Plenty to write about, but lately blogging has been displaced by doing. 
During the past 30 days I’ve spent time in Yokohama and Guangshan in the midst of my ongoing producing and consulting work. The Animation Options website has been updated with the latest happenings (at least those I’m free to talk about), and I hope to address some topics of interest here soon. 
Kevin Geiger
BEIJING
My apologies for the dramatic reduction in blogging. The past couple of months have been a mad rush of activity, compounded by my participation in two events: the Jilin International Animation, Comics & Games Forum in September, and the 1st Zhengzhou International Animation Forum in October. And now the American Film Market in November. :-)
You can read all about the goings-on in Jilin and Zhengzhou on the Animation Options press page, including video of me trying to keep up with a young monk onstage at Shaolin Temple. ;-)
Part 2 of AWNtv’s fmx/09 interview with Magic Dumpling’s VP of Development Wen Feng and President Kevin Geiger, on the subject of Chinese animation, the global marketplace, and their upcoming animated feature film “Road to Home”.
Part 1 of AWNtv’s fmx/09 interview with Magic Dumpling’s VP of Development Wen Feng and President Kevin Geiger, on the subject of Chinese animation, the global marketplace, and their upcoming animated feature film “Road to Home”.
Animation Options President & CEO Kevin Geiger will conduct “dual core” presentations at SIGGRAPH 2009 in Yokohama, ranging from story development to production efficiencies.
Making its Japanese premiere is “What’s Your Story?”, a condensed version of the popular three-day story development course, Wednesday, December 16th from 8:30am-12:15pm:
What’s your story? Can you explain it in a sentence? If the central idea of your film is not clear to you, how can it be to your audience? Does your story pass the “who cares” test? And do you know that story is NOT king, but character IS?
This course examines the nuts and bolts of feature film storytelling in a straightforward, accessible manner for everyone seeking to improve the resonance of their movies on the international animation market. The way to the audience’s wallet is through the heart. Is your story stuck in the head?
The course explores story loglines, genres, hooks, and twists with an eye towards a compelling stage for an appealing hero. The story-outline section addresses the foundation of a strong and flexible story “spine” and then assembles the full skeleton. In the story-boarding section, the course reviews the process for laying out an entire feature film from beginning to end by applying tried-and-true structural beats. The course concludes with an interactive audience brainstorming session and a pitch of the resulting story by presenter Kevin Geiger.
Returning to SIGGRAPH Asia by special request is “Keeping Your Money On The Screen & Off The Floor”, Saturday, December 19th from 1:45pm-5:30pm:
The global animation industry is as competitive as ever, with merciless markets, unforgiving audiences and miniscule profit margins. Yet independent and major productions alike seem content to burn through money (and people) as though they have resources to spare. Amazingly, this waste is not only pervasive, it is accepted. Not only is this irresponsible, it is unsustainable. It is also easily addressed through clear-minded assessment and informed action.
This course squarely addresses common production motivations and pitfalls. It examines the human factors and organizational considerations that are the foundation of all production (dys)function. It proceeds to cover workflow considerations and strategies, the establishment (and erosion) of balance, common heuristic assumptions and errors, and the importance of clarity and adaptation within the studio environment. A series of “Golden Rules” for production segues into the characteristics of a balanced pipeline and an overview of a flexible and robust nonlinear production pipeline. Finally, asset management is reviewed with an eye towards organization, flexibility, and transparency.
The presentation concludes with a micro/macro view on the production paradigm and synergistic orchestration of these parts into a practical yet transcendent whole.
See you in Japan!
Twitch Film has posted the development teaser for the Chinese animated feature film “Road to Home” (created by Magic Dumpling and Xing Xing Digital), along with a related interview of yours truly that touches upon the progress of both the film and the Chinese animation industry.
Here’s a snapshot from 2002 during the opening of the “Chicken Little” production pod in the Walt Disney Feature Animation “southside” building. That’s Director Mark Dindal on the left. On the right is Producer Randy Fullmer. They say that tone comes from the top, so you probably wouldn’t be surprised if I told you that the working environment on “Chicken Little” was pretty fun - even during some fairly stressful and volatile times at the Mouse, with a lot riding on the film.
A couple of years before my departure from the company, I made a list of every production executive and producer that I knew, and began inviting them to lunch to pick their brains. I eventually worked my way up to Walt Disney Studios Chairman Dick Cook, and in the process of more than two dozen meals received quite an education on the business of animated film production. Randy Fullmer was the first to accept my invitation, and he prepped our lunch with a few pages of typed notes that I take the liberty of sharing with you now, reprinted from November 29th, 2005. Here’s Randy on producing - speaking plainly, but with resonance:
Assemble the best dog-gone crew in the whole world.
Only hire nice people who don’t freak out when things get tough.
Stay calm even when you’re not.
Learn not to say everything that’s on your mind.
Stay positive.
Don’t think you have to be the smartest voice in the room.
Learn to ask simple story questions. Who should we care about and why? What does our main character want, and why can’t they get it? Is there a goal for our main character to achieve? Do we have action to watch? Is there something visual about this story that we can show? Is this movie entertaining, or does it just line up logically? Can you describe the movie to anyone in one or two sentences and make them want to see it?
Don’t get caught up in the minutia and forget the fundamental building blocks.
Ask questions and invite participation. At the same time, protect you and your director’s ability to calmly think. Don’t send out any message to anyone that you’re closed to new ideas. This is a hard one. There are many times when you just want to be left alone.
Making a movie is a marathon. Don’t get too up or too down.
Keep in mind that it’s your job to hand the investors/studio a great FINISHED movie on a date and for a price. Stay open to everyone’s idea on how to make the movie better, but handing the studio a brilliant half-finished movie when time has run out will not be appreciated.
Treat your superiors with respect. They have a tough job too. At times they may seem in your way. You must figure out ways to work with them or it will be horrible.
Public stock companies must give their honest assessment of how their company is doing every quarter. It’s the law. As a producer, you must do the same with your superiors. If they have any experience at all, they will know that it’s a difficult task to put together a movie. Avoiding all problems is impossible. The true measure is how you solve problems while keeping things moving in the right direction.
Constantly try to define what the issues are and what the problems are. Having a clear idea of what you’re trying to fix is critical. Most suggestions have their roots in trying to fix an unarticulated problem. If everyone can at least agree on what the problems are, then you have a fighting chance of solving them to everyone’s satisfaction.
Smile and acknowledge people. Everyone’s most basic work instinct is to be relevant to the task and to be acknowledged. Be a cheerleader, but don’t overdo it. People crave honesty and genuine support. Support when you’re just going “blah blah blah” means nothing.
Make sure that everyone has a clear job description. This will avoid many disputes.
90% of your job is human nature and instinct-based. If you have lined up the best dog-gone crew on the planet, then you don’t have to know everything yourself. In fact, it works better if you don’t. The biggest turnoff to a crew is to have its leader tell them exactly what to do.
Learn the lesson that “I assumed” is the worst thing that you can say.
Understand the potential for disaster with talent. They are called talent usually because there is only one of them. You need them. They are human beings and just want to be treated with respect. If you need to kiss their feet to get them to do their job, then you probably hired the wrong “talent”.
Don’t make enemies. These films are really difficult to make. You need all the good will you can muster.
The Producer’s job is all about the gray areas. Almost never do you get to make a decision that you’re 100% sure is right.
Try to get the same joy that a teacher would get from his or her students. No one drops by on a regular basis and says, “Hey, nice producing!” The joy you will receive is seeing the power of a team and seeing people grow to do things they and you could never have imagined.
Treat success and failure as the imposters that they are. Your job is to make a good movie.
Words to produce by. Thanks, Randy!
I had the honor and pleasure of hosting the fmx/09 “Focus on China” spotlight program, featuring animation companies from the Chinese mainland and Taiwan. Read all about it on the Animation Options press page.
I’ll be at the fmx/09 conference this coming week in Stuttgart, hosting the “Focus on China” program and participating in the following presentations. Don’t miss the premiere of the “Road to Home” development teaser, in glorious HD resolution.
“CULTURAL REVOLUTION, TAKE TWO” - 3pm, Meidinger Saal
When is a nation of more than 1.3 billion people a scrappy underdog? When it is China seeking to reclaim the animation legacy pioneered by the Wan Brothers in the early 20th century. Shanghaied by Mao Zedong’s Cultural Revolution and then crushed by the juggernaut of Japanese anime, Chinese animation has been reeling for decades in a punch-drunk, outsource-fueled haze of stifled creativity. Until now. A new generation of Chinese animation filmmakers - versed in influences from Chuck Jones to Tarkovsky - has entered the world stage, eager to reclaim lost creative territory with films that are in turn thrilling, hilarious, gorgeous and thoughtful.
“A LONG MARCH ON THE ROAD TO HOME” - 4pm, Meidinger Saal
Currently in development, “Road to Home” is China’s first environmentally-themed animated feature film. Set on the Qinghai plateau, the film portrays the unique cultural characteristics of Western China while addressing universal themes of identity and co-existence, taking the friendship of a young girl and a wolf cub as its throughline. Directed by Lijun Sun with creator Wen Feng from a screenplay by Yi Yan, “Road to Home” features painterly landscapes and engaging characters, and is representative of the new wave of original Chinese animated feature films.
“THE BEIJING FILM ACADEMY PRESENTS…” - 2pm, Raum Mannheim
The Beijing Film Academy is a world-renowned institution of cinematic education with cutting-edge facilities, comprehensive specialties, distinguished faculty, and innovative research & production. The Animation School of the Academy was one of the first nationally-accredited Animation Teaching and Research Bases in mainland China, descending from an animation specialty program established in 1952. Animation School Associate Professor Wen Feng and Guest Professor Kevin Geiger will discuss the current focus and future directions of the school, with recent examples of student and faculty work.
Hope to see you there.
Kevin Geiger
Beijing
Experts across the 3D industry reveal the tricks of the trade that can make all the difference when pitching a project to an agency, potential backer, broadcaster or movie studio - by Mark Ramshaw
The April 2009 issue of 3D World magazine features an article on project pitching that profiles the developing Chinese animated feature film, “Road to Home”, with observations on the process from Animation Options CEO Kevin Geiger. Full story here.
