Animation

this is most question bothering most people on animation project

I'm also an animator and I would love to connect, basically we can have something to do together on this your project

OK, I just requested a connection!

Hi Alexandra Goodness

I'll give you a short overview of what I'm working on here.

If you want, I can give youa link to the project website in a direct message

You can also see images on the Instagram profile

@kittykittybangbangfilm

LOGLINE

What if your toy car could fly?

A housecat's wish for adventure comes true when his beloved toy car magically takes flight. But in a dog-ruled world where cats are hunted, he must risk everything to save another and become the hero he's only dreamed of being.

WHY THIS FILM?

Kitty-Kitty Bang-Bang combines the wonder of classic family animation with an original fantasy world, memorable comic characters, and an unlikely hero.

At its heart, the story is about the difference between dreaming of being a hero and finding the courage to become one. Ultimately, Catalytic discovers that courage comes from caring for someone more than himself.

While inspired by the spirit of beloved family adventures such as Chitty-Chitty Bang-Bang, The Rescuers, and An American Tail, the project develops its own identity through the image of a flying toy car, a cat hero who constantly finds himself in over his head, and a colorful cast of allies and adversaries.

The film blends adventure, comedy, fantasy, and heart, pairing genuine emotional stakes with the kind of visual humor and memorable characters that have long defined classic family animation.

STORY OVERVIEW

Catalytic Paws is a silver-gray housecat with a flair for the dramatic who dreams of adventure from the driver's seat of a battered red toy car.

To everyone else, it is just a toy.

To Catalytic, it is a promise.

One moonlit night, the impossible happens.

The toy car hums, lifts from the ground, and carries him into the sky.

His journey leads to Snarlvania, a strange kingdom ruled by dogs where cats live in hiding and in fear. There he meets Kitty Kurltail, a clever and courageous young cat who has spent her life evading the ruthless Duke Dogbreath and his relentless tracker, the Purrsniffer.

The Duke dispatches two spectacularly unqualified 'henchdogs' to capture the mysterious flying cat-car: Eggs, a self-important beagle who greatly overestimates his own abilities, and Bacon, an enthusiastic dachshund whose terrible disguises and boundless optimism turn nearly every mission into another hilarious disaster. Their determination to catch Catalytic is matched only by their remarkable ability to ruin their own plans, destroy the Duke's property, and somehow survive the consequences.

As misunderstandings multiply and chaos spreads across Snarlvania, Catalytic gradually learns that this world is not the adventure playground he imagined.

When Kitty is captured, his dream finally becomes reality.

For the first time in his life, he must stop dreaming about being a hero and become one.

Someone else asked a similar question in another post. Here is my reply:

Typically, character designs or a few pieces of key art are what would be most valuable for "proof of concept" for an animated feature. Even if you developed a short animatic of storyboards and scratch dialogue, the character designs would need to be tighter than typical storyboards, so the short of it is, unless you have the infrastructure to do animation and test out a pipeline for the finished look, you are better off investing in character design and a few key pieces of visual development art.

Is the look you are providing the final production look? Did you do it or did you have character designers? The reason it is important for an independent animation project is because if/when made for production it will go through an animation service house; most have internal art directors and character designers who do the work that can fit the pipeline they have in house. Unless you have that resource (or ability) to drive the look before it gets to that stage. Even bigger productions outsource character design and viz dev. and then make the studio pipeline to match.

HI Laurie,

That's interesting information. I developed the look with the help of Leonardo.ai (I'm not and will not be the film animator), so the designs are easily replicable. The whole stroy concept is mine, and I developed the visuals soley for attracting attention and giving an idea of characters and scenes.

Of course if someone really wants to make the film and insists on his own designs, that would be subject to discussion and agreement. I could be persuaded!

Oh this is such a tough one, but I'm going to have to go with TARZAN, and here's why.

The Lion King is a masterclass in every way, and there's a reason it's considered an untouchable classic. Presenting Hamlet through the lens of the African savanna, with iconic characters, unforgettable songs, and one of the most gut-wrenching scenes in animated film history, is genuinely brilliant storytelling. I love it. I still watch it. It's a masterpiece.

But TARZAN did something almost impossible: it took a wildly dark source material (a baby left behind after his parents are literally torn to shreds and eaten) and turned it into something so beautiful, so approachable, and so emotionally resonant that I genuinely love watching it and so do KIDS! That's not easy. Adapting classic material for a family audience without losing the emotional weight of what makes it powerful is a delicate craft, and TARZAN pulls it off in a way that so many family films don't.

And I have to give a special shoutout to Phil Collins's music. It absolutely SLAPS. I still put it on sometimes just to jam. It stands on its own as genuinely great music, even outside the film. Also, fun personal side note: every time my husband and I hear a gunshot in a movie or show (or living in Texas, sometimes just in general), one of us races to be the first to say "Clayton!" It's become a running joke in our house.

So my vote goes to TARZAN. Not because The Lion King isn't extraordinary, but because TARZAN pulled off something genuinely rare and taught me so much about how to layer difficult source material into something that feels warm, hopeful, and unforgettable.

Ashley, I agree. I love the sound track. I love the concept. It’s a 4 quadrant movie that is uplifting and entertaining. And now that Tarzan is public domain, I hope my script will be made into a feature for all to enjoy. “Tarzan and the Poacher’s Wild Man.”

Joshua Michael Powell What a clever way to watch these classics as a filmmaker, I’d pick The Lion King for how it turns a simple coming-of-age story into an epic through mythic structure, visual motifs, and emotional payoff. Tarzan is a great lesson in kinetic storytelling too, especially how movement and music reveal character.

I have to say I liked Tarzan but loved the Lion King. It's almost Shakespearean whe you look at the story. The kings brother murders him to look like an accident. A dethroned prince, banished, grows up, reunites with his love and come back to clsme his thrown is classic.

Having worked on both; THE LION KING hands down.

hello Joshua, I’m a cartoon animator.. kindly reach out if you have a script/story to animate..

Hmm. This is going to be a hard one.

These 2 movies thrive on spectacle in terms of what can be done in hand-drawn animation. Beauty focuses more on the regal architecture while Notre Dame delves into darker, heavier themes.

But because there can only be one that takes it, I think Beauty and the Beast goes forward.

Not much to say, both have great musical numbers, the animation is still stunning in both films, so it's hard to say which I liked better.

Daniel Cronin Beauty and the Beast is clearly the favorite for a reason.

So I had to rewatch The Hunchback of Notre Dame. The comedy is hard to overlook, The Gargoyles definitely bring forth a level of comedy that definitely ease the piercing loneliness Quasi had to endure. However, that ending unlocked a childhood trauma I long forgot. HAHA

I really appreciate your dedication to the Animation World Cup! Your perspective has been incredibly refreshing and enlightening!

Well, considering B&B was the only animated feature ever nominated for best picture and therefore created the demand for the animated feature category (because live action filmmakers were outraged), I'd have to go with that one.

Having worked on both; I would say Hunchback takes far more story risks (Disney would never make that film today) and its artistic boundaries were pushed much more -- simply because we had better tech than we did on Beauty.

Beauty and the Beast is literally my favourite Disney movie!! Not only does it show the peak underdog story, it shows that no matter how much we hate ourselves, anyone can change for the better.

It holds one of the greatest tragedies turned magically into the perfect ending.. but also has the villian face karma in the greatest possible way!

But to then have Cogsworth and Lumiere carry the comedy wrapped up in the story? Impeccable! Nevermind an all-star cast AND have Chip and Mrs Potts so memorable - this being one of the biggest tells of it being one of the most magnificent Disney films - almost every character is memorable on their own.

Hands down the winner for me.

Typically, character designs or a few pieces of key art are what would be most valuable for "proof of concept" for an animated feature. Even if you developed a short animatic of storyboards and scratch dialogue, the character designs would need to be tighter than typical storyboards, so the short of it is, unless you have the infrastructure to do animation and test out a pipeline for the finished look, you are better off investing in character design and a few key pieces of visual development art.

Always prioritize story.

Why not start producing your own vertical?

Create your own 90 second opener.

People are more accepting of animated AI. You can try noodling w/Higgfield or other platforms for short money..

I have Leonardo.ai. I'll try and see if that works. You mean something like a teaser?

good buddy

Daniel Cronin Yeah, anything to get the attention and the spotlight on the subject, plus I wanted to capture the theme and overall essence of the story. However, there's more to it than meets the eye; stay tuned!

Congrats and good luck!

Bob Harper I Thank you for the support on this I’ll keep moving forward for sure!

Dylan Montalbo Congrats, Dylan making the Marketplace is a huge milestone! The Chamorro curse and best-friend secrets sound like such a gripping mix. I’d love to hear what inspired the story and if you ever want a fresh set of eyes on the script, I’d be happy to help with coverage or polishing.

O Mercy Thanks for the support and I appreciate the offer. At the moment My script is currently being reviewed by two film festivals that are sponsored and partnered with Stage32, like the 'Search for New Blood' and the 'Action/Thriller'. Which should should provide sufficient coverage for the script, that will not only help polish the writing but propel the project to new heights like pushing it from the Top 27% discover to maybe Top 15% and higher. Hopefully when it does, then I could finally have someone give me an email, a call or something to get this project moving.

Samuel Tade Thanks Samuel, not yet. I reciebed a message from Ashley Renee Smith as an introduction but according to what I understand you need to have some history on the page. I got Armstrong-D.U. requested for producers and get top 26 in kinolime's screen to script competition this year, I assume it's because of its footprints.

Hi, thanks for sharing that with me. Congratulations on getting Armstrong-D.U. requested by producers and placing in the top 26 of Kinolime’s Screen to Script competition this year. That’s encouraging progress, and I can understand why you feel that having a track record and some activity on your page can make a difference.

I’m still interested in getting to know more people in the screenwriting community and building genuine professional relationships. I believe that staying connected, exchanging ideas, and learning from each other’s experiences can be valuable as we grow in this industry.

I’d love to hear more about your experience with Armstrong-D.U.. What do you think has helped the project attract attention from producers and the competition judges?

Samuel Tade Not 100% sure. I guess it may be two things. One: Having a strong visual concept that can be described with words and two: a bit of good luck I guess. If whatever you write can generate an immediate image out of words only you've got a strong concept.

Alex Olguin The Regina George meets Tangled hook is instantly fun and that logline promises a wonderfully chaotic heroine. Congrats on the positive feedback! What kind of contest notes are you hoping Lora gets next?

O Endurance To be honest... I have no idea HAHA. I started last year with a firt time script (Armstrong-D.U.) and basically all of this has been just things that happened, I took some advices from people and I started to get this "curriculum" on my scripts.

Thanks for the comment, it's really encouraging to hear that you like the concept, in fact I spent months just thinking on that frase alone, and it came from someone else who described the script as: it's rapunzel but if she was a #$%%#. I found the expression so hilarious so I adapted it to be more undertandable and with no swear words haha!

The faux interviews sound like a fun way to let the characters introduce themselves in their own voices especially for an animated project. I’d be curious whether each one reveals something beyond the usual bio; happy to take a closer look and offer script-coverage-style feedback if useful.

O Endurance Thanks for that comment!

If you are wondering where the PDF is to view, in the link to the project page I provided, you can find the Slide Deck PDF of my series in the Project Deck section.

Interested to hear what you think!

That grief turned to madness, violence, and war thread sounds haunting and such a bold choice for an animated film. I love when an adaptation trusts its audience to leave with questions instead of a tidy happy ending.

Sarah, I love how you describe the craftsmanship behind Wildwood. The handmade detail in stop-motion animation is remarkable, especially when every leaf, feather, and strand of fur contributes to the world’s realism. Your point about grief, empathy, and the cost of violence is also interesting; those themes can make an animated film resonate well beyond its visual beauty. It’s a great reminder of how powerful storytelling, visual artistry, and thoughtful promotion can work together to help an animated project reach the right audience.

@Janet Eunice Thank you so much for your warm welcome! Your kind words mean a lot to me. Wishing you all the best!

Welcome. The most important action is to never give up!!!! Wishing you success!

@William W Dilks Sr. Thank you so much sir for your warm welcome and inspiring words! I will never give up! Your support means a lot to me!

Welcome! And good luck with what comes next

Manish Barve Fighting for your story to be seen is a powerful introduction, Manish. Bringing a novel to life through animation sounds like a meaningful way to share it what inspired War of Existence?