340 Index versus structure 111, 114 visual staging for 153–154, 156, 164, 165–166, 167, 172, 188 game plan 112, 114, 121, 130, 131, 183, 205, 266, 269, 328 games 2, 9, 10, 68, 72, 115, 277, 278, 292–299, 302, 305, 320, 327, 333, 334, 335 breaking into 296, 297 budgets 9, 10 concept proposal 294 development 68, 78, 292–294, 295, 296, 297–298 dialogue 295, 296 history 19, 34 ratings 120, 296 selling 293, 294, 303–304, 305 storyline 201, 293, 295–296 varieties 72, 292, 294, 299 wireless 292, 293, 297–298, 303–304 writing 295–296, 297, 327, 333, 334, 335 genre 81, 111, 196, 273, 287, 288, 294, 296, 310, 315, 328 goal 63, 65, 68, 71, 111, 112, 113, 114, 115, 119, 121, 130, 131, 176, 205, 264, 265, 267–268, 269, 270 pitching 310, 329 hero/star/protagonist 331 as a network core value 83 classic 65 comedy 183 in a feature 279, 283 in a game 295 in a story 68, 70–72, 111–115, 118–119, 120, 121, 130, 131–132, 133, 176, 177, 204, 205, 262, 264–270, 279, 283, 288, 331 kid’s interest in 48, 49, 52, 53, 72, 80–81 pitching 310, 329 high-concept story 40, 264–265, 278, 328 high point 113, 269, 283 history of animation 13–38, 297 Africa 34–35 Argentina 35, 36 Australia 14, 21, 22, 24, 27, 30, 31–32, 33 Austria 37 beginnings of animation 13–14 Belgium 13, 24 Brazil 36 Canada 14, 20, 21, 24, 32, 33, 37 Chile 35–36 China 27, 28–29, 31 Columbia 36 Cuba 36 Czech Republic 26 Denmark 24 Egypt 34–35 Estonia 25 France 13, 18, 23–24, 25, 32, 34, 37 games 18–19, 34 Germany 22, 24, 32, 34, 37 globalization 37 Hungary 16, 21, 22, 23, 26, 37 India 20, 27, 31, 32–33 Iran 33 Iraq 22 Ireland 16 Israel 31, 33–34 Italy 13, 22–23, 24, 37 Japan 19, 27–28, 29, 30 Malaysia 30 Mexico 36–37 Netherlands 20, 37 New Zealand 21, 32 North Korea 28 Philippines 27, 30–31 Poland 23, 25, 31 Portugal 23 Russia 25, 26, 37 Singapore 30 South Africa 34 South Korea 27, 28 Spain 23 Sweden 25 Taiwan 29 time line 14–38 United Kingdom 13, 20–22, 23, 32, 37, 289 United States 14–20, 21, 24, 26, 27, 28, 31, 33, 34, 36, 37 Vietnam 27, 30 wireless 297 Yugoslavia (Croatia, Montenegro, Bosnia and Herzegovina) 23, 26–27 hook 78, 84, 264, 278, 311, 328 How To Care For Your Monster bible 89–108 human development 45–57, 291 developmental areas 45, 289, 291 eight 50–51 eleven 52 fifteen 54 first year 46 five 48–49 fourteen 54 gender differences 48, 49–56, 61–62, 72–73, 80–81, 197 late adulthood 56 midlife 56 nine 51 old age 56 other developmental issues 56–57 preschool (ages three to five) 47–48 seven 50 seventeen to twenty-one 55 six 49–50 sixteen 54–55 ten 52 thirteen 53–54 toddlers 46–47 twelve 52–53 young adulthood 55 ideas 39–43, 66, 77–80, 81, 86, 118, 177, 289, 290, 304–305, 321 for games 293, 304–305, 321 for series 66–68, 77–80, 81, 88, 177, 289, 290, 292, 310, 311, 312, 321 for series episodes 117–126, 289, 291, 316, 321 marketability 43, 78–80, 81, 82–84, 87, 88, 177 pitching 310, 311 independent films 2, 43, 86–87, 277–278, 298–299, 303 international considerations 80, 87, 166, 189–192, 193, 204, 205, 273, 288, 289, 298 features 277–278, 284 financing 87, 277–278, 302, 305 history 13–38 humor 87, 166, 187, 189–192, 193, 288 influences 37, 46, 56–57, 321 looking for work 317 marketing 80, 84, 277–278, 288, 302, 303, 304, 305, 306 yourself 317 preschool programming 288, 289 Index.qxd 12/9/04 4:21 PM Page 340
Index 341 production 2, 5, 7, 8, 9, 10, 80, 87, 205, 273, 291, 305–306 Internet 2, 9, 18, 37, 40, 52, 56, 68, 78, 81, 156, 292, 294–295, 297, 303–304, 305, 309, 312, 315, 316, 317, 320, 321 animated character icons for 72 designing games for 294–295, 297–298, 305 helpful web addresses 174, 291, 296–297, 303 shorts for 2, 18, 68, 78, 86–87, 111, 298–299, 303–304 interstitials 86–87, 328 Jackie Chan Adventures “Queen of the Shadowkhan” outline 134–150 premise 122–126 script 206–258 jeopardy 85, 119, 267, 268, 283, 310 kid-relatable 45, 66, 72–73, 78, 118, 176, 267, 290, 311 late night animation 119, 292 layouts 7, 155, 156, 157, 169 legal 10, 86, 87–88, 309, 316, 326 protecting your work 73, 84, 87–88, 202, 298, 305, 309, 311–312, 316 licensing 2, 80, 84, 129, 277, 293, 302, 304, 305 limited animation 1, 16, 17, 23, 24, 292, 328 logline 78, 85, 277, 278, 309, 310, 311, 329 major crisis 113, 121, 130, 132, 205, 262, 266, 270, 283, 325, 329 marketing 301–306, 323 books, comics, and greeting cards 302, 303, 304, 305 buyers and what they look for 80, 81, 82–84 DVD and video 86, 302–303, 304, 305 features 277–278, 303, 304–305 games and interactive 302, 303–304, 305 independent features and shorts 303–304, 305 international 80, 84, 87, 277–278, 288, 302, 303, 304, 305–306, 317 Internet 303–304, 305 toy companies and licensing companies 302, 304–305 US cable and syndication 80–81, 82–84, 302, 304, 305, 309–312, 315–317 US networks 80–81, 82–84, 301–302, 304, 305, 309–312, 315- 317 wireless 303–304 yourself 87, 315–317 market testing 81–82 marquee value 78, 80, 87, 275, 276, 277, 283–284, 304 master scenes 129, 133, 155, 202, 215, 277, 291, 329 master shot 329 model sheets 4–5, 7, 8, 69, 155, 171 moral rights 87 motion capture 8, 72, 294 motivations 43, 121, 130, 131, 132, 165, 166, 176, 177, 195, 196, 205, 262, 266, 267, 279, 295, 326, 329 delving into character’s 62–65, 66–67, 68, 70–72, 115 of real kids 45–55, 56–57 multimedia 293, 299, 303, 327, 330, 333, 334, 335 music 3, 7, 9, 84, 85, 86, 182, 204, 277, 278, 284, 289, 290, 298, 304, 325 mystery 112, 164, 168, 176, 184, 266, 271, 293, 296, 326 network censors 2, 61, 81, 118, 119–120, 129, 134, 187, 205, 273, 292, 320 developing for 77–85, 290, 292, 319, 326 financial interest and syndication 17, 19 marketing to 79, 80–85, 290, 301–302, 304, 305, 309–312, 317 time slots 19, 81, 291–292 U.S. history highlights 17–19 outline 2, 84, 117, 119, 120, 129–150, 154, 171, 175, 201, 291, 296, 324, 328, 330 approximate number of scenes needed (in a half-hour episode) 132 beats 129, 131–132, 324, 334 for a feature 2, 86, 153, 276, 284, 334 for an independent short 86 formats 133, 134–150 for multimedia 330 structure 129, 130, 131–132, 133, 264–271 pace 1, 290, 334 comedy 1, 156, 168–169, 204, 334 game 295 story 129, 133, 168–169, 177, 198, 203, 204, 262, 326, 334 storyboard 156, 168–169, 170, 326 page count bible 85, 89–108 daytime TV animation script 201, 202, 203 feature animation script 275–276 feature treatment 86, 284 game script 296 premise 118, 331 preschool curriculum 86 prime-time TV animation script 291 paint 5, 8, 21, 37, 324, 325, 328 parent preferences 56–57, 73, 78–79, 80, 119, 278, 319, 320 pay 2, 117, 129, 134, 326 People, Places and Things list 42–43 pilot 82, 84, 85, 86, 326, 331 pitching 79, 88, 309–312, 317, 328, 331 feature project 86, 277, 284, 312, 334 feature sequences 3, 276 games 294 on Internet 298–299 premise 117–118, 121, 291, 315, 316–317 preschool project 86, 289, 290, 291 short 86–87, 298–299, 303, 312 TV project 77, 78, 79, 82, 83, 84–85, 86–87, 88, 301–302, 305, 309, 317 where to pitch 290, 299, 301–306, 309, 312, 317 plot 111–115, 118–119, 130, 132, 133, 153–154, 155, 176, 177, Index.qxd 12/9/04 4:21 PM Page 341
342 Index 183, 193, 195, 196, 203, 262, 264, 265, 268–271, 288, 290, 323, 324, 325, 331, 333 A and B 113–114, 118, 132, 265, 271, 280, 290, 323, 324 analyzing 117–118, 131–132 characters in 70–72 comedy 111, 114, 119, 183, 193 feature 276, 280–283 game 295, 296 history of developing 14, 153 ideas for 40, 41, 42, 43 preschool 197, 290 plot point 118, 175, 177, 197, 269, 295, 331 polish 114, 198, 263, 273, 276, 291, 331, 333 post-production 9, 87, 276, 278 premise 2, 84, 117–126, 264–265, 278, 316–317, 331, 333 check list 121 feature 264–265, 278, 334 length 118, 121, 331 planning 118–120, 192 storyline/notion 118–119, 192, 264–265 using to write an outline 129, 130, 131–132, 324, 330 writing 120, 121 preschool 21, 79, 81, 86, 111, 119, 176, 196, 197, 287, 289–291, 296 characters 81, 119, 289, 290, 291 curriculum 86, 289–290, 291, 331 dialogue 196, 197 games 292, 296 pitches 289, 290–291 preschooler’s development 47–48, 291 program development 81, 86, 87, 111, 119, 289–291, 331 segment length 290 prime-time animation 2, 17, 77, 78, 81, 111, 114, 195, 202, 287, 291, 320, 328, 332, 333 games based upon 293, 296 script format 111, 291 script length 291 producer 2, 9, 21, 24, 30, 85, 118, 120, 129, 154, 155, 165, 169, 171, 204, 263–264, 312, 316, 332, 333 production process 2–9, 10–11, 205, 263–264, 276, 278, 291, 323–336 changes 10–11 games 9, 10 history 14, 17, 153 stop motion 9 storyboards 153, 154, 155–156, 165, 169, 276 student 10 TV and feature 2–9, 10–11, 153, 154, 155–156, 165, 169, 263–264, 276, 278, 291 programming 45, 51, 56, 61, 78, 80–81, 82–84, 86, 87, 287–292, 301–302, 305, 319–321 executives 2, 3, 4, 9, 56, 82–84, 85, 120, 129, 134, 154, 155, 177, 201, 203, 262, 263–264, 289, 301–302, 305, 309, 311, 317 routines 301–302 time slots 19, 81, 291–292, 309 U.S. history 17–19 props 3–4, 41, 42–43, 85, 114, 133, 155, 156, 158, 163, 164, 165, 167, 203, 204, 310 design 3–4, needed for gags 41, 119, 133, 167, 172, 182, 183, 188 puns 87, 182, 187 recording 2–3, 165, 169, 197, 202, 203, 204, 276, 291, 305, 306, 323, 325, 333, 335 resolution 111, 113, 121, 130, 132, 262, 270, 295, 332 rewriting 183, 203, 261–273, 276, 291 at storyboard stage 154, 155, 156, 167 cutting 154, 205, 262, 263, 271, 272 dialogue 197–198, 272 first rewrite 262, 291 games 295 outline 133–134 polish 198, 263, 272, 273, 276, 291, 331 premise 120–121 second rewrite 262, 291 sample script average script from series 118, 130, 195, 201, 202, 203, 206–258, 316–317, 332 your sample script 117, 118, 133, 203, 315, 316, 317, 332 scene planning (job category) 7–8 scenes 71, 133, 134, 156, 165, 166, 167, 168, 171, 175–178, 182, 195, 196, 197, 203, 262, 271, 332, 333 cutting 177, 205, 262, 263, 271 format 202–203, 277, 291, 325, 326, 329, 332 in a feature 276, 277, 280–283, 334 in a game 295, 296 length 166, 167, 176, 177, 178, 204, 280 number of (in a half-hour script) 132 placement of 114, 177, 178, 262, 269 in an outline 129, 130, 131–132, 133, 324, 330 staging for budget 204, 272 script 111–115, 119, 163, 164, 175–178, 192–193, 195–198, 201–258, 261–263, 264–273, 323, 324, 325, 326, 328, 329, 331, 332, 333, 334 actor’s 2 cast list 202 development 3, 11, 61, 67, 70–72, 84, 87, 88 ending 111–115, 119, 121, 130, 131, 132, 133, 189, 202, 262, 270 feature 2, 3, 86, 111–115, 130, 153, 195, 202, 261–263, 264–273, 275–276, 277, 278–283, 334 first draft 203–205 format feature 202, 275, 277, 329 TV 155, 202–203, 206–258, 273 game 295–296, 327, 333, 335 history 14, 16, 153, 276 independent shorts 86–87 in production 2, 3, 10–11, 153–155 length 1, 155, 201, 202, 203, 275–276, 291 acts 112, 130 middle 111–115, 131–132, 262, 269–270 opening 71, 111–115, 119, 131–132, 175, 176, 203, 262, 266, 268–269, 273, 283 prime-time 195, 202, 287, 291, 328, 332 Index.qxd 12/9/04 4:21 PM Page 342
Index 343 protecting your 73, 87–88, 202, 298, 304–305, 311–312 time lapse 164 title page 202 TV animation 2, 111–115, 117–126, 129–150, 153–155, 175–178, 182–184, 192–193, 195–198, 201–258, 261–263, 264–273, 287, 291 sequels 276, 277, 304 sequences 131, 168, 172, 177, 271, 273 animation 7 feature 3, 4, 276 game 295, 327 storyboard 168, 170, 171, 172 shipping 5, 7, 8, 9 short cartoon 61, 77, 86–87, 111, 114, 118, 119, 129, 154, 176, 183, 193, 196, 288 short film 10, 70, 77, 86–87, 111, 114, 298–299, 303, 312 showrunner 291 sitcom 111, 114, 185, 202, 291, 315 popularity 53, 55 slugging 3, 169 slug line 129, 329, 332 spec premises 2 scripts 275, 333 spine 63, 333 springboards 118, 324, 333 stinger 183, 333 stop-motion 9, 13–14, 17, 25 story arcs 276, 333 storyboard 1, 2, 3, 5, 7, 11, 86, 129, 153–173, 174, 201, 291, 301, 323, 333 characteristics of outstanding boards 170–171 cheat sheet 166–167 for features 2, 3, 153, 168, 276, 280, 283, 329 format 159–162, 169, 190–191, 241–242 history 153, 276 illustrations 157–162, 164, 166–167, 190–191, 232–233, 235–238, 241–242, 246–247, 248–249, 251–255 in pitching 84 labeling 169–170 opening 1, 168 story editor 2, 114, 117, 118, 120, 121, 129, 130, 133, 134, 155, 183, 201, 202, 205, 262, 291, 315, 316, 317, 333 for story editors 263–264 story reel 3 structure 111–115, 129, 130, 131–132, 133, 205, 261, 262, 263, 264–271, 288 check list of elements 130, 264–271 comedy 111, 114, 119, 132, 133, 183–184, 204 ending 111–115, 119, 121, 131, 132, 133, 134, 189, 262, 270 feature 111–115, 130, 264–271, 280–283 games 115, 295, 296, 327, 334 leapfrog method 114, 183 middle 111–115, 131–132, 133, 262, 269–270 opening 111–115, 119, 132, 176, 203, 262, 266, 268–269 outline 129, 130, 131–132, 133 premise 118–119, 120, 121, 131–132 teaser 112, 134–135, 176, 206–207, 283, 288 twists 112–113, 119, 121, 131, 132, 134, 176, 178, 189, 262, 269, 270, 283, 288 student films 10, 43, 77, 86–87, 303, 312 subplot 113–114, 118, 132, 265, 271, 280, 290, 323, 324 subtext 176, 195–196, 272, 273 symbols 65, 66, 71, 177, 189, 265, 268 table read 2, 291, 332, 333 teaser 112, 134–135, 176, 206–207, 283, 288 technology considerations 8–9, 10, 72, 294, 297–299 teens 19, 53–55, 56, 72, 81, 115, 278, 284, 288, 292, 297 television animation 287–292, 301–302, 319–321 budget considerations 2, 10–11, 79, 84, 119, 130, 153, 154, 155, 156, 168, 171, 189, 201, 204, 263, 272–273, 287, 291, 292 development 45, 49, 51, 53–54, 55, 61, 77–108, 186, 263, 304–305, 326 getting work 315–317 practical concerns 10–11, 61 prime-time 2, 17, 78, 81, 111, 114, 195, 202, 287, 291, 320, 328, 332, 333 production 2–11 script 2, 111–115, 153–154, 155, 175–178, 182–184, 192–193, 195–198, 201–258, 287, 291, 328, 332, 333 acts 111–113, 130, 132, 135–150, 205, 208–258, 266, 268–270, 323 format 155, 202–203 length 1, 155, 201, 202, 203, 291 number of scenes needed in half-hour episode 132 outline 129–150 premise 117–126 television feature 277 storyboard 153–173 U.S. history 17–19 tension 119, 166, 175, 177, 178, 184, 196, 270, 273 in comedy 181, 183, 193 theme 71, 77, 78, 87, 112, 113, 115, 118, 121, 130, 131, 196, 198, 262, 264–265, 268, 270, 280, 283, 334 ticking clock 133, 270, 288, 334 time lapse in story 164 timing 323, 334 animation 1, 183, 188, 189, 334 board 155, 156, 168–169, 172 comedy 182, 183, 188, 189, 193, 197 director/sheet timer 3, 7, 155, 323 recording 3 script 1, 156, 168–169, 182, 183, 188, 189, 193, 197, 334 title 79, 121, 182, 277, 294 pages 73, 85, 87–88, 202 toy companies 2, 17, 82, 129, 304, 305, 320 trademark 73, 85, 88, 304–305 transitions in a script 202, 203, 326, 327, 335 in a story 134, 164, 165, 177, 205, 262, 329 scene hookups 9, 156, 165, 172–173, 299 treatment feature 2, 3, 86, 117, 153, 276, 284, 334 games 296, 333, 334, 335 Index.qxd 12/9/04 4:21 PM Page 343
344 Index trends 11, 40, 49, 51, 78, 81, 82, 87, 301, 320 turning point 112, 113, 121, 130, 131, 205, 269, 270, 283, 334 tween 50–54, 81, 292, 335 villain/antagonist 67, 68, 71, 72, 85, 112, 113, 115, 119, 120, 121, 130, 131–132, 133, 164, 166, 175, 177, 205, 262, 264, 265, 266–267, 268, 269, 270, 279, 283, 288, 290, 310, 311, 323 violence 50, 119, 320 wireless 68, 292, 293, 297–298, 303–304 history 297 work keeping employed 11 looking for 87, 88, 297, 309–312, 315–318 workbook 3, 7, 9 (The) Writers Guild of America, west 88, 202, 296, 316 Index.qxd 12/9/04 4:21 PM Page 344