Tag Archives: animation

RollerSkates

I was at a roller disco a few weeks ago (I’m the roller disco king). It was my daughter’s birthday party and I thought the idea of roller skating was a little bit crazy because of the varying abilities of the kids and the potential for accidents. Nevertheless, the kids got on great. Even those who were skating for the first time just went for it.

Sure, they fell over a lot but they got up and kept going. And one kid who fell over a lot soon started to get the hang of it and the speed of progress was pretty astounding.

I was skating around and I saw him skating with all the other kids and he was doing brilliantly. It was like he had done this many times before. He looked smooth and confident. I gave him a big wave and said “Well done!”

And he fell on his backside.

I broke his flow. I was just trying to be encouraging but I interrupted him while he was making real progress. He had focus, he had momentum and I pulled that away from him. I guess at least I was being encouraging so he got up and set off again with a smile. I wonder how much worse it would have been had I shouted something like, “Bring your feet together! Go faster! Not that way, this way!”

So today’s thought is very simple: when someone is doing something good, let them do it. Don’t interrupt them. Don’t become an obstacle. Just allow it to happen.

ConflictingNotes

One of the difficulties in tackling notes arises when you have notes coming in from different sources. It is rare that everyone wants the same thing. Some individual notes can completely contradict each other. Worse still, if you look at the overall picture of the notes (see last post) it can become clear that several people involved have a different vision for the project.

So how do you keep everyone happy?

The obvious answer is that, mostly, you don’t. But the hard part is that, almost always, you have to try.

I’ll fall back on an old analogy of mine. You’ve got friends coming over. One likes red wine, one likes white wine, another prefers beer and someone just wants a cup of tea. But you only get to serve one big drink in the middle of the table. So what happens if you pour in some of those wines in with the beer and stir in some tea? Do they like it? Of course not. You’ve created something hideous.

But… maybe the tea drinker doesn’t mind white wine. Maybe the beer drinker will be okay with wine if you serve it in a pint glass (that won’t end well…). Maybe you can promise the red wine drinker that you’ll do your best to make sure you have red wine in next time.

So when it comes to notes, you have to weigh up the considerations and the options. The two big ones are:

1) What is right for the story?
2) Who is bankrolling the whole thing?

The second one might not always be fun to consider but it is of vital importance. There is no point in keeping lots of people in the process happy if the one person who can pull the plug hates it. There will always be a hierarchy when it comes to notes. They do not all carry the same weight.

The hope is that story will always come first and that your notes will help you make it even better. When you have some tough decisions or notes that conflict, you have got to try to find solutions that people can agree on. But if that can’t happen, make sure you keep the right people happy.

2015MooshkuRoundup

Almost break time! Well that turned out to be a busy year. On Friday, I should deliver the final draft of the last episode of a 20-episode live-action children’s series I have been writing. A gorgeous television show for Norway that has been a joy to write. Also this year, I have written for companies in Holland and Australia. So my 2015 writing output looks a little like this:

29 TV episodes
2 features from blank page to final draft.
1 feature to first draft.

That is on top of our other Mooshku work: consulting on a couple of projects, creating and animating segments for a live science show, producing a rad pixel art music video for Gunship, developing some of our in-house IP and creating, writing and producing a pretty special little animation we’re not yet allowed talk about (more on that next year!). Oh, and Méabh has been busy producing Little Roy with the wonderful Jam Media.

Together, we have lived in many worlds and made friends with many characters, some established and some completely new. We have had stress and struggles but also fun and play. And it is the fun and play that we want on screen. That is what kids will respond to.

That is why we test our work with children. We note what is working, not working. Where they laughed, where they looked away. What they talked through or what they talked about. For us, it is about giving children the best and, when it comes down to it, no matter what our opinions are, no matter who is throwing notes at us, it is important that we ultimately defer to the true experts: the children.

So as Christmas approaches and the year draws to a close, I would like to thank all the kids who watched our work this year and listened to our stories and gave us comments such as “make this into a whole movie”, “can you finish it today?”, “my favourite bit is the bit with the pants”, “why does it say he is green when it isn’t coloured in?”, “will the drawings be better?”, “did you forget your glasses?”, “it was my sister’s birthday yesterday” and many more insightful gems. Especially to the children of Rathfarnham Educate Together.

You kids all rock and you make our work better.

I hope everyone has a calm and peaceful Christmas or whichever holiday you choose to celebrate!

Oct 28

Cinekid

Cinekid

Last week I was at Cinekid for Professionals in Amsterdam on a panel discussing the Dos and Don’ts of Storytelling in Digital Media. It was my first time at Cinekid and I was impressed.

For a start, Cinekid isn’t just a professional’s conference. It has family events and screenings and children are everywhere. This is fantastic. When you walk outside and you’re among families, it is an instant reminder about why we’re talking about what we’re talking about. It was no coincidence that listening to the audience and reacting to feedback was a common thread in our discussions – it is all too easy to lose sight of the audience in this business. To get caught up in trends and advances and all sorts of abstract concepts. Too easy to forget about the kids we want to make great stuff for, and their parents.

Cinekid doesn’t let you forget and I love that.

Cinekid is also home to an incredible media lab. A huge hall full of what are effectively cutting edge toys. Huge screens where your actions will sweep bubbles away. A rolling game where you roll huge tyres to make progress and much more. Some I couldn’t even figure out but there was a little bit of magic in just about everything in the room. That’s if you got a go – the kids liked to hog the best stuff! There is also a co-production market and workshops.

The conference itself covered a good mix of topics. An inspiring talk by Gary Pope. A little bit of frowning at Minecraft Story Mode (I like it and think it contributes nicely!). A great piece of research into girls and media from Pineapple Lounge – the main message: celebrate who she is, not who she feels she has to be. Some excellent insight into virtual reality from Nicoletta Iacobacci and the always wonderful David Kleeman leaving us with some real challenges as content creators (I’ll pick that up in another post). We had a live Let’s Play with the excellent Minecraft educator Wizard Keen (Adam Clarke) and a glimpse into Maker Studios from Robbie Douek which left me conflicted as he told us it was about authenticity while playing a car ad that, as far as I could see, wasn’t labelled as such.

MinecraftLetsPlay

Then there was our panel with Ida Brinck-Lund (consultant for Lego’s Future Lab), Caitlin Burns (business strategist for brands from Microsoft, Nickelodeon and more), Julien Fabre (Ankama) and me, moderated by Warren Buckleitner who guided the whole day. I’d like to think we were brilliant and probably the highlight of the conference but it is always hard to know how our discussions impact others. What I do know is that we covered a broad range of topics and each brought a different view. All four of us are in different spaces and yet similarities could be identified – needing to engage with our audience and also needing to learn and adapt as we work.

No matter how long we have been doing what we do, no matter what history is behind us, we are in an ever-changing space in an ever-changing world and each new media form and device provides a whole new set of challenges. It’s exciting. As I said to Warren on the day, from having made Dino Dog I could write books on how not to make an app. It was a steep learning curve and sometimes that rich history in one form of media is walking you right into a trap in another. That is one huge reason to do your homework. No matter what it is you’re making, no matter how confident you feel, do the research. Learn. Ask questions. And be open to the answers you get.

So there is an easy Do for Storytelling in Digital Media: do your research.

And a Don’t? I guess don’t always assume that the research has been interpreted correctly. If we knew it all, the big hits wouldn’t surprise people the way they always seem to.

So that was Cinekid 2015. My trip also included bicycles, ferries, odd street layouts and the ever-present smell of pancakes and weed. The real highlight? Meeting a lot of really great like-minded people all doing different things. I enjoyed your company and I hope we see each other again soon.

PitchBible

The biggest mistake I think anyone can make in a pitch bible is a wall of text. People won’t read it. It takes up too much time. Unless your text is pure gold, it’s like wading through a swamp. And if it is pure gold, will people have the time to find that out?

More often than not, very busy people are scanning through pitch bibles. So you need to get to the point and keep it lean.

And yet, if you strip it down to the bare minimum, you always run the risk that someone will flick through it and think, this feels a little thin. Is it underdeveloped? Not a fully-realised concept?

So how do you keep it lean and to the point while making clear that your concept has depth, storytelling potential and a fun character dynamic? Active images. Try to get every picture telling a story. If it is simply a single character illustration, tell us who they are in their pose and expression. If it is a setup made to look like a still from an episode (I would always recommend this), make sure it feels mid-story, mid-action. That way it gets people thinking about how the characters got there or what will happen next. An image alone can get the message across that there are stories to be told.

Even if you are showing off a particular aspect, try to tell a story. Showing off your fancy backgrounds? Maybe show a character playing in your fancy backgrounds. Keep it active. Inspire the imagination so that, even if someone doesn’t read one word in your bible, they have a good idea what it is about. And hopefully, they’ll be making up their own stories as they look at your pictures.

BankTheWork

Bank work whenever you can. Waiting for someone to come back to you? Get something for the next step done. Have something fall through? Use the time to get ahead on the work you have or even might have. Push forward and bank the work, even if you don’t need it yet.

I think the trick to really getting things done and delivering is not about keeping up. It’s not about measuring everything to hit that deadline. It is getting well ahead of it. You see, something is going to get delayed or some problem will crop up somewhere. It could be really small but it will happen. If you’re on track for hitting that deadline and then a problem or delay arises, you’re no longer on track.

So any chance you get, push forward. Get ahead.

Will this ever cause problems in itself? It can come with a risk. Let’s say you have delivered a script or submitted a scene of animation and you’re waiting for feedback. If you get stuck into script 2 or that next scene, there is a possibility that the notes from the first one will change how you should have approached the next phase. But you have already begun to work through ideas and problems so, even if you have to make considerable changes based on that feedback, you still have a head start.

Keep going. Push ahead. Bank the work for when you need it. Your future self will thank you for it.

kiswatch

The Children’s Media Conference last week was interesting as always. Lots of positive ideas and people making great things with great missions behind them (the mission is important!). A lot of talk of YouTube which, of course, most of us are very aware of both in terms of opportunities but also challenges. We know a lot of children are going there for their entertainment. My own girls, for example, adore Stampy and his seal-like laugh and gaming fun.

What is a concern for me as a parent are the ads that play before these, which are in no way age appropriate. The last Stampy marathon I watched with my girls was interrupted with ads for Orange Is The New Black, for example. There is a YouTube Kids app in the U.S. It has come under fire but I at least find it encouraging that it is an acknowledgement that kids can and do access content there. Hopefully that will get better and, when right, will go global.

Kids exist. They watch YouTube.

So it was a little disappointing when one speaker who makes excellent YouTube videos was hit with the question: who should be watching your videos? The speaker had already talked about how much kids get from the videos, even using a slide of a toddler watching one of the videos. The answer to who should be watching: well, as per YouTube terms of service so… I guess that’s 13 and over. It was just a little moment where someone was put on the spot and was hit with a question they weren’t quite expecting (though certainly should have been) but it was an abdication of responsibility. That’s always a problem. Kids exist. They watch YouTube.

On the other end, there was a great panel on the 4-6 age group and age appropriateness presented by Mellie Buse and it was fantastic to hear Dave Ingham (Boj, Clangers) and Lucy Murphy (Bing) talk about how they want to tackle subjects relevant to the lives of kids, challenge them, reflect their lives and their world with honesty in a way that is right for the age group. They really think about who is watching what they make. I love that.

So let’s side with Dave and Lucy on this one and remember that kids exist and they watch what we make. And isn’t that fantastic?

ItsTheExperience

We talk about story a lot, and for good reason. For many forms of media, story is key in so many ways to engaging kids. But for me, story is the start. Not the end goal.

Story provides the framework on which everything else sits: look, feel, setting, comedy, emotion, wonder, discovery and so much more. All put together, the idea is that we offer kids an experience. One they feel a part of. One they relate to, one that seems familiar and yet also one that can surprise them and get them thinking. An experience.

And one of the best ways to offer young children an experience is to show them young children experiencing, just like them.

Rewrite

Whenever we write a story for a show or film, we get notes. A script editor, head writer, director, exec, whoever will point out things that don’t work for them, problems or difficulties and often offer solutions too. It is part of the process and a very important one.

But dealing with notes is not always easy because, all too quickly, we get so close to our story that we can have a hard time seeing it any other way. Or during its early stages, we explored it so many different ways that we have already ruled out some suggestions we’re now seeing in the notes. Sometimes it is just hard to know where to start with them.

So here’s a simple tip. It’s something I do. After waiting 24 hours (I always need time for notes to sink in), I rewrite the notes at the top of my document. Not just transcribing them, I reword them in a way that suits me better (how I would have phrased them) and I lay them out so they are line by line, like a ‘to-do’ list.

This does two things. The first comes from rewriting them in my own words. Now the notes are no longer alien. They are no longer an outsider in my story. They are there in my document, in my story and in my words. It makes them personal to me. And so often I find that, even as I write them, my mind is already creating ideas and solutions that I didn’t see while reading them in an email. Usually as I write these notes, I’m actually also writing the solutions or new lines along side them.

The second thing is even simpler. Because they are now laid out like a ‘to-do’ list, I use them as one. When I’m confident a problem is no longer a problem, I strike it off the list. It gives me a sense of achievement, gets me closer to my goal and I always have clear focus on what it is I am actually tackling at any given moment.

It is a simple thing but it makes a big difference to rewrites and polishes.

FriendsTitleMethod

Every TV episode I write has to justify its existence. Yes, people want volume and that alone can be the aim. For some shows, it doesn’t matter if every episode blurs into the next. But for me, I want to add something. Offer something that hasn’t yet been covered. I approach this in different ways on different shows and different episodes but I usually have the same thought behind it – how might this become a child’s favourite episode?

For that to happen, an episode needs something to define it.

You just have to think about how a child asks for the episode. “I want the one with the balloons!” “Can I see the one about the dog?” and so on. Quite early on, I found myself applying what I have come to call the Friends Title Method. Remember Friends? Of course you do. The episode titles in that show were all “The One With…” There was:

The One With The Monkey.
The One With Russ.
The One Where Joey Moves Out.

They all followed this format. For me, thinking of it that way means that I have clarity as a writer. If I know what the one thing is that defines the story, everything I write serves that and should strengthen it. For kids, it separates out the episodes and makes each one unique in its own way. Every episode offers something a little different and so justifies its existence.

So when I’m working on a story, I ask myself what episode this is and I refer to it with that Friends title system – it’s the one with… And now I always know what defines that episode.