Animation : Agents Who Represent Animated Feature Writers? by Jackie Gibbons

Hi Jakie, look into Chatrone LLC

Wow I'm in the same boat, thanks Julie!

I am also looking to promote my animated screenplay as well! I'm not sure if I should look for an agent or just start putting out my query letters to producers, I am so glad we have this resource to learn from people in the stage of screenwriting ( get it? :) stage?) as I'm in!

Network with Daniel Kendrick here and see if he can point you in the right direction!

Thanks Julie!

Thanks, Julie. Have already done that.

Greetings to everyone who has posted here. It's really fascinating! I watched Big Hero 6 over the weekend and I've decided to take my script, Black knight and the Dragon, from an animation angle. The medieval fantasy story about a boy and his dragon pet that dies, trying to convince mankind its kind can be friends with humans. I think it would make a great movie if animated and I wish I could be assisted with info on who to meet to discuss the script with. Info on animation studios, producers seeking such material or anyone who wishes to acquire such script. Such info will be much appreciated. Thanks so much!

When your script is ready to show, the Gotham Group and Natural Talent are two of the "go-to" animation specialists in LA.

Thanks Regina! Are they agents or producers for animation features?

Gotham = manager/producer. Natural Talent = agents.

Hi Jackie, Sounds like we are in the same boat. After writing 8 non-animated scripts, I had an idea for animation that I sat on for years because I had heard it's nearly impossible to sell animated scripts. But I ended up writing it and doing well in contests. Let me know how you do with yours. I have had a couple of requests for the script after sending out queries, so we will see...

Hey guys, selling an original animated feature is harder, relatively speaking. Why? Because not every studio regularly produces animation. Those that do regularly produce animation might "develop internally" and not buy from the outside. For example, Disney Feature Animation develops internally. They grow new projects by taking internal pitches from their artists who are already in the Disney family. They don't really solicit and buy material that comes from outside the family. Same with Pixar. Homegrown internally. Is there an exception to every rule? Probably, but the typical process is what I just described. The number of animated feature releases is also very different than the number of live action releases. Studio animation typically requires a very high budget. Thus, the numbers game is different from live action. The studio buyers list is smaller, and the odds are tougher.

This is another example of why working with agent, manager, producers, and consultants who are actively in the market is a good idea. A random script consultant with no market ties would not be able to break it down so clearly. (This comment is a bit off topic, but we're discussing it in multiple threads in the Lounge.)

This news bums me out. I am so proud of my animated features as I'm sure we all are. I hate that it seems so exclusive because talent could be lost if studios don't expand their horizons. I would give my last dollar to pitch to Disney Feature Animation but I guess I have to start with an animated series on the Disney Channel to get "in the door." I am thinking of sending a pitch to the MIA Animation Festival where the finalist can pitch their series to the Disney Channel or Cartoon Network executives. Any and all advice would be appreciated!

@Dawn, that's a long conversation. I'm only going to address the "expand their horizons" part. In short, animated features require a different kind of vision, technical skill, and wherewithal than live action. Disney and Pixar believe that to do elite-level feature animation, they are best off when working with a visionary filmmaker like Brad Bird or John Lasseter steering the ship. Think of it this way, in animation, every single shot is a "VFX shot," created from thin air, part of a long production pipeline, with hundreds of animation artists involved. You can go shoot a live action scene with a lot less work and prep. Not to belittle live action, but you can just round up a camera and some actors. I'm being hyperbolic. Whereas, animation is truly created from no physical base, and that requires a different kind of visionary. I can't blame Pixar for feeling more confident when working with their family members who grew up in their system. And the quality of their movies is proof that it works for them.

Story development in animation is a quite different from live action. I was a studio exec on two animated features at Universal, so I'm not just BSing you.

And there are still ways to get noticed. But accessing Pixar and Disney Feature Ani require different approaches than the norm.

Great point Regina. I think I love animation so much because it is such a tedious and beautiful process and I respect them for being so selective. I heard that the guy who had the idea for Inside Out worked for Pixar since Finding Nemo! I just know that I am ready and willing to do whatever it takes to get my work noticed,even I go through the back door or the basement...no matter how long it takes. #disneyorbust #onedeterminedsista #shebelievedshecouldsoshedid :) :) :)

I've been wondering about this for ages myself. Thanks for posting the question. I work mostly in animation but I've never tried to pitch it to anyone simply because of what was said before--studios who do animation very rarely buy anything from outside sources. That's the reason I'm trying to do as much of my own productions myself as I can. I'm glad there are some resources out there, though. -GRB

@Adeboye, a dragon-focused animation movie would be tough right now. HOW TO TRAIN YOUR DRAGON continues to loom large with studios and brand/strategic partners. Similarly, ICE AGE continues to loom large, and you'd have a hard time selling another animated film set in the Ice Age.

Post the script on Talentville to solicit multiple reviews for honing the script. If the script does well then write a 4 to 6 minute pitch and hook up with the Happy Writers crew on this site to get notifications of agents/managers/studios who might be interested in your script. - John Tupper

I should also add that feature animation is typically less "director for hire" than live action. Which is another reason that the most successful animation studios typically prefer to develop internally with their filmmakers who are either on staff or in the family.

if you would like too share a trailer of your animation production contact me via email: movietalkshow@gmail.com My name is Lesley Gonzalez I am located in NYC

Hi Lesley! I don't have a trailer of my work just yet. Are you interested in pitches or treatments for animation products?

Sure, send via email: movietalkshow@gmail.com

A little late to this conversation (Hi, Dawn!). I've had some success with a WWII thriller/dark comedy (definitely for animation), called A WHISKER PAST MIDNIGHT, and would love to get it in front of the right people. Long sad story about almost getting to Sweden to talk co-production, hoping for a happy ending! https://www.stage32.com/blog/Winners-Announced-European-Co-Production-Ma...

I'm pretty late to this conversation I can see. I do have an animation feature recently completed and titled: Karate Chicken. @Regina Lee your input explains a whole lot. Thanks a bunch. What then happens to my animated feature?

Hello I’m new but I would like to speak with Jackie .

I would like to speak with a agent who will check out my work.