A Quote by Alex Hirsch
When you're doing an animated series, you tend to pitch storyboards. You write a script and then you draw a comic version of that script and put it up on big boards, and then you pitch it to a big room of executives and writers.
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After I write a sequence, I just open the script and then sit at the piano keyboard and "play" the script. (And because I also draw and paint, sometimes I sketch out the action as well.)
All directors make films in individual ways. But the classical kind of view of filmmaking is that you have a script, and it's very linear. There's a script, then you're going to shoot the script ,and then you cut that, and then that's the end of the film. And that's never really been how I've seen it.
The way we work at Pixar is we write the script, but then we quickly move on into story reel, which is basically like a comic-book version of the film. And then we do our own dialogue and music and sound effects, all in an effort to be able to basically sit in the theater and watch the movie before we shoot it, essentially.
I do loads of pitch writing as well, where you write a pop song and then pitch it to DJs who can then work with the song, and sometimes they keep your vocal on it. It's just good to be involved in different things.
I've never had to pitch a movie to a studio. I usually just let people read the script, then I cast it. I always think pitching is for baseball.
I don't just write a script, and then someone takes it away and builds a game. I am continually getting input in order to create a big suspension field to hold the gameplay together so that the gamers aren't doing arbitrary tasks, so that they are doing things that seem meaningful.
Well, I've been a big fan of comic books since I was a little kid. In fact, I used to write and draw my own comic books when I was on the old Lost in Space series.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch.
I, of course, wanted to do something with Drew Barrymore. Please. So we were reading scripts back and forth and then we found this script, Fever Pitch...
If the pitch starts with a sob story, I'm out. If the pitch talks about personal issues, I'm out. If the pitch starts off with how big the market opportunity is, I'm out. If the pitch tells me what is unique about the product, how it can make a profit, and it's an area where I have expertise, I will read on.
I used to go into rooms of older executives and try to pitch talk show ideas and when I was writing as a journalist I would pitch ideas for my articles and I definitely understand that excitement of a pitch and what that is to be young and a woman and trying to make your voice heard.
I end up improvising in almost everything to some degree, 'cause it's often necessary on movies. The script is one thing, and it's this kind of theory of what you're going to do, and then you get there on the day and you realize, "Oh, the script is not appropriate to this room, the door's over here."
First, you need to write the script, re-work on lots of things. First draft, second draft, once the final script is ready then you visualize which actors fits the role in that the particular script they've written.
That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.
There's a script, then you're going to shoot the script and then you cut that and then that's the end of the film. And that's never really been how I've seen it.
When I read [the script] and saw that it was my fanboy wet dream of an Avengers script and that [Agent] Coulson was a big part of it, that was the great day for me. I just drove around the streets with the script in the other seat, giggling.
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