Animation : How to break into animation by Laurie Ashbourne

Laurie Ashbourne

How to break into animation

Last night I was at Netflix's Tadum theater for a screening of Skydance Animation's latest release, SPELLBOUND. I prefer to see my animated movies in a theater to truly take in the artistry and the judge the quality of the animation. But I went to this one specifically to support my friend and the film's producer whom I worked with when we were both at Disney.

There was a panel moderated by a woman from Variety afterward and one of her questions really stuck with me. She asked the director (Vicky Jenson, who also directed the first SHREK), my friend, Bruce Anderson (who is now the head of production for Skydance), Alan Menken and lyricist Glen Slater, what their first jobs in the industry were.

Vicky painted cels as she babysat (age 13) for a neighbor who worked for Hanna Barbara.

Bruce was a PA on Mulan, although his answer was that he ran the copy machine on Mulan.

THE WILD ROBOT a phenomenal animated movie also out this year, was produced by Jeff Hermann who started as PA on Pocahontas. THE WILD ROBOT was directed by Chris Sanders (LILO AND STITCH), who got his start as a character designer on Muppet Babies after he graduated Cal Arts.

A massive trailer also launched this weekend for HOW TO TRAIN YOUR DRAGON "Live action" adaptation of the animated film and franchise. Directed by the animated films' director, Dean DeBlois. Dean started as a layout artist before moving into story as a story artist/writer.

Byron Howard, 2-time Oscar winning director (Zootopia, Encanto), started as a tour guide at Disney-MGM studios animation tour.

Chuck Williams, producer/development director (Sonic the Hedgehog, Brother Bear) started as editor (originally a music video editor before moving into animation).

I myself started as a painter.

I ran into another former colleague there who started as a scanner of artwork for a Pocahontas video game and is now a localization producer.

The point is, every single one of these people, myself included, took the first job they could get in the animation space, absorbed everything about every department, and then became leaders in the industry.

Ashley Renee Smith

I love that, Laurie Ashbourne! It’s important to value the entire process and to understand it inside and out, which is something you can really only experience if you start at the bottom and work your way up. If you automatically skip multiple steps, you can’t fully respect and understand the work and attention that goes into them. How was Spellbound? It looks really interesting!

Laurie Ashbourne

Ashley Renee Smith it's not only valuing the entire collaborative process; it's also about understanding and being willing to come in at an entry level position. So many want to start up the ladder. In animation more than most, they promote from within.

SPELLBOUND was good -- it is a musical, so if that's not your thing it could be tough to swallow, but the story tackles some new emotional ground in the family animation space.

Bedirhan Öztürk

My name is Bedirhan Öztürk. I am currently a senior chemistry student at university. As a result of my long-term scientific, philosophical and fantastical research, I have written an idealistic and universal script. This script references Disney, as well as characters from other studios such as Pixar and Sony. My goal is to make a long-term animation series or film series and take a step that will always develop and change with this idea. However, I am not sure what step I should take for this yet? I know that I need a company to show my script to Disney, but before that, what I really need is to talk to someone from the inside and have them listen to me. Because my script has so many details and sustainability, a single perspective is insufficient. Moreover, I have other references such as Disney's 100th anniversary honor (although two years have passed). Is there anyone or a company you can recommend that I can talk to comfortably, both officially and unofficially, on this subject?

Laurie Ashbourne

Hi Bedirhan Öztürk - A couple of things to be aware of first; Disney/Pixar are the same company. They more than any other, develop stories in-house, meaning they don't buy scripts to produce, this is especially the case in the animation department. No feature film has combined different studio characters in one movie since WHO FRAMED ROGER RABBIT and that was no small feat, and no matter how many times they've tried for a sequel to do it again, that obstacle has been too large to overcome. (I worked for a year on tests for sequel that never got into production).

Disney is extremely protective of their characters so without the studio producing the film it won't happen.

However, if you read my original post here, you will see how people have gotten in the door and worked their way up. Once you're in the door, you have a far greater chance of at least getting someone to hear your pitch. We used to do a Gong Show where we'd pitch to Katzenberg, Eisner, and Roy Disney. Disney also has a writing fellowship every year that is worth entering.

Aside from everything listed here and above, the only way Disney or any major studio is going to consider a feature script from an outside writer is if they have representation who will push their client for Open Writing Assignments or the opportunity to pitch. This is how one of the writers of Frozen initially got in the door. All of which to say is that it is improbable that you will be able to speak with anyone at the studio without first working there or having a rep to take you in. Even then, your script feels very ambitious for a writer trying to break in. It may be worth breaking in with something more easily produced and then once you have that access bring out your larger ambition.

The other option is to just use it as a writing sample, or what is called a stunt script. These can be strong enough and unique enough to land the coveted representation that will help you get your work read.

Bedirhan Öztürk

I appreciate your well-advised and historically supported response. Also, I have given you some incomplete information because of some of my missing words. Please excuse me for that. What I really mean is that in this scenario, I would like to work with Disney Channel, Netflix Animation, Pixar Animation Studios, Sony Pictures Animation, Nickelodeon Animation Studios, and DreamWorks Animation Television, all of whom will be involved in this project with Disney at the center. It needs to be a truly collaborative project. Is there any additional advice or suggestions you can give on this subject? This project will be based on a minimum of a ten-year plan.

Bedirhan Öztürk

In order for this project to be done, not only Disney's approval is required, but also the approval of the creators of the characters I am dealing with. I must meet with them as well. This includes Ford Riley.

Laurie Ashbourne

Bedirhan Öztürk I understand your enthusiasm, but you must learn how animated films are developed and distributed or you will be chasing your tail trying to get something that is insurmountably difficult to get off the ground. Please re-read my notes above. In addition to:

No one who works for these major studios owns the characters they create or adapt.Ford Riley does not have any ownership over the projects he has worked on. Or any say in how they are used. Disney has an IRON CLAD paragraph in all of its employee contracts that states they own in perpetuity throughout the universe anything the artist conceives of while in their employ. It is the reason most decide to leave the company, myself included.

As a writer, you do not get to dictate a timeline. I'm glad you realize it will take a long time, but it's not clear to me what you using for your calculation. A fast moving animated feature takes at least 4 years. Most of the ones we all know and love average far more than that for various reasons. Not all are actively productive for that length of time. But they are still a cost burden to the studio.

Disney Channel is a distribution platform, it's content is produced by Disney Television Animation, which is a Division of Walt Disney Studios, as is Pixar.

Netflix is a distribution platform that strikes licensing deals with studios such as Sony, Dreamworks, Warner Bros. and Skydance among others -- BUT NOT DISNEY. They have attempted to build an animation studio for their own content but are pulling back on that because of the deals they have in place to license other material. They do not own the characters or films they license.

Nickelodeon is owned by Paramount, which will soon be owned by Skydance. Nickelodeon has a deal with Netflix and Paramount + both of which will likely change once the Skydance sale is complete. Aside from Spongebob and the Ninja Turtles, their feature output is kaputz.

Dreamworks (features and television) are now a subsidiary of Universal and license to NBC/Universal/Peacock as well as Netflix. Universal owns the rights to most of its back catalogue.

Bedirhan Öztürk

I understand. As you said, if I follow the path you have indicated to carry out my plan firmly, I can only succeed, and that is a difficult possibility. Because I want to cooperate with all the writers, including those who are separated to preserve the original nature of the characters. I am infinitely grateful to you for all your explanations.

Laurie Ashbourne

Of course. I hope it helps. Just know that Disney in particular does not play well with other studios; if they want to be in business with another studio, they typically buy it. They are ruthless in any sort of creative contract negotiation. My last contract with them was at a standstill for over a year, until a dear friend of mine stepped into a leadership position and made it happen and I got a huge signing bonus and a year of back pay to cave into their demands. Writers are somewhat interchangeable/disposable to them.

Bedirhan Öztürk

Understood. Taking all this into account, it seems that I will have to be a central figure. That was my plan, thankfully. But I also want to be someone who is unusual and who will test their patience when necessary. I hope that I will be able to achieve this by applying the steps I have learned from you and presenting them with both official and universal procedures once I am established there. I am eternally grateful to you.

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