Craig Crumpton
12-19-2001, 02:47 AM
Ever wonder what goes into writing a script for an animated feature film?
The <a href="http://www.wga.org/organizing/animation/index.html">Animation Writers Caucus</a> hosted a panel discussion on this very thing in November at the <a href="http://www.wga.org/">Writer's Guild of America</a>.
Marty Isenberg (writer on Batman:TAS, Spider-Man and Action Man) covered the highlights of the event in a recent article on WGA.org:
<i>Tab Murphy explained that Disney animated features usually go into production based on an outline or treatment, rather than a finished script. The outline is then broken down into sequences, which are divided up among teams of writers and storyboard artists. Both Irene Mecchi and Bob Tzudiker concurred that this process often leads to a phenomenon known as "sequence-itis," where artists grow so attached to tweaking their individual sequences that they forget that the sequences must link up to the story as a whole.
By contrast, Len Uhley cited his experience with direct-to-video features as more akin to that of TV animation, where the writer turns in a script and has very little contact with the artists. The upside is that, due to time and budget constraints, more of the writer's material as originally written appears in the finished product.
Moderator Phil LaZebnik noted that, unlike the traditional Disney process, DreamWorks insists on a finished script before going into production on a feature.</i>
To read the complete article, click on the link below:
http://www.wga.org/pr/1201/membernews1201.html#6
The <a href="http://www.wga.org/organizing/animation/index.html">Animation Writers Caucus</a> hosted a panel discussion on this very thing in November at the <a href="http://www.wga.org/">Writer's Guild of America</a>.
Marty Isenberg (writer on Batman:TAS, Spider-Man and Action Man) covered the highlights of the event in a recent article on WGA.org:
<i>Tab Murphy explained that Disney animated features usually go into production based on an outline or treatment, rather than a finished script. The outline is then broken down into sequences, which are divided up among teams of writers and storyboard artists. Both Irene Mecchi and Bob Tzudiker concurred that this process often leads to a phenomenon known as "sequence-itis," where artists grow so attached to tweaking their individual sequences that they forget that the sequences must link up to the story as a whole.
By contrast, Len Uhley cited his experience with direct-to-video features as more akin to that of TV animation, where the writer turns in a script and has very little contact with the artists. The upside is that, due to time and budget constraints, more of the writer's material as originally written appears in the finished product.
Moderator Phil LaZebnik noted that, unlike the traditional Disney process, DreamWorks insists on a finished script before going into production on a feature.</i>
To read the complete article, click on the link below:
http://www.wga.org/pr/1201/membernews1201.html#6