Last week we brought Millie and Mr Fluff to the Cartoon Forum. I have mentioned Millie in my last two posts but I don’t feel I have really told you a huge amount about it, partly because I like this blog to be informative rather than just a platform to promote my projects. But Millie is really important for me and I think it deserves a bit of space here.
So why is it so important? Well, Millie is not the first project of mine to make it out into the world since my big move last year (that would be DINO DOG) and it is not the only Mooshku project in development. But it is my first new TV project. Even bigger than that, it is the first Mooshku project to be revealed to more than just a handful of people. That’s a big deal to us at Mooshku. Mooshku’s first stamp on the world of good children’s entertainment is Millie. It is the first project that can now make it to what would be a Mooshku showreel. That’s important, right? It’s the beginning of a new life chapter that could turn out to be a very big chapter.
Here’s the show concept…
Millie is playful child (just like your child) who runs a zoo (okay, not exactly like your child). Her one aim: make sure everyone has a great time at the zoo. So when an animal is sick or needs the morning off to pick up their dry cleaning or is missing for any reason, Millie calls her very good friend Mr Fluffington-Strypes to stand in for the missing animal. Fluffington-Strypes (Mr Fluff to his friends) is an actor, a gentleman and a rather large cuddly tiger. He dresses up and assumes the role of any animal at the zoo.
Anything but the monkeys, who are noisy, playful and terribly messy and far beneath a professional such as Mr Fluff. More often than not, it doesn’t quite go according to plan and so Millie has a day of fun trying to make it all work out and children have lots of laughs along the way.
Millie and Mr Fluff is a short, snappy preschool comedy show. Comedy is one of those things talked about a lot and there are certainly a few great preschool shows that are genuinely funny for young kids (Peppa, Gigglebiz, Ben and Holly, Pingu going back a bit). But there aren’t all that many. So we worked really hard to get the Millie comedy right for preschoolers in the scripts, the voices, the design, animation, music and sound. And it works. It’s funny. That kids also find out about animal traits along the way is a happy bonus feature.
After LONG development, testing and tweaking, Millie and Mr Fluff has really come together to become something special. And we finally revealed the show to the world (well, to Europe) at the Cartoon Forum.
The pitch went like this: adrenalin kicked in, I started talking about the show, showed a lot of clips and I could see some people smiling which was nice and then it was suddenly over and people were saying lovely things and writing even more lovely things on little purple cards. The show went down great with a lot of people. They got it. In comments, the strength of the core concept was something people could see. They loved the comedy, the look, the music and a few mentioned in particular how well we knew the characters and how that came across.
One aspect that intrigued people: all of the art assets were created on iPads.
All the interest and positive comments were great to hear given the amount of work we did in development – it paid off.
Huge sigh and a sense of satisfaction… before realising that this is just one stage in the process and we now have a lot of following-up to do. And so it’s off to MipJunior with Millie next. A step in a longer journey but a very important one to me and we came away with the results we wanted. And on top of that, we really enjoyed the Forum and got to hang out with old friends and new friends and that was lovely.
So would you like to see some of Millie? Sure you would! Here is the extended megamix of our trailer with little glimpses of Millie stories and scenes. You can watch it in higher quality by clicking the little Vimeo logo on the clip. Here’s Millie and Mr Fluff:
We have all been told something we’re doing won’t work. For example, years ago we were told by a good broadcaster that Fluffy Gardens wouldn’t work. Broadcasters wouldn’t buy it, kids wouldn’t watch it.
Fluffy Gardens sold. Kids loved it.
Being turned down and told that concepts won’t work is an industry cliché. Every success, small or huge, comes with story after story of people rejecting the idea or saying it will never work.
So when it is your concept they’re saying this about, what do you do?
Well, firstly listen to any criticism. Really think about it and its relevance to your project. If amending something could improve your project and make it a better version of what it is, then do that. Don’t do it because you’re expecting anyone to change their mind. That’s the wrong reason and almost never happens. Don’t do it because they know more than you. Do it if you truly believe your project will be improved. Always strive to make your project better.
Evaluate your pitch and materials. Are you showing your project in the best possible way? If not, learn from that and improve your presentation.
Then accept that the project is not right for that person. That doesn’t mean there’s something fundamentally wrong with your project and it certainly doesn’t mean there is something wrong with that person. We all have different experiences and that person may have tried something similar in the past and it may not have worked for them. Or there may be other quite good reasons why they don’t want what you’re selling and they aren’t going to go into those reasons with you. All it means is that the project is not right for them.
Move on. Quickly. And look for someone who it is right for.
Don’t ever let the negativity drag you down. Don’t completely shut it out either, because you might pick up something useful from the criticism. But don’t let it beat you. Don’t let it stop you. Keep going. Make it better, pitch it better and get it in front of the people who will love it.
Eventually, you’ll be telling your very own story about those people who told you it would never work.
It is said so often that confidence can make all the difference when trying to make things happen. We need to be sure of our idea and our ability to carry it through. We need to impress and motivate others with our own confidence. We need confidence to pitch and present our work. We need to write, direct and create with confidence and not bend too easily to the whims of others. Indeed, this is all something that I would preach right here on this site. We need a strength and a conviction in what we are doing in order to do it successfully.
Confidence. It is so important.
But for me, confidence is not something to be willed into being. Not something to be adopted on its own, like a new persona. Not something to be drilled in through affirmations. I suspect that is the path to arrogance, stubbornness and possibly delusion, all easily torn down.
Real confidence, in my experience, is the outcome of science.
It comes from learning, research, testing, proving and disproving. And many, many trials. Real confidence comes not when we just blindly convince ourselves that our work is great, but when we have actually put in the work to make it great. It comes when we have done our homework and know our subject matter inside and out. It comes when we have tested that work, tried different options and, like any good scientist, been open to the very real possibility that we’re going about things the wrong way.
Confidence is earned through that science. It can be a lengthy process and often it should be but, eventually, you will have worked through the possibilities, put your work to the test and you will have ended up with something you truly believe in. You will have work you can present really well because you know it stands up to scrutiny and you have already pitched it in your head a thousand times. And you will never be blind-sided or left stumbling because you have put more work into finding the cracks in your project than even your harshest critic. You can stand over your work because it is actually really great work.
That’s real confidence. And once you have got it, it doesn’t get shaken easily. It’s a powerful force and it is how you make great things happen.
I was speaking to a group of animation students a couple of weeks back, taking them through my career and how I got to do what I do. Moving from career leap to career leap, everything sounds pretty impressive, even to me and I lived it. But the truth is that I am only ever telling half the story. Actually, much less than half.
Because for every success there are several failures. Sometimes many failures. I don’t usually get to cover those in a short talk but they are important to acknowledge, hence this post.
I talk about my first job being an animation position on TVC’s Willows In Winter. But in reality, it’s the first job that means something in my career. My real first job was picking tomatoes, a job I was fired from. I tend to talk about Fluffy Gardens as my first self-created show. It is actually the first self-created show that I managed to get off the ground. It is not the first show I pitched. I move on to my next show, Planet Cosmo, pretty quickly and, in doing so, neglect to mention the few show concepts that came in between those two shows. And there are so many more little disappointments, unsuccessful pitches and out and out failures throughout my career.
‘Failure’ sounds like a very dramatic word, steeped in negativity. Failure can bring fear, sadness and, sometimes, can kill our motivation. Why try if it’s only going to end badly? But that is the exact opposite of what failure should do for us. We all need to be okay with failure. In fact, failure is really important. Here are some things to keep in mind about failure:
1 - Failure shows we have taken a risk. No advancements, career leaps or worthwhile successes will come without risk. It just doesn’t happen. If there is no risk of failure, we’re not really doing anything and certainly not trying anything new. So failure shows us we’re pushing ourselves. That’s a good thing. Push further.
2 - When creating, it is all part of a process. Ideas must be tried and tested, and then the results evaluated. We use that information to make the next creation better, more relevant. And nothing is ever wasted. Ideas from that project that didn’t make it will resurface in another project, often in a better form.
3 - In the end, the failures don’t count. This is so important to remind ourselves of because one of the things we all have to move past is our fear of failure. Failures can teach us but they don’t count in any negative way. The successes are what people will remember. When I talk about my career, I can talk for an hour and I’m still covering the successes. I don’t need to talk about the failures because people don’t care. Do you remember Steve Jobs for the failed Mac Cube or the success of the iPod? Which counts? All it takes is a single success to wipe away all failed ventures. Failures don’t count. So don’t fear them.
Not everything you do in your creative career is going to work out. It certainly won’t work out first time. If you’re really striving for better, for something important, failure is more than likely something you will face many times. Be okay with that. Embrace it.
Early development on Planet Cosmo was quite intense and, before long, I had a very clear idea about most of the core elements in the show. I had a massive amount of research, an episode structure in place, a whole bunch of stories and I knew my characters and how they worked together.
When I got to that stage, I could have put it all together to make a book about Planet Cosmo that would rival a meaty Stephen King novel, only with a better ending.
But I figured, nobody will read all that.
Most people just want an introduction, the basics. Truth be told, for all the effort that went into the writing, I’d say many buyers had decided whether they were going to take Fluffy Gardens or not based on one look at the show design. I knew the same would be true to some extent for Planet Cosmo. I felt pretty good about the show though because, unlike Fluffy Gardens and a bunch of shows out there, Planet Cosmo had an easy pitch ‘ it brings astronomy to children. That’s it. You either want that or you don’t.
So I created a little three-page introduction in lieu of my Stephen King novel. The core pitch and plenty of pictures. I knew people would at least read that.
My first meeting…
“Hmmm… it looks a little thin.”
Are you serious? Thin?!
The following weekend, I pulled all my notes together and put it all down in a document. Well, almost all of it (I like to hold the odd surprise back so I have something exciting to reveal later). While my document didn’t quite rival The Tommyknockers, it was still a meaty 50+ pages and a script on top.
I gave it to my producer. He flicked through it and said -
Pitching a show is a whole world away from creating one and, like anything else, the real way to get good at it is practice. Experience. Learning from your own mistakes and watching the pitches of others to see where they went right or wrong. This is one of the reasons I love the Cartoon Forum, an event where I have pitched unsuccessfully (and learned from failure) and then more successfully (and learned from success). At some point I will post my own thoughts on pitching but here is the most important thing to realise about any pitch, any sale:
People have to want to buy what you are selling.
There are great salespeople and terrible salespeople but even the great salespeople need something worth selling and they need to sell it to the right people. You might blow someone away with a flashy presentation and smooth words but a couple of weeks later that person has to convince their superiors and it is just them and your show document.
That show eventually has to sell itself. Which means that, before you pitch, you need to know that your show will be able to continue where you left off. You need to be sure that the show basics – the concept, stories and characters themselves – will provide the answer to any questions your buyer might have. By the way, that also extends to your audience and the early adopters (usually the parents – be good to them by making something great for their kids).
You may love your characters and stories but this is the point where you have to look beyond all that. You have to see your show as a package and you have to know that package very well.
Take your show and consider these questions -
Who exactly is your show aimed at?
What is different, unique, about this show?
What does it offer children beyond entertainment?*
What does it offer to specific broadcasters?
What is the format (episode length etc.)?
Why that format?
Can it sustain more than ten episodes?
Have you got more story ideas?
Does it look great?
Is it producible?**
Is all of this obvious in just one short document?
Is it obvious in just one single line?
* Truth is, entertainment should be a given. That’s not a unique selling point.
** No point in having a great show that can’t be produced or funded.
You need to have the answers to those questions and you need to commit to them. They can’t be pasted on to your show afterwards ‘ people will see through that. The answers to those questions need to be part of the core of your show. Yes, you can change your mind on some of them later and a particular broadcaster may request a change but you need to be strong with those answers right at the start so it is clear that your show’s foundations are solid. If I made one mistake on some of my early show pitches, it was hoping others would sort out my show’s weaknesses. Don’t do that. A broadcaster/producer/whoever may help take your show from great to magical but they won’t want to start anywhere below great.
And no matter what, the show has to be a good fit for them.
Even if they love your show, they will need to match the answers to those questions to their own internal brief, their channel’s mission or aims. And they will eventually need to do it without you, without your passion to carry it through.
So before you pitch, know your show. Know what it is and why. And make sure your show demonstrates that.