tag:blogger.com,1999:blog-8022653905840889580.post3100612426178281533..comments2023-10-17T02:44:03.005-07:00Comments on Animation writers: Writers and Artists Part II - Taking a chance on the newStevehttp://www.blogger.com/profile/17349670871562090251noreply@blogger.comBlogger4125tag:blogger.com,1999:blog-8022653905840889580.post-29056065576333085492007-03-06T17:13:00.000-08:002007-03-06T17:13:00.000-08:00kent b nailed it. Any script-driven show that doe...kent b nailed it. Any script-driven show that doesn't have a competent show runner and/or story editor to comb through scripts and make them pretty should never have been greenlit. It's a problem with the system that shows scuttle through the development process and into production without either. Any story editor or writer-producer who gives unworkable or unrealistically complicated scripts to artists with the expectation that said artists should "fix everything" has no business in the business.<BR/><BR/>But for all the whiny purists who think writers have no place in animation, remember this -- artists often need writers as much as writers need artists. As a writer/story-editor/producer I feel priviledged to have worked with so many brilliant artists during my career in animation. I am in awe of their talent. And for you artists who also have great grasp of story sense? I bow to you yet more humbly. Kudos on the hyphen -- I can't draw worth shit.<BR/><BR/>But hey, what about all the great artists who can't quite grasp character, who don't have an ear for dialogue, or who can't structure a story? Are we supposed to believe that there are so many brilliant artists with a fantastic grasp of story and character that they could create and run every cartoon in production? I sorta kinda doubt it. I can't draw and I don't expect artists to write. Unless they're good at it. Then please, by all means do. Huzzah for variety! Pip pip for respect!wurdhurlrhttps://www.blogger.com/profile/18083769623592557609noreply@blogger.comtag:blogger.com,1999:blog-8022653905840889580.post-77376805386997280372007-03-05T10:21:00.000-08:002007-03-05T10:21:00.000-08:00I'd take the time to answer this, but I'm too busy...I'd take the time to answer this, but I'm too busy wracking my brain, trying to remember whose office I peed in/face I kicked on the other side of town.Sibhttps://www.blogger.com/profile/11931387116838096885noreply@blogger.comtag:blogger.com,1999:blog-8022653905840889580.post-5960234207867746852007-03-05T09:29:00.000-08:002007-03-05T09:29:00.000-08:00Correct me if I'm wrong, and your experience may b...Correct me if I'm wrong, and your experience may be different from mine - But usually on the script side, the studio will hire a story editor - and the story editor is the one who is ultimately responsible to the studio for the consistency & quality of the finished scripts. So the story editor will be the one working day to day with this "talented but inexperienced" new writer. The story editor will work with the new writer, "editing" and re-writing, if needed, the new writer's stuff so that it will be accepted and work for the show. If there are problems along the way, it would be the story editor's call to yank the work from the new writer, and send them off with a kill fee, or to work with them to finish an acceptable finished script. The studio is relying on the story editor to tell them if this writer can "cut it" or not.<BR/><BR/>Now in many ways, it's the same with artists. Believe it or not, there are unscrupulous artists out there who go around town showing portfolios of other peoples' work, and claiming it as their own. I've found that the only way I can judge an artist's work is to give them a "test". Now I like to be able to pay them for the test, if I can, so I'll try to find a small assignment (boarding, designing, coloring, etc) and pay a few $$. I've only rarely been disappointed. The "fakes" will usually find some excuse for not being able to take the assignment.Kent Bhttps://www.blogger.com/profile/11737362545673892485noreply@blogger.comtag:blogger.com,1999:blog-8022653905840889580.post-21722262835116904322007-03-04T15:08:00.000-08:002007-03-04T15:08:00.000-08:00I learned to write, simply by writing. I had an id...I learned to write, simply by writing. I had an idea for a series, wrote a one page pitch, knocked on doors (3 of them) and sold the show. When we finally went into production I hired an old time comedy writer (all the way back to Sid Ceasar) and learned the ropes from him.<BR/><BR/>Of course, when I started to write - I had been out of school and in the business for 10 years. Having a solid foundation in animation was a distinct advantage in writing for animation. It was only after our first 1/2 season that I discovered those screenplay books.Steve Schnierhttps://www.blogger.com/profile/01766696319640794064noreply@blogger.com