Promo kit


Propose a plan to get your short animated film in front of the largest most beneficial audience possible whilst remaining tasteful.

What would be the best audience to play to and why and how do you get your production in front of them?


To broaden your ability to promote animation and understand its place in the world of entertainment in relationship to other forms of communication.

To develop your understanding of how animation works as a form of media and how it is most effectively promoted.

  • 1250 words plus images
  • A promotional poster

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Why do films need to be marketed and advertised?

Marketing a film successfully will raise audience awareness, and ultimately can affect the success of the film. Widening industry awareness is also something that you want to do to boost your career! It is important that as many of your targeted audience sees your promotional material, as they are the ones who are going to enjoy the content, and the more people that see your movie; the more likely it will be a commercial success.

Identifying your target audience correctly will allow you to be a more precise judge of where to market the film and how best to advertise it to garner the most interest. There are many ways to advertise and market a film to your audience.

To properly identify your audience, it is always a good idea to get some feedback from some focus groups. Some movies have been considerably edited and altered due to feedback from test audiences, and the way they are advertised has had to be completely rethought. test groups can help you see things from many different people’s points of view and adapt your marketing strategy to be the most effective it can be, so its important to make time to get feedback when you are releasing a movie.

  • Trailers (tv, before movies at the cinema, internet/social media, on dvds/blu-rays – this is often only done if a connected producing company is connected (producing) to promote it on existing similar genre audiences, handing them out as dvds to people in the street just to get it out there!!! :P)
  • Posters (billboards, (london) underground, buses, taxis, trains, internet)
  • Promotional appearances (director, actor, etc going for interviews on tv, radio, newpaper interviews, etc)
  • Viral campaigns – creating ‘buzz’ online which people share themselves  – creating word of mouth
  • Promotional material on other products (often see characters from upcoming movies appear on washing up liquid or on a packet of crisps. These often tie into those companies websites for the duration of the promotion. This can be accompanied by promotions for the products – making people think positively about both the product and the movie being promoted.

The people who will have an interest in the success fo the movie:

  • on-screen talent (voices)
  • director and crew (animators)
  • distributors/ producers
  • companies with products in the film
  • bands whose music features in the movie

Serenity was promoted by a series of films that were released on the internet as a form of viral marketing. There was nothing linking the five films with the movie at first, which made people wonder what it was and made them go out looking for answers. The videos were released out of order, making them like a puzzle that the audience would put together to get the bigger picture. The excitement of finding out that there was a television series based on these intriguing videos would be like winning a prize after working to achieve something. [1]

Viral marketing is effective when it works because the audience is actively being used to promote the film for you. It is basically a way to encourage people to help you spread the word for free!

Cloverfield used viral marketing to advertise. The clips would show normal scenes and then something happening at the end, like an explosion. There would be no identifier to which film or what it was from, so people at the time wondered if they were real or not and people on the internet debated about them until proof came in the form of a more substantial advert – although i think that it was a couple of trailers before the films name as released – creating buzz because people now knew it was film but had no idea which one or where it was from.

Viral marketing like this is not always something that works 100% of the time super effectively. There have been cases where people have been offended by viral marketing material, and people have even been arrested over their viral marketing campaigns. Forgetting Sarah marshall made a website called and nearly 300 Sarah Marshalls complained to distributors once they realised it was advertising a film. (the website is no longer operational, but even without complaints the distributors would only have paid for the amount of time the film was being promoted. The website was from the main characters point of view and left off where the film picked up, and was updated often. The blog writer said that they bought all the billboards in town (which they did). So people thought it was a real life terrible break up being broadcast to the world – DRAMA brings all the people to the viral marketing  campaigns quite effectively it seems, even with complaints the film was a success with critics and made a lot of money. [2]




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Terry Gilliams 12 Monkeys

I have always enjoyed Terry Gilliam’s films, from his Monty Python animations to his big budget Hollywood films, he’s always produced high quality and interesting stuff – from the actual projects he chooses, to the characters, and his own unique style that he brings to each film- which makes watching one of his films a more unique experience because he doesn’t adhere to these Hollywood norms, etc. But life has not always been so easy for him in Hollywood, and his career seems full of intense ups and downs/ highs and lows.

This is a 1 and a half hour documentary about 12 Monkeys. A big budget Hollywood film with Hollywood stars and a Hollywood sized budget.

The film is full of big names stars (Bruce Willis, Brad Pitt) who should help to drag an audience into the cinema, but will they enjoy this unusual film? For a number of different reasons there is some doubt about whether this film can be a success when they are making it. I love watching movie documentaries that show a lot of details when things are going wrong, and you can get a real insight into the world of filmmaking!

The hamster factor is the Terry Gilliam element, everything is in order, but there is detail he needs to get right. Terry spent ages trying to get the hamster to do what he wanted during the film – but in the end he did get the shot he was hoping for. Terry adds elements into his shots that other directors wouldn’t bother with, and it can often cause delays in filming, problems – unnecessary difficulties that weren’t planned for because it’s being added at the last minute! I think this is one of the reasons his films are so enduring and interesting, even when the scripts are not his original work – he adds these little elements that can really alter how a scene feels and adds another level to the world he is building for the audience.

What is the target audience for 12 monkeys?

12 Monkeys is a post-apocalyptic, sci-fi, action, thriller, fantasy, romance, film noir, crime movie, with mental health themes. It’s a pretty unusual movie, but this doesn;t mean that the audience will be as diverse, as parts of the movie will not appeal to some demographics at all, and what they do like isn’t really there for them in the way they are used to.

12 Monkeys was a commercial success, and made a lot of money. It’s a story that grips you and keeps you from the beginning, and the twists and reveals are satisfying and clever.

 I think terry challenges audiences. He does this by showing them things they didn’t expect from the genre and making them uncomfortable, he takes them out of their comfort zone and makes them experience things in a different way. This can be very dangerous when making commercial films, but really rewarding for the artist, who can really express themselves and make something that isn’t just another cookie-cutter genre movie.

The newspaper campaign they are debating about using to promote the movie is really interesting. Showing small red monkey images with the numbers increasing on each page. Then at the 12th there is a big advert. The red makes it stand out against the black and white of the newspaper text. Readers would still not be sure what the 12 Monkeys adverts are promoting, but they see that it will be coming this winter. The rough style is similar to the style activists would use – spray paints and stencils and handmade things – fitting the films style aesthetic.

The reality of making films for me is just hard work, and uh, and the disappointment that i can’t actually achieve what i can imagine.

                                                                                                                          -Terry Gilliam

They also look at bus advertising, as many people will see those adverts. Not just bus users, but anyone travelling the same route as the bus, anyone who’s outside that sees it. Also these adverts will be seen by a lot of people at rush hour commuting times. It’s important to note they use the stars of the film to promote it where possible, aside from the monkey teaser image. They have high profile stars that will bring people to the film. The promotional material is really well tied into the themes of the movie.

Posters around large cities, reaching a large audience, would be a good tie in with the movie, maybe in less travelled out the way alleys and areas – although it would require hiring people to do this and is not as simple to roll out. Guerrilla marketing is something that is much bigger now, but was in infancy for 12 monkeys.

Terry Gilliam worked on the feedback sheets that the screening audiences would be filling in after they’ve watched the movie. It’s important that you get the audience to tell you what they think about the film, and not miss important details and things that could affect the final version, so you can properly gauge reactions to your art, and hone in on things that work and things that need work/changing.

The movie didn’t receive fantastic feedback scores initially. The discussion about the feedback during the making of film give the audience an insight into the processes of the people working to get this film marketed properly and make it successful. The writers and director and producers all discuss the feedback and how they should move forward together – any changes they need to make, etc..

What’s interesting with the 12 Monkeys feedback is people seemed to enjoy the experience of watching it, but after they would have questions and problems and issues and not score it very highly. So the feedback appeared somewhat negative, even though the film was really well received. In the end they made only minor alterations and Terry was able to release an absolutely amazing film, and without hugely compromising his vision.

Of course the feedback is vital, we see here where it is also a Hollywood tool to gauge how much they should spend on marketing the film, because it wont be popular enough or something. The Hollywood film machine appears to be a sometimes cruel and unforgiving beast, caring only about money and profits (not going into how Hollywood can end up making a loss on a hugely successful and profitable film – the joke being that the most creatives minds in Hollywood are the accountants – check out for more info).

I think that sometimes Hollywood just wants the film to read, but often they want happy endings and Terry’s ‘Brazil’ film was actually held back by the studio and edited because they wanted something more commercial – a happier ending and a shorter film so audiences could digest it easier. But in the end, due to illegal screening Terry held and public statements in newspapers perhaps, the critics loved Brazil, and Terry’s original film was released as he created it. He held true to his vision and ended up proving that he could make money without conforming to the norms. There’s this idea in Hollywood that you can just spurn out certain films and they will make money – we see it all the time with remake after remake – safe bets. It’s a money making machine, naturally. But it’s more than that, and it shouldn’t be forgotten. Films are the way we sit around the campfire and tell stories in a modern age. They inform and educate, entertain and challenge. They affect us. Films reflect our culture, (they are our collective cultural timeline) and in my opinion we need people like Terry Gilliam contributing to that cultural history.

It’s difficult for me not to mention that many people made the film what it is. Even though Terry had a hand in all of it, everyone’s contributions to the film made 12 Monkeys what it is. Terry isn’t just battling evil Hollywood execs either, he works with them to make the film. Everyone works together. One of the coolest things about film making is that a lot of creative people come together and make art together – art that tells a story and carries messages. It’s really kind of amazing when you think about it.


Toon vs Actor II

In a world where toons and people can mix, discuss the pros and cons of mixing the real with the unreal, and what tensions might occur in their narrative relationship from the point of view of the audience. Propose a project of your own that will blend live-action and animation.

Ok so my idea is about a guy who disturbs a sleeping demon spirit thing. The demon spirit follows him everywhere, as they are linked now. Until the guy can find a way to appease the demon and release it from the bond it’s formed with him he must go on an adventure to find out how to rid himself of this annoying demon spirit!

The demon spirit would be grumpy having been woken up by this clumsy guy, and neither are happy about the situation. Other people can see the demon spirit, so he cannot continue living his life as normal, and in fact, its perhaps dangerous for people to be around him now, because of the side effects of the demon spirit and its powers.

The demon spirit. A creature that belongs in another realm, but for whatever reason is stuck in the human realm. It’s really grumpy, and annoyed at being woken up. Although its not clear why it is here, it has been sleeping for a loooong time. Now it is linked to this guy and must go where he goes, instead of going back to sleep.

The guy. A normal, working guy. He lives an average life, goes to work and falls asleep in front of the Tv. He is the sort of character that seems really lost at the beginning of the movie, but after growing during the movie and going through the adventure, he is a new guy altogether and has changed and is more hopeful.

The demon spirit would be the animated character. It would be the only one until the end, when the guy finally manages to release the demon spirit in the sacred place there would be many more different spirits as well, and would be visually delightful and surprising – as the whole movie has been just the one animated character.

On the adventure we learn from a few different characters, who each have different idea of what the demon spirit is and how to get rid of it. Nothing works, and the guy is very unhappy and becomes hopeless. He finds wisdom and inspiration after he has all but given up and with determination he begins his journey to solve his problem. He does it on his own and makes his way to the sacred place. Only once he’s truly focused himself and had to overcome the trials of the adventure/journey can he reach the place where the demon spirit can be free.

What does the demon spirit look like? Well that changes. It looks small and kind of cute at times, and others it can grow and transform into something more scary and intimidating. It has the ability to transform during the movie but only does so many times – as it tries to make it more difficult for the guy to get rid of him. As it’s upset it was woken up and at how the guy treats it –  not with the immense respect it feels it deserves. So its a bit of a truckster that has a wicked sense of humour. The guy doesn;t find it funny, and at first he’s afraid, then annoyed, then desperate.

Some cartoony sketches of my imagined creature:


These are my initial designs for the demon spirit character – in its usual form. Although it can take on other shapes, and at the end when it is released it changes again into something better – truer and purer or whatever – as if it’s reached its desired ‘final’ form.

It’s very cartoony. I would actually like to follow cartoon characters in movies, like Roger Rabbit and the original Pete’s Dragon, rather than something too realistic – for now anyway. I really like the fact that there is a visual disconnect in some ways between the real and cartoon.

Lighting would be important for this creature, because i would want it to be glowing a little bit. So when its in an environment or near someone, it would shine light and affect them. This could be achieved with an actual light when shooting  the live action stuff. I would like each spirit at the end to shine different light colours and affect the scene that way. When the spirit gets angry it could change colour a bit (red for hot, blue for cold, etc).

It would be able to interact with the world in a few different ways. The spirit eats all the food the guy has, tearing apart the kitchen. When he goes to get some food from a restaurant the demon begins wreaking it and the guy has to run away to stop the chaos! The spirit eats so much it grows a bit and ends up lying down on the guys bed and crushing it, to the guys disappointment!


Some more ideas for my spirit!!


The demon spirit is basically a very rude and obnoxious uninvited guest that the guy has to deal with everything that comes with that – even though it begins tearing his life apart. Similarly like Roger Rabbit comes into Bob Hoskins characters life and causes all sorts of zany difficulties! The demon spirit is like a misbehaving puppy dog that can suddenly turn into a fire breathing wolf that could and will rip your face off!

The guy must overcome these problems and find a way to help the creature that is ruining his life. The only way things will get better for either of them is if he can be compassionate and think clearly when faced with all these crazy things!


Two-headed stuff!

SO for my latest project i have to design a two headed character! I’ve been doing sketches of different two-headed creatures and here’s what i’ve got! Should they have long necks or short? Should they be different sizes and completely different, or more similiar like real twins/brothers/sisters..

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I dont think there’s any reasonable reason why for this project my character couldn’t be a two=headed cat.


Two-headed cats are twice the fun! Cats are basically a liquid anyway, so having another head attached to their bodies actually looks alright to me!



Class notes – Visual Grammar

There are many elements to a story, and when you are trying to tell a story they are things you must consider first. The script, sound, music, visuals. We discussed and explored some of them in class today. The plot, character and dialogue are all important to the script, they are the bones of the piece. And if they are the bones though, there are many other elements or body parts that make up the whole animal..

When it comes to sound you can vary volume, bass, treble and sound effects. The music can be broken down into the instruments, notes and melody. All of which can complement or jar with a scene, character, etc. When it comes to the visual there is a lot to consider; space, line, tone, shape, colour, light, movement and rhythm.

When it comes to lighting we can control what is in the frame – what will be lit, and the light itself. Objects and textures will have different reflective properties – how you play with exposure will be an important element to controlling the tone.

Coincidence and no coincidence is the relationship between the tonal balance of the shot and the subject of the shot – like a character stepping out of a shadow into the light. Using the different between those two ranges to reveal the subject.

You can use tone to show contrast or affinity –  this is often true for all the elements.

Colour: Hue, saturation, value (brightness). In animation you have total control of what is in the frame so all these elements should be considered when decided what goes into each frame/animation.

When thinking about Movement we have to think about the object, camera, and the viewers point of attention.

With Object movement – focus on Direction, Quality, Scale, Speed.

And with Camera movement look at the direction, scale, and speed of the camera. The cuts between shots are important as well and the camera movement combined with the right cuts can be very effective when telling a story. Chase scenes are normally good examples of where filmmakers will use movement to its full to tell the story.

A camera pan is a 2D movement, movement is at a uniformed rate. Track is a 3D movement because it has scale – things closer change scale quicker than those further away.

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight, and is measured by the angle or semi-angle of inclination between those two lines. The term is derived from the Greek word παράλλαξις (parallaxis), meaning “alteration”. [1]


Point of attention – where the viewer looks and why they might look there. Movement and brightness are what the eyes are drawn to. The viewer’s attention will move within a shot and also from shot to shot.

Rhythm. We can only discern a rhythm between its silence and a beat. Its that repetition that allows us to identify it is a pattern and tempo allows us to tell the changes to that rhythm.

How things enter and exit the frame, moving in front of each other, changing direction, starting and stopping.

Every frame a painting – Akira Kurosawa : Composing movement

When you’re judging a shot what’s the first thing you look for? Movement! Shots have visual interest with the weather elements that Kurosawa uses in most of his shots.Even with a still subject the frame is still visually interesting with the movement of rain or snow, etc. Kurosawa using individual movement in a bit of an exaggerated style. Every camera move has a very clear beginning, middle, and end. Kurosawa cuts on movement – the audience is focused on movement and the rhythm is changed to keep them guessing.

When animating a character, how are they feeling? Can movement help to convey that to the audience. What about other objects in the frame, how can their movement enhance the shot? For kurosawa lots of variation and subtlety is key, matching the right motion with the emotion can lead to some amazing cinema.

George Lucas, Steven Spielberg and Francis Ford Coppola all called Akira Kurosawa “The Master.” [2]

I was reading a random blog (it’s in my references) about Kurosawa and came across this video of the man himself giving advice to aspiring filmmakers:

He says if you want to make films – write screenplays. You only need a pencil and paper. It is not easy though, and takes hard work. Patience is essential (even more so for animators imo!) You cant create something nothing – you must have something inside yourself -so live and experience and read and explore.

I suppose when you are writing a screenplay you must considers all the different elements of the piece and what will work and write it down – you must create that world and put yourself in it – and the more you do it the more realistic the world will appear to the audience and yourself.


 Wes Anderson – Mise en scene and the visual themes of wes anderson

What it adds up to be is always sort of a surprise, you know, even if you planned every thing, when you add it up it’s never what you quite expected because you never could quite fully picture it. -Wes Anderson

I think here Wes Anderson is talking about how he worries about all the smaller elements, he knows those elements and what is needed/ what eh wants, but its very difficult to imagine all those components and how they will work – he knows that they will work.


Wes Anderson goes on to say he is drawn to long takes – seeing the actors play the scene through – not having cuts, like the theatre, it creates a tension and excitement. He uses a flat look to create a sort of storybook feeling, almost a theatre set look in his movies.

Wes actually made an animated movie adaptation of the Roald dahl book – Fantastic Mr Fox. And btw its brilliant! It seems that Wes is turning his attention back to animation with an upcoming film about dogs! From imdb it is starring Bryan Cranston (malcolm in the middle, breaking bad), Edward Norton (Fight Club, American history X ), Bill Murray (Groundhog day, Zombieland) and Jeff Goldblum (independence day, Jurassic park). [3 & 4] So get hype people!



1a-“Parallax”. Oxford English Dictionary (Second ed.). 1989. Astron. Apparent displacement, or difference in the apparent position, of an object, caused by actual change (or difference) of position of the point of observation; spec. the angular amount of such displacement or difference of position, being the angle contained between the two straight lines drawn to the object from the two different points of view, and constituting a measure of the distance of the object.





The Little Prince 2015

So I just watched this amazing little film today, based on the 1943 novel ‘Le Petit Prince’ by Antoine de Saint-Exupéry (1900–1944). It was really enjoyable with some absolutely beautiful stop-motion & 3D animation, fantastic characters, an amazing and well worked story and i would highly recommend it to anyone who hasn’t seen it.

The voice actors in The Little Prince:

Jeff Bridges, James Franco, Benicio Del Toro, Ricky Gervais, Paul Rudd, Paul Giamatti, Albert brooks, Rachel McAdams and Mackenzie Foy.

There’s some spoilers in this post so if you haven’t then please go and watch it before reading anything here, if you want to learn more about the film, its design or how it was made or whatever, then please read on!


If you are familiar with the original novel you will notice the film starts where the novel starts, with the pilot, who is telling the audience the story about his drawings of boa constrictors and how adults do not understand things and need everything explaining to them, which shows the audience a lot about the pilot already – he is not like other adults..

“One sees clearly only with the heart. What is essential is invisible to the eyes.” [1]

Its a story that can be enjoyed on different levels, and will entertain young and old alike. A story about the meaning of life..  The Little Prince novel is made for a child’s imagination, where reality and truth are not important, only what is possible in the realms of your own imagination matters. The author was a pilot, On December 30, 1935, at 02:45 am, after 19 hours and 44 minutes in the air, Saint-Exupéry, along with his copilot-navigator André Prévot, crashed in the Sahara desert. He also flew missions in WW2 and sadly disappeared during one of those missions, but the book and his legacy lives on in – 2 million sales world wide yearly, literary awards, multiple adaptations, the little Prince even featured on the 50 Franc note before the Euro and the French people voted The Little Prince the most important book of the 20th century.


In the film the pilot or ‘Aviator’ is an old man who we meet through the eyes of a young girl who lives with her mom. When the young girl does not get selected for a prestigious school her stressful mother moves them to a new house so she will go to that school anyway – the girls life is completely mapped out, every year, every month, every minute every day. Her mother works all day and late into the evening and the young girl does well to keep up with the schedule of work. Anyway the house they moved into has a very interesting neighbour, the old eccentric pilot in his old eccentric house – its very different from all the identical modern boxy houses in the area. The girl learns a lot from the old man and they become good friends – getting into all sorts of trouble together! The pilot tells the girl about a little prince he once met who travelled from an asteroid and his adventures. Its a really well made little film. I loved it.

Behind the scenes featurette:

The Stop-motion animation

Warm, charming and simple, represents the memory that the pilot has of his time with the little Prince, or perhaps how he wants to remember his time with the Little Prince, who might have profoundly affected his life.


A photograph of one of the stop-motion animation sets during filming:


The colouring and lighting in the film was fantastic, mirroring the mood and feel of the film as well as enhancing it and not staying the same all the time. The warmth of the pilot and princes world contrasts next to the more diverse real world.


The 3D Animation

Simply beautiful character designs, the fox was my favourite, the cute 3D toy and the paper stop-motion one as well.



He looks grumpy here (below) but he’s the nicest guy ever, although perhaps a little lonely, and hes odd for sure, but in a great way. Like he tries to fly his broken airplane in his back garden – its how he introduces himself to his new neighbours in fact!





[1] – The little Prince (1943) Novel  Antoine de Saint-Exupéry

[2] –

[3] –

Monologue vs internal monologue researching

In the project brief we have been asked to use both 2D and 3D elements, so i’m going to explore some animations that do just that.

Hybrid or 2D/3D animation examples can be found in many films, such as the Iron Giant in the Iron Giant, the cyclists in Triplets of Belleville, and Disney’s Treasure Planet. In some cases the 2D characters were drawn and then 3D appendages rendered to match the 2D portions after. Like John Silvers character in Treasure Planet:

Off his Rockers – Walt Disney

In this adorable animation the 3D rocking horse attempts to get the attention of the 2D child playing video games. The environment is also 3D, i think, at the end the desert bit is definitely 2D. I think this is an example where the hybridity really works well.

Technological Threat – an early hybrid animation example (1998)

Meet Buck

This animation uses mainly 3D – although its totally stylised so that it resembles a 2D animation – there are even 2D touches like smoke added to the animation.

It’s great being able to see the 3D model without the finished render as a model. The character is squared-off in shape in places and it really adds to the characters individual look.

Chapter 12 – Meet Buck

Interesting notes:

  • They made a resizable rig that could be retrofitted onto each of the characters – and in fact shared with other animating groups for their own projects (e.g. Salesman Pete)
  • Backgrounds were Photoshop paintings projected onto flat scenes.
Muffin Jack and jeremy

2D style + 3D modelling and rigging + flat painted backgrounds = awesome!

I’m really liking this style, not sure i’d accomplish it using Maya yet.. *-*

The character design for this little guy is awesome!! We are currently working on rigging a full character and the one we’ve been using is not very heavily stylised, something i want to explore a lot more with my 3D modelled characters.

Salesman Pete

Pixar behind the scenes…

Jinxy Jenkins & Lucky Lou Short Film” by Mike Bidinger & Michelle Kwon

Research for Monologue vs internal stuff

Well, a monologue is someone speaking aloud, often to themselves. It’s almost like thinking out loud. So “Interior” monologue is the same thing, but it’s internal. It’s silent. It’s the thought process that we don’t let past our lips.

Why is this helpful for animators? Well, because if our hardest job (and it IS our hardest job) is to create a believable feeling that our characters have an internal thought process, then figuring out the interior monologue of a scene gives us actual thoughts to key off of, and actual changes in though process to base our acting decisions on.

Let’s say that in the scene, a man and a woman are arguing, and he’s jealous of the way she’s been flirting with a friend. Her line is “I love YOU,” with the emphasis on “you.” So we know that what she means is “I don’t love him, I love you.” When you are animating to that line, you could say that the monologue is “I love YOU,” and the *interior monologue* is “I don’t love HIM! How could even think that? Don’t you even know me?”

Now, when you are working out the acting decisions, you can treat the interior monologue just like actual lines of dialogue, and you can time your head shakes, blinks, searching eye movements, etc – you can time all that stuff off of this imaginary line that isn’t ever heard, but through your animation, we will FEEL it.

And *that* stuff is the meaty stuff that will bring your character to life. [1]


Meet Chloe – The secret life of pets.

She wants to eat all the food but knows she shouldn’t and is conflicted about it – after a little back and fro she just has to eat all the things!! Which is funny for the audience.


Creature comforts – Aardman

I really love this series, the voices are recorded and then the animations come later. Its stop-motion animation, the character designs are fantastic and the expressions and range they have is fantastic.

Inner Monologues – Robot Chicken



[1] –