Each production company, each network, and each development head is different, and each looks for different things. Do your homework. Watch the cartoons of the company you plan to pitch. Read the major trade magazines regularly:Animation Magazine(U.S.),Animation World Network (AWN online),KidScreen(Canada),Worldscreen,The Hollywood Reporter
(U.S.), and Variety (U.S.). If you can go to one of the major markets like MIPCOM and
MIPCOM Jr. or NATPE, do it. All of these help you to know what is selling and who is buying it.
Picture yourself in the position of the buyer. Most buy on instinct and because of trends. Buyers generally prefer something with an edge rather than anything too soft. Some exec- utives you pitch, some toy manufacturers, and some programming executives may not be familiar with animation or even the film or television medium. Television sponsors normally have no input on programming, but anything that could scare away sponsors from adver- tising on a specific program is a definite factor in buying. Network decisions are made by committee, and all buyers have to justify their jobs. Sometimes what is most likely to sell is the “least objectionable programming.” What is your program going to do for the develop- ment person or network that you’re going to pitch? Know your buyer.
Generally the feeling is that multilayering, unpredictability, and diversity are good things, in moderation. In either a big budget animated film or in TV, something slightly dif- ferent will probably sell easier than something entirely new. There’s less risk. Usually, net-
works are looking for something that’s similar to something else that’s currently successful. What’s hot and what’s not is constantly cycling.
Some of the large corporations are interested in branding. That means that they want programs that viewers will associate with their company and its values and reputation—what the company stands for and promises. At least one multinational corporation is interested in attracting loyal child viewers who will want to search out their company’s programming as adults. A few networks are looking for projects where the creator’s voice is prominent. Many development people have told me that they look for a project that the writer/ developer is passionate about. I think this is true, but the project must also attract viewers! Most children’s networks have core values they want to include in all their children’s programming. These values change frequently as the networks rebalance their programming for government mandates and for the viewers they currently want to attract. Here are some examples:
Core values of Kids WB! (U.S.)
• Heart • Humor
• High adventure
• Heroism
Dr. Renee Cherow-O’Leary’s Whole Child Curriculum Used by Playhouse Disney (U.S.) Do you recognize these from the human development chapter?
• Physical development • Emotional development • Social development
• Cognitive development (acquiring facts and information about the world)
• Metacognitive awareness/development (thinking about thinking, problem solving) • Creative/artistic development
• Moral, ethical, spiritual development
Those are only examples and may have changed by the time you’re ready to pitch to these companies. If you’re developing a children’s project with a certain company in mind, you might want to learn what the company specifically needs and tailor a project especially for them. However, because it’s so difficult to sell any project, you’ll probably want to pitch your project at a number of places.
The truth of the matter is that if you have a great project and someone is interested, the development people at that company will rework it extensively anyway. Any necessary values can be worked into the project at that time. What’s important is that you’re aware of this ongoing development process for most television projects. Any original project for chil- Development and the Animation Bible 83
dren’s TV is likely to be changed substantially during development after it’s optioned. So be flexible and open to any changes if you want to be involved. On the other hand, if you are involved during development, don’t be afraid to stand up for what you believe to be really important to the vision and success of the show. It can easily take a year or longer to develop a series. Broadcasters are likely to have contractual approval over the cast, theme music, writers, characterization of the main characters, premises, outlines, scripts, story- boards, rough cuts, and final delivered show.
You’re selling to the buyer, not to the audience. Most large networks look for a mar- keting hook, for something that can be sold internationally, and for something that has licensing possibilities. They may also be looking for a concept that can be made later into a feature or home video. Remember that these concepts must be financed somehow. They look for a good ensemble cast and strong leads. They look for something with a good story, for “cartooniness.”
What do you need for your pitch? For an original project for television you’ll want a presentation bible and probably, but not necessarily, some artwork. Some developers also provide a script or a short one- to five-minute pilot. Most buyers feel that a script is a waste of time at this point because the concept will change during development. A well-done pilot is helpful but expensive and unnecessary. A pilot or short produced on a budget with low production values actually makes a sale more difficult. Usually, developers don’t attach stars or composers to their television development package. Although it could help in certain instances, it can also raise the budget too high or interfere with the development changes that a major company wishes to make. Although if you have major names interested, you might want to give it a try. Believe in your project, and find a buyer who does, too! Passion and confidence sell.
Artwork
Many writers hire an artist to design artwork for the series or film they’re developing. If you don’t know any artists who can do a professional job, you can hire a good artist from an art school. Be sure that any artist you employ signs a “Work for Hire” agreement before he puts
pencil to paper. Artwork is not necessary to pitch an original concept to many production companies because these companies are interested primarily in strong concepts and good stories. They will find the correct artist to fit your concept. However, really outstanding, professional-quality artwork can help sell your show. Many development people are not artists and have a hard time visualizing what you have in mind. Unprofessional or mediocre artwork is probably worse than no artwork at all.
If you do include artwork, you need full-color designs of the main characters and at least one or two drawings of the characters in action in the locale of the film or series. Buyers like to see the characters in relationships, characters with an attitude, types of conflicts, and types of situations. If this is a comedy, make the drawings fun. A visual gag or two won’t hurt. The drawings should be big enough to be displayed at the presentation. They will usually be viewed from about two to three feet away. A few developers, like Cartoon Network, have traditionally preferred a series pitched in storyboard form, but this is not a requirement. Any designs that are a part of your presentation should also be printed in the presentation bible that will be left behind. If you’re selling a feature, you’ll want more designs and you’ll want them to be more elaborate.