JC Molina visited the other day from his home base in Puerto Rico, with an introduction by his former agency colleague, Gary Bonilla, Nickelodeon’s SVP Creative Strategy. He came by with his pre-school project “Parker’s Questions.” Thanks JC.
David B. Levy with cartoon luminaries at the ASIFA-East/Frederator screening, 2007
I wrote a little bit about Dave Levy’s new book, Animation Development: From Pitch to Production the other day and thought it might be good to hear a little directly from the author.
Your first book, Your Career in Animation: How to Survive and Thrive, was so much richer than most “how to” industry books, incorporating the universal lessons you’ve observed from two lifetimes (yours and your Dad’s) in the animation industry. Was it harder to apply those same learnings to development?
DL: I think in many ways this new book was easier to write because of its focus to one specific area of animation. Easier to write, but somehow it took longer to write. Since I only had one subject to cover, I had to make sure no stone was left unturned. My only compass was to bust all the myths that cloud up the reality of pitching and development, which keep people from achieving their dream. I think it really helps that I have gone through the process myself as well having interviewed the major players from both sides of the table.
Both books use the same conversational approach loaded with real anecdotes from the field. I once bought a book on the business of animation that didn’t mention the name of a single film, show, or creator. As you can imagine, it was a very dull read. I prefer to give the reader actual examples––showing success stories as well as cautionary tales.
Is there a ‘Top 3′ list of do’s and don’ts?
DL: How about a ‘Top 4′ of each?
Do:
• develop relationships with other artists and writers as well as with development executives. It’s a people business, and in the end…networks buy creators not ideas. Attend animation festivals and events in addition to maintaining your online presence on facebook, personal websites, etc.
• work on other creators’ shows first. A would-be creator needs real working experience in the industry to learn the ins-and-outs of how an animated TV series is made from the ground up. A network will need proof that you know how to produce your vision into the final product.
• engage in other creative outside-of-work pursuits besides creating pitches. Make films, comic books, paintings, photography, etc… This is important because an artist/writer also needs to develop his or her voice outside of the commercial arena.
• learn from your mistakes. What didn’t work about that last pitch meeting or project? Every attempt has something to teach you if you get in the habit of introspection. We can’t as easily change what is wrong with animation development today, but we can certainly train ourselves to be more effective at presenting ourselves and our projects.
Don’t:
• have a sense of entitlement. Just because you have put together a pitch doesn’t mean it’s the right fit at that exact moment in time, with the right executive at the right network. Treat each pitch and encounter as another step in the journey. Stephen Hillenburg has said that all he was trying to do with his first pitch meeting at Nickelodeon was to interest them in a second meeting.
• hold unrealistic expectations no matter what you hear. A promise, a word, or a handshake is not a written contract. Your project is not in development until the network is willing to write you a check.
• put all your eggs in one basket. No one opportunity is THE opportunity. No pitch meeting is the one that will make or break your success. Develop your talents over the long term and treat pitching as one branch of that adventure. With that attitude, you might even enjoy the ride.
• pitch for the sake of pitching. The goal to have an animated series is a very specific one that requires an unusual set of skills. As Amid Amidi said at my book event on September 15, “Ask yourself, ‘Why am I pitching? Why do I want my own series?’
What’s with development executives? Why won’t they say ‘yes’ to some good shows for once?
DL: There are examples of executives that said ‘yes’ to some good shows. But, it would be a mistake to assume that every executive has the right agenda or even the good sense to spot good when it’s under his or her nose. I think that more executives should understand what truly makes a good show. You can’t create the next SpongeBob-sized hit by making of list of what ingredients made up SpongeBob and then imitating as many of those as possible. SpongeBob wasn’t born that way. It was the brainchild of Stephen Hillenburg who was swimming (pun intended) in surf culture and had a background in marine biology. And, he channeled those interests through his unique point of view. The point is that Hillenburg’s show came from his heart and that passion connected with audiences in a major way. That’s the lesson for executives, not what surface details can be spotted and copied in that show.
There are so many talented artists in the world. What makes the difference between one who doesn’t get a series and one who does?
DL: There are lots of talented artists out there, but very few seem to be suited to creating, selling, and producing an animated series, let alone a hit animated series. But that doesn’t mean to say that more people can’t develop their skills to that end. After all, was Matt Groening ready to create “The Simpsons” at the start of his career? And, sometimes through collaboration artists and writers can create something greater than the sum of the individual parts.
Happily, all shows (hits or not) depend on the fine work of animation artists, writers, musicians, actors, etc… so even without a show to their own name, they are an important part of what might have made someone else’s show shine. And, real industry experience is one of the most important prerequisites to serious pitching in the first place.
The artist that breaks through to having his or her own series will likely meet three requirements: a unique point of view, a facility with and interest in characters and their interactions with each other and their world, and will be good salesperson, knowing how to present a project (to demonstrate execution) even in the early stage of a pitch bible.
Is getting a show on the air as treacherous as it seems?
DL: Creators (me included) make it much harder on ourselves. We are the ones who need to set our own expectations to a reasonable level. Case in point: I was recently the supervising animator on a prime time pilot created by an established creator for a major network. Since then, the network gave him an air date for his series, paired him with an experienced producer, and ordered several scripts. When I tried to congratulate the creator, he cautiously responded, “Yeah, well…we’ll see.”
I was very impressed with his answer because it shows his understanding of what development really is. Nothing is a sure thing until it is. It doesn’t mean you shouldn’t dare to dream…but, it does mean that you should manage your expectations and not take each thing you hear as something that is set in stone.
Why can’t I own my own show?
DL: There are people that do make shows where they retain ownership. Larry Schwarz of Animation Collective is a good example of a creator raising funds through private investors and then using the networks as a means of distribution. But, this model comes with its own risks. I don’t think an individual can match the promotional power of a Viacom or a Turner, so I think the desire to own your own show may actually cost you the very success you’re after.
A cautionary tale happened not so long ago when another New York studio used private investors to fund their series. Despite the fact that a network agreed to air the show, the investors pulled out before the first episode even left the assembly line and the series was left dead in its tracks.
Yes, most networks will expect creators to sign away their ownership rights, but, it’s not as black and white as that. Creators are paid a purchase price when their project goes to series. Additionally, there are weekly salaries for their services on a series, back-end participation, episode bonuses, and other perks. I would rather see my show get made and seen by a broad audience, then own it outright and have it sitting in a drawer somewhere.
What’s the one thing most people get wrong about animation development?
DL: I think so much of the anger and frustration is simply unnecessary. Some creators are seething with anger out a belief that someone is blocking their path. In truth, no development executive has that power, unless you give it to them. A creator’s obligation is to develop his or her own talent to the point where the executives come looking for them. Dan Yaccarino (the creator of Nick Jr.’s “Oswald,”) is one such example. Nick Jr didn’t pick up his first pitches so he turned them into children’s books which became so popular that Nick Jr subsequently green lit his series.
Amid Amidi, of Cartoon Brew, and I sparred over this point at my book launch panel. He explained that lots of L.A. industry creators complain to him that their pilots didn’t go forward to series, which made them fed up with pitching and development and realize that they should try to apply their creativity to comics or children’s books instead. In reality, these creators are in a very enviable position. They are professionals being paid to work in the art form they love. And, they got a couple of pilots made! So what if the pilots proved to be dead ends? I don’t see this as proof of why one should never pitch.
On the other end of the spectrum, Carl W. Adams (co-creator of [adult swim]’s “Assy McGee“) believes that no pitch meeting is ever a waste of time because each meeting helps form a relationship and can lead to making even more contacts. If that’s the case (and I do believe it is), then it’s certainly not been a waste of time for the above creators to have made a few pilots. How many of us would like to fail on that level? It is on the shoulders of these creators to capitalize on their pilots and consolidate that talent/effort/experience to an even bigger success. It’s their job to do so, not the executive who didn’t green light their pilot to series.
While its fun to speculate, complain, and point out the many obvious things wrong with the development process, you have to wonder (after a while) where that will get you. A wiser move would be to keep investing in your own talents. That has a way of taking you places. And this is a theme that comes up again and again in my new book.
Thanks Dave.
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It’s hard to actually call Ralph Ginzburg a mentor of mine. I’m not sure he talked to me more than once, and after a few months on the night shift at his magazine Moneysworth, he had me fired. But a mentor to me he indeed was. Without either of us knowing it, the path I started at Ralph’s would continue for 15 years.
By the time I went to work for his publication in the summer of 1976, Ralph was on his last publication. He was notorious for being convicted and jailed for obscenity relating to his hard cover magazine Eros (though there were some who said he was less obscene than just completely annoying). Moneysworth was to be his last hurrah.
I worked in the production department. Ralph was around often, talking loudly and smartly about everything from design to circulation to advertising. All I had to do was absorb it all. It was the place I saw first hand and up close how design, language, marketing, and promotion worked in the real world.
Ralph showed me (inadvertently) the practical meaning of graphic design (the only things I knew were from reading my girlfriend’s book about Milton Glaser); he talked so much, and so eloquently about Herb Lubalin, I felt like I’d actually worked with him myself. And watching him lay out his trademark full page New York Times ads (like the ones above and below) was an education by itself, about design and typography.
But, it was really in the area of writing, strategy, and direct selling that I got my Ginzburgian education. I won’t belabor the details [Read more…]
I met author/artist James Proimos when Frederator didn’t get a chance to make Generation O! as an Oh Yeah! Cartoons short. He came by the other day to show us what he’s been up to. Shorts for Nickelodeon, picture books, young adult novels, James is a machine.
Yes, I know the picture is Michael C. Maronna, but I forgot to snap a picture of my old colleague, writer/producer Will McRobb when he came by our New York office to visit. So, you’ll have to settle for a star screenshot from The Adventures of Pete & Pete, which Will created with his partner Chris Viscardi. (And yes, Artie just might be the Strongest Man in the World.)
The three of us worked together for years in the formative years of Nickelodeon and Nick-at-Nite. And, as I told Will today, the afternoon he walked in the office with the original one minute TAOP&P script he changed my life; Will unleashed a thought in my head that allowed me to move out of television promotion into film production. Thanks Will!
The very talented artist/writer Dave Smith was at Frederator/Burbank last week, introducing himself and his work to Eric and me. Funny enough, we’d never met, even though we were like ships passing in the night on many of the same projects, and it took my Adventure Time co-executive producer Derek Drymon to introduce us. Thanks Derek; it was great meeting you Dave.
Thanks to Dave for his kind permission to post some of his artwork.
Illustration by Andy Rash
Illustrators/writers Dan Yaccarino and Andy Rash came by Frederator/NY to talk with Carrie and me about some new television and movie projects they’re working on. I’ve known and admired Dan for quite a while now but I was meeting Andy (and seeing his work) for the first time. It won’t be the last.
Thanks for Andy for kind permission to post his art.
Comedians/writers Barry Rothbart and Dan St. Germain stopped by Frederator/NY to tell us about their cartoon “Jake the Snake.” Though Barry worked with my NNN colleagues at Barely Political and is friends with Nite Fite animator Adam Rosette, we’d never met, so it was great to catch up.
Thanks to Barry and Dan for kind permission to post an image from their cartoon.
Yesterday, Bill Burnett came by Frederator/West to tell Eric and me about some animated movie ideas. I’ve known Bill since we worked together in New York advertising together, and it’s always good to see what he’s up to. Thanks Billlll.
Those in the know know that the first season of Dan Meth and Mark Vitelli’s Nite Fite launched yesterday after a feverishly hard working spring of production. That’s right, the first spin-off of the much heralded and massively popular The Meth Minute 39, it’s the first animated talk show on the web. And one a sponsorship from Starburst candy, a major coup. I wanted to shout out a lot of the folks who’ve helped get us going. It’s a much bigger group than you’d imagine for 20 shorts, with not only Frederator in the mix, but online networks, a major corporate sponsor, and dozens of distributors, so settle in. (And when I miss anyone, please let me know so I can update my mistakes.)
Dan Meth & Mark Vitelli. Dan and Mark created and wrote Nite Fite. Thanks guys, for your great show.
I know you know Dan from The Meth Minute 39 (and his site and blog) as an animator of rare distinction, but you also know Mark through his work on MM39; he’s not only the sound designer for most all of Dan’s cartoons, but is a trusted creative advisor as well. The guys write all the episodes in the studio (Dan writes the sponsorhip spots back at our studio), and Mark takes their rantings and ravings and tightens them up to a full ka-pow of funniness before Dan and his crew get hold for the animation.
Carrie Miller. Indefatigable Carrie has produced The Meth Minute 39 as well Nite Fite. And I can say, with feeling, no one could have survived the process without her. Not only big smarts and schedules, but charm, good humor, and diplomacy –least of all needed with her Frederator colleagues– have charged Carrie’s work all the way through.
The animation team. For the first time in our New York studio, Dan and Carrie have put together a crack crew of animators and artists to help us reach our creative peaks and deadlines. Dagan Moriarty, Daisy Edwards, Adam Rosette, and Al Pardo are not only talented, but great companions to have in the studio.
Mike Glenn. We don’t really see Mike that often because he works the night shift in the post production dungeon, but he’s been our packaging editor, and dependable rock, throughout all of Dan’s projects here.
Kevin Kolde, Eric Homan, and Roy Langbord. And Angie Polk. Kevin and Eric work primarily on our Hollywood based projects, but they’ve been amazing supporters of Dan’s and Carrie’s. Kevin particularly, as we worked out way out of garage style production. And Roy, our attorney and advisor, saves us from ourselves. Angie’s my assistant in NY, but so much more for everyone.
And over at Next New Networks, our distributor, promoter, and boosters nonpareil.
George Stewart runs media sales and has been a MM39 believer from the beginning. He introduced us to our early champion, Digitas’ John McCarus who, in turn, roped in more of his colleagues that I can mention (don’t hate me for not including the whole list, it’s a lot of great folks), to believe in Dan and his characters.
Digitas brought along our sponsor, Starburst candies, which is part of the unbelievably big Mars Incorporated. I only mention their size, because it was a real leap of faith on everyone’s part to be part of Nite Fite and Next New Networks, and for everyone who took the leap, we salute and thank you. (And, you should check out Penalty and Lloyd on Starburst’s site. It not only looks awesome over there, but there’s a bunch of other cool goodies too.)
Rachel Garcia is also in NNN media sales, and it would be hard to properly explain how much she’s done to keep this project on track without making her blush or making her collapse from exhaustion looking over the looooong list of things she’s accomplished for us. But, I should highlight that hand in hand with Sarah Passe at Digitas, were we able to keep the magic group of 20 informed and happy with all our creative work over these last few hectic months.
Tim Shey is one of the NNN founders and runs programming at the company. He’s been an indomitable spirit guiding the NNN-ers through the programming, promotion, and distribution of the Nite Fite series. “I’m with Penalty!” “Well, I’m with Lloyd!”
Scott Moschella and Jeaux Janovsky run the Next New side of Channel Frederator and Nite Fite. They’re internet geeks to top all IG, and work out all the wherefores of how the MM39’s and NF’s find their way throughout our communities and beyond. Jeaux has personal relationships throughout the internet cartoon universe, and keeps them all stoked about everything Dan creates. Scott’s worked closely with Tim, YouTube, and everyone else here to get the NF site where it needs to be. Vanessa Pappas now runs the entertainment team, and her brains are going to guide us through this first season better than any of the rest of us ever could.
Diane deCordova heads up the super-distribution strategy and team COO Jed Simmons put together and was responsible for the 20,000,000 views the MM39 has garnered this year. From Veoh to YouTube to Break to UGO to to to to to… the list goes on. We’re super because of you, thanks guys.
Andres Palmiter is the Next New Networks secret sauce. His daily contacts with the distribution partners around the world are key to super-distribution success. The fact that he’s personally so in love with Dan’s work isn’t a small thing either.
The developer team of Paul Blakey, Todd Morningstar, Alex Milyavskiy, run by Marc Goldberg, is always happy and unarguing when asked impossible things by everyone.
I’m not neglecting Lee Rubenstein or Graham Smith or Jeremy Kutner for their site contributions (and, of course, so much more).
Justin Johnson’s promos. Can I really compliment him any more than I have? And Alan Kaufman?
There’s a few dozen other NNN’s too, and in different ways big and small they’ve all been important to the launch of Nite Fite. The order of thanks isn’t meant to slight anyone, but truly, thanks Liam, Herb, Emil, Michelle, Patty, Erik, Lindsey, Michael, Ramon, Erin, Ian, Max, Dustin, Corinne, Rob, Mary, Steve, Donny, Ben, Ben, Jared, Gene, Charlie, Pete.
