by Herbie J PilatoI can’t understand a lot about contemporary television programming, but what I can’t understand the most – is the dialogue.
Everybody mumbles, and talks too low.
It’s all like a bad episode of Seinfeld (of which there were only a few)!
by Herbie J PilatoLike many a young geek in the making, I grew up loving superheroes, in comic book form, on TV or at the movies (although back in the day, all there was on the big-screen was Christopher Reeve’s tower presence in the Superman films).
On television, in particular, there was the live-action genius of Adam West as Batman; The Six Million Dollar Man, The Bionic Woman, Wonder Woman, The Incredible Hulk, and Spider-Man (for a moment or two) in prime-time.
On Saturday mornings, with specific regard to animation (in the 60s) there was Space Ghost and SuperFriends; Iron Man, and Spider-Man, the Fantastic Four. With the 70s arrived live-action editions of Captain Marvel and Isis; Electra Woman and Dyna Girl, among others.
by Herbie J PilatoI don’t know when it happened, but it happened – and it’s been bad ever since…
Commercials have taken over the world.
The number of commercials during TV shows has definitely increased.
Last week we ran an article from Deadline about the networks’ complaints that they can’t find enough experienced showrunners to ramrod their series, along with a comment by our Beloved Leader, Larry Brody. LB isn’t the only one to point out that it’s the networks’ hiring practices that have caused the situation. Another old guy brilliant and experienced former showrunner, our hero, Ken Levine agrees:
by Ken LevineA recent article on Deadline Hollywood bemoaned the fact that as networks were putting their fall schedules together they were discovering that there is a real shortage of qualified showrunners to attach to these shows. Well, duh! And whose fault is that?
There are plenty of excellent showrunners out there. But networks don’t hire them to write pilots anymore. In their quest to find hot new young voices they push to the curb experienced writers who can not only write and produce a pilot but the series as well should it get ordered.
Today’s question is about animation writing, and since things are constantly changing, let’s get to it before everything I have to say becomes obsolete.
First, the question, from Dave P:
Hey, LB, when developing an animated series, how much of visual does the writer need to know for the script, and how much is figured out with collaboration between the writers and the art department?