In the form of an answer. let me tell you a bit about Japanese Animation or Anime:
Back in the day. Those guys were doing animation because they knew that the money they would need to tell the stories they wanted to make as Live Action films or series wasn't available.
Also, animation allowed them to explore those stories in ways that, because of the effects needed, wasn't doable in Live Action in part because that stuff was expensive and, in many cases, didn't exist at the time.
I also suggest Critical Role's Animated series, The Legend of Vox Machina.
They could have easily made that into a live-action series but, there are things they were able to do utilizing animation that would have bogged down a live-action series with a TON of heavy effects work. Not to mention the casting.
And yet, on the other hand. Having just finished watching Sandman on Netflix, I now can't imagine that being an animated series.
Short answer is no. Long answer is why should it be animated? Considering the time it takes and the expense that goes into an animated production, what about the story justifies that expense and time? But even if it is a low production value project like South Park, is the animation being used as an aesthetic to give the story a mood or something symbolic? Ultimately it comes down to vision and budget.
Jeff Coley I'm curious as to the reason behind the question. Do you have an idea for a script and you want to know whether to make it live action or animated? Or is this for general knowledge? There isn't really any parameters or guidelines it more comes down to the vision of the story. When you come up with an idea you often establish the intent of the film whether it be live action or animated. I usually find it's clear cut. However, if you are on the fence chances are live action would suit better as Bob Harper mentioned it takes a lot of time and money to make something animated over live action. Bob's answer is spot on! Bob Harper good response!!!
Just general knowledge, really, I heard Bill Burr comment F is for Family had to be animated because all of the streamers said people don't get offended as easily by over the line content if it isnt live. I'm paraphrasing his comment but that was the thrust.
Jeff Coley yes! And as writers we are the authority who get to create our own parameters and guidelines!
I am also confronting this exact question and doing some thoughtful research.
As commented above, could be a combination of vision and intention.
Certainly if I go in thinking to create a screenplay, market it and get it made, there could be a rationale for some very specific compliance with a Pixar-type story model, for example, certain family Themes, a certain Tone, Pace, Character Web, specific Story Beats, etc.
However, since I believe at the moment my chances of shepherding my soon-to-be-written new script through all those gatekeepers even less likely than one of my already-completed live-action feature screenplays, I am tackling this new project for a couple of purely creative reasons.
I've written seven feature specs, and the one I wrote last year (which is PG and a kind of Scooby-Doo type Tone and Story) started to seem as though it could be animated feature. But I wrote it as live cast and I think upon reflection that will always come through, maybe containment of Locations, Character Web, Sequences, overall I have a feel for it but it did start to lean that way.
Then early this year I wrote a bawdy R-rated goofball comedy adventure, definitely live-action (but "could" be a cool animated flick...) and leaning low-budget. The budget puzzle is a whole different range of considerations.
But then came up with a new concept two weeks ago that is simply and clearly animated, for Story World, Character Web, cartoon-style animals, etc., and family-friendly comedy with some good four-quadrant type Themes, so I knew this is a great opportunity for me to simply keep learning the Craft by executing Concepts, to have fun with it and not be under pressure but maybe see if I can complete a solid outline and draft within a kind of industry-standard 10-12 weeks (usually I just drag it out for 4-6 months...), and then I can add it to my Profile portfolio and will have that experience under my belt for future reference, possible pitches, and as perspective that will likely teach me even more about the Form, Story, visual cinematic choreography on the page, etc.
I started like many writers with bad concepts, poorly executed, then better concepts still not well-executed, then a mediocre concept well-executed, a poor concept well-executed, then a good concept poorly-executed, a decent concept well-executed, so for this one I have what I think is a really lovely excellent concept, worth executing well and bringing my experience and expertise in focus, and then I will see what comes out the other end !! (Thank you for reading!!)
I think it really depends on the type of story and tone. In the past, the line between animated and live action was fairly clear. But today we're seeing Disney bring traditionally animated films to life. When I write something meant for animation, I don't note that in the script but I think of it as animated as I'm writing it and the things I write make sense in animation. But I wouldn't ever block my script from going in either direction. It's more about the producer you're pitching to and their needs.
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Interesting question.
In the form of an answer. let me tell you a bit about Japanese Animation or Anime:
Back in the day. Those guys were doing animation because they knew that the money they would need to tell the stories they wanted to make as Live Action films or series wasn't available.
Also, animation allowed them to explore those stories in ways that, because of the effects needed, wasn't doable in Live Action in part because that stuff was expensive and, in many cases, didn't exist at the time.
I also suggest Critical Role's Animated series, The Legend of Vox Machina.
They could have easily made that into a live-action series but, there are things they were able to do utilizing animation that would have bogged down a live-action series with a TON of heavy effects work. Not to mention the casting.
And yet, on the other hand. Having just finished watching Sandman on Netflix, I now can't imagine that being an animated series.
Hope that helps.
4 people like this
Short answer is no. Long answer is why should it be animated? Considering the time it takes and the expense that goes into an animated production, what about the story justifies that expense and time? But even if it is a low production value project like South Park, is the animation being used as an aesthetic to give the story a mood or something symbolic? Ultimately it comes down to vision and budget.
2 people like this
Thanks
2 people like this
Jeff Coley I'm curious as to the reason behind the question. Do you have an idea for a script and you want to know whether to make it live action or animated? Or is this for general knowledge? There isn't really any parameters or guidelines it more comes down to the vision of the story. When you come up with an idea you often establish the intent of the film whether it be live action or animated. I usually find it's clear cut. However, if you are on the fence chances are live action would suit better as Bob Harper mentioned it takes a lot of time and money to make something animated over live action. Bob's answer is spot on! Bob Harper good response!!!
2 people like this
Just general knowledge, really, I heard Bill Burr comment F is for Family had to be animated because all of the streamers said people don't get offended as easily by over the line content if it isnt live. I'm paraphrasing his comment but that was the thrust.
3 people like this
Jeff Coley yes! And as writers we are the authority who get to create our own parameters and guidelines!
I am also confronting this exact question and doing some thoughtful research.
As commented above, could be a combination of vision and intention.
Certainly if I go in thinking to create a screenplay, market it and get it made, there could be a rationale for some very specific compliance with a Pixar-type story model, for example, certain family Themes, a certain Tone, Pace, Character Web, specific Story Beats, etc.
However, since I believe at the moment my chances of shepherding my soon-to-be-written new script through all those gatekeepers even less likely than one of my already-completed live-action feature screenplays, I am tackling this new project for a couple of purely creative reasons.
I've written seven feature specs, and the one I wrote last year (which is PG and a kind of Scooby-Doo type Tone and Story) started to seem as though it could be animated feature. But I wrote it as live cast and I think upon reflection that will always come through, maybe containment of Locations, Character Web, Sequences, overall I have a feel for it but it did start to lean that way.
Then early this year I wrote a bawdy R-rated goofball comedy adventure, definitely live-action (but "could" be a cool animated flick...) and leaning low-budget. The budget puzzle is a whole different range of considerations.
But then came up with a new concept two weeks ago that is simply and clearly animated, for Story World, Character Web, cartoon-style animals, etc., and family-friendly comedy with some good four-quadrant type Themes, so I knew this is a great opportunity for me to simply keep learning the Craft by executing Concepts, to have fun with it and not be under pressure but maybe see if I can complete a solid outline and draft within a kind of industry-standard 10-12 weeks (usually I just drag it out for 4-6 months...), and then I can add it to my Profile portfolio and will have that experience under my belt for future reference, possible pitches, and as perspective that will likely teach me even more about the Form, Story, visual cinematic choreography on the page, etc.
I started like many writers with bad concepts, poorly executed, then better concepts still not well-executed, then a mediocre concept well-executed, a poor concept well-executed, then a good concept poorly-executed, a decent concept well-executed, so for this one I have what I think is a really lovely excellent concept, worth executing well and bringing my experience and expertise in focus, and then I will see what comes out the other end !! (Thank you for reading!!)
1 person likes this
I ad a note at the beginning of the script. That it’s first intention is to be an animated film. Some are obvious to point out.
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I think it really depends on the type of story and tone. In the past, the line between animated and live action was fairly clear. But today we're seeing Disney bring traditionally animated films to life. When I write something meant for animation, I don't note that in the script but I think of it as animated as I'm writing it and the things I write make sense in animation. But I wouldn't ever block my script from going in either direction. It's more about the producer you're pitching to and their needs.
1 person likes this
True. Perhaps it’s just an artistic approach for me. As I can see the visual interpretation as I write it..