Filling the Empty Room

Besides creating an interesting plot, memorable characters, sharp dialog and scripting it all in an entertaining way, an animation writer is required to do one more thing, make it easier for the next guy.   If he does it right the final result will be that much better.

Although it’s not my main point, I’ll touch on the production side first.  Somebody has to draw everything that’s described in the script so a production friendly writer will tell his story with the least amount of new characters, props and backgrounds.  Does a scene really have to start on the front porch, continue in the foyer and finish in the living room?  Can’t we pick up the action just as they’re entering the living room?  Do we have to see the bull breaking everything in the China Shop or can we set it up with a look of horror when the protagonist sees where the bull has appeared then pay it off with sound effects?  If there’s an “Around the World” montage, can it be done with locations that were designed for previous episodes?

But there’s a line between efficient and boring that your story editor will draw.  Often he’ll tell you not to worry about it since he’s the one that gets notes from the network and studio who want more for less.  The network might be expecting to see every broken saucer in that China Shop.  (Somewhere a prop designer just woke up screaming.)

The “next guy” I was talking about up top is the storyboard artist.  He has to fill in all the action specifics that the writer leaves out.  The writer isn't expected to detail every punch and dodge but he has to lay out some basics.  Coming up with interesting action will be a lot easier if the writer gives some extra thought to set design.

What’s being stored in the warehouse?  If you were writing a Batman comic in the early Silver Age, most likely it would be a giant parade float or oversized advertising prop.  In the example below, Batman and Robin can launch themselves off typewriter keys, tie up thugs in typewriter ribbon or be knocked out by an unexpected carriage return.  (I add this Wikipedia link for those who have no clue about what I just described).  Maybe your warehouse is a little more “real world” but the basic idea is the same whether you’re writing comedy or drama: fill it with stuff that will help or hinder your characters.  Spilled powders can start people coughing or form a cloud to conceal or cover the floor to make tracking easier.  Spilled fluids may be flammable or extra slippery.  Pipes or barrels can be rolled or fall loudly to give away a hiding place.  Think of anything that is a problem to one of your five senses and fill a crate with it.

But don’t just think of what’s in those crates.  Think about how those things are moved.  There are forklifts to be driven.  Maybe conveyor belts, either automated or covered in rollers - both excellent for classic "running like hell but not getting anywhere" gags.  Some warehouses are automated with shelving units two stories high.  More height = more potential jeopardy by falling or being fallen upon.  Of course, automated systems can be commandeered and turned into lethal weapons, at least they do if you design them that way.  Is there any sort of chain hoist hanging from the ceiling, maybe with a heavy, dangerous-looking, iron hook on the end of it?

Some of this sort of thinking should be done at the premise stage.  You know there’s an action set piece in the third act.  At that stage you can set it anywhere.  Brainstorming powers activate!  

Land, sea or air?  Zoo, ship or zepplin?  Let’s say “ship.” Try to think of every option at every step of the way.  Is the ship docked or under way?  Civilian or military?  Surface or submarine?  Working or abandoned? Is the weather, time of day or sea life a factor?  How might the environment affect the five senses of the characters?  Every combination of the above brings different action potential. 

So now that you’ve trapped your characters in the airpockets of a sunken cargo ship with the only exit point being patrolled by hammerhead sharks while a fierce storm at the surface erases any chance of rescue, you are a long way toward writing an exciting sequence.   Just put yourself in the place of your character.  You’re no longer in an empty room.  You’re in a specific place with specific stuff around you in a specific situation.  It’s now much easier to come up with action or comedy beats because you know what would logically be around you and what you might instinctively reach for.  You also know the dangers you face and, as the writer, know how to make it worse.  If only a pocket of air is keeping you from drowning and or being eaten by a shark, you simply let the action create a leak.  Air escaping, water rising, sharks closing in.

Cant’ wait to see how you get out of that one.  --Tad

 

Comments

[Manoj A Menon]

hahaha..

nice one again.
i get the point about intelligent animation writing.
i once worked with a short fil, the script of which was written by a live action director..
i hope you can undertsnad what that means.there was this sequence of man-tiger transformation and his script had 4 or 5 such ones ..each one from a different angle and each one mid shot and he wanted a clear transformation.

that .. to me is defenitely not a good writing. we blamed the layout department for doing detailed shots.. the layout dept blamed the storyboarders and the story boarders blamed the peops and bg designers....wjile the real culprit was sleepong in the bunker..
you are right tad.. now i get the pointwe could have ..
1. made a stock transformation ( there was nothing special about each one so as to br made distinct)
2. the writer coold have used silhouttes ( old disney method...you know better thab me)
3. it could have been suggestive like the charcter moving behind pillars..annd the tiger could have emerged from the other end.. or may be wagging of a tigers tail in between.

it could have been more iinteresting.

real good point and thanks so much for sharing..
btw your profile photo looks like 'jafer' with the pit lighting..
and omg.. you are the creator of darkwing duck - salutes...

i've got a new hellboy ..thanks for showing my works to folks around..that means a lot to me.
just wondering if mike ( ahem...'mignola') would get to see it.
he doesnt have to comment anything but if this picture hits his retina...i would be the happiest man alive.
do tell him that its my life time ambition to do a short story with hellboy..( i asked for a lot!!!)

but keep writing.. i m reading too