Every screenwriter is born with an amazing writing tool. It’s called the human mind. But if you don’t know how to use it effectively you could be wasting a lot of creative potential. I’ve found a special way to resolve creative story problems that I think you’ll find very useful...

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Part of what made SHREK 2 work was the addition of Puss in Boots to the franchise. It's not surprising that he would get his own film. Unfortunately some of the sharpness the character brought to that film has been declawed for this one. The irreverent take on fairy tales is gone. In its place — cat jokes.

Don't get me wrong the cat gags are the funniest bits, but they don't have the layers that made the first two SHREK films special. In this origin story, Puss in Boots (Antonio Banderas, DESPERADO) is cast as an orphan who becomes blood brothers with fellow orphan outcast Humpty Dumpty (Zack Galifianakis, THE HANGOVER). They are in search of the magic beans of legend. The duo continuously get in trouble until one day Puss gets a taste of being a hero and vows to go straight. Bad blood forms and Puss is wrongfully believed an outlaw. Years later he is reunited with Humpty, who now has a female feline thief sidekick named Kitty Softpaws (Selma Hayek, DESPERADO). Humpty wants to put their past behind them and work together to steal the magic beans from the notorious murderers Jack and Jill (Billy Bob Thonrton, SLINGBLADE & Amy Sedaris, STRANGERS WITH CANDY).

Currently a lot of our colleagues are involved with “dimensionalizing” conventional 2D films into being stereoscopic or so called 3D movies. While most of the artists I spoke with tended to mumble something about “colorizing Shirley Temple” all are glad to have the work.

Still image from the animated short Diary 1 by Tsvika Oren.

Tsvika Oren has been deeply involved in animation for the better part of 30 years - creating, teaching, writing, judging, jurying…

©1999 Miramax Films

Do you write part time?  Do you write for just a few hours a day?  Are you writing a spec screenplay a few days a week or month?

If you answered any of these questions in the affirmative you may be losing more time (and creativity) than you think.

Let me give you a few suggestions that will help you get a lot more writing done...

Change always accompanies the new year. And The Anime Beat is no different. That's right folks, I'm continuously expanding this little dog and pony show! 

Special Guests:  Signe Baumane & Isaac Short

On this episode of the Forum, Joel and Alan prognosticate the future of cinema and how podcasts are this century's booming artform.  Then, independent animator and bunny-lover, Signe Baumane, presents her perspective on animation as art, art as animation, sex ed, the animated short vs. feature, how to finance your independent animation career, animation as a drug-habit, and how not to be a lonely rapist.  All are then joined by 6-year old Isaac Short as he works through his unhealthy obsession with early pioneers of animation.

For the past fifteen years, the Holy Grail for most new character animators has been a staff position with one of the major studios -  Pixar, DreamWorks, Sony, Blue Sky or Disney. Today’s new animators are encountering a rapidly changing industry landscape that includes entirely new production models.  Movies such as Chico and Rita, Rango, Coraline, The Illusionist, and Waltz with Bashir cost much less to make than, say, Brave or Madagascar 3, and they play for more demographically specific audiences. New channels of distribution and exhibition are emerging, and Hollywood’s big studios are feeling the sting that accompanies a mega-budget flop like Mars Needs Moms. Even lofty Pixar is having trouble sustaining its own high creative standard while producing three movies per year on an assembly-line basis.

We can do a better job of preparing the next generation of animators for the industry realities that await them.  We can do a better job of mentoring the next Miyazaki, Lasseter or Disney. Granted, the computer has largely replaced the pencil as a primary animation tool over the past twenty years, but drawing skills are a visible marker of aptitude for animation in general.  Take that away and you are basically left with analytic computer programmer/operator potential.

  There is a point in everyone's life, where you look back at the last few months, years, or - depending on your age - decades, and ask yourself: Why the hell am I doing this?

For some, this might happen only once, for others once a week. It usually happens to me when I'm standing on set at 5am, freezing my ass off in some remote location. I just got dropped off by helicopter, and  now I'm standing alone on this glacier, shooting HDRI stills. Or, I'm standing in heavy rain next to a garbage dump (well, that's the location) after an 16-hour day (so far), my clothes are starting to soak all the way through, while there's a crew of 200 people buzzing around, trying to make the last shot of the day before losing the light.

So why the hell am I doing this?