My comment last night was a little flippant.
So let me be fair and look at the problem here: You have the cart before the horse.
You are playing the part of the producer (the man with the money), thinking of what he needs to make a great film. But you have overlooked one vital question – most people do when they come to make a film. This question should be painted on the wall of every film maker:
Who am I making this film for?
This is basically, who is going to watch it, buy the DVD, buy the merchandising etc. Without that answer, no-one will invest in the film. So ask yourself the question, is it for 2-11, tweenagers, 16-25, will it have a U certificate, 15, or a PG.
Once you have that answer, only then can you begin thinking about the script. For if you don't know who you are writing for, the script-writer is the proverbial ship without a rudder – he has not idea where he is going.
When the script is rewriter for the umpteenth time and is approved, you have two directions. Male a pilot/test sequence to demonstrate the style and feel of the film – this is to get investors interested. Or you can crack on with the storyboard. Storyboard often work with and at the same time as the character designers. That storyboard is digitised and assembled in a NLE edit program. post studios record a guide vocal track with staffers reading the dialogue. If you are sure the script is right, then you can record with the “real” actor/s then okay – just remember you might have to bring them back in for “pick-up” lines when you discover Scene 75 doesn't gel with Sc76. If you use a dummy voice track first, you usually spot those. Once the leica reel (video animatic) is done and is ticked off, you can record the final voices and finalise the character designs, layouts etc.
It is then and only then, when the pre-production is finished, that you can think about the crew, the work-flow, production management.
You really shouldn't be thinking of Maya and who is recording the music.
I would suggest you ask a few questions about the two story choices. The Finnish folk tale
The KalevalaI know nothing of, that might be a good unique selling point (that USP is the thing investors/broadcasters want). St George and the Dragon is suspect. Why make it? Who is it for. Will techie 16 year olds go “Cool!, that's want I want to see”. Personally, I'm not sure, this hardly a gripping tale – village terrorised by grumpy fire breathing dragon, bold Sir knight comes along and pokes it with a big sharp stick. Grumpy dragon dies and every one lives happily ever after. It's like Titanic, you know the ending, what's the appeal. Grump dragon film might look good if you go for a Lord of the Rings look/feel but it takes a huge budget to achieve.
Ask yourself why Maya – you will need a heap of licences which are damned expensive. XSI has been used on more big projects as has Lightwave: Max is easier to crew for as there are more operators out there. Blender is now a serious contender, being used by a lot of studios because it's free and now come of age. I know of a China studio with 150 stations for series work ... try doing that with Maya and stay competitive!
I know you have taken some flak over your original call for collaborators – it was a shoot-yourself-in-the-foot post. Don't be put off. Look at the thing objectively.
I put together a collab team to design a 13 * 30 TV series for a PG audience: That is now being marketed around – we are having trouble selling it to the broadcasters, just as we knew we would – the concept is way-out there, and it makes broadcasters nervous: They all think its unusual and funny, but selling it to the channel controllers is hard. The team worked on a deal for production work share if it comes off, plus a gross back-end share later. This is a common arrangement, work now, better pay later, No-one does it for free. No-one does it for net back-end share (never work a net profit, its 10% of nothing).
Small design teams work, usually two-three people – writer, designer/animator and project coordinator. The director can be any one of those people. Roles often overlap - in my case, I write and produce final artwork. Make sure you discuss money right at the beginning: Everyone needs to know how they are to get paid, who owns the rights, how the split is made. People need to agree in writing that ideas are pooled – no-one can throw a hissy-fit mid-development and walk away with “their” character design. Pooled is pooled, collaborative projects means its a relay race, the baton gets passed from one person to another, directions change. This advice comes from having a collaborator try to walk off with one of the principal characters – it gets ugly: Usually reason prevails but if it doesn't, everyone's work is wasted.
My advice is go back to basics, and think question 1, who is this for.
Then come back and say, okay, I want to make a collab to make a film for xyz demographics. The deal is gross back-end, all rights shared. Anyone interested. Then your cards are on the table. People will then look seriously at the idea.
Saying you want to start Dreamworkz 2 just won't fly.
Rhoel
PS: Never use Hotmail for this kind of call –
www.gmail.com is considered good form, as the sign-up is verified.
PPS: I do collaborative work on films – if anyone wants to seriously talk about making 30 second shorts for Atom Films/mobile content/festival circuit, then please PM/email me. Background artists and character designers are especially welcomed – that is my weak spot. I have a series in mind, plus several shorts drafted. Deal is all rights/gross back-end share.
