Ebb and Flow

Kevin Hopps, screenwriter of Hellboy: Blood and Iron, once worked for a story editor who had taken over a series under trying circumstances.  Although he might not have agreed with the change, he approached his new boss with a positive attitude, "I enjoy working for a variety a editors because I learn their different ways of writing.  Now I can learn your way of writing."

"You mean 'the right way' of writing," replied the editor with no hint of humor.

I've got no use for people like that.  When it comes to creativity, there are a million ways to approach a task.  That's why Kevin will still buy "How to Write" type books even though he's had a very successful career writing for television - he's always looking to learn something new or get a fresh insight on a technique he already knows.  Kevin is currently working with Greg Weisman on the new Spider-man series.  I bring up his story to underline my attitude in writing this blog.

This blog is about my way of doing things, seasoned with info on Mike Mignola's way of doing things or  Guillermo del Toro's or maybe someone on my crew.  Even more specifically, it's my way of approaching and dealing with the creative and pragmatic issues of, Hellboy: The Phantom Claw.

I'm heading into the action climax of the script.  Because animation requires the writer to direct on the page, I can't simply say, "they fight."  That's possible in a feature film where the writer is a guy with a story sketch pad and 4 x 8 foot bulletin boards to fill, but in anything like television production you have to give the overworked storyboard artist something to start with.  And you can't write, "Hellboy hits the monster.  The monster hits him back."  You have to break the action down into detail.

"Hellboy hits the monster with his big right hand which ripples the octopus-like mass of its body.  Hellboy smiles.  "How did that fee--" BAM! A tentacle smacks him out of the shot.  Hellboy smacks up against the wall, chipping the granite.  He lands in a heap at the bottom.  "Crap."

That's about a sentence of description for every "shot", which is every time the camera is put in a different position... even though there's no set and we're just pretending there's a camera moving around.  Then you have to describe how you want the camera to view the action - CLOSE, WIDE, OTS HELLBOY ON MONSTER (over Hellboy's shoulder, looking at the monster).  My scripts are VERY detailed but that's because I'm usually the producer or director too.  The script are my specific notes to the storyboard artist but every writer has to suggest basics.  But the overall fight should tell a story with suspense, a build, a surprise, maybe some humor, and an end.  That's the ebb and flow of the title of this post.

Oh, and I suppose there are minor spoilers here unless Mike throws the whole sequence out and assuming we get to produce this movie.  Did you buy your copy of Hellboy: Sword of Storms yet?

I start with deciding the basic action - Kate and a little boy are being swarmed with zombie-like creatures, animated cadavers that are Frankenstein-like creations of dead flesh and robot parts. (For brevity's sake, I call them zombies.)  Kate keeps them at bay with a wrench but there are too many of them.  They are saved by the sudden appearance of Lobster Johnson.   That much Mike and I worked out when we wrote the story, even down to the detail of the wrench which is an important prop in a later scene.

I don't have a copy of my next step which is when I think about the overall flow and brainstorm specific details and gags.  Sometimes it's not even on lined paper.  It's just half sentence descriptions or lines of dialogue like, "We have to find Hellboy," which is more specific to the moment and to what Kate is thinking than the more generic, and obvious, "We have to get out of here."  It's like written doodling.  I'm seeing bits of the movie in my head.  I liked the visual of Kate swinging one of those huge wrenches that are the size of baseball bats, the sort of thing that can do serious zombie damage.  Finally I decide I'm just procrastinating and I put down the thoughts in a more orderly way like you see above.

I could go right to the computer at this point but I'm still keeping it loose.  You can see I might doodle something to clarify it in my head.  It aids in my describing it.  It occurred to me at this stage to make the reveal of the big wrench more of a moment.  Kate is using a small wrench, spots something OS.  She tosses the wrench at the closest zombie, hard enough to knock its head around and piss it off.  It turns back and sees she has the huge wrench ready.  Note I've already noted the camera angle -- if she swings it right at camera then it's from the zombie's POV.  The doodle is more detailed than usual which means I was thinking about details of the moment -- or procrastinating.  I added a little color here to help show what's going on.

I don't always do it but sometimes I take it one more step before switching to computer especially if I'm going to be distracted as I work.  In this case I have a production to run during the day so the script is always on my screen but I rarely have a long run on it.  Anyway, one of the most important things in writing action is to make it unique to that sequence.  This will get harder and harder in future scripts as we struggle to keep Hellboy's monster bashing fresh.  So in this case, I kept coming back to the wrench.  It's Kate's only weapon but it's damn heavy.  She can't wield it for too long.  Her exhaustion is great for building the feeling of hopelessness before the save by Lobster Johnson.  Wrenches are metal - great conductors of electricity - so I thought she could throw the wrench at a zombie, it catches it, which distracts it while she's arranging for its electrocution.  Free associating, I realized the zombie could use the wrench against her.  I let the electrocuted zombie get in one last swing.  Should he be dead?  What's logical or realistic is always juggled with what is cool and thrilling.  Go watch the desert chase in Raiders of the Lost Ark.  And speaking of Indiana Jones, remember the opening cave sequence in Raiders where the stone door is coming down and Indy reaches back to get his hat?  I remembered that I needed Kate to have the wrench in a later scene which led to a slight gag - Lobster rescues them, they run out then Kate risks danger again to grab the wrench.

Now I type.  This shows you the format and the detail.  I have to add description for both the storyboard artist AND the actor.  The actors work off a full script so Peri Gilpin will be able to read that Kate is dumbfounded when she sees Lobster Johnson.  Is he alive?  Is he a replacement?  Am I hallucinating?  The poor girl is confused which is dangerous when zombies are after you.

Whoa.  That was a long one.  But it's a glimpse into my working process.  I might skip the legal pad steps completely if the treatment is detailed and there's less action, but it's a crutch to get me focused.  Next time, who knows?  Watch Hellboy: Blood and Iron this weekend!  Check the listings of Cartoon Network.

Comments

[A.N.]

Nice insight into your head, Tad :-) Very interesting indeed.

[Gary]

Wow! Kudos to you my friend.I have a newfound respect for your talent.I mean more than before.Who knew...i thought that there were some fairy-like creatures that did all that work and the animation gremlins did all the grunt work.Once again,Hellboy animated is in great hands!

[kirk]

I really love the insight you share with us about working on these projects, Tad. I've enjoyed it from the start and am glad to see some of the "nuts'n'bolts" stuff reappear. After Blood and Iron debuts I will be anxious to read your feedback on what you thought of it compared to Sword of Storms. I know I will be enjoying it and can't wait to see what you have in store for us.

[Jay L.]

Okay, my opinion isn't even remotely important, but wouldn't the title work better as Hellboy and The Phantom Claw? It just feels like it should be one of 'those' types of titles.

[Tad Stones]

Funny. That was, literally, a line in the post. Yes, the "and" feels more Universal Monster movie and pulpish to me. We may make the switch.

[hb]

I dig the Hellboy 'and' It does def feel more pulpish, plus no one wants to be mislead into thinking the whole thing is based solely on Lobster Jhonson, although Im SURE fans would love something like that.

As for your creative process, its definetely interesting and insightful. And I dig the fact that you do up little sketches.

On a side note as a gift i got all those little Hellboy animated mini-bust ups from GentleGiant....and I cant wait to open them....and make that giant skeleton..

Judging from the second blood and iron trailer, those bust-ups will be even better.
http://www.youtube.com/watch?v=5fVM0pTfQP4

[jeff hotchkiss]

Thanks for the post. That's really interesting reading. And I liked the progression of the scene pics.

[hb]

hey...I mentioned earlier I got the mini HB animated busts as a gift...and I just wanted to say, now that they are all put together and sitting atop my shelf...Bravo.
wow. They were all tons of fun to put together and they look fantastic( minimalist on detail but still super sweet ). The giant skeleton is particularly cool. very anatomically correct and badass looking...
If the sales of HB animated related products encourages the 3rd film to be made I suggest every one buy some!

[Jay L.]

"Funny. That was, literally, a line in the post."

Hmm... must've missed it, but I'll apologize for coming off as being sarcastic. I was actually going for honest, and it came off as snarky. I'm enjoying the blog, as it's really got me close to getting over what feels like chronic writer's block.

[Tad]

No, no, no. I was the one who was unclear. I meant I had written that line in the post but edited it out.

Didn't read it as sarcastic at all.

It may be that we do change it.

[Tripod]

Just finished watching blood and iron. I enjoyed it more than the first animated movie. Congrats Tad. I'm a big fan of your work by the way.

[Damascinos]

Just watched Blood & Iron. Bravo, sir. A bloody masterpiece, quite literally at times! And so unexpectedly scary! You've really raised the bar. All the Hammer/Bava/Corman references, intentional or not, were sinfully delicious. I couldn't be happier, really. I cannot wait for the DVD!

[Jay L.]

I'm jealous of the two of you, I'm probably not going to be able to see it until the DVD release. I saw the extended trailer the other day, and man... wow.

[Chris Stones]

Hey Dad, I read the post. Very cool. I've been writing little scripts lately, and I was noting the BRACKETS on the script page. I kind of see what they are for but I don't know 'exactly' what they are for. Are they are standard feature of scripts? (This note post strips html characters, go figure) or I would have put BRACKETS in brackets

[Chogrin]

Tad! Amazing job on Blood and Iron! I had chills and thrills watching it and cheering on for our heroes! I almost fell out of my chair at the very end with good ol' Lobster shooting away at the screen! I can't wait for the Phantom Claw now!!!
And the ending with the Proffesor and HEllboy was a nice touch as well. I loved every aspect of this one! Take care, keep making more kick ass hellboy movies, and we fans will keep on watching!
ANung-Un-Rama speed!

Sincerely,

{chogrin}

[hb]

ahhhh! LB is in it?! As always I'm going to have to wait and wait until the DVD release...good thing Mignola and Company are releasing tons of comic entertainment in the meantime.....including the release of the duncan fegredo 'Darkness Calls'...made to look and feel mignola, but still not quite MIgnola.

[Tad]

Thanks for all the kind words, folks. They are much appreciated.

[Dunnigan]

I am a highschool student looking to pursue a career scriptwriting for the animation industry. Your account was very insightful. Thanks!

[kirk]

Another great one. Really enjoyed it as I could see how Tad and Co tightened in their plotting and pacing to make an even better presented story on the second go round. Some very nice character moments. And I love the opening sewer sequence!

Thanks Tad for all your hard work. It really shows in the details.

I am sad that number 3 isn't even green lit yet as that means a longer wait for the third one as the second one was well under way when we saw the first. But, I am sure it will get made and will be worth the wait. Bring it!

[jeremy]

I LOVE Hellboy Blood and Iron! Fantastic job! Don't get me wrong, I love anything Hellboy, but Blood and Iron, is by far your best work. I was also suprised at how dark and scary it was. I can not wait for the DVD. Keep us the Good Work.

[Gary]

Tad!What can i say...Blood and Iron was great !Everything about it was kicked up a notch in quality.Fantastic job my friend.Thanks for everything.

[Matt]

I missed it. I bloody well missed it. Are they showing it again? If so, any idea when? CN's website is an unintelligible morass of nonsense.

[Play Woman]

I LOVED reading about your process.
I've always known you were brilliant, but the more you reveal about the way you work, the greater is my awe.

[penis enlargement]

Three phrases should be among the most common in our daily usage. They are: Thank you, I am grateful and I appreciate.

[Steven Barnes]

Tad! I just saw your name on a "Buzz Lightyear" my son was watching. You may not remember me, but many years ago you gave me my first work in Hollywood, adapting the Stanislaw Lem short story "The Test" for a Disney SF anthology show. Lotta water under the bridge since then, but just wanted to say "Hi" and thank you for your kindness to a young writer. Drop me a line sometime--love to take you to dinner.

Best wishes,
Steven Barnes