny. This is comedy. So the movement - the 'idling' position of each of the characters - must be humourous enough to make a laugh. If we can laugh at the character in silence, in 'idle', we've found them, and we've won.

Rule 5
Stealing this from South Park and David O'Reilly - we must achieve Asthetic Coherence. In other words the 'style' we develop (the combined psychology of all the core creative team projected through the idea) must be consistent within itself. And professional enough (beautiful enough) to be watchable.

That's it. There's your principals.

 

Clay Work: Early development

Now, some early Chased by Bears.

So whose buying adult animation

This could take a while...

My guts tell me the likes of Adult Swim, Sci-Fi, FX (UK and US) is a potential home. Out of all of these the one I'd lean to is Adult Swim, but its probably considered very out there and it'd be more of a sneak attack to see if we can squeeze in the backdoor of wider broadcaster. That said, AS put on great shows and seem to have a rock n roller kick your hole out attitude.

THE GLOBAL INDUSTRY, NOT JUST THE STATES

It's very easy to get sucked into selling in the States. There is a lot of great programming, and a lot of shite. But, they speak English and are a huge market with a lot of buying power. However, what about other countries in Europe. We could easily voice Dangerous Days for a French market. In fact, in some ways, it might suit a French audience more to watch it, I don't know. Certainly, if there is a market for it, it will come from consumers who I think enjoy something familar/something different and those with the toleration to watch animation. Which isn't everyone.

I don't have the stats for what country watches the most animation - I'm sure it exists - or what country, per head, spends the most on animation, but it can't just be the States.

I keep on thinking Germany and France, but again this is probably because they are large countries with a lot of State infrastructure and probably broadcasters who've bought before. Or maybe, no one has.

Is there any prestige to be hand in making happen a series first?

I guess only if it does really effing well is the answer.

Some of the questions might be below - see link - if I would want to pay 2000 grand for the privilege.

http://www.screendigest.com/reports/09theglobalanimationindustry/pdf/SD-11-03-TheGlobalAnimationIndustry/view.html


GERMANY

Find out some more about it.


FRANCE

And the lovely French animation watchers.




A QUESTION ABOUT MAKING IT

There is a bull in the corner snorting his hole of because he's not being noticed.

What the fuck do you do with a commission? You still have to make it, obviously. And that can't be done in little old Northern Ireland. The place to go would be the South, but even then it only really makes sense to contract out the main drawings to India, or somewhere like it. Estimates are it is 60-70% cheaper to go down that route.

Don't we need a Producer for all that? Or at least someone to run with, help with all of this side of it.


ANIMATION WORLD NETWORK