#film and TV development

[brandonseifert]

To make conversations around film/television a little easier for you, I’m going to give a kind of rough list of steps it takes to get something made in Hollywood. It’s my intention to use this explanation in future years, so you can gauge movement on various properties—without expecting too much. If I say “this property is in Phase One,” you’ll know what I mean. Often you’ll hear in the news “Such and such property is being developed for film!” You’ll get excited, then hear no news for years. That is because, despite what the news cycle (generating clicks with hype) would have you think, “Being developed for film” is one of the EARLY steps, not one of the later ones. Here is a rough list of events. This is simplified, and does not include many corner cases that experts could explain to you in better detail. This is also from the perspective of a rights holder, not a screenwriter, producer, or director—for whom the early steps are often different.

This is from a blog post by Brandon Sanderson, where he breaks down what's going on with all his various projects. I don't read his work, so the interesting part for me is that he includes one of the better breakdowns of the process an IP takes, from being pitched as a TV/streaming show or a film, to actually becoming a show or film. (Assuming it makes it over all the various hurtles.)

Honestly, I haven't seen so in-depth a breakdown before (though I'm sure there are others out there!). I wish I'd had this is 2020, when my work was getting a lot of Hollywood attention (which amounted to nothing).

[jessmalia]

JO AND MAL AES IN TV AND FILM: 80/? Doctor Who | Doomsday (2x13)

[cinemabuffoon]

If you look like this please hit me up

[danganronpa96]

I've wondered this for a bit – but what's the "time" for some of the characters?

For example, for characters like Bojack and Jesse, what season are they portrayed in the fic?

(This sounds like pure nonsense, but I'm genuinely curious.)

Don’t worry, I’ve been asked this a few times before. I’ve never really went into detail here though, so I don’t mind sharing all the “time”s I yoinked the cast from:

Hayasaka, Kurumada & Mai -> non-asunaro death game AU (these guys are a big exception lol)

Walter & Jesse -> around mid-season 2 (after episode 9)

Saiki & Kaidou -> since their anime is episodic (aka non-chronological), I don’t think a time is necessary. For clarity however, they are post season 2

Retsuko -> post season 3 (we started planning the fic before season 4 and 5 came out)

Natsuki & Yuri -> Post-established literature club (which includes the side stories from DDLC plus)

Hiroshi -> post Ao Oni 1

Brian -> post game, ‘Stay with me’ ending

Bojack -> mid-season 5 (post episode 6)

Latte -> post ‘Light the Beacons’ and ‘On Graduation Day’ stories (she doesn’t have much deep cookie run lore)

L -> post episode 24

Ena -> as the episodes have no continuity, a time period isn’t needed

[dinosaurwithablog]

I used my thin little phone to take a picture of a huge camera from the 50s. Ironic, huh? These phones are so much easier to use, but I find that the old fashioned camera that Della Reese is holding makes me happy. It's bulky and cumbersome, but it has character. I like them both, but I can put my phone in my pocket so I guess it wins. I still have a Pentax K1000. When I go buy film for it or get film developed, I get some strange looks. It's okay. Being a dinosaur, I get those looks a lot. 🦖 😁

[shima-draws]

Rewatching HTTYD 2 and RTTE made me realize how badly they fucked everyone over in HTTYD 3. Like. Did they just look at all their character development and go “Yeah, we can flush this down the drain”, or

[talesfromthecrypts]

If you in any way imply that AI should replace writers, animators, filmmakers, any type of artistic medium your entire blood line should be cursed for eternity with boils on your genitals 

[mrsmiroir]

i understand that a lot of the crows’ characterization in the show had to be cut for run time and adaptation reasons, but i find the take that it’s impossible to convey complex interiority in visual media and that much of this recharacterization (mischaracterization) “had” to be lost in adaptation to be lukewarm at best. it is possible, it just requires good writers. the problem is that the s&b writers are not good, at least when it comes to this show!

[filmcourage]

Hollywood Meetings, Selling A Show To Netflix, And Being Fired - Laverne McKinnon [FULL INTERVIEW]

Watch the video interview on YouTube here.

[bellflowwer]

💊 🚬 The Warmth DTIYS Challenge 🚬💊

The crew from ApeshipStudios have been working on this animation called The Warmth and honestly it looks so fucking good ❤️‍🔥 It's about a man dealing with an opioid addiction and the consequences of it. Honestly it's such a serious topic that we barely see discussed in animated pieces of media and I am here for it.

Recently they announced a DTIYS ( DrawThisInYourStyle ) challenge where we had to take a screenshot from the teaser trailer and recreate it in our style, playing with composition, colors and such. Obviously I had to do it🫡

I imagined this scene of him in his room with a bunch of neon colors coming from those LED lights everyone has in their rooms nowadays. I also thought that because he is high on some substance while mixing it with a cigarette, I wanted to give the impression that everything around him, because of whatever other substance he is on, feels off. Reason as to why I made the outside of his window pink.

Took a lot of inspiration from some shots from I Saw The TV Glow and Euphoria 🤭

Remember you can always check my instagram , twitter and bluesky for more ⭐️🙌🏾

Hope you all enjoy this one ❤️‍🔥❤️‍🔥

With love, Bellflowwer

[leithvit]

Cover for my personal project "Waving away"

[mifunebooty]

I feel bored. Stagnant. I must get on my driving lessons, drive, sign up for classes, read everything and go get my life since nobody else will give it to me

[jamestaylorswift]

I have complicated thoughts about atw10. I go back and forth on it - sometimes I hate it, sometimes I love it. but I think I always end up at those extremes because I can’t help but compare them.

first you have the og atw. perfect, no notes, whether or not you agree it’s her magnum opus it does deserve every bit of hype it gets because it’s a great fucking song. (the magnum opus conversation is intertwined with the lore about the song - that taylor wrote it all in a vent sesh with her band; that it wasn’t a single but became a fan favorite because it’s a great fucking song; that there’s A Scarf™️; that taylor recognized all this history and played it up; that by rerecording her music taylor gets the opportunity to carefully prune, as one would a bonsai tree, narratives and how her eras are remembered and how this is the one she’s cemented in history; that now the focus on a song’s lore has intentionally and unintentionally become integral to its endurance and popularity….) the original song has extreme dynamic peaks and valleys despite its nearly unwavering four chord progression. it has lines about autumn leaves and repeat phone calls so insightful that you marvel at how anyone could have been so talented as to string those precise words together. but its emotional punch is twofold: the details are just clear enough to make you recall one of your own experiences and just hazy enough to prevent the writer’s experience replacing yours. the whole thesis is about remembering all too well, forever. you can’t get rid of it. because you remember it. you remember it all. the song is a tour de force and taylor’s skillful manipulation of emotional/musical tension in this song is something that will be appreciated and studied for years to come.

then on the other hand you have atw10, which not only sounds and reads differently but could even be considered antithetical, or at least a foil, to the original song. the zeniths and nadirs are less pronounced and she expands the story with new verses largely interpreted to be about a toxic relationship with an age gap. the musical arrangement is more modern and features an expanded palette of instruments: tension and release comes from subtle harmonic differences, staccato background vocals, or a wild violin. the new verses - were they really part of the original song? or do they clearly betray the perspective of someone who’s 10 years older? the short film - it hammers home this exact expanded story and was admittedly written as a retrospective, with the insight that being 10 years removed from a toxic relationship provides. the ultimate effect is that atw10 is not about remembering it all because you can’t get rid of it. it’s about taylor remembering it all, even though she can finally get rid of it. the “it” is clearly her own experience (though this is not to say the atw10 story is not a relatable story or that it’s not a valuable story to tell or hear.) “I was there, I was there….” the memories and the pain all trail away with time. but, these memories are very clearly not yours, the listener’s. atw10 may be an expansion of the original all too well story, but this expansion does not simply intensify the same emotions from the original song—it explores a rather different emotional profile. musically and lyrically, and whether intentional or not, atw10 argues that the pain of remembering is dulled and even remedied with time.

and thus the ways that atw10 excels and fails are quite different than the ways the og atw does. whether one is “good” or “bad” depends what we value in a song, and more generally, why we enjoy the songs that we do and the extent to which we value an artist’s interpretation of their own experiences. have we been in toxic relationships and can relate to the specific story of atw10? are there traumas we can’t heal no matter how hard we try? are we moved by brash drums and isolated guitars or playful violins atop chords that chug on and on? does taylor swift’s word supplement or supplant our own connections with her songs?

I know that I personally would find atw10 less confusing if I stopped comparing it to its shorter relative. but the various lengths and mediums in which the all too well story is told make it seem destined that we’ll all be comparing the versions until the end of time. and yet just as there are shades of red for every possible intense emotion - burning, cherry, so scarlet, maroon - so are there reasons to love all too well. just as it will endure in the popular zeitgeist as one of taylor’s best, most famous, most impactful, most beloved songs, so too must all too well live on in every listener because of (and only because of) each and every one of us loving it for unique reasons.

[disneytva]

Disney Television Animation Merging Development and Current Units In One As Part Of Second Slate Disney’s Layoffs - Shows Will Continue Production.

Yesterday Day 2 of Disney’s second wave of layoffs has involved staff reduction in first-run syndication, unscripted/alternative as well as marketing and communications other part affected by this was Disney Television Animation by a small part.

According to DEADLINE it was announced that Disney Television Animation merged the current and development departments in to one unit, this led to the departure of a number of executives including Khaki Jones, Former SVP of Current Series (Adult Swim’s Space Ghost From Coast To Coast) and Elyse Findley Regulinski (Big City Greens, The Proud Family:Louder and Prouder, Primos) Former Director of Current Series their roles will now be replaced by Douglas Bensimon,Edward Mejia & Elizabeth Waybright Taylor for Disney Channel, Lisa Fragner for Disney+ and Diane Ikemiyashiro and Lori Mozilo with Disney Junior.

Animated Series,Films,Shorts and Special on Development,Current and Recently greenlight under NDA are unaffected and will resume production as usual.

Additionaly DEADLINE announced that the studio has around 1,200 half-hours of animated content in production for the company’s streaming and linear platforms.