The Mitchells vs. the Machines
- Original project “from the writer and director Mike Rianda”
- “Was just something that was kind of undeniable”
- Represents original creative work
Sparks And Lightning
Sparks & Lightning Strikes
Section titled “Sparks & Lightning Strikes”The Genesis of Ideas
Section titled “The Genesis of Ideas”- Universal experience: “Its exciting to come up with new ideas, isn’t it? Like, one minute you’re having a sandwich, and the next thing you know, a sudden strike of inspiration”
- Foundation principle: “Every animated feature, show, or short, starts with an idea. It kicks off at the beginning of our pipeline”
- Fleeting nature: “But an idea, well, it can be a very fleeting thing”
Critical Questions for Idea Development
Section titled “Critical Questions for Idea Development”- Will it hold up for “22 minutes, or 2 hours, or 2 decades?”
- “Who contributes to an idea, and at what point?”
- “How do you know if an idea, has the makings of a successful film?”
- From artistic perspective
- From business perspective
- “How does that early spark in your head, become a fully realized film?”
This module maps “the journey of an idea, as it travels through the concept, and pre-production phases of the animation pipeline”
Key Contributors to Idea Development
Section titled “Key Contributors to Idea Development”The transformation process involves multiple creative roles:
- Writers: Transform “a thought in your head, into words on a script”
- Story artists: Convert “words on a script, into a series of storyboards”
- Directors, producers, studio executives, legal minds: “All play a part in laying the groundwork, that determines what makes an idea, worth animating”
Sources of Great Stories
Section titled “Sources of Great Stories”- “Pre-existing book”
- “Re-imagining a series, or a movie that has come before it”
- “Could come out of nowhere, and be an original idea”
- Complete creative freedom
Animation’s Unique Advantage
Section titled “Animation’s Unique Advantage”“Animation is a medium that you can really do anything in, so when we decide what projects to do, we really want to take advantage of that”
Character and World Investment
Section titled “Character and World Investment”Character Development Focus
Section titled “Character Development Focus”- “We want to invest in characters that are relatable”
- “That we know that the audience will want to grow with, and go on this journey with”
World Building Approaches
Section titled “World Building Approaches”- Brand new worlds: “Totally imagined place, that you’ve never heard or seen before”
- Existing world variations: “It could be a take on our existing world”
- Example: “Hotel Transylvania takes place in the world we know, it’s just around the monsters that we may or may not know inhabit our world”
Project Examples and Creative Voice
Section titled “Project Examples and Creative Voice”Hotel Transylvania
- Example of existing world with twist
- Successful franchise building
Importance of Distinct Creative Voice
Section titled “Importance of Distinct Creative Voice”- Projects like “Mitchells vs. the Machines, or Hotel Transylvania, have a very, very distinct creative voice, and that’s everything we look for”
- “We need to remind ourselves that we brought on the filmmakers exactly for that reason”
Personal Connection and Persistence
Section titled “Personal Connection and Persistence”Development Timeline Reality
Section titled “Development Timeline Reality”- Real example: “It took Mike years to sell me idea, and then more years to make it”
- Engagement requirement: “So you want to be as engaged at the end as you were at the beginning”
- “Having that personal connection is huge”
Universal Human Connection
Section titled “Universal Human Connection”Breaking Down Barriers
Section titled “Breaking Down Barriers”- “Film really tears down boundaries and walls”
- “It doesn’t really matter whose story it is, or where the story is taking place”
- “Ultimately all those feelings that a character experiences through their journey, we all feel as human beings”
“It’s always at the end of the day, it’s always about emotion”
The Hook Factor
Section titled “The Hook Factor”Common pitching mistake example:
- Problem: “I’ve seen people who’ve kind of pitched me ideas, and said like, oh, it’s a movie about aliens”
- Solution needed: “What is the thing that’s going to hook you, or hook the audience”
- “Like if it’s someone who doesn’t know anything about aliens”
- “What is the thing that’s going to make you go like, oh my god, that’s so identifiable, I can see myself in these characters”
Validation Questions
Section titled “Validation Questions”The Necessity Test
Section titled “The Necessity Test”“If I can answer the question, why does this thing have to exist, does anyone need this, then I think the idea is worth it, its worthwhile”
Studio’s Role
Section titled “Studio’s Role”- “We really are just trying to find the best stories”
- “And find best storytellers to tell those stories”
- “Providing the resources, and just kind of getting out of the way, and letting the magic happen”
Quiz Question: What are examples of “intellectual property”?
Full Answer Options:
- An original idea in your head
- A song on a music streaming service
- A published book ✓
- An original idea written as a script
Ideas form the foundation of all animated projects, requiring personal connection, emotional resonance, and distinct creative voice to sustain multi-year development processes. Success depends on finding universal human themes that transcend specific concepts, with studios seeking stories that justify their existence through emotional necessity rather than surface-level concepts.