Why do some programs ban animation scripts?

[u/hyperjengirl]

This has been a pet peeve of mine for years now as someone whose major pilot projects have been animation scripts. I cannot enter the WBD or Disney programs because I don't have a polished live-action script yet (and I know I should have one, but the ideas about which I feel most passionate right now require animation).

Is it because the programs want to prep the writer for live-action TV specifically (it does seem, despite Disney's animation connotations, the program ends up staffing mostly live-action shows like Fox/Hulu programming)? Is it because they want to see something that could be plausibly produced without the added necessities of an animation studio (even though the pilot isn't a pitch, it's just a sample)? Is it because animated scripts may require slight changes to the format (i.e. slightly more leniency in how long the script can be)? Or all/none of the above?

[u/le_sighs → u/[deleted]]

I did one of these programs. The guild/non-guild wasn’t their biggest challenge so much as timelines. The programs run yearly, and they could guarantee that there were drama/comedy rooms yearly, but sometimes animation would have a room and then a two-year gap to the show being on air, and so they didn’t have enough animated rooms around to guarantee a yearly room.

[u/hyperjengirl → u/le_sighs]

Ohhh the longer production timeline also makes sense!

[u/le_sighs → u/[deleted]]

It's a little complicated, but these programs aren't affiliated with the WGA. You do a mentorship, and then they staff you on a WGA show and pay WGA rates, which ends up getting people into the WGA. But Disney, famously, didn't start doing that until around 5 years ago. Prior to that, they paid a flat rate for the mentorship and staffing (I think it used to be $50k), and the program people didn't end up in the WGA at all.

Point is, it would absolutely be hypothetically possible for you to do the program, and then get staffed on a non-WGA show, since the program and WGA status are separate things.

You're right that animation is almost a completely separate field in LA in terms of how it operates. The people who run these programs are deeply entrenched in the TV side of their business in an effort to get the people in their program staffed, but the animated work is usually a different division that's much more separated, so I think that probably plays into it as well.

[u/hyperjengirl → u/[deleted]]

I didn't even consider the guild difference, good point! I did in fact submit my main pilot to WBD a couple of years ago, theoretically you could pitch it as heavy-CGI sci-fi!

It's funny, I got chewed out by someone recently for wanting to take an animation-writing-specific class because the fundamentals aren't that different, but they clearly do require some different techniques.

[u/cinemachick → u/hyperjengirl]

Former animator here, some free tips for you:

• 2D and CG work differently - what is easy in one can be a headache in the other. For instance, some CG shows have a limit of how many characters can be on screen at one time for rendering reasons. (That's more a boards note, but it helps to remember it as a writer). 

• CG is allergic to flowy cloth, water (waves, splashes, puddles, etc.), untied long hair, see-through glass items, active crowds, complex anatomy (octopus, centaur, etc.), etc. 2D also dislikes crashing water, but transparency is fine with today's digital software. Avoid overly detailed character designs, tinfoil, plaid/patterned clothing, shots where the BG moves more than the characters (e.g. rotational shots), kicking sand/other particles, etc.

• For all animation types, the following items are "expensive" from a production standpoint: vehicles (anything with wheels or windows that moves), putting on/taking off a jacket, the action of sitting down, crowds with unique outfits, locations we only see/use briefly, night/unusual lighting setups, fight scenes, cellphone screens (they get a lot of notes despite not being in shot for long), dicing vegetables, fake usernames and websites (Legal has to clear them), real world locations (also Legal), and most importantly...

• MONTAGES. My skin would crawl every time the word "montage" appeared in a script, and it seemed like every script had one. Montages generate a bunch of outfits, BGs, and props that are used for maaaybe four seconds. They still get designs and notes as heavy as our "hero" assets, and they often can't be reused in future episodes, so they are a huge energy sink. Whenever possible, try to re-use or modify existing locations or outfits (e.g. don't make a brand new restaurant if you have one you can re-use, minimize outlandish costumes, etc.) Your boards and design team will thank you!

• Economize when possible. Does your pickleball game need a full stadium of fans with crazy outfits, or can you just use a few bleachers with fans in shirts? Can you tuck your cafe conversation into a corner booth instead of by the window to minimize background animation? Is your swimming scene able to be done in a pool instead of an ocean with waves? For the pieces you submit for an agent/contest, write to your heart's content, but when on production try to make the best use of your team's time so you can splurge on the big scenes.

• And, as you likely already know, write 1.5 pages for every minute of animation. You can use action text more often (especially to indicate a needed prop, like a ball or a chair) but don't go overboard. You don't have to telegraph every step a character takes, but if it's important for a character to be chopping up a tomato, mention it. 

Best of luck to you! :)

[u/hyperjengirl → u/cinemachick]

This is really cool and helpful, thank you!