to air an entire series, and the interstitials can build up audience support for a series later.
So consider pitching your short to a broadcaster as a pilot for interstitials.
If your film is meant to be a calling card to getting a job in the animation industry, then
it should have the characteristics of commercial projects. It should show quality and good
craftsmanship. Recruiters and agents appreciate a film with great characters and good sto-
rytelling skills. They’re looking for freshness and originality. They aren’t likely to appreciate
a film that is too gross, consists of “in” jokes, or seems overly serious in theme. If you make
an independent film that centers on loveable or cutting-edge characters, is suitable for mass
audiences, has humor, and tells a good story, then you have an excellent project for your
portfolio. It may open doors for you.
International Considerations
With today’s global marketplace, shows are often financed through co-productions. Some-
times a co-producer helps only with financing or distribution. Sometimes one company does
most of the pre-production and another provides production services or perhaps post-
production services. Co-productions may mean additional tax credits and government
financing. For instance, in Canada productions get a tax credit if they use Canadian writers.
In some European countries writers and artists have moral rights. That can mean that
the writer or artist there must approve everything. So getting the work done can translate
into additional time and additional headaches.
Certainly, preferences for local culture and other cultural and political views must be
considered in projects that will be financed or viewed internationally. This takes research
and sensitivity to people everywhere. But U.S. buyers are finding that many projects will
work anywhere, as people around the world are becoming more alike in their tastes for chil-
dren’s programming. A program that is geared to only one country must be much cheaper
to produce to make a return on the investment.
All programming trends cycle, so find out what’s hot internationally today. Quality is
more important in selling a concept in many countries than marquee value. There’s often
interest in softer projects as well as action/adventure. But some countries have regulations
against developing shows from toys. Preschool projects may be harder to sell. Comedy sells
well in Europe, not as well in the Middle East or Asia. I believe that over time satellite-
delivered programming, beamed to wide areas of the globe, will change some of the tradi-
tional international attitudes about programming likes and dislikes.
Remember that puns and wordplay don’t translate well internationally. Physical comedy
works best. Action doesn’t require translation.
Around the globe buyers are looking for cutting-edge art. Avoid written signs for an
international audience. Avoid flags or anything else that might seem out of place to
audiences around the world.
Protecting Your Work
Protect your work as well as possible. For example, © 2005 Jean Ann Wright on the title
page of the bible and on each piece of artwork would theoretically protect my bible and
Development and the Animation Bible 87