But isn’t it just a kid’s movie?
No. It’s an elaborate tale about finding the courage to question your given identity.

Act One

Sequence A: Life Unfulfilled (15.10mins)

00.00 Titles
00.35 V.O Opening; “This is Berk…”
01.10 Dragon attack: Hiccup’s sent back to apprentice-duties.
05.35 Hiccup sneaks out, bringing his catapult.
06.25 Hiccup hits a night-fury.
07.50 Nobody believes him.
09.30 Stoick governs a search for the dragon nest.
10.15 Stoick’s frustrated with Hiccup’s unviking-like behavior. Gobber suggests dragon training.
11.35 Hiccup searches the woods for the night-fury.
12.30 He finds the dragon, hurt and tied down. “I did this”.
14.00 Hiccup’s unable to kill the dragon. Frees Toothless.
14.45 Toothless chooses not to kill Hiccup.

[box style=”rounded”]

“This is Berk. It’s twelve days north of hopeless and a few degrees south of freezing to death. It’s located solidly on the meridian of misery.”

Clearly, the Hero of How to train your dragon is not happy here. A walking toothpick in a village of testosterone, he gets zero respect. Even his own father, the viking of all vikings, has Hiccup pegged a hopeless case.

So if this guy is such a nobody, why do we love the guy?

On top of being a clear underdog, Hiccup’s a funny dude; facing life with sarcastic wit. Instead of crying about not fitting in, Hiccup fights all odds to prove that he can be a viking. As an audience, we respond to his humor, his strength and his unrealistic courage.

“No one has ever killed a night-fury. That’s why I’m going to be the first.”

Not allowed in dragon training with the other kids, Hiccup is desperate to prove himself. Using brains instead of non-existent muscles, the toothpick manages the unimaginable. Hiccup shoots the most dangerous dragon there is.

Not believing for one second that Hiccup hit a night-fury, Stoick tries to talk some sense into him: “You’re many things Hiccup, but a dragon killer is not one of them.” Supporting Stoick, Gobber then gives us the theme of How to train your dragon: “Stop trying so hard to be something you’re not.”

Hiccup, not listening, goes on a search for the dragon. Upon finding it, however, our hero is caught in a moment of self-reflection. Facing the wounded night-fury, Hiccup experiences regret rather than the anticipated pride: “I did this.”

Unable to kill the dragon, Hiccup leaves his dreams of becoming a respected dragon-slayer behind, and sets Toothless free.

Without warning, our hero stands without goal or purpose. If he’s not a dragon fighting viking after all, then what is he?

Who, really, is Hiccup?

Sequence B: Fears and doubts (12.25mins)

15.15 Hiccup reluctantly agrees to start dragon training.
16.55 First dragon training. “A dragon will always, always, go for the kill.”
20.05 Hiccup’s back in the forest where he left Toothless, “So why didn’t you?”
20.45 Finds Toothless in deep hollow, missing a tail fin.
22.00 Dininghall: Hiccup is excluded from the group.
23.10 Dragon manual has no info on the night-fury; “Do not engage this dragon”.
24.45 Viking expedition: Stoick believes he’s closing in on the nest.
25.35 Dragon training: Hiccup asks about night-furys. Astrid: “Our parent’s war is about to becomes ours. Figure out what side you’re on.”

[box style=”rounded”]

Not knowing who he is anymore, Hiccup accepts what everyone’s been saying all along – that he’s useless.

Ready to suppress his adventurous nature and settle for household-duties, Hiccup’s shocked to hear that he’s been granted permission to start dragon training. Unable to disappoint his father even further, Hiccup agrees.

As expected, Hiccup is a terrible fighter. At dragon training, his dream-girl Astrid – a warrior at heart – sees him as nothing but an annoyance. For a thrilling example of a perfect transition, take a look at the end of this scene.

From Gobber stating that “a dragon will always, always, go for the kill”, we cut straight to Hiccup, back in the forest where he freed the dragon, saying “So why didn’t you?”

Instead of a ton of information, we get a simple cut between two relevant scenes, telling us all we need to know. Furthermore, this moment in How to train your dragon is a great plot-point in itself, presenting an eye-opener for our hero.

Hiccup has seen something within Toothless, a hesitance to kill, which tells him that his perception about the dragon race is faulty. This is a story about Hiccup finding his identity, so naturally we ask “why couldn’t he kill the dragon?” But this plot-point makes us dive deeper. Why couldn’t the dragon kill him?

So no, How to train your dragon is not “just a kid’s movie”. It’s a metaphor for humanity’s ability to turn those we don’t understand into monsters. Because monsters, we can handle with violence, and that’s simpler than admitting we’re wrong.

Finding Toothless wounded and unable to feed himself, Hiccup’s sympathy for the night-fury grows. But this type of thinking is not supported by his fellow vikings. Hiccup’s curious questions about dragons receive a harsh reaction from Astrid:

“Our parent’s war is about to becomes ours. Figure out what side you’re on.”

Act Two

Sequence C: Approaching Adventure (9.30mins)

27.40 Hiccup approaches Toothless. Throws weapon away. Toothless lowers his guard.
30.30 MONTAGE: Hiccup and Toothless sharing, drawing and playing.
33.00 Toothless allows Hiccup to touch him.
33.30 Gobber says to always go for the wings and tails. “A downed dragon, is a dead dragon.”
34.00 Announcement that one student will soon win the honor of killing a dragon.
34.30 Hiccup makes an artificial tail fin.
35.10 Hiccup distracts Toothless and applies the fin.
36.25 Toothless lifts, Hiccup still on.
37.00 As soon as Hiccup’s thrown off, Toothless crashes.

[box style=”rounded”]

The screenwriters of How to train your dragon master the art of showing vital information at a quick pace. The montage of Hiccup and Toothless approaching one another and letting their guard down is both informative and strikingly heartfelt.

Without excessive dialogue, we understand that these two are leaving their previous lives and beliefs behind to embark on an adventure together. Learning from one another, Hiccup and Toothless find that they both have a need for the other.

How to train your dragon once again give us an emotional message in physical shape. Take a look at how the filmmakers show this need, without actually telling us about it.

Hiccup builds a prosthetic tail fin for the disabled dragon and with combined efforts, the boy and the dragon manage to fly.

Ingeniously simple. If one crashes down, so does the other. Literally.

Sequence D: Progress through teamwork (8.45mins)

37.10 Dragon training: “Today’s about teamwork.” Hiccup shocks the others with newfound skills.
39.10 Hiccup sows a saddle.
39.20 MONTAGE: Hiccup develops steering system for flying Toothless whilst learning how dragons work and using it to shine at dragon training.
42.00 Astrid is suspicious and jealous of Hiccup’s skills.
42.30 Viking crew is back from failed mission. Stoick’s hears of Hiccup’s success in the arena.
43.30 Hiccup flies Toothless. Bumpy and difficult, reading instructions from cheat sheet.
44.45 Drops the sheet. Forced to rely on instinct, he flies beautifully.

[box style=”rounded”]

“Today, it’s about teamwork”. The first sentence perfectly sums up this sequence.

Whilst testing out methods of flying and steering, Hiccup and Toothless expand their friendship and evolve as a two-piece operation. What Hiccup learns from Toothless, he uses to succeed in the arena.

The worst viking in the world suddenly has a shocking way with the dragons. No longer worthless, our hero has become “someone” in the eyes of his fellow vikings. The question is; is this someone who he really is?

Furthermore; if the vikings like Hiccup, and the dragon is a good guy, then who is the antagonist of How to train your dragon?

Stoick‘s wishes for a perfect viking son stand in the way of Hiccup finding his true self. This makes him an antagonistic force. Even so, Stoick is proud of Hiccup at the moment, hence loosing some of his antagonism by being nice.

So at this point, the tribe, the dragon and the dad are all being nice. When everything is working nicely, why don’t we lose interest?

Because as Stoick grows kinder, Astrid becomes more aggressive. She’s determined to find out what Hiccup’s up to and prove that she, in fact, is the better fighter.

Stoick is actually a villain in disguise at this point, whilst Astrid is an ally in the shape of a villain. She seems “bad” because she’s the one who makes us nervous. We are protective of our hero, and don’t want his secret found out. But in truth, being found out is exactly what Hiccup needs.

The cheat sheet Hiccup uses to steer Toothless is also worth mentioning, having highly symbolic value. Hiccup has always taken instruction from outer forces on how to steer his life. Riding Toothless, he has a physical one. Using the cheat sheet, he keeps bumping into obstacles.

When he drops the sheet, however, he’s forced to rely on his instincts. As it turns out, they are brilliant. He’s just never trusted them before.

Hiccup’s actual identity is shining through. It’s been made clear that he’s not a dragon fighter. But could he possibly be a dragon rider? And on top of that, could he be a leader?

Sequence E: Midpoint (10.20mins)

45.55 Eating with Toothless, other dragons join. “Everything we know about you guys, is wrong.”
47.10 Proud, Stoick gives Hiccup a real Viking’s helmet.
50.00 Hiccup wins the prize of killing a dragon.
51.00 Hiccup is about to flee with Toothless. Astrid finds them.
52.00 Hiccups tries to make a frightened Astrid understand. “Let me show you”.
53.30 They fly, Toothless messing with Astrid before settling into a beautiful ride. Astrid: “It’s… amazing. He’s amazing.”

[box style=”rounded”]

We’ve arrived at the point in How to train your dragon where everything turns into something different. Everything.

Interacting with other dragons, Hiccup realizes that Toothless is not just a nice exception amongst a brutal race. He’s one out of many misunderstood, lovable, creatures. “Everything we know about you guys, is wrong.”

A proud Stoick presents Hiccup with a viking helmet, which says that he’s now one of them. Carrying the symbol of a viking warrior on his head, Hiccup is given the identity he’s always wished for.

So far, lying at dragon training has been a piece of cake. But now, being the best fighter, Hiccup must prepare to actually kill a dragon in front of his tribe. Something he’s incapable of doing.

Another drastic change takes shape as Hiccup and Toothless are discovered by Astrid. Although she’s highly reluctant, Hiccup shows her a world she could’ve never imagined. A world where dragons and vikings don’t kill each other on sight.

By trying too hard to be someone he’s not, Hiccup hasn’t won even an ounce of respect from Astrid. It’s not until he’s forced to drop his facade, that he wins her admiration. Astrid hasn’t actually disliked him, because she’s never met the real Hiccup before.

Hiccup has found identity at this point. The problem is, there’s two of them. At the one hand, he’s got the viking helmet and the respect of his father. At the other, Toothless and the respect of Astrid.

The day when he must slay a dragon is approaching, and until then, he must pick one.

Sequence F: The big reveal (10.15mins)

56.15 Toothless takes Hiccup and Astrid to the nest. “What my dad wouldn’t give to find this.”
58.20 A dragon “queen” tyrants the nest, controlling the other dragons.
58.50 Hiccup convinces Astrid not to tell anyone about the the nest.
59.30 Astrid punches Hiccup “That’s for kidnapping me”, kiss on the cheek “that’s for everything else.“
60.00 Stoick’s proud speech: “Today, my boy becomes a Viking.”
62.25 The dragon fight: Hiccup throws off his Viking helmet, refusing to kill. “I’m not one of them.”
62.50 The crowd’s furious racket scares the dragon into violence.
62.55 Toothless hears Hiccup screaming and defies his injuries to come for aid.
64.20 Hiccup stops Toothless from killing Stoick. Toothless is captured.
64.50 Stoick’s furious: “They’ve killed hundreds of us!” Hiccup: “And we’ve killed thousands of them.”
65.35 Hiccup accidentally mentions that Toothless can lead them to the nest.
66.00 Hiccup begs Stoick not to hurt the dragons “For once in your life, would you please listen to me?”
66.10 Stoick: “You’re not a Viking. You’re not my son.”

[box style=”rounded”]

The vital “eye-opener” of How to train your dragon has arrived. This is where we see the revealing of secrets and the finding of lost things.

We start out with two revelations right off the bat, as Hiccup and Astrid are shown the lost-for-centuries dragon nest and the queen hidden inside. Suddenly, we have a new, bigger, badder, villain. Even the dragons flee from this dragon. If you’re only human, you better watch out.

Coming back from dragon island, a vital step is taken by our hero as he openly trusts his own judgement above someone else’s. Astrid is frustrated that Hiccup wishes to keep the location of the island a secret, but respecting his never-before-seen assuredness, she accepts his decision.

It’s time for the big fight. Hiccup must choose whether to uphold his image and kill a dragon or to reveal himself and lose his newfound respect.

This is where we see proof of how far the hero of How to train your dragon has come. He makes the decision to throw his viking helmet aside in front of his entire tribe, stating “I am not one of them”.

The secret has been revealed. He, Hiccup, is not a viking. He is not, and never will be, an enemy of the dragons. Ready to lose everything, he admits his true identity in pursuit of uniting two races.

His attempt to prove the dragon race innocent backfires as the dragon is provoked into violence. This leads to the next revelation: Toothless.

Hearing that Hiccup’s in danger, Toothless too risks everything to come for aid. The always hidden dragon, the one nobody’s ever seen, positions itself in the midst of a sea of dangerous vikings.

Toothless withdraws from killing Stoick, trusting Hiccup’s judgement before his own, and is therefore captured.

Having won his own respect, although lost everyone else’s, Hiccup can finally stand strong against his father. He begs Stoick not to hurt the dragons. “For once in your life, would you please just listen to me?”

Stoick, truthful to his name and image, doesn’t listen, and decides to use Toothless in an attempt to find the nest.

“You’re not a viking. You’re not my son.”

Sequence G: Grim defeat (9.20mins)

66.30 Hiccup watches his tribe depart to find the nest, Toothless brutally tethered to a ship.
67.45 Astrid: “You’ve lost everything. Your father, your tribe, your friend.”
68.20 Astrid encourages Hiccup into forming a plan.
69.25 Vikings follow Toothless across the ocean.
70.30 Hiccup gathers the other kids to let them in on his plan.
71.10 The vikings arrive at Dragon Island.
71.50 Hiccup shows the other kids that they have nothing to fear from the dragons.
73.00 Stoick cracks the mountain open, find the nest and fight off a storm of dragons.
74.15 The queen arrives; much bigger than the other dragons combined.
75.00 The queen sets fire to the boats, one with Toothless onboard.
75.15 The Vikings are loosing.

[box style=”rounded”]

Hiccup watches his tribe, along with his dragon, fade before him as Astrid says out loud: “You’ve lost everything. Your father, your tribe, your friend.”

Back to feeling worthless, Hiccup’s ashamed to be the first viking who wouldn’t, not couldn’t, kill a dragon. Astrid, who’s had a change of heart due to Hiccup’s journey, sees this as an accomplishment rather than a failure. “First to ride one though”.

Encouraged, Hiccup gathers his team of fighters. From this point on, he has nothing left to lose. For once, he doesn’t care if he’s perceived as crazy or stupid for acting on his beliefs.

Although the all is lost-moment of How to train your dragon is short; it’s elongated through the storylines of Stoick and Toothless. Since it’s Hiccup’s goal to unite the two species, Stoick’s success in finding the island and cracking the nest open, is a continued failure for Hiccup. Even though he’s not in the scene.

We do feel a glimmer of hope, having seen Hiccup take charge and gain respect from the other kids. Even so, we’re at a dark part of the story. After a false victory for the Vikings, having beaten off the dragons, the queen appears.

Nastier than any threat before, Stoick and the tribe aren’t equipped to fight this dragon. Furthermore, the boats are burning, Toothless still onboard, and they’re trapped on dragon island.

Hiccup’s father, friend and tribe are all heading for death.

Act Three

Sequence H: The battle (9.35mins)

75.50 The kids arrive on dragons, using their acquired fighting skills against the queen.
78.10 Hiccup fails to free Toothless, who’s sinking.
78.35 Stoick rescues Toothless. Toothless pulls him out of the water.
79.00 Stoick begs Hiccup’s forgiveness: “I’m proud to call you my son.”
80.20 Riding Toothless, Hiccup lures the queen up in the air. They aim for the wings.
82.10 Toothless is hit by fire and his prosthetic fin burns.
82.25 In a last effort, Toothless kills the queen whilst shooting down towards the earth, creating a massive explosion.
83.15 As Hiccup falls off, Toothless follow him into the explosion.
83.45 Stoick find Toothless in the smoke, hurt but alive. Stoick: “I did this.”
84.15 Believing Hiccup to be dead, the tribe is mourning.
84.45 Toothless lifts his wing, revealing Hiccup underneath.
84.50 Stoick throws off his viking’s helmet to listen to Hiccup’s heart. He’s alive.
85.15 Stoick thanks Toothless.

[box style=”rounded”]

A while back, Hiccup had to sit at his own table in the dining hall. The first time we see Hiccup in this sequence, he’s surrounded by friends who not only accept, but follow him. Not because they’ve changed, but because he has.

Watching Hiccup and his friends arrive on dragons to fight the queen, Stoick is faced with hard evidence that dragons and vikings can work together. He is forced to admit his ignorance. Finally, he’s proud of Hiccup for the right reasons.

Trusting Hiccup’s judgement, Stoick rescues the dragon he’s been trying to kill for years. This is the moment when Hiccup is no longer ashamed to call himself a viking. Through Stoick’s heart-felt apology, Hiccup realizes that it’s possible to be both a good person and a viking. He doesn’t need to choose one or the other.

Hiccup and Toothless act as one being, as they use everything they’ve learnt to defeat the queen. Even though they succeed, they use every ounce of power they have, and end up falling to the ground.

Let’s rewind for a second, to the moment when Hiccup found Toothless wounded in the woods. Looking down at the dragon, he claimed “I did this”, showing the regret that would cause his future change.

Look at what happens now, when Stoick runs up to the wounded dragon. He stops, and looks at Toothless, saying “I did this.” Can it be, that Stoick is changing as well?

Remember the helmet Hiccup got from his father? The one he threw on the ground as a sign he was no longer a viking? Consider what Stoick does when he believes his son to be dead. He throws his helmet off. Why? To, literally, listen to Hiccup’s heart. This moment is so significant.

Suddenly, something else is more important than being a viking. He throws his image in the mud, so that he can listen to his son. This is Stoick’s journey. He is not just a viking, he is a father.

The last time Hiccup dared show his father what was really on his heart, he was ignored – “For once in your life, would you please just listen to me?” This time, Stoick listens. Hiccup is alive.

To top off Stoick’s character-change, Hiccup has gotten him to change his attitude towards an entire species. Not long ago, Stoick saw Toothless as the devil himself. Now he leans down beside him to, sincerely, thank him.

One member of each race, a boy and a dragon, has questioned the way they see each other. Now, the remainder of both species are following in their footsteps, hence ending a seemingly endless war.

Sequence I: A new life ahead

85.25 Hiccup wakes up back home, Toothless at his side.
86.10 Having lost a leg in the battle, Toothless helps him walk.
86.55 Going outside, he finds dragons and vikings living alongside one another.
87.20 Hiccup is greeted with admiration by the other vikings.
87.25 Stoick points at Hiccup: “All we needed was a little of… this.”
87.40 Gobber has created a new invention for Hiccup’s prosthetic leg to fit into Toothless steering gear.
87.45 Astrid punches him: “That’s for scaring me.” She kisses him, for everything else.
88.10 Hiccup flies Toothless, alongside his friends.
88.20 V.O: “This is Berk…”
88.55 THE END

[box style=”rounded”]

Hiccup wakes up, back in the village. The same place where it all began. But is it the same?

The first sign that something has changed, is that Toothless is inside his house. Scared for the dragon’s safety, Hiccup gets up to hide him. Only, he can’t get up, having lost one of his legs.

The symbolism of this cannot be over-stated.

Because of Hiccup, Toothless lost a tail-fin. Hiccup then helped the dragon fly without it. Now, because of Toothless, Hiccup has lost a foot. When he can’t walk, Toothless steadies him. If one crashes, so does the other. And if one can still get forward, then so can the other.

Together, they leave home – one with one leg, one with one tail fin – no one able to function without the other.

Everything is different. In the initial scene of How to train your dragon, we witness a rough world of raging war. Now, we see a fantastic place where vikings and dragons live in unison.

Rewarded for his bravery, Hiccup wins a kiss from Astrid, along with respect and admiration from his tribe. Gobber has even built him special equipment, so that his prosthetic leg fits perfectly into the steering gear of Toothless’ prosthetic fin.

Stoick proudly gestures towards his son “Turns out all we needed, was a little more of… this.”

So who, really, is Hiccup?

He is not a worthless toothpick, he’s not a blacksmith or a baker and he’s not a dragonfighter. Hiccup is a brave viking, a fierce leader, and a bringer of peace.

Furthermore, at his heart, Hiccup is a dragon rider.

-Camilla Beskow

How to train your dragon – Screenplay

Camilla Beskow

Camilla Beskow is a screenwriter, and former student at the Gotland based film school Storyutbildningen. Among her favourite films are Pan’s Labyrinth and Good Will Hunting.

Miyazaki created the animation masterpieces MY NEIGHBOUR TOTORO, SPIRITED AWAY, GRAVE OF THE FIREFLIES and HOWL’S MOVING CASTLE. When he announced his retirement for the sixth time at the end of 2013, it seems the 72-year old was serious. Within the year, his Studio Ghibli announced a major downsizing, effectively closing down Japan’s most successful animation studio.

The Ghibli films won major prizes at festivals worldwide, and after the phenomenally successful SPIRITED AWAY ($275m worldwide), all of his work received international theatrical releases. This has always been exceptional for Japanese cinema.

I went through a Studio Ghibli marathon with my son, when he was 9. During HOWL’S MOVING CASTLE, he exclaimed “This is the best movie I’ve ever seen!”

Pixar Praise For Miyazaki

Miyazaki’s feature animations impress with freshness and depth. They sparkle with originality, yet they feel strangely familiar. They feel like a fairytale you vaguely remember from childhood.

In SPIRITED AWAY, a girl sees her parents transformed into pigs when the family is trapped in a mysterious world with ghosts, witches and monsters. The young woman in HOWL’S MOVING CASTLE falls under a curse that gives her an old body. A handsome wizard in a flying castle must help her. PONYO tells the story of a young boy who falls for a fish with a human face, an omen that predicts a tsunami…

No wonder the Pixar brain trust are huge fans of Miyazaki’s animation. When SPIRITED AWAY was released in North America (2003), John Lasseter personally escorted Miyazaki around the country to support it. As a thank you, Studio Ghibli sent him a 155mins video letter titled Lasseter San, Arigato (Thank you, Mr Lasseter).

Porcine Pilot

On IMDb.com, PORCO ROSSO ranks only 7.8, lower than some of Miyazaki’s best known films. Still, I believe it is not only one of his best; it’s one of cinema’s unsung master pieces.

The porcine pilot from the title is a WW1 veteran who spends his days as a reclusive bounty hunter on a secluded beach. Can you see the ‘isolated’ theme here? If he is not fighting pirates, he is fending off his American arch nemesis Curtis. The wannabe actor’s inflated ego sits at the opposite end of the scale from Porco’s.

In the middle between the two stands Gina. She runs a restaurant, and keeps her heart for Porco. For a long time, she has been awaiting the moment when he will be ready for her. Finally, there’s Fio, a young girl who is in awe of Porco. She is the granddaughter of Piccolo, the plane repair man, and a damn fine engineer herself! She will facilitate Porco’s transformation,

Porco Rosso’s Backstory

At the story’s Ordeal stage, at the end of Act Two, Porco tells a story to Fio. We learn about his emotional wound; how he lost his best friend… and how he became a pig.

Thematically, the scene reminds of another classic war monologue in the movies, when Quint (Robert Shaw) tells the US Indianapolis story in JAWS. Both are stories about survivor guilt.

An important difference, however, is that during Porco’s monologue we flash back to join in a WW1 dogfight. The following sequence is one of my absolute favourite moments in cinema history.

It never fails to send chills down my spine. We’re looking at what initially looks like a vapour trail in a clear blue sky. Then, we’re blown away… A pure cinematic moment, mysterious and beautiful. Intensely moving.

This scene alone earns PORCO ROSSO its status of cinema classic.

[vimeo 103790469 w=1000 h=538]

Have you watched this movie? Let us know in the comments below what you think of this sequence. And what is your favourite Miyazaki?

-Karel Segers

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!

If you liked this, check out more videos about screenwriting or filmmaking. And if you know of a great video on Screenwriting, let us know in the comments. Thanks!

The third film in our series of short animations nominated for an Inside Film award is ‘Chicken of God’, directed and written by the animated Frank Woodley; Aussie comedian extraordinaire.
Frank tells us about writing, directing and chickens.

How does someone who’s known for their physical comedy go about creating comedy in animation?

I’ve always been interested in any means of generating comic tension. I love verbal comedy and physical comedy and in animation too, there are issues of comic timing. I think the principles at play are the same in animation as in a live action comedy.

You’ve got a lot on your plate, how did this film happen?

It had a bit of an interesting genesis. Animator Clem Stamation is a friend of mine and we were driving to a gig one day when we started brainstorming storylines for an animation. Clem had the seed of the idea that was choosing lotto numbers by feeding little balls with numbers on them to a chicken. Then, the order that the chicken poos them out is the way you choose the lotto numbers.

Was there ever a screenplay?

Absolutely, I went off and developed the idea into a short screenplay. It was only about five pages long. Then we got together and did a couple of re-writes and my wife Jodi Satya also helped. We then pitched the ideas to funding bodies.

Funding bodies need loglines! What was yours??

Something like, ‘When the face of Jesus appears in the comb of a chicken some poor farmers’ lives become a comedy of Biblical proportions’.

How important was the actual script?

I think it’s absolutely crucial to get the script working before you engage in the animation.

I’ve seen so many films that are incredibly beautiful and the animation techniques are absolutely magnificent but the emotional impact is undermined by the fact that the fundamental idea isn’t sound or flawed in some way.

We were very clear that even though it’s only a five-page script that it was absolutely sound.

What was your role in the production?

My role was director, co-writer and I also did one of the voices in the film. We did all the recording of the voices first so I had a role of directing the actors as well.

Chicken of God – Promo

CHICKEN OF GOD | MySpace Videos

What did you learn from these roles?

It’s an ongoing process of learning how to write an effective screenplay.

My wife and I produced the film so there was a lot to learn in that area, Jodi did the vast majority of that side of thing, making sure the film gets out to festivals and gets seen.

You do all this work but there’s no point unless people can sit and enjoy it.

Did you prepare for the film by studying how to direct?

Not on directing, I think that’s just trial and error. I have done a lot of reading on screenplay writing.

Lots of the classic ones like Syd Field’s ‘Screenplay’ and Robert McKee’s ‘Story’. I found a lot of people are very resistant to this idea of formulas and I can respect that but my personal take on that is that you don’t need to take on any of these ideas. I might read a book and there will be one little thing that jumps out that I want to experiment with.

So it’s more about experimentation and getting ‘grist for the mill’ that will help you.

Any specific principles that you applied in ‘Chicken of God’?

The thing we tried to achieve with ‘Chicken of God’ was to have a central idea or question presented at the start that is developed and pays off in the climax.

So the whole film is serving that basic question and the tension around the question escalates towards the end. This principle is definitely at play in the screenplay we put together.

Are you keen to do more directing?

I think I would like to do more. I don’t have any current plans because I‘m involved in creating some live comedy work for myself, that’s my focus at the moment.

But I love that whole experience of having an idea and then contemplating what the most effective way to communicate it is. Where are the points of leverage that will seduce an audience so that then you can get a maximum payoff?

At what points do you need to withhold information and when do you give over information and how do you build to a climax and control all your ideas so they’re supporting each other?

Did you avoid any chicken gags from other films?

I was aware that chickens are a common creature used in comic animation so there was the question, ‘does that make it a cliché?’ But it felt right for the story and we followed our instincts on it in.

I’m a big believer actually that you shouldn’t worry too much about if something’s been done before. There’s nothing new under the sun and if you can bring fresh life to an old idea then there’s a skill in that as well.

A lot of ideas that are clichés are clichés because people relate to them; they have a profound place in people’s imaginations and experiences.

Have you made it to many screenings?

A few, and that’s been an incredible pleasure. The whole point of creating is for people to have an experience of joy or wonder or be moved so it’s important to get that payoff: to sit in some audiences and hear people laughing and enjoying it and applauding at the end.

Finish this sentence, ‘Australian movies need more…’

Audiences!

Frank Woodley has been involved in Australian entertainment for over 20 years and is best known for his work in comedy show ‘Lano and Woodley‘ with Colin Lane. Since 2006, Frank has created the one man play ‘Possessed’ and frequented Australian television shows including ‘Thank God You’re Here’, ‘Spicks and Specks’, and ‘Good News Week’. He currently hosts ‘Aussie Gold’, on Foxtel’s Comedy Channel every Saturday night. ‘Chicken of God’ is his second short film.

Cherie Lee

I studied acting for three years and hold a graduate diploma in writing from Sydney’s UTS. My interest in film and writing was solidified through interning at The Story Department and gave me the opportunity to fine tune my skills. I’ve been involved with several film projects, the most recent of which was shortlisted for Tropfest.

With the knowledge gained from university and my experience at The Story Department, I’m now specialising in professional feedback on short films and documentaries.

Writer/director Rod March talks about writing for animation.

What was the starting point for ‘Tin Can Heart’?

I saw an image of a lonely android staring up at a giant steel sphere with pipes and tubes coming out in all directions. I didn’t know who he was or why he was there, but the idea seemed very visual and it just interested me.

Then I thought to myself, what if a little puppy came along and was desperate for this android’s attention when all he really wanted was to look at the sphere? And my story began.

Was that a different approach to your other work?

Being the first serious film I’ve made, I was going into uncharted territory. I had to learn story craft as I went along.

I matured as a writer during the process of making the film and in a sense it’s a shame that you have to do the story first, because it’s the most important part and I feel I could have done it SO much better by the time we finished production than when we started!

Were do you get your inspiration from?

For me an idea starts from an image with an emotion attached to it. Once you have a vision you want to share and you know how you want it to make people feel, you can chart the rest.

I get a lot of ideas from photographs and music, probably because music has such a strong emotional quality.

What is it in animation that grabs your attention?

If you can think of it, you can make it. That’s incredibly empowering. The only limit is how much of your own time you want to spend on it.

What was the most challenging aspect of its production?

The scale. When I started out I was determined to design a modest film that I could actually finish, yet somehow it grew much larger than the single-character-single-location film that I had promised myself. How we ever got it finished, I don’t know. It is very satisfying however to see just how much detail and atmosphere we managed to get in there.

How would you describe your writing process?

Merciless. No idea is sacred. I outline over and over and over again, run the outline by my esteemed script editor/co-writer of Story Department fame, tear it down and write it all over again until it’s right. It’s about holding onto that small core of an idea which you already know subconsciously and trying to bring your conscious mind up to speed.

It’s surprising how far you have to wander from your original concept before it curves back around to almost exactly what you started with, only now it works!

For me, I know when I’m on the right track when I’m coming up with ideas that, even though they’re brand new, they feel strangely familiar also.

My writing process has evolved a lot since Tin Can Heart. If anything, I think I should have been more merciless with the Tin Can Heart script. 20/20 hindsight and all that…

Do you always have animation in mind when you start?

I always have ideas and characters in mind when I start writing. What I find interesting to write about seems to tend towards fantastical situations that really only work in animation. But I don’t think that way, I just explore what seems interesting about the idea and it turns out how it turns out.

Any advice to screenwriters interested in animation?

Do something you can’t do with real actors, and put your characters through trials real people couldn’t handle. Visually your characters are going to be caricatures of real people, so don’t hesitate to make their personalities bigger, brighter and more outrageous than real people too. The sky is the limit!

Is there a place for short films in mainstream cinema?

I think short films are great. I think audiences enjoy them, and I think the animation studios that make short films flourish. The animated short seems to have found a home at most of the big studios as a way of developing new processes and new talent. But I don’t think audiences are going to start paying extra to see short films, and that’s always the bottom line.

To me shorts are great because you can make stylistic choices that you can’t in features- if an audience is sitting down for an hour and a half they have a pretty narrow range of what they will tolerate but they’ll watch and enjoy nearly anything for 5 minutes.

What next?

There are a couple of scripts I’ve been working on over the last year or two that are just starting to take shape. I’m brimming with ideas so hopefully you’ll hear more about them soon!

After successfully completing a Course in Advanced Character Animation Techniques, Rodney March graduated from the Bachelor of Design (Visual Communication) with First Class Honours in 2004. Over the past two years, Rodney’s talent and skills have been in high demand as a character animator on a variety of projects. He is part of the team on the Network Seven series ERKY PERKY by world class 3D studio Ambience Entertainment and is currently Animation Director at Flying Bark, Sydney.

Tin Can Heart can now be viewed here: https://vimeo.com/13266812

Cherie Lee

I studied acting for three years and hold a graduate diploma in writing from Sydney’s UTS. My interest in film and writing was solidified through interning at The Story Department and gave me the opportunity to fine tune my skills. I’ve been involved with several film projects, the most recent of which was shortlisted for Tropfest.

With the knowledge gained from university and my experience at The Story Department, I’m now specialising in professional feedback on short films and documentaries.

It took me seven years and three short films to radically change my mind about the nature of these little beasts.

One, two or three acts, the story principles are still identical to feature drama.

Yet shorts won’t teach you how to write a “big movie”.

In terms of distribution and audience approval, my films have been modestly but increasingly successful.

Yesterday the latest film from my production company,  TIN CAN HEART, was nominated for an IF Award. This is one of the most prestigious awards in Australia.

A good time to scrutinize if all the efforts that went into these three films were really worth it.

Let’s start with 5 beliefs that I held before I went on the short film journey and how I think about them now:

1. Short films don’t follow any rules

   The continuity person on my first short, LOVESONG, told me she had studied the story principles of short films. I didn’t see the point of that; I believed short films didn’t follow any story rules.

   Over the years I realised that dramatically the same principles apply that make feature films work.

   Audiences may be different – and more forgiving – but the better the writer’s grasp of 3-act storytelling (conscious or not), the greater the short’s potential success.

   You can either experiment with form, or use the short as an opportunity to learn and perfect your skills before embarking on feature work.

2. Short films can be made cheaply

   LOVESONG cost $25,000, a simple two-hander set in one interior location and minimal exteriors. The bottom line for AEROSOL, a complex blend of live action and animation was only $20,000 and my most recent TIN CAN HEART was made for $80,000. Not the type of money the average person has to spare.

   The real budget of each, if cast and crew had been paid commercial rates, ranges somewhere between $100,000 and $500,000.

   And you know what?

   “That’s after gross net deduction profit percentage deferment ten percent of the nut. Cash, every movie cost $2,184.”
   -Robert K. Bowfinger

   Each time I see that scene in Bowfinger, I am more convinced Steve Martin was absolutely right. Any indie film can be made cheaply, short or long.

3. Short films make their money back

   No, they don’t.

   I hear you think “but they do if you shoot them the Bowfinger way?” Yes, that is if you don’t share the revenue with your cast and crew. Ask the producer of the Academy Award winning HARVEY KRUMPET. After years, it still hasn’t gone into break even and it probably won’t.

   For my first short, I borrowed money from family, friends and relatives. At the time I believed my own pitch when I told them they were ‘investing’ and would recoup their money with profit. Yeah right.

   If it doesn’t happen for films that receive the greatest exposure possible, it’s safe to say you won’t make your money back, either.

4. Short films are great calling cards

   Admitted, once you have people’s attention, you may blow them away with your achievement. But how to get the attention of the decision makers / money people?

   Film festivals!

   Not sure. At last count, Withoutabox was connecting with over 3,000 (three THOUSAND) Festivals. That’s your competition, right there. Annual number of entries for TropFest alone is creeping up to the 1,000 mark.

   Unless your film is in the world’s best 1%, you may have to enter into 100 festivals  before getting any results. With entry fees averaging around the $50, the cost of marketing is getting close to most films’ cash production cost.

   It used to be that any decent short film would be noticed and celebrated. Those days are over.

5. Short films teach you good writing

   I was really struck by a statement on the commentary track of THE LIVES OF OTHERS by the writer/director:

“I spent something like 7 years of my life making short films and looking back, it probably wasn’t the best investment of my time and creative energy.”
-Florian Henckel Von Donnersmarck

Writing a short films shows that you can write a scene, or a sequence at best. It doesn’t prove that you can structure a feature length story or even a TV series episode.  Longer formats allow you (require you) to get involved emotionally on a much deeper level. For this, you must have an understanding of broad story structure.

One or two-act short films often rely on a gimmick, a twist. If the twist is strong, the film sells.  For a full feature,  even with a massive twist, this trick probably won’t work.

So if it is all doom and gloom with short films, why bother?

After all, I kept making short films after the first experience, even though the film didn’t really travel the way I had hoped and the returns didn’t satisfy the investors (they were rather – errm.. invisible).

As a matter of fact there are quite some – successful – filmmakers who never stop making short films.

So, first of all, they aren’t all doom and gloom.

1. Short films are fun

   Not all my shorts achieved all their objectives. Still, I did have a lot of fun and so did the crew.

   Because your life doesn’t depend on it, you can work on them at your own pace. You’re ready when you are. During production, you may experience the high octane energy level of a proper film shoot, without the dreadful anxiety that can go with a multi-million dollar production.

   You are creating something special in a spirit of collaboration. For most of us, this is a wonderful experience.

   You live through a journey, you bond, and at the end you miss it all enormously.

2. A short film can be a networking tool

   This may sound odd, but yes: you get in touch with other creatives, crew and during the marketing you build a network in the festival circuit and distribution.

   During pre-production and production your address book will get an enormous boost. You will get to know agents, stock providers, tech support people etc. And because you’re trying to do it on a shoe string, you’ll find a lot of nice people, who share a certain passion for what they do.

   If you treat these people with respect, they will help you when you move on in your career.

3. A short film is a learning opportunity

   They say that nothing beats seeing your written work on the screen.

   This is very true: hearing the dialogue, feeling the pace, seeing the characters move and act as you described it… It is an experience that cannot be simulated.

   And you know what?  Everyone can produce or direct a short film. For a writer, producing your own film is a fantastic opportunity to learn how film production works. It will inform everything else you write afterwards.

   I didn’t say you will deliver Oscar material, and I didn’t say you’ll learn how to write a feature screenplay, either.

4. A short film can be a career dip test

   If filmmaking – or writing – is a hobby, chances are you’re secretly dreaming of becoming a professional.

   Writing, directing or producing a short film allows you to be active in the industry. You can approach it with the mindset of an amateur (that’s fine) or a pro (now, that’s brave!). In any case, going through the full journey of making a short film will give you a better understanding of what this industry entails. Perhaps it’s not your thing.

   Finding out early that you’re not really cut out for a professional career in film can save you a lot of stress and you can keep making films as a hobby.

   If however you have a knack for it, chances are that cast and crew will notice and spread the word.

5. Short films are short

   Feature films are monsters. They take years to develop and once they’re ready, they take years to turn a profit – if ever.

   A short is a manageable enterprise. The development and financing may seem to take long, the shoot will be over before you blink.

   To prove this point, some film festivals even require you to shoot, edit and complete your film within 24 or 48 hours.

   When you’ve prepared thoroughly, a short film production shouldn’t cause too many headaches. Even without much experience, you may well end up with a satisfying result.

To summarise, beware:

1. Short films are subject to the same story rules as features
2. Short films are proportionally just expensive
3. Short films hardly ever make their money back
4. Short films can be talent showcases – if they’re seen
5. Short film writing doesn’t prepare you for longer formats
   

But keep making ’em, because:

1. Short films are fun
2. Short films build your network
3. Short films are learning opportunities
4. Short films can be career tests
5. Short films are manageable

I’m over producing short films. I’ve loved every minute working on them, but there’s a time to move on.  (I’ve said this before)

I will keep helping people with advice and feedback but you’ll need pretty strong arguments to squeeze a producer’s credit out of me.

If you’re at the start of your journey, you might want to check out this:

• How to write a good short film script (Times Online)
• Writing for short film (BBC Writers Room)
• Writing Short Films (The Crafty Writer)
• Introduction to Writing Shorts (Writing for Performance)
• Short Films for download (Aussie Short Films)

What are your thoughts as writers of short films? Are short films fun, useful, essential?
What did you learn in the process of writing or filming? What did you un-learn afterwards?

Please share with us in the comments.

Karel FG Segers

Karel Segers wrote his first produced screenplay at age 17. Today he is a story analyst with experience in acquisition, development and production. He has trained students worldwide, and worked with half a dozen Academy Award nominees. Karel speaks more European languages than he has fingers on his left hand, which he is still trying to find a use for in his hometown of Sydney, Australia. The languages, not the fingers.

Subscribe to our YouTube Channel!