http://accelerateanimation.

com/about/

Contents
CONTENT OUTLINE: ........................................................................................................................ 2
INITIAL IDEAS: ................................................................................................................................. 4
TARGET AUDIENCE: ............................................................................................................................ 6
MARKET COMPETITORS: ................................................................................................................ 9
PERSONAL REQUIREMENTS: ........................................................................................................ 14
PERSONNEL REQUIREMENTS: ...................................................................................................... 15
CAST AND CREW ........................................................................................................................... 16
BUDGET:........................................................................................................................................ 18
SCHEDULE: .................................................................................................................................... 19

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CONTENT OUTLINE:
Desolation has become the norm, replacing the once tranquil picket fences of suburbia with the filth
and carnage that was avoided. Flames engulf the buildings as their sky bound limbs reach to the sky
for redemption, their gaping doorways the entrances to Hell itself. Amidst the crackling silence, a
silence definable only by death, a car alarm rings out, alerting no oneleft to perish at the mercy of
the elements, not completely unlike its reanimated owner.
There was a saying, before civilisation regressed to a state past primitive, that some people just want
to watch the world burn. That statement is true, and that is how we first encounter Pigeuo, the twoheaded, sunglass wearing pigeon, and Bryan Wesson, but a mere, irradiated boy; two friends, as
unconventional as they may seem, sat on a bridge overlooking post-apocalyptic Wilpeppershire.
Discarded ginger beer bottles lay next to each of our protagonists, each empty save for the smallest
trickle of the beverage. Vehicles stand in a tangled mess behind them, wounded and broken but still
awaiting the moment that they are needed. With the sun setting over the city-both literally and
figuratively-Bryan breaks the all-enveloping quiet by noting how he will miss his tasty drink more than
the anything else, a statement which Pigeuo agrees with, before adorning it with further details. The
pair laugh, a sound so uncommon in the New Time that one struggles to comprehend it and instead
interprets it like a foreign language. A joyful, yet gut-wrenching noise.
These thoughts of the once so common cause the duo to reminisce and discuss their first meeting.
And so, a flashback ensues, transporting us away from the bridge and into a dilapidated back room of
a store, where an R.E.M album plays on a loop. Hidden by a desk, and unconscious on the floor, Bryan
stirs, his vision a blur.
A distorted figure stands over him, gradually coming into focus. We see that this is no ordinary person,
no creature of this realm, but a two headed pigeon with sunglasses adorning each face. One stares at
the other, briefly evaluating their opponent. The bird greets the child, using his name, indicating that
he knows him from somewhere. Terrified, and understandably so, the boy gropes for a weapon only
to discover a conveniently placed pistol.
Panicked, he points it at the bird, causing the creature to protest against this bold move. They argue,
trying to discover just what the other is, beyond the obvious. The bickering continues, making them
oblivious to all that surrounds them.
A passage of time goes by before they are interrupted by a loud bang. Startled, they become silent.
Bryans arm drops, his weapon no longer a threat. Pigeuos heads turn towards the doorway, and the
noise continues, albeit at a lower volume. Glancing at each other, the pair decide to move out and
investigate. Putting their tumultuous introduction behind them, they venture into the unknown.
Sneaking out the room, towards the source of the banging, they pass a number of strange items and
destroyed furnishings. The theme of destruction continues as they progress through the location,
implying that a catastrophic event has occurred.
They eventually surface in the front of the building, revealing the structure to be a store of some
description. Stood there is a creature from the deepest recesses of ones nightmares, a gargantuan
beast ravages the area afore them. With four-arms, faces protruding from its stomach and a morbidly
obese frame, it poses a formidable obstacle.

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With a sense of power, Bryan shoots him. Contrary to his initial belief, the bullet does nothing,
bouncing of the monsters gut. The boy screams, causing Pigeuo to squawk in fear. The high-pitched
frequency results in the mutants retreat, alerting our heroes to a weakness.
Utilising this knowledge, they use their squeaking tones to melt the creature into a bubbling pond of
matter by singing at their utmost ranges. The evil dissolved, the pair relaxuntil a scuttling sound
alerts them to a new threat. Emerging from behind a pile of rubble, an overly excited hermit
commends the actions of the duo. He stops short, as if he recognises Bryan from somewhere. This
pause is only momentary as the boy, shocked by this mans sudden appearance, shoots him.
After an exclamation, the unlikely allies crowd over the (seemingly) dead individual. They decide to
flee the scene, walking inconspicuously in the opposite direction. As they do this, the deceased stirs,
muttering his revenge and knowledge of Bryan.
We cut back to the present, resuming our residency at the bridge. This time, however, we look on
from a distance and see the protagonists as silhouettes. Bryan appears to be having a conversation
with a stuffed creaturePigeuo. In a later instalment, we discover that the bird was, in fact,
taxidermied prior to the fallout and is actuality a figment of the boys imagination, an indication of his
declining sanity. He laughs to himself, and tells a joke before the screen fades to black.
But why should the tales of our brave, plucky heroes be put into production with Accelerate
Animation? What makes this product worthy of distribution? The sheer uniqueness of it is a key factor;
there is nothing quite like this available.
Combining the humanity of Adventure
Time and Bobs Burgers with the
raucous escapades of Family Guy, we
have a warm yet outrageous chronicling
of the nuclear fallout and subsequent
apocalypse.
Furthermore, we do not have a Zombie
storyline in the conventional sense, but
mutants
and
humans
causing
(Pictured: Resident Evil 2) Resident Evil is praised for revolutionising devastation across the once populated
horror in games, and has served to inspire me when creating my work.
wastelands. The people have one, sole
purpose, according to Bryan; to harvest
Pigeuo for his genetics and create a
super-race of homo-sapiensInvincible,
formidable, immortal rulers of the New
Time. This is completely different to The
Walking Dead which bases its narrative
around survival and the lengths we will
resort to; our cast do not wish to fall
prey to the brutality present in the
world, but this is not our only focus.
(Pictured: Sunset Overdrive) Sunset Overdrives aesthetic is a
combination of my two favourite things-video games and comic booksso it seemed inevitable that it would help to inspire me.

This is intertwined with video game

sensibilities, with influence being
derived from the villains and landscapes of House of the Dead, Resident Evil, Sunset Overdrive and
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Fallout 4. These products helped me to envision how The Adventures of Pigeuo and Bryan would
playout stylistically, as well as the aesthetics of the characters and their introductions. As such, this is
an innovative concept which is not commonly seen in televised products; its inventive format could
generate popularity for the project and production company. In addition, it could serve as strong
foundation for developing an adult fan base and open the door to creating more shows/films for this
audience.

INITIAL IDEAS:

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In the early planning and research stages, I created mind-maps to help develop my early concepts and
provide me with options as to which idea I should put into production. I then distributed these with
an accompanying survey to my peers to discover which of the two was best, and to gain early
feedback.
Ultimately, there were several contributing factors which made me choose The Adventures of Pigeuo
and Bryan. Primarily, I wanted to make something that I would enjoy watching were I an audience
member; as mentioned previously, I wished to be inspired by and pay homage to my central interests
and loves: video games, cartoons, comic books and horror. As such, I made the storyline as madcap
yet (potentially) believable as possible. Moreover, there are as many allusions to mental disturbance
as there are to the conventions of brutal, violent landscape. This informs us that the main plot has its
basis in reality, with its embellishments suspended in an absurd and fictional universe.
The antithesis to my second plan, The Adventures of utilises light-hearted tones and action whereas
the other gradually builds in intensity; it takes time for it to explode and reach its precipice. From
looking at my past work, especially that of my previous stop-motion film, I could also identify a
recurring trend which made this and Idea two overly similar. Consequently, I chose to use a narrative
style and genre combination that I have not yet investigated. This, I knew, gave me a good opportunity
to create an opus unlike anything that I have designed before, and make it truly stand out.
Having worked with animation on previously, I was aware that I needed to have a plot that would
prove slightly challenging so that my abilities in the medium could progress. The set and character
development meet these criteria by forcing me to write a script/screenplay that does not cause the
piece to descend into abject stupidity in addition to improving my frame-rates and movement
techniques.
Perhaps more important
than my own opinion,
four
out
of
five
respondents from my
survey stated that their
preference was with idea
one, and not two. These
figures reiterated that
the first was substantially
more interesting, with a
stronger and broader
concept; there is more I
can accomplish, with
plenty of space for
development and new
inclusions. This being
unanimous
was
indicative of it not being
a close decision, more of a landslide victory.
Imperatively, and irrespective of which plot was being spoken about, each recipient believed that it
would be engaging to watch. This is undoubtedly reassuring-there is no point to creating something if
the audience is disinterested. The general consensus was that it was a different concept, notably
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because of the
inclusion of a twoheaded pigeon. I
am positive that
this, coupled with
the
strange,
obscure
adventures, will
give the product
momentum and
maintain interest.
By incorporating
the
opinion
regarding
idea
two, I will be able
to accommodate
as many viewers as possible. I will be doing this by making the characters relatable and the situations
strange.

TARGET AUDIENCE:
To gauge the target audience, I used my own observations and a focus group1 to attain an insight into
who the viewership is most likely to consist of.
AGE:
By observing the age ratings of animations that have been, and are currently, broadcast, I was able to
see that a large proportion of the shows that I watch are targeted at adults. King of the Hill, Beavis
and Butthead and Family Guy are all classified at fifteen years and over. This enables creators to
investigate a wider range of content with more complex and occasionally crude themes. By utilising
this diverse spectrum of possibilities, I do not have to rely on toilet humour but satire and parodies
of current affairs and people. This necessitates the audience to be at least sixteen as there is a risk
that they may not comprehend the situations being presented. An example of this is how South Park
mocks YouTube2. Typically, the viewers will
be past the stage of habitually watching
these videos hence giving them license to
find humour in the
exaggerated
personalities of these individuals and, in a
sense, how they used to admire these online
alter-egos.
My focus group agreed with this, with one
member stating that it would be sixteen and
seventeen year olds and up that would most
enjoy and best handle the graphic content.
Ultimately, they can process the potential for violence better than the younger individual as they are
less likely to be frightened or unsettled by the content. This was corroborated by the second speaker
1
2

https://www.youtube.com/watch?v=N-4AzsT5lTg
https://www.youtube.com/watch?v=uL5LUKJCG5c

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who stated that it appears to be child-friendly, at first glance, but soon transcends into a mature and
involved tale. Consequentially, I was able to envision how best to structure the piece and what styles
of horror and humour would be suitable in the context. The higher age boundary permits me to
incorporate fight scenes with increased gore, slightly stronger language and references to pop-culture
and so on. My primary aim is not to create an excessively grown-up film or exclude any demographic
but is appeals most to those conforming to these codes.
GENDER:
Although I did not consciously decide to have an
all-male cast, I believe that this will be reflected in
the audience members; less women will tune in
than men. Statistically, 56.6% of series regulars are
male3, suggesting that this choice was not as
uncommon as I expected it to be. Partnering this
with the dark, dry comedy will also increase the
number of men who tune in. Additionally, those of
this sex usually have a penchant for horror and
comedy, outnumbering females 11:10 and 2:1
respectively4. This disparity will not become an
issue in regards to the casting; an adolescent girl
will be hired to recreate a high-pitched, pubescent
voice. This is not unlike Tara
Strong voicing Ben in Ben 10 or
Nancy Cartwright playing Bart
Simpson in The Simpsons.
The focus group also agreed with
this deduction, noting that postapocalyptic stuff is generally
targeted at men as they are more inclined to be attracted to gruesome and graphic products as a
way of conveying their masculinity. Whilst it is helpful to know who will be making up the greatest
portion of the fan base, I have no desire to reject or alienate either gender through crassness or
sexism. Streamlined to resonate with those possessing the characteristics outlined in this document,
I have still utilised other preferences to make it as appealing to everyone as possible.
SOCIO-ECONOMIC GROUP:
With young adults being the prime audience members, their socio economic status will be reflective
of this. One of the interviewees said that Group E (students) would be the central viewers before
elaborating that these young people could potentially have parents who have paid for the channels
that The Adventures of Pigeuo and Bryan was broadcast on (something later suggested to be FOX) or
have access to any subscriptions. The age range also corresponds with current media trends; studies
have shown that young people watch approximately 2.1 hours of television a day. This is not an awfully
long period so the short episodes of my product will be able to fit into this window nicely. This
3

http://www.indiewire.com/article/breaking-down-gender-diversity-on-tv-just-how-many-women-are-onbroadcast-dramas-anyway-20151020
4
http://mypersonality.org/wiki/doku.php?id=movie_tastes_and_personality

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comment by the group is validated further when we learn that 38% download their programming,
with 60% proceeding to view it on a tablet, laptop or mobile phone5. This informs me that it should be
available on as many platforms as possible, as well as introducing the second recipients opinions.
Contrary to the first respondent, they believed that groups B, C2 and E would be inclined to view.
Since these will mostly be individuals who can afford the channels/additional services and devices, I
will broaden the target socio-economic group from only students so as to garner a good level of
interest; with the unparalleled surge in Netflixs popularity (it exceeds 75 million customers6), many
could discover this just through browsing. The relates to another mention by the same speaker in my
focus group; she claimed that the status who would tune in most frequently would have the time to
do so-they will not be restricted by their vocations, hence they are able to engage with the content
and platforms more thoroughly.
LIFESTYLE:
The Adventures of Pigeuo and Bryan will be both episodic and consecutive, with new developments
and information being attained in each instalment. As such, to gain the most from the program, it is
essential to watch regularly in some format, i.e. on the television or Video-On-Demand; this reflects
the necessity for the viewers to be in the socio-economic range B, C or E (students) so that they can
afford these platforms, as well as have the time to use them. Regarding ethnicity and sexual
orientation, both respondents noted that the audience would largely consist of heterosexual, white
British/Americans. This provided me with an insight as to how best to represent the characters;
although the main cast will possess these traits, they will not be used as plot devices. This is not say
that I will not feature more personalities as time progresses; I aim to include a plethora of attributes.
Based on response from a different survey that I conducted, it is possible to infer that a good
proportion of viewers will have at least some interest in video games. This was the aesthetic that I
aimed for; it was
my
goal
to
recreate the intimidation and
threat we feel when confronting a
Boss or the like. As mentioned
previously, these games are a
substantial inspiration for me, and
a potential lifestyle habit for the
audience.
Aware that the viewers will likely
be young and educated, I wish to
challenge the conventions of
programming typically targeted at
this demographic. Much like with
King of the Hill I want The
Adventures of Pigeuo and Bryans
heart and humanity to be what
makes it humorous, as well as how satirises the absurdity of everyday life7. Additionally, and
5

http://www.bbc.co.uk/news/education-35399658
http://www.theverge.com/2016/1/19/10790282/netflix-q4-2015-earnings
7
http://www.avclub.com/article/10-episodes-that-made-iking-of-the-hilli-one-of-th-99687
6

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furthering the belief that this is relevant to the gaming community, is the fact that three in four console
owners use their system to access non-gaming content at least once a week8, with 39% watching TV
on their device and an additional 13% on handheld consoles9. Adverts created for these platforms
could emphasise the links between my product and the computer culture.
LOCATION:
Knowing the socio-economic status of the probable target audience, we are able to infer that their
location will be suburban; they will largely be living in the areas just outside of the larger
towns/cities10. When we consider that the adults in the socio-economic ranges B-C2 will be earning
between (approximately) 47,000 and 29,000, post tax11, we can envisage them having a
comfortable domicile with older children (most of those in these categoriese will be established). At
the other end of the spectrum, and coinciding with the factors previously outlined, we have the
students who will likely to still be residing with their parents or guardians in the aforementioned
neighbourhoods. This informs us that to help the viewers emotionally resonate with the situations
portrayed in the show, the environments should be recognisable; destroyed variations of suburbia
should be recurrent locations. This will provide a degree of familiarity and realism that would be
unattainable were it only gated communities that were being included.

MARKET COMPETITORS:
Whilst there is nothing that is completely comparable to The Adventures of Pigeuo and Bryan, there
are a number of programs that mine shares qualities with. First and foremost, and as mentioned in
my focus group, The Walking Dead not only served as an inspiration, but is in competition with my
piece. It is essential to note that this and mine will be sharing the horror genre, have a similar target
audience and are both in the television format. In both, zombie-like creatures are the central narrative
components, and the core of every issue that occurs. Although the stop-motion technique aids in
making my work stand away from the crowd, The Walking Dead has a solid fan base, large budget and
is typically received well. This means that people may be cautious to watch a slightly obscure pastiche
of the genre and show with more light-hearted tendencies.
Before its resumption from the mid-season finale, 75 episodes had been released12, telling us that
there is a strong demand for new content and development. With an average of 12.5 episodes per
season, there is enough content to keep the viewers engaged, without overwhelming them with
excessive amounts of information. Similar to this, The Adventures of Pigeuo and Bryan will not exceed
ten instalments each series as it is preferable to conclude and leave the audience excited for more,
than boring them by pointlessly dragging it out. Additionally, its spin-off Fear the Walking Dead has
had been renewed for a third season, with the news being so popular that it was featured on the side

http://www.windowscentral.com/new-study-shows-consoles-xbox-one-lead-accessing-non-gaming-internetcontent
9
http://www.iabuk.net/news/33-million-uk-game-players
10
http://www.wikidifference.com/difference-between-urban-and-suburban/
11
http://www.mirror.co.uk/news/uk-news/britain-now-divided-seven-classes-1806186
12
http://www.independent.co.uk/arts-entertainment/tv/news/the-walking-dead-over-100-facts-about-theamc-show-you-probably-didnt-know-a6862721.html

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10
bar of Facebook.
This not only shows
how
we
can
investigate different
angles in the same
apocalyptic world,
but
opens
the
possibility
of
creating separate
events in the Pigeuo
and Bryan universe.
To

create
a
convincing
aesthetic,
the
creators
have
utilised
the
consequences of time on the Walkers. As such, they are designed in a manner which conveys their
degradation and increasingly pallid, decomposed forms13.
This informs us that the writers are formulating the
storylines with longevity in mind; as viewers, we are
evolving with the cast and sharing their nightmarish
situation. This is attractive to the audience as it gives some
plausibility to the impossible, whilst granting us a better
context to the consequences of the disaster; we can
comprehend that everything is continually effected by
time, as well as the virus. Greg Nicotero has stated how
much effort and consideration is put into the visual effects
as they must withstand the scrutiny of being freezeframed and being examined frame-by frame14.
At no point in the series do any of the characters use the
word zombie. This was a conscious decision by Robert Kirkman to create a world where there are no
products existing of this genre15. This separates it from other products including the undead in how
there is no inkling of explanation, or ounce of knowledge relating to this foe; there is no way to prepare
for the challenges presented by the collapse of society, or a definitive understanding of how to defeat
them. This is beneficial as if we are uncertain, our vulnerability is heightened, creating a tense and
frightening ordeal or the audience. The more pronounced level of danger afforded by the lack of
comprehension aids our engagement as we encounter new versions of the antagonist, and the
extremities that they can survive. For instance, we discover that burning does not substantially inhibit
their ability to continue living. The detachment achieved by withdrawing a single word proves
successful in creating an enigmatic atmosphere; with conventions being broken throughout the show,
we know little more than the cast. Our only advantage is knowing to shoot for the head, not who to
trust and how to continue living in a world ruled by Death. My own work will defy stereotypes by
13

http://www.ranker.com/list/walking-dead-trivia/mike-calendrillo?format=SLIDESHOW&page=6
http://www.digitaltrends.com/movies/greg-nicotero-interview-walking-dead-fx-special-effects/
15
http://whatculture.com/tv/25-facts-you-probably-didnt-know-about-the-walking-dead?page=2
14

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manipulating everyday scenarios into post-apocalyptic alternatives. This will grant a unique stance as
it conveys the maintenance of normality in the least average of situations.
The brutality and ruthlessness of the narratives help to secure a strong audience as it provides
exclusivity; this for adults and late teenagers, not the whole family. The kills are not tame, their graphic
nature pushing the boundaries of taste. It is a case of entertainment no longer being massaged to be
palatable but dedicated to showing the raw implications of its premise16. Consequentially, we can
explore the repercussions of an individuals passing, or the issues which arise because of a supply raid.
In turn, this exposes us to a sad, macabre authenticity. This morbid curiosity coupled with our affection
for the characters prevents us from turning a blind eye or assuming ignorance as we appropriate the
cast-become them-and realise that mankinds worst nightmare turns out not to be aliens or giant
insects but our own flesh and blood; neighbours, moms, dads, sons and daughters?17
The Walking Dead has broken records for FOX UK by attracting the greatest Monday night audience
that the channel has ever witnessed. The season six premiere had an average of 854,000 viewers at
nine Oclock and it is anticipated to have over two million consolidated views, based on past
performances18. With such high viewership, we can understand why the program is such as asset, as
well as how challenging it must be to compete with. Because of this, when it comes to airing The
Adventures of Pigeuo and Bryan, I will consider broadcasting directly, and on the same channel, so as
to provide light relief from the drama that has just been experienced.
Moreover, it portrays a thoughtful meditation on the difficulty of retaining ones humanity amid dire
circumstances19. The upkeep of morals and hope helps us to associate with the problems as we
ponder what we would do in their positionand whether we would behave differently. This will be a
heavy feature in my piece as we realise that Bryan is losing his sanity by hallucinating Pigeuo, alongside
having to fight undead mutants and deal with a near deadly case of mistaken identity by shooting the
mysterious hermit (who is, in fact, a figure from his past). In both, we are left to look on at the
remnants of civilisation and the mentality of our fellow man.
Tim Burton, on the other hand, is renowned for his gothic, stop-motion films. Although not a television
show like The Adventures of Pigeuo and Bryan he is competition in how audiences may be inclined to
spend money to see a reputable
directors work over a newly released
program. This is as well as similarities
arising in regards to the genre and
style.
Burtons
movies
are
highly
20
profitable
and perform solidly
during their theatrical runs. Coupling
this with the breadth of his body of
work tells us that he has a wealth of
16

http://time.com/3506057/why-walking-dead-so-popular-ratings/
http://uproxx.com/tv/walking-dead-popular-zombies-show/
18
http://www.digitalspy.com/tv/the-walking-dead/news/a673439/uk-tv-ratings-the-walking-dead-breaks-foxuk-records-with-over-800000-viewers/
19
http://variety.com/2014/tv/news/how-the-walking-dead-breaks-every-rule-we-know-about-tv-hits1201089433/
20
http://www.boxofficemojo.com/genres/chart/?id=animationstop.htm
17

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12
experience and undeniable talent. Furthering this are his 58 award nominations, and 20 wins21. These
are inclusive of Oscars, BAFTAs, and Saturn awards, amongst others22. This proficiency has enabled
him to gain the respect of filmmaker and fans globally and become one of the most respected (and
revolutionary) directors of all time. Whilst his recognisable creations and skill give him an immediate
advantage over my work, mine will be targeted at a different age group and sex, meaning we will not
be competing over these categories.
Having begun life as a poem written in
1982, the concept for The Nightmare
Before Christmas was initially
conceived as being a television
special23 whilst Burton was working as
an animator for Disney. It took over 20
years of pitching and revising before it
finally
production24;
the
aforementioned
company
had
previously turned it down on the basis
of being too weird25. This demonstrates how difficult it is to succeed in gaining the funding and
support of a company and reiterates the importance of designing a unique idea, and staying with it;
Pigeuo and Bryan is something that separates me from everyone else, whilst re-imagining the genres
I am working innot unlike the previous example.
Frankenweenie used 24 frames per second26 to recreate the smooth, fluid qualities reminiscent of live
action. To achieve this, 30 animators worked individually of each other in separate, dark booths to
execute the desired scene. On average, this created five seconds of footage a week27-he has stated
that the process is often be soul destroyingBut seeing it come to life is what gives any animator their
energy and the will to go on living. Moreover, 200 varying puppets were used, with 18 of these solely
being for Victor28. This proves the work that must go into any single film, and the importance of the
medium; the ability to convey emotion in such an innocent and pure form is gained through the
publics perception of animation being for children, in turn, giving us the perfect opportunity to
manipulate their preconceived notions into a more sinister piece, much like Burton has done.
In direct contrast to Frankenweenie which evokes tender recollections of lost pets with its careful
actions and frame rate, The Nightmare Before Christmas consisted of 12-FPS, with the design team
working with their non-dominant hands as a means of achieving a twisted aesthetic29. As such, the
film is jerkier and redolent of fragmented nightmares and incompleteness. With both of these being
notions that are investigated in the movie, it can only be positive that these feelings seemingly
21

http://www.imdb.com/name/nm0000318/awards
http://www.famousfix.com/topic/tim-burton/awards
23
http://mentalfloss.com/article/60723/21-things-you-didnt-know-about-nightmare-christmas
24
http://filmschoolrejects.com/features/23-things-we-learned-from-the-nightmare-before-christmascommentary.php
25
http://www.buzzfeed.com/briangalindo/18-things-you-probably-didnt-know-about-the-nightmarebefore#.xvb61bRRnX
26
http://www.ibtimes.co.uk/frankenweenie-tim-burton-sparky-corpse-bride-395138
27
http://www.telegraph.co.uk/culture/film/london-film-festival/9594681/Tim-Burton-on-Frankenweenie-thetechnical-aspect-of-animation-is-soul-destroying.html
28
https://mydisneycloud.com/2012/11/09/frankenweenies-13-electrifying-facts/
29
https://www.lomography.com/magazine/124654-stop-motion-animation-the-nightmare-before-christmas
22

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+44 (0)7905 742 319

13
transcend the boundaries imposed by the divergences
of media and actuality. This is something that I seek to
replicate in my own project as it would give me the
scope to convey the fact that there is a missing element
in Bryans life, and his confusion at this new world that
he is forced to contend with-not unlike Jack Skellington.
The disparity of the colouring in The Corpse Bride helps
to extend its meaning in a more casual manner. Where
the Land of the Living is monochromatic and bland,
whereas the Land of the Dead is bright and vibrant30, a mardi-gras for the deceased. This is
incorporative of the thought that we must sometimes lose everything which constitutes the very fabric
of our being to find true happiness and meaning. By using a colour scheme which contrasts with our
preconceptions of a situation in my piece, I am directly competing with one of Burtons signature
techniques. Like The Corpse Bride, mine is, when you read between the lines, tale of optimism31 and
I need to distance myself from these proven styles and modes of thinking.
With a running time of one hour and forty minutes, Coraline is the longest stop-motion film to date,
taking 18 months of production32. This conveys the scale of the product and how much time and
dedication it takes to make these projects as good as they can be. Further demonstrating this effort is
the number of Easter-Eggs and hidden details that can be uncovered. This is indicative of its depth and
how we cannot only believe what we see at face value33. Mr. Bobinsky, for example, wears the Russian
Hero Medal for Service at the Chernobyl Nuclear Disaster on April 26, 1986. This could be the rationale
for his odd complexion and peculiar mannerisms. I would like to explore these subtleties myself as a
method of better explaining the situation to those willing to delve for these secrets.
By using replacement animation whereby where one
stop motion puppet face is progressively swapped for
another slightly different expression with the needed
smile, frown, or appropriate eyebrow position34 an
emotional connection is forged between the audience
and the characters35. This process is so advanced and
complex that I could not begin to replicate it. I will
instead compensate by ensuring that I have a solid plot
and a beautiful yet quirky aesthetic.
Between the works of Tim Burton and The Walking
Dead, I am challenged to create something that is utterly unique and stands out. As such, I will draw
on themes of morality and the grapples with dehumanisation in a way that is somewhat whimsical,
darkly humorous and different to any existing ideologies that we may have. I will also consider my use
of colours and lighting; the landscape could be dull and conventionally apocalyptic, like The Walking
Dead, but the characters vivid and vibrant as they finally learn how to live. Aside from this, I now

30

http://www.awn.com/vfxworld/corpse-bride-stop-motion-goes-digital
http://www.moving-picture.com/film/filmography/corpse-bride
32
http://www.digititles.com/animation/coraline-2009/gossip
33
http://www.imdb.com/title/tt0327597/trivia
34
http://www.cgsociety.org/CGSFeatures/CGSFeatureSpecial/custom_story/4924&page=1
35
http://www.awn.com/animationworld/advanced-art-stop-motion-animation-building-puppets-part-4
31

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14
recognise the necessity of costumes-they irrefutably contribute to how iconic and memorable a cast
member is, i.e. Jack Skellingtons pinstripe suit or Carl Grimes cowboy hat. In other words, I want
certain fashion items to remind the viewer of Pigeuo and Bryan outside of the television context.

PERSONAL REQUIREMENTS:
ISSUE:
Travelling: To reach the filming location, I will
cycle (good weather depending) or catch the bus.
My actors will have to catch the bus/college
coach to reach the voice-recording studio.

EXPENSE:
My annual bus pass covers me for travelling to the
recording location, and the voice-recording
studio. My actor who is travelling from Reading
will require a 4.3036 day pass, and the other
actor will be catching pre-arranged college
transport.
Food Expenses: Actors will be required to bring My lunch will be purchased from Tescos using
their own food when recording the voices. I will the 3 meal-deal37. The water will cost 1.40 from
have to purchase my own lunch. Water will be the same store38.
provided for the actors during the recording.
Accommodation: Accommodation is not N/A
required as personnel can travel each day that
they are required.
Props Expenses: As I am re-working a previous The wood costs 6.99 per sheet meaning that I
set, there is no cost in this respect. I will have to will need to spend 13.98 in this area39. The
purchase wood for the bridge and furnishings of mannequin costs 5.0040, and the Play-Doh is
the rooms, as well as a wooden mannequin, Play- 6.4941. The fabric pack cost 28.74, including
Doh for Pigeuo, and fabric for any outfits.
VAT42.

36

https://tickets.arrivabus.co.uk/south-east/reading/?_ga=1.181751591.1844591766.1461831165
http://www.dailymail.co.uk/femail/food/article-2948864/Ten-healthy-supermarket-lunch-deals-5-costcutting-tips-save-1-300-year.html
38
http://www.tesco.com/groceries/product/details/?id=254301998
39
http://www.wickes.co.uk/Wickes-General-Purpose-Hardboard-3x1220x2440mm/p/110107
40
http://www.hobbycraft.co.uk/wooden-artists-mannequin/566722-1000
41
http://www.argos.co.uk/static/Product/partNumber/9287879.htm
42
http://www.tts-group.co.uk/assorted-fancy-fabric-pieces-15pk/1000268.html
37

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15

PERSONNEL REQUIREMENTS:

Whilst I have hired two actors to play the roles of Pigeuo and Bryan, I will be fulfilling the remaining
jobs myself. I decided this for a number of reasons. Primarily, I know that I can work effectively on my
own, and can ensure that everything is up to the standard that I want it to be. Likewise, it will limit my
reliance on others so that the production does not fall behind if any key crew members cannot attend.
Additionally, it minimises the expenditure as there will be fewer people to pay; by not hiring
unnecessary extra staff, some of the budget is still available for any unanticipated costs or issues.

London & Derby

Registered Address: 37 Calvert Street, Derby DE1 2RQ
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16

CAST AND CREW

ROLE
BRYAN WESSON

PIGEUO

MUTANT
CREATURE

MEMBER OF CREW
KELERA NAYACAKALOU:

TO DO:

RECORD VOCALS FOR

YOUR ROLE OF BRYAN
CONTACT
NUMBER: WESSON.
AS YOUR
074*****776
CHARACTER WILL BE
CONTACT
E-MAIL: HEAVILY INTERACTING
9***02@henleycol.ac.uk
WITH
THAT
OF
PIGEUO, YOU WILL BE
IN THE SAME BOOTH
AS JESSICA-MEGAN.
WHEN
NECESSARY,
YOU WILL RECORD IN A
CONVERSATIONALIST
MANNER TO CONVEY
THE
EASE
AND
FRIENDSHIP
THE
CHARACTERS
HAVE
WITH EACH OTHER.
JESSICA-MEGAN COLLINS:
RECORD VOCALS FOR
YOUR
ROLE
OF
CONTACT
NUMBER: PIGEUO. AS YOUR
074*****996
CHARACTER WILL BE
CONTACT E-MAIL:
HEAVILY INTERACTING
9***48@henleycol.ac.uk
WITH THAT OF BRYAN
YOU WILL BE IN THE
SAME BOOTH AS
KELERA.
WHEN
NECESSARY, YOU WILL
RECORD
IN
A
CONVERSATIONALIST
MANNER TO CONVEY
THE
EASE
AND
FRIENDSHIP
THE
CHARACTERS
HAVE
WITH EACH OTHER.
GEORGIA SCANNELL:
RECORD VOCALS FOR
THE ADVENTURES OF
CONTACT NUMBER:
PIGEUO AND BRYAN.
079*****992
AS THE ANTAGONIST,
CONTACT E-MAIL:
YOU WILL CREATE THE
9***43@henleycol.ac.uk
GUTTURAL, INHUMAN
NOISES THE CREATURE
MAKES.

WHEN/WHERE
REQUIRED
IN
THE
RECORDING
STUDIO
AT
ROTHERFIELD
ON
TUESDAY
24TH MAY, 2016.
RECORDING
WILL START AT
9:00 AM AND
LAST
FOR
APPROXIMATELY
ONE HOUR.

IN
THE
RECORDING
STUDIO
AT
ROTHERFIELD
ON
TUESDAY
TH
24 MAY, 2016.
RECORDING
WILL START AT
9:00 AM AND
LAST
FOR
APPROXIMATELY
ONE HOUR.

IN
THE
RECORDING
STUDIO
AT
ROTHERFIELD
ON
TUESDAY
TH
24 MAY, 2016.
RECORDING
WILL START AT
10:00 AM AND
LAST
FOR
APPROXIMATELY
20 MINUTES.

London & Derby

Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319

17

The actors playing

Pigeuo and Bryan
will cost 188.00
per hour meaning
the total cost for
these
two
is
376.0043.
The
individual playing
the
mutant
creature will cost
120.00, giving a
total expense of
496.00.

43

http://www.thevoicerealm.co.uk/voice-over-rates.php#

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18

BUDGET:
To accommodate for me running over schedule and having to change to my contingency plan at any
point, I will hire the equipment for two weeks so I am covered if I am unfortunate enough to
experience any delays or problems.
ITEM
EOS 1200D

COST PER DAY/PER ITEM

DSLR 22.00

Canon
camera
Manfrotto Advanced Fluid
Tripod
Joker Bug 800 Watt lighting kit.
Actors (Two leads, one
supporting)

TOTAL COST
308.00 for the two weeks.
44

154.0045 for the two weeks.

11.00

90.00
(Per-Hour)
Lead Actors: 188.00
each/376.00 for both.
Supporting: 120.00.
Location (As this is a relatives N/A
attic, I will not be charged for
its use and I will be using the
college studio to record sound)
Travelling
4.30 for a day pass for one of
my actors.
Accommodation
N/A
Food
3.00 a day for my own lunch.
1.40 for a pack of water for
the voice recording.

540.0046 for the two weeks.

496.00 for the three required
actors for an hour.

Props

54.21

Wood: 6.99 a sheet/13.98

for two.
Wooden mannequin: 5.00
Play-Doh: 6.49
Fabric Pack: 28.74, inc. VAT

N/A

4.30
N/A
43.40

TOTAL COST: 1599.91

44

http://www.hireacamera.com/en-gb/products/HAC00-01213-eos-1200d/
http://www.hireacamera.com/en-gb/products/HAC00-00242-advanced-fluid-tripod/
46
http://www.greenkit.london/product/joker-800w-kit
45

London & Derby

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+44 (0)7905 742 319

19

SCHEDULE:

WEEK:
18th
APRIL

25th
APRIL

2nd
MAY

MONDAY

TUESDAY

WEDNESDAY

FREE
PERIOD

CONSTRAINTS (COST,
PERSONAL ETC.)

FREE STUDY

FREE
PERIOD

MARKET RESEARCH
(AUDIENCE/MARKET/COM
PETITION)

FREE STUDY

THURSDAY

FRIDAY

LESSON:
MARKET
COMPETITI
ON
TIMESCALE
S/PRODUC
TION
SCHEDULES

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD
REHEARSE
AND
COMPLETE
PITCH
REHEARSE
AND
COMPLETE
PITCH

FREE
PERIOD

PROPOSAL/PITCH FROM
RESEARCH

FREE STUDY

FREE
PERIOD

PROPOSAL/PITCH FROM
RESEARCH

FREE STUDY

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

FREE
PERIOD

PITCHES

FREE STUDY

PITCHES

FREE
PERIOD

PITCHES

FREE STUDY

PITCHES
(MINE @
10:30)

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

ORGANISE
CREW

FREE PERIOD
PRIMARY/SEC
ONDARY
RESEARCH
PRIMARY/SEC
ONDARY
RESEARCH
REHEARSE/CO
MPLETE/UPLO
AD PITCH

FREE PERIOD
REHEARSE/CO
MPLETE/UPLO
AD PITCH
REHEARSE/CO
MPLETE/UPLO
AD PITCH
UPLOAD
FILMED
PRESENTATIO
N
FREE PERIOD
UPDATE
DIARIES/ONEON-ONE
UPDATE
DIARIES/ONEON-ONE

London & Derby

Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319

20

9th
MAY

16th
MAY

23rd
MAY

FREE
PERIOD

PRE-PRODUCTION

FREE STUDY

FREE
PERIOD

PRE-PRODUCTION

FREE STUDY

EXHIBITION

FREE PERIOD

FREE STUDY

EXHIBITION

FREE PERIOD

FREE STUDY

FREE
PERIOD

FILMING (SET WILL BE IN

ATTIC)

FREE STUDY

FREE
PERIOD

FILMING (SET WILL BE IN

ATTIC)

FREE STUDY

EXHIBITION

FILMING (SET WILL BE IN

ATTIC)

FREE STUDY

EXHIBITION

FILMING (SET WILL BE IN

ATTIC)

FREE STUDY

RECORDING
KELERA'S
PROJECT
9:00AM TO
11:55
RECORDING
KELERA'S
PROJECT
9:00AM TO
11:55

RECORD SPEECH IN THE

RECORDING STUDIO WITH
JESS AND KELERA (FROM
9:00 AM TO 10:20 AM
APPROX
RECORD SPEECH IN THE
RECORDING STUDIO WITH
JESS AND KELERA (FROM
9:00 AM TO 10:20 AM
APPROX

EXHIBITION

COMPLETE
FILMING/EDITING

FREE STUDY

EXHIBITION

COMPLETE
FILMING/EDITING

FREE STUDY

HALF TERM

HALF TERM

HALF TERM

HALF TERM

30th
MAY

PREPRODUCTI
ON
PREPRODUCTI
ON
FREE
PERIOD
FREE
PERIOD
FILMING
(SET WILL
BE IN
ATTIC)
FILMING
(SET WILL
BE IN
ATTIC)
FILMING
(SET WILL
BE IN
ATTIC)
FILMING
(SET WILL
BE IN
ATTIC)

PREPRODUCTION
FREE PERIOD
PREPRODUCTION
PREPRODUCTION
FILMING (SET
WILL BE IN
ATTIC)
FILMING (SET
WILL BE IN
ATTIC)
FILMING (SET
WILL BE IN
ATTIC)
FILMING (SET
WILL BE IN
ATTIC)

FREE STUDY

COMPLETE
FILMING/E
DITING

COMPLETE
FILMING/EDITI
NG

FREE STUDY

COMPLETE
FILMING/E
DITING

COMPLETE
FILMING/EDITI
NG

COMPLETE
FILMING/E
DITING
COMPLETE
FILMING/E
DITING

COMPLETE
FILMING/EDITI
NG
COMPLETE
FILMING/EDITI
NG

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

HALF TERM

London & Derby

Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319

21

4
6th
JUNE

1
2

HALF TERM
FREE
PERIOD
FREE
PERIOD

HALF TERM

HALF TERM

IMPROVEMENTS

FREE STUDY

IMPROVEMENTS

FREE STUDY

EXHIBITION

FREE PERIOD

FREE STUDY

EXHIBITION

FREE PERIOD

FREE STUDY

HALF TERM

HALF TERM

IMPROVEM
ENTS
IMPROVEM
ENTS
FREE
PERIOD
FREE
PERIOD

IMPROVEMEN
TS

FREE STUDY
13th
JUNE

20th
JUNE

FREE STUDY

FREE STUDY

FREE STUDY

FREE STUDY

EXHIBITION
RUNS

EXHIBITION RUNS

EXHIBITION
RUNS

EXHIBITIO
N RUNS

EXHIBITION
RUNS

EXHIBITION RUNS

EXHIBITION
RUNS

EXHIBITIO
N RUNS

EXHIBITION
RUNS

EXHIBITION RUNS

EXHIBITION
RUNS

EXHIBITIO
N RUNS

EXHIBITION
RUNS

EXHIBITION RUNS

EXHIBITION
RUNS

EXHIBITIO
N RUNS

EXHIBITION
SHOWING
FOR
PARENTS

FREE PERIOD
IMPROVEMEN
TS
IMPROVEMEN
TS
FINAL
DEADLINE!!!!!
(10TH)

FINAL DAY OF
EXHIBITION/C
OURSE
FINAL DAY OF
EXHIBITION/C
OURSE
FINAL DAY OF
EXHIBITION/C
OURSE
FINAL DAY OF
EXHIBITION/C
OURSE
FINAL DAY OF
EXHIBITION/C
OURSE

London & Derby

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22

London & Derby

Registered Address: 37 Calvert Street, Derby DE1 2RQ
+44 (0)7905 742 319