Storyboard Notes 3

8/18/2019 Storyboard Notes 3

1/81

I

The

Art

of the Stor

y eer4

The

storyboard

s a means

of

writing

a film and planning its

production

which began

n animation and has

spread hloughout the film

industry.

ANIMATO launches

a

semi-regular eature n this issue,

The

Art

of the

Storyboard."

With the production

of many animated ilms divided

between various

animation

studios, he

storyboard

along

with model sheets

and

layouts) must

be a

strong

guide

to insure

what the writer and director of a

film actuallywanted is accomplished y a team of animators requently half-

a-globe

away.

Storyboards

ary according

he creative

process

n

a pioduction,

and

they reveal

much

on how an animated

ilm is created

1n

this issue,

we presenta look

at how

the

Disney

Studio

in its prime

worked

on

a

storyboard,

and then a partial

storyboard rom

"The

Laughing

Fish," from

Batfiafi: The

Animated.

Series.

GMD

The

legendary

Cart Batks

(left)

and Harry

Reeves resent

a stotyboard or the

1938

cartoon

Good

Scout. ndividual

drawings

replesenting

he flow of the

narrative

wele

literally

pinned

up

on

the wall,

and

the writers would act out

the dialogue.

@

Walt

Disney

Studios)

ixlrDmof

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the

blueprint production

o doLrbt

oLtr

t le

pictLrres.

sent

our

cieas.

CaptLire'rhese

them.

BUL etr,veenou,

irs: .oea-p

tLrir

and

yoLrr

inal

cut

there'sa

loi

to

clo

and

a lol

of i : inyolves

eoole

oiher

han

yo

:

self

You

mlrst

ommlnicaie

oLtr

rear

ideas

o these

pecpie.

e

theycl i-

enis

or camera

ooeraiors,

iearl , /

enougit

o

tllat rhey

see

he same

pici i t res

or-r

lo.

How an

you

be so

sr:re

or: 're

i l

on

he same vave

ength?

By

gett ing

hose clea

jctLtres

Lrt

of

your

heaci

ancl

clo,, ,rn

n

paper

where

veryone

an

And

hat s where

comes

n.

for

rnincl

'/irls

/:ih

rt-

prctures

hat

repre-

' '

ic lea

ictLrres

on

see

nem.

the

storyboar

vicleotape.

nd errerybocly

an enjoy

Picture

hisVideo

A slo'yboards a graphicepresen

tarion

f

your

ideo.

Like

he comics

yor_t

ee

in

the

newspaper,

i consists

f a

series

of

picrLtres

l l . tsLrat iqg

hescenes

+

your

icleo.

SLri lg

hese

scenes

al l ogether.

and

hese

pictLrres

el l

yoLrr

ic leo

story.

Thegraphics ee(l otoe farcy-

hand-clrawn

tick f igures

wil l c lo.

Which

is not

to discoLlnt

ancy

graphics-from

he rnost

laborate-

1y

airbr. rshed

,re art

Locomputer-

generated

lnages.


10/81

l . i , ,d

or

noL. l ,esc

8,

phi .s

u\ , rLl)

\vind up pasted ro

a l.rge bori{I,

rhc

s.eDcs ictured

h l i ( t lc bolcs co.re

spotrdnrgo

r ideo's hrcc

b

four Io.

mar. Crpr ions

undcrnci th.ach pic-

rLrrcdcsc. ibc

rhe audio sto ' l . . .whrt

t l recha ctcrs ry,

Nhrt k ind

oi

tuusic

ph$.

\'h^t so.rsofsound cnncrsbinil

i\rtr1 i| Ihc bnckground.

Obioush, dctailed storyboxrds rc

no

nt.esary

on

elery vidco. Rough

sro| . |bolds sumce

for docrmcnra

r ies lhcre s simpl) no

*ry to kno\f

ex.rctlv

vhrt sceDcs ou ll caplurc bc-

Ibrchrnd. But on dr,nati.

produc

tio.s invohiDg cl;ife.ent

r.Lo.s rnd lo

or ion5,I

detai lc. l toryboard,n

hc\ ,

you nDriciprre

an.l aloid problcorsou

rhe shoo(. Using

storyboi.ds bcfofc

p.oduc;ng conmerciils

xrd compnr..

rninitions caD nrein thc difie.eDcc

bc$fecn

more, i I rhebrnk andbtsof

Srryou

re shoodrga shorr l ru,at-

i . p icce

nnolving spacc l icns D lhc

old U'est. lbu

\vrite dre s..ipt, and

rhcn bre.tk rhe script into sccncs, lrc

sceDes

Dto shots.You

PrePxre

a

Pi(,

duct ion schedulc.

You f i ink

)ou

re

You re nor. Go ahead and tale

(hit

extra sleP.

PrePafea storyboar.l.

You don'

hale to be Nlichel.ngelo

to d.a\v these

pictures.

Stick

tlgurcs

and vagueshapes

wi l l

sene

t l rc puf

pose nicely

(as

long as yo crr tell

rvha h.l blob

on dris side ofthe shot

You dfa\v fi. first shot. Thc alieDs'

5plce ship descendsuro Nlonumcnl

Val le l . In he nexrshot, heygetoutol

rhe ship. Cur o

a

strgecoach

moling

$vifdy, clouds of dus trailing behind

it.Janes, he d dver, whoops

vildly

an.l

cracks his long

*hip a

the

team

of

The aliens watch from bchind r

bu(e. At

the lasrmoneni, theyjump

from rhei.

hiding place

and

try to hol.l

up rhe siage. G2bry,

.idiDg

shoLgun,

lets thcnr have it

\vith

borh barrels.

The aliensgo dor{r, spla(ering gfcctr

slimc. The doclor

jL'i:ps

tronr

tllc

sl.lg. aDd quickly cxamincsonc of thc

.rci t r res. Thc ddlc. N.tcheserpect

xDdy. hc doctor ooksLrp r l rcdrn

cr

aDd

sars

hoa6cly, He

s dead,Jnr.

Y.n, bok

ove.

/our

a,r

\vork. fs

rough, but nonclhelcs ; t sc^cs thc

Purposc:

ou

8et

you.

(rca

a.ross.

R(t ,s

)ou

look

closc, ,a

naggi, ,g

stagecorch olh

o\er

hini. Fo. rdother

shot, he u need

to ic lc onc of

(hc

sragecoach ofses as he roclses back

at t l rcdrne.. .d he l . r lso ccd $Ne

sort ot har.ess for

the orerhca.l 51,o1

thar s i f tu ldtes

hc spaccship rnsh

lnnding

Of coursc,after.e\icwing dris

wirh

him,

vou

miy

also nced a

nc\

You can sho\ dre acto.s ho\ ror'll

.ur rhe di f fe.enr

sccnes ogcrhcr , o

ihcycangc

a ber ler ndcrsl inding l

their

chincres and rhe nrotnadons

' 'So

I shoorml guD r rhe, l icnsand

not rhcdocro. ,

Lhc ctor pla) i t rgGrb-

bl sr)s aftcr sccinq thc sro,_r'boa(1,

point rhat obr iounv

ncedcdclcui , ,g

up. I Io\Lc\cr hc

sr i l l has qucsr ion

Fronr

)our

pcrsPccr i (cs thc dir .c

tor

ofr l rc shoor, l rcskr l l )oard L. lps

rou

'nakc su.c the

sho$ iou

vc

plaDn.. l r i l l \ * ) rk

r fc l l rogedrc. . ou

I ' rvc

sho( l

Jrnr

ol lo,rc{ l

f

\ i , i , i l r r

( l o L , b t c , e c p \ I n b ) o n ,

, i , , d . h . n i (

s l r o r

l G ^ D b . v

r o n r r h c s r o i b o l d

conreso pu. Youpl.nned ro use p-

,vou

cal ize

hi t

th is nr ighr ook l i l .

a

si(lc{loNn

pic plx(.s lor thc spi.eship.

jutup

cur\vh€r

you put drc nLo osctll

This s in c lo.

rhe ong shot,bur

you

ef. Yougr.b

i pcnci lan


11/81

conre

in rrith

tlrei,

id.xs rnd \vc

go

okr rltos€ dels with d1cm.

On.e

Ne

tno\ tlhat th.v(ant, wc tr^nsfer hese

insuarctions o thc arrist drawi.g the

"Cl ieDts

sual ly hxve an idea

of

how

rhet

wrnr

(he

boxrd ro look.

They might want t drawD vi tha car

toon st l le or theymight want; t ro

be

.eal ist i . . f the cl ient$antsa

scene o

look l i te i r was

shot

wi lh

a special

lcDs,

uchaswideanglc, hcafr istcan

do thar, roo. And Ne cxn do quick

pencil

skerches10

malte

sure that $e

camen anSles re corrector rhar he

people

shown on

the

sloryboard are

the

r ight

ages."

For theseadverdsingagcncyclienLs,

the storyboard s no.c dran i produc-

t ioDplanner, t 'san al l impotun

sel l '

'ng

(ool .

'-fhe

agenciesuse the storyboards

to sell their conmercials,"

C.ner says,

'1o

showhow they,vould ike o shoor

i t and where hcy

vould

ikc ro shoor

i(. They can have t sct in Nliarni or in

NoNay. li's a visual tool ro help thei.

clienLs

elrer

understand vhat

rhe fin-

ished

produ€t

will look Iike."

,lni'nated loryboards

Srorybo$ds

also prove

invaluable

\(hen planning

computer animarions.

,{nyoDewho's workcd wirh an anima

tion packagc knorvsNhlt a tidre-coD'

suming process t

car be.Ifyou're cre-

ating

an animation for someone clse,

rhem;orhenvise .oukl

de.n hou6

or er€n da)r oi€xr.x

\fo.k.

Say

F

t U

)onr

cl icnl

NI. . NI iUe.

that the logo

you,c makiDg or hin

will bc r huge

thfee-dimensiooal reel

sirurcturcand

thar rou're

drNving the

doton drc

' i

;n

'Nl i l ler ' ro

bursrnlro

flames,he mxljusr

srare r you, glNy-

eyed.

B hvhip o r

i sroryboafd lltre

rrdng

tlrc process

of rhe logo gros.

iqg"

on the pige \vhile

liglrr plays

on

the metal

of rhe lerrers, he

ll follorv

your every siep- If the dor oD the "i

then burns ; €

the suD, vlr lvlillerwill

leave oursession

wirh

slars n hiseyes.

Storyboards or

computcr anima-

lion aren t necessarily

rawn wnh cl.s-

sic artist tools

such aspencils

or b.ush,

cs.

Jos€ph

Eagle, arr di.ecror

and

anima or

atTraces,a

computer anima-

tion firm in Brla

Cm\ryd, Pennsylvania

uses a unique

apPfoach

lo ffearing

storyboards.

His clieDrs

inchrde the

Philadelphia

Plillies

and drc Unisys

"We sit dovn and talk rbou lhar

they rvant,

Eagle s:ys. 1\'e may

s ar

out bydoing

some eal quick

and d;rqv

thumbD^il sketchesjusr

o make sure

ive .e sPoking

the same language.

Now,

sa/ a clienr

comes in and she

want5a }D Wavefront

animadon. In-

stead of spending

limc on dre Wave-

front, rvhich s

an expensivenachine,

$hat I'lldo

is

ger

on rhe

d;gital effects

systen, and lvith

lhe 2'D

rysrem,

can

crcxrcprct , rLs

' {h r number

otcl i f

"l ger

a pro(l,rcr

and rhen \Le

sel

up

the

35.tm crnrc.a

xnd

Jusr

shoor

sr'aight oll

rhc nronito.. TheD ige

ger

rhe picrurcs cleloped,

ut

rhcm our,

paste hem on i board nrld \rite littlc

descriptions

bencrth rhcnr

oi he ac-

riviq rhaas

goidg otr in thc picrufes-

The

i'Dagcs ook

lery high qualjy.'

and

in so.re

c8es, thq

look

almostex^ctly

how rhev

fe goiDg to look i.

fie 6n-

ishe.l piece, so rhey get a real good

idea olrvhat

it s going to look like. \Ve

srarred donrg

rhat because e found

rhar

sroryboardsd.iwD

Nith

marke6

and

colored pcncils doD t conrey as

much as

idco does.

You cai

mike storybonrdsdo lots of

things,bur

iftlre storyboardconsisGof

picrLrres as(ed

o r boa.d, rhe.e's

one

thing

it \ on t do....ro e.

Using a

cap-

t ion,

otrcaD el l lhe

pe6oD ookidg.r t

th€ boxrd rha( rhe c^.x'.a is prnning

or dolli,ing,

butyou i.e odce agatuex-

pecrjng ihe

vieNer ro be able to "see"

thi.gs

rlre same

wayyou do. The.e a.e

'A

ser ies f

pictures vi l l do drar ,"

sats

Eagle, becxuse

r looks ike some

frades

thal hale been

plued

ou ofnD

animadon.

So there rvould be impl ied

move'n€nr

ron picrlrre ro picrure. If

it: one

picrurc ud

I \vant to

sav

dr€

logo nies

do\vn here l

\fould

put a

i

Spiel-

i

though thev

gsl


12/81

or .1, , t shov

up

in $c actual

iccc.

'l-o

add

movement

to

r srorybo.rd

Nrpolon

vidcogrlphic5

takcs

he p c-

hnrs ind

ransfcrs

th€nr to

vdcot^pc

Ihen

thcy

use

a

Process

alled

drinrar

r.s

\vhich uscs

loose

Picces

ro conle)

nrc .mcrL

ror example,

srv

urerc

{xs

h one of

ihe

story_

boi,d

s sceDes

nd

this nrar

needed

o

lra\c at the

cameE

The

ca(oon

mnn

s

rnn

\lould be a

loose

Piccc-1gmPh'c

imr not

auchcd

(o

$e

Pict tre

of

thc

Drrn.

Then

when

You

shoot

rhe mani

\ou could

nove

$e

loose

ann backand

ionh *

il he

were

waving

T\vo ofier

examPles:

l)

A character's

enli.e

bodv,

Nhich

rou

mole lorvard

de camera,

and

2) Sevcral

different

versions

of

a

ch,racrer's

head,

vith each

head

veaF

ing

2

dire.€nt

exPression.

.Advertising

agencies

seAn'ma 'cs

r lot wirh

testing,"

Carre.

says,

efcr

ridg

to test

marketing

whsc

grouPs

rieN rouEh animated co

scc

borv the

audienccs

will reacr'

'They

use

Atimatics

in fiese

focus

groups

because

Cs

a lot less

e\Pensi\€

dris rvay.

fan

agency

has en

ideas, lt

,lot more

cost elTective

odo

il inAn

matic fo.m

and to

test

t in the

focus

grolrps

around

the

united States

heD

ro make ten

finished

conrmerciah.

Thcn

after tesdng

they

ook

at the re

sulls,

aDd

the storyboard

witb

re

highest

scores

bccomes

a realspot

"

TheEverchafl ingStorYboard

In

6e profcssional

world,

sroryboards

arejlst

a

part of th€

ProcesFnot

an

cnd

ii thenrelvcs.

That s

*hv art'str

aren

r uPsct

when

clicnB

ask

lor

"Tbey

re ahvays

making

ch^ngcs

sals

Eagle.

GcDerally,

it's

undcrs ood

rhat

thc storyboard

s not

a dcvicc

or

nriling

down

cvery

st dctail

Rathe.,

i fs

a gcneral i ,cd

ook

and

e let hed'

know

$at i fs

iust

an aPPr

\vhar hey'll

bc

getting on

thc 3-D

sle

reh. I I tbcycomc

n ̂ nd say,

1hc

st(>

,aboa(l

is finc

but thc

fituh o.

si\{h

prnrrc

nn r r ighf

i t ' s

no

PrcUdn

w. 11do

tovcr .

Everyihi lg

st ; l l in

hc

sv\tcn.

we can a.ljrsr

thcm

or crcn

.cdo

thcnr

ftom scratch

.Sto.ybo

ds

arc dcsigDcd

ro be

n,,rgh pPfoximrt ions

f \vhr t

wi l l

b.

p, ,x i lccd

Sotrrc rc

rcal Fnrgh

and

irnc

rrc

Pft : t y

nished, lnr l

gcnel

l ly

i r 's

wi : |o l ( )ok

at t l )cm

s r gutr le

o

\ har you

re go,.g

(o

s.e

'"Th fs

thc

ponrr of

thc storyboxtu

Whcthc.you

e

sel l ins

hejob

ni t i . l l l

o.

you

ve gor the

job

al,erdv,

)ou

rc

iu5t

t$ins to establish

vhxt cxlctly

is

going-to

appen.

fs sr i l lonl)

rhe

n i-

ll

you think

all this

P.cP

aoon

seems dnccessary,

hin\ rgrin

'Thcre

are a lo

of

PcoPlc

\vho

don t

ftink

vimally," srvs

Eagle

Even

berween

.tists,No.ds don t rcallycon_

vey picrures.

T\vo ardsts

ca s't

rhc.e,

and one

artist can

dcscribe

sonrething

and

can write

it dorvn

and

get as

verbal

as

you want

sith it, and

rhe odrcr

$ill

be listenins

and

getting

a nsual

'mrge

in his head,

and

it rvon

be the

same

image.Itwill

be real

diffcrent

\ork in

olhcr

n,cdir ,

Srcraboa'dc'

cG

rou set thc

rspcct

ratio to

nulch thosc

of

hodon

picrN.s

or

HDTII .

\b(

ll

fin

iects

for

to"r P 'ct t ' . .s

'u

rhc pro-

.qram's

ibmrr.

Or.

if

lou

rercrer

koN

r l \ r t

ar t

phobia, ou

cin

Producc

nn_

ases

s inq

vlacPai | t

Yorr aD lso

rN

p;rt

pictures

by digitizing

irems f.om

ridcotape

o.

by scanning

lat

^rnvork.

.{noth..

prograrn

or sro^boa.durg

is thc $430 ShowscnPe fom Lxkc

Compufratues.

Avrilablc

fot eitlrer

Ilacinrosh

or

IBNI

Plafonns

it nrtc_

grates

hand{rawn

or

scanned

nrages

Any

paint

Package

an

uncdon

rs

a

basic

storyboard

gene.ator.

Snnplv

make

a standard

emPlr te

then

ut ' -

'The

only

\iay

dring

in rvords.

Using

storyboard

will

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com

mu

n catio

powers

ou

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ny

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ftis

Deeds

to be biSger

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herc

Those

arc the

kind oi

dctails

no

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Sottwareo

the Resc €

I fyou

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an trat ional

car

ofd.1w

irg

(r

phobia raced

o

that untor lu

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n your

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Srade

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cl , rss) ,

herc s

si i l l hoPe

Thcr.

a.c

a

couple of

softlva.e

Packagesavailablc

fo. thc Macintosh

drat crn

gc

You

sr^.ied on

rhc

road to srorybox..l

The

fi6t

is thc Storyboaftlcf

liot'

^nrcr ic in

Intelhvxre.

At

just

uI( lc l

$500,

t borlrs

somc p.ofcssn,ral

po\v

cr .Th,o' rgh

a sc. i ts

of mcnts,

yodcan

.ustomizc your

storyboard

hptrr fof

r

You can

add SN{PII

drne

co(lc

( \vhc.c

cach

f.ame of

idco

hrs

irs

oNn

unique

ID Dumbc.,

'c l r

at

l L:22:33:01),

hc, lu.r t ion

t inr(s

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n your norybord

aD(l

c c

t,rnsitional cllcc$

b{:tlvcen

Pnr

trdcs

ik{ : {Lpcs or

d;s) lvcs

I l

} ( ) ( l

rou

co'nmunicaho'r

Po\rers

ot

can'

not

rcquire

any

orner

waY

Your clients

rvill undershn.i

ror.

biza.re

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mmedirtely

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ingyou

widl

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to carry

henr

out.

Youf

camera

operator

Nill

Pick

uP

on

\our

subdc

magery,

elPinglou

brnrg

fofrh

hidden

mcanings

add subrc\ls

i

your

comPosidons

vcn

tou

didn

r

And

your

actors

will hile

a bcttcr

rhan

fifty-fifty

chance

of frciig

in

thc

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on

drriDg

rhcir s.encs.

ObliouslY,

sroryboards

an

bc

\ery

i por tant

o

a vidco

Producr ior '

B ' r t

\ rhxfs

nro,e nportaDt

s thi t

I

n.Le'

uscdrhc phrasc, r sroryboa(l islodr

r thousind

No s

id th is

ic lc

At

lcrst ,DoL

nul

DoN

Mdonaker

conirihdnS

.dibr

lMlliam

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otrns

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priucoon

.omPrnt

alraontA

vaLUAnON:

n fte

Rda'lo

S'drt

drd

op0o t r r cpa l 2s . . i r de teaop rcp r i a tnunbsb

0 '

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o0in n

ol thi5 dn

C5ovdaLrvdu€

le3 l k i n

e i c l r 94 l romeva l € l

9s mo

va l d


13/81

STORYBOARD

NOTES

1.

TITLE & SHOW NUMBEB

Regular

nd

pan

panel

heetsor storyboards

vailablen

storyboard

ept.

To

avoidhaving

o

write

he show,s ame

andnumber n

everv

sheet

you

should...

A. Make

ure

ou

are

provided

ith

hesheetsor

eachshow.

or B. It youhavebegunwithpanel ads eave heshow's nameoffand

l'l l

stamp'

it on ater.t

would

e a

good

dea o number

heets

with

shownumber,

o

avoldmix-uDs

2.

PAGE NUMBEBS

Neat,dark,

lear

please.

lf there s a

page

out

ndicate

n the oltowing

age

NO

pAGE

plus

he

number

f he

page

out.

3 . SCENE NUMBERS

Number

ndcircleirst

panel

only)

f each

scenewith he

appropriate

cene umber.

It hescene ontjnueso thenextpage,numberhe lirstpanel

f

the new

page,

do

not

circle) rite

,'(contd),

under he scene

number.

4. PANEL NUMBERS

ACT

I I

Number

ll

panels

ith

panel

umber

traction

ype

EXCEPT

For

one

panel

cenes hich

anbe ett

without

panel

number.

(Don't

other

ith

l/1"

-

seesc. 1.

)

When

you

arenumbering

he

pages,

cenes nd

panels,

remember

hat

the numbers

ontinue onsecutivelv

hrouoh ll

theacts.Act l doesnotstartwithpage , scene iranel

ll

you

areboarding

hesecond

alfot

the storyboard

etthe

storyboard

o-ordinator

o

find

out

he

ast

scene umber

nd

page

number

rom

Act

l.

5 . IN DIALOGUE

BOX

Does

ql

requirequotation',

arks.

Underline

peaKersame,

(bracket)

elivery

irections,

ndicate

oundEFX.

nd he restof

what

s n

the

box

s

dialooue.

6. IN

ACTIONBOX

Circleransitions.UT X-DISS WtpE

Underline

amera

moves.

RUCK

N.

pAN.

etc.

7 .

UNUSED

PANELS

Please

o not

cross

utunused

anels

alono

with

deleted

panels)

hey

will

brjcovered

itn

blant<

aoerl


14/81

1.

TITLE

& SHOWNUMEER

ACT

II

3. SCENEN

4. PANEL

NUMBER

4,<

B:gEC

:

A.a{f,c

F,c.,. C.i

:

^G.arN/

Fe|s|Z.t7

SEAK.AB,€-

us /

,a4vtet-

2.

PAGE

NUMB

. rd |

rEr

E-a22

".E

,ryts

rt -;\

cor)

FAN

a6

ioL

tt

l4

t ,

BE

3

UM

@[u02i1993

6. DIALOGUE OX

7.

ACTION

BOX


15/81

sTOR:FOARDI

C

SUGGESTIONS..

0f course

'" tere

arg o""hei-

echnlques

and

the

trick

ls to

ffid

a

s;.5+-srl that

o.ks bes'.

for

you.

?.en€irer

ihat sDe?d and eff ic ieicy

ere

essentiaL

ri i t : r

+,he

u-r-co[ ing scxedufe.

There

are

ju5',

as neiy techniques

' ,o

gei

frcl i l

rougr bo..d

',o

ilnj-sr3C. So::te

jusi

use

+ he r

rou;hs

es a gJi ie

arC :_gCrav,

ie:hE_:s in 51ue

pencll

then

bL:ck. sofle

clean

up

',heir

th,r, b-

naifs

ard

xe:_ox

+-:1en

u?

to

s:ze.

egein

the

question

is

a.e

l rou

t:kjng ioc nany sieps?

f

,ould

:e.cne:rd

trac:ng

i ro:

the

rough

_-o

f inished siane,

I '"rs eas-r ' o i€ke

correci . lo;ts

in detai f

anC coricos 'Licn..

-aid sevgs

a

s'Lep.

thus sevixg 'Llire .

Sor€lhing to

'eiie:r.:ei

is that

pecple

terd

to

conpose thsir per?1s

rLoo

tightLy.

The

use of

the

"Fost:t"

:€rels,

then

.lracln€

ircn

thal

size is e

Aocd

riay o.i

ivoidj.ng

' hat

iendency.

RoD6q

P&a- StLe

Once agaln

coriceriaa:e

o:: L.hai,rs

lhe i tost

inporLant.

. .

' -a

irg

ihe nc.- i .cn,

ercrbss ion,

.pos1n6.

ho.c.. . i id

do:i ' t

6ei

boEsecida,, .n

n

a lot

of ef: .eieous

Ce:ai1-

nough,

scetclJ..

bEckgr.und

indicat ions

are

f ine

i f

there

Ls

gocc

design

rele.ence ro

p.ss

cn

to

the lar-cu."

elai tnent.

'r;hen

r,ul"i:ie pe:leis :ie .eqcl..ed to shd,, the

action

in a

sh:fg

sceie,

l t

ls

not

necessary

to

redrar

"re

bg.

e.. /e.: .

t i : re unless i t

s

affecieci

5cielcJ

q,-

the

ection

cr there

is a.

pan

lnvolved.

0Qk

{ .u/

-rrut5ipp

nua-<

&e


16/81


17/81

fHlNGrS

TD

WA-TC+{

OvT

FaR-

A.S Yo\J

'TH

e r./^.BNAl r-

Yo

uR_

6E4l.rENcE

I

BL.oc.RrN(.a'

-

KS.EP

11- SIMPL-E l r.aa.rr\r

tv1

.st{ctTs

(rNC-€,

-THEIR

POS\TIOIJS SA\/E.

BEEN

E=TAB,I-I,SH

ED

\\l

-F (E-

w

IDE

srid-r

.

DIA -.o


18/81

C rE'rr.J

Gr

sE?vgN


19/81

vueJL

oa

t lc


20/81

v u u l L

r o r

r l e d L

TANTRUM

( i L t ]e sn i f

f

)

The MEAN

A,IIDERTTIATS o

a double taKe

to

the

TANTRUM sAURUs.

TANTRUM

(congested

menacj ng

grow

[

)

.

. .

fk\,rooooooodddddd. .

. .

The TANTRUM'S mouth opens wide as he begins to bui ld up to a

sneeze -

. . . . aaaahhhhh.

. . aaaaahhhhhhuHHl{.

The MEAN ANDERTIIATS

squirm helpl,essfy,

knowing fu1I

weI.L what

is

abou t Lo

haDDen.

SPIKE,/SQUfRT,/IUMP(in

un.ison)

AHHHHHHHHHHHHHHHHHHHHHHHHHHI

I

I I

hannock bet\,reen

the

back like a giant

sits snugly

in the

q

l i nd ah^ f ^^^ r .a+

STONEY 'S

.POV

-

as

he a ims the

They

refease

Lhe hammock.

ANGLE

ROCK

-

as

it flies

past

the first

intended

targ,et.

(very

fa.r off)

(ndghty

sneeze)

'

.....ccccccHHrffooooooooooooot

The CAVE:i

KIDS

l:;'eact

over thei.r

shoulders

as thd

three MEAN

ANDERTIIALS

cone

iflying

.lnto. the

cave,

landing

in the hot watej:

poo-1 . .

. i . . . .

. . : .

'

' ' ; .

' l l .J ' .

' : l i ;

: : ,

i ' l

. ,

.MEAN

A.I,IDERTIIALS

.

(3. they

fly by)

GAAAZOOONTIT

rTE I I I

i

'; STONEY

Iat

her

go

I

Ir{T. I{EAN ANDNRTEAI-S' CAVE

The

CAVE KIDS have tied the

MEAN

ANDERTIALS

two

s ta l ag rA i tes

and a re

s t re tch ing

i t

sl ingshot.

The l i tt le

baseball

size

rock

r ^ . k . l _ + h - 1 - - - - i ^ ^ L

' : : ' ] '

TANTRUM

t ne . '

. J : '

. i '


21/81

"Quest For

Heat"

-

Continued

CAVE KfDS,

watchinq

it l ike

spectators

at

a tennis

natch as

it

bounces

al1 over the

place.

BUMPS'

head pivots

back

and forth on

his long

neck along \"r i th

the others.

The

rock bounces off a wall . shoots across

the cave

over the

ugaN

i

ANDERTHALS ' heads , r i coche ts o f f a

s ta l ac t i t e ,

bounces

o f f

.

another

q'a11,

skips off a stalagrnite and

finalfy

hits BUMPS

in

Lhe beh ind caus ing h jm to leap

h igh in to the a i r .

BUI4PS surprised shout

)

wHEW-HOOOOOO-HOOOOOOOOOOOOOI

ANOTHER

ANGLE

-

as BUMPS drops onto the

Iog,

.loosening the

boulder and

sending, i t rolf ing right towards the steam

pit.

ANGLE S'IIONEY his tr iujnphant smile

instantly fades

as...

AIIGLE

THE BOULDER

-

as i t rol ls r ight

over the hole

and keeps on

go i

ng .

Tt heads s t ra igh | - fo r and c rashes in to the wa l l ,

crunb.l ing into

a mil l ion

p1...:.

_

ANGLE $HE CAVE KIDS

-

\,r i th blank

looks on their faces.

sPrKE (vo)

HA t tA l No bou lder , no

p lug l

SQUIRT

You said i t,

Spike

I

ANGLE.BACK TO THE

KIDS

-

who

look devasted. BOW

o f f s c x e e n . '

'

:

r :

'

j -

r '

i ( i '

i '

Look

Bow

. r l

ANGLE

TIID BOIJITDER,/WAII

-

as a srnall

crack opened by

the

impact,

-

runs

up..the,rwaf]., al"ong

.the xoof and right up to a

giant

stalacti te

above:

I

SFX:

,

CRICK,

rE i a1Ls .

ANOTHER

ANGIE

-

as the nassive Etalactite

drops like a Elrord

:--

-

right towards the

steam

pit.

The MEAN

ANDERTIIALS leap for

their

I ives as the stalacti te buries it 's entire length-in the pit I ike

a monstrous

cork.

Ya

hal

STONEY

We

did

i t l

plugged

the

hole I

' . : : : '


22/81

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23/81

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24/81

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28/81

CHARACTERS

By and arge,

ali DOG CITY

characters

le eitherdogs

or

(very selectively)

ats'

while

they

usua

y

behave

n a hurnan-like

ashion

i.e.

wearing

clothes,

walkiEg

upight,

tipping

poorly),

they ;ll

exhibit distinctly

canine

and

eline behaviour'

rom sniffing

a stranger,

o

howling at

the moon,

o chasing

ars,

o driving

with

their heads ut

the

window,

o

scratching

hemselves

in public. For specifics ee he "DogTics" addendun t thebackof drebible)

ACE'S

(ANIMATED)

DOG CITY

Ace Hart

Ace Hart is a

private

eye's

private eye, a shamus

whose

wit is as

quick as

his

paws He believes

in truth,

Jusrce

and

helping

Littleold

labradors

across he

street

Well,

not

quite

lf the truth be known

that

is the way

Eliot wants

Ace to be;

what

Eliot

wants

his fars to see;

what he intended Ace

to be

when he

first created

him. But

Ace evolved

He came alive in a

sense,

ulgrowing

EIiot's

homogenrzed

elo, aking

on his owa

unique

a'1d

annoylng ral ls

To that end,

Ace believes oniy

in himself.

He is the

archetype

of the

private eye

guy in that he

watches out for number

one. He's

got

an

ego as big as

his Hudson

and

isn't

quite as clever,

heroic, or

effective as he

professes

o

be. This

is not to say

that Ace

isn't

good at what

he does'

because

e is. It's

just

rhat Ace's bigger

than

life opinion of

himself

tends

o

dilute

his real, and

genuine,

qualities

and abilities.

We see this

most v,/henAce

and Eliot

are interacting.

When they

are

at odds

as 10

how Ace

should handlea given situation.Ace alwayswants o burst in for effect, throwing caution o the

wind, thinking only of

how

great

he'll

look doing

it. His only

agenda

s himself

Eliot's agende

is to do

what'sbest or the story

he's elling,

and fthat means

Ace

has o

slip on

a dressand

slip

past

he hired muscie then,

embarrassing

s t may seem,

that's

what

Ace

rnust

do

--

because

f

Ace squawks

oo

much,

Eliot can

ust

as easily um

the frock

into a

tu-tu

ard have

Ace tip toe

right through

those wo drips.

This undoubtedly

causesa bit of

friction

between

hese wo' but

Eliot is no tyrant and

Ace is no

whiner, and compromises

ate

made

(A

note about

"whining",

an annoying

rail that Ace fell

into last season,

making

him sound

ess

than the tough

guy

hero he

is

supposed

o be.

There are times

when

Ace has

to stop

the actlon

to question l iot abouta particular irection he show

s

going n. Often,

Ace's

complaining"

sounded ike

whining. Writers should steer

away from

Ace complaining,

opting

for

Ace to spout

his

opinions

in the form of sarcasm,

disgust,or

out and out

anger.

Eliot

will be

quick on tire

uptake

and either accommodate

Ace wilh

a changeor tell him

to take

a hike

--

either

way, Ace

hasn't

much choice in the matter,

and will continue

he scene

without

complaint

or whiningl)

We've

talked about Ace aad Eliot's

working relationship,

now

let's talk

about

the

result

of that

relationship.The snrff that

Eliot's fans

get

to

see

(when

Ace

is in his

element,

screenlng

a

DOG CITY BIBLE

(Rcvi icd 0l . r i )


29/81

potential

client,

waxing

poetic to Eddie,

exchanging

verbal

foreplay

with Rosie'

or slapping a

collar

on Bugsy

and

his boys)

is a

cartoon

private

eye

--

a

cool and

coliected

canine whose self

assured,

elf serving

attitude

s

so

pronounced hat t borders

on

pure

parody And

who ca:rblame

him? Ace

is. after

all, a

cartoon

character'

His

good

points

and bad

points

should

be equally

cartoony-- pushed o extremes n order to get the most out of his comic, heroic, ald dramatic

momeDts.

Ace fancies

himself as

a

hardboiled

detective,

cut from the

same

cloth as

Sam Spade,

Philip

Marlowe

and Mike Hammer,

but

his

delivery

is so

puffed

up

that it always

comes

out soundrng

like

Leslie

Nielsen from

"Poiice

Squad".

Ace is soffhearted

only

when

it comes to

Eddie

(his

worshipful

wehosed sidekick)

and

in those

rare moments

when

he

gets

a

glirt

in

his eye for

Rosie.

When

it comes

o tracking

down

a criminal

there'sno m4tch

fo

Ace His

uncanny

"nose"

for

clues s legendary,but on a number of occasions

t's

gotten him

into deep

doggie doo

After

picking up the

trail, Ace's

nose ales

over,

leaving him blindiy

oblivious

to

whatever

danger t's

leading

him into.

Being

the

"against

he

grain, bending

the law" maverick

hat Ace

is tends

o

land Ace in more

then his share

of hot

water.

(And

since

he's a real

"dog's

dog",

Ace hates

taking a

bath'

physically

or figurarively).

The dangers

he facesshould

be comicai,

but real

enough o

male the

Lids

"t

ho."

worry for

his safety.

But somehow,

always at

the last

minute and

always by

the

skin

of

his teeth, Ace

is able

to

pull his self absorbed

hide out of

the fire, saving

the

day and

slamming

yet

another

cell

door on the

evil-doersof

Dog City.

Rosie0'Grary

To

find out

where Rosie

is

going (first season ersessecond

season)

et's review

where she's

been-Last

seasonwe tried

to apply

the Lauren

Bacall,

girl

friday

romantic

angle between

Rosie

and

Ace; a role usually

given to a character

hat works in concert

with the

hero' or

at the

very

least, shares

he same

goals/opinionscase-wise.Our

problem was that Rosie

and Ace

(by

the

book

cop

and shi{lless

pivate

eye)

where always at odds, eaving

no room

for casual

lirtations,

and thus,

no roorn to serv1ce

his side of

their chalacters-And

whenever

we

tried to shed some

light on this

unspoken

omarrce,

iving

Rosie ines like,

"There's

goes

one

heckuva

dog", Rosie's

impact asa tough Police Dog went right out the window. The bottom line being: in trying to do

both,

(tough

cop/girlfriend)

Rosie

(the character) elt flat and undefined.

So

what's the answer?

How do

we mai


30/81

Ace,

who is as far

from

perfection

as

any

dog can

get.

As a.L e, Ace follows

his

gut

instincts.

This usualiy breaks every

rule in

the book, but Ace

doesn'tmind. It

gets

results, and

as

a bonus,

it rubs Rosie's

ur the wrong

way.

Anything to

yank

Rosie's

chain-Having said

all that. let's

get

down to

the nitty-gritty.

Rosie O'Grary

is Dog City's Chief

of

Detectives. A real take

chalge kind of

gal,

determined o

do her part by taking a big bite out of crime. Is Rosiegood ooking?Well, let 's

ust

say she's

fetchingl) Law enforcement s

more

than ajob to Rosie,

t's

an O'Graq,

famiiy tradition. She

s

the daughterof Red O'Gravy, a legendary rish Police Dog, famous

or single

handedlyslapping

the collar on

Al

Cabone.

Living

up

o a family name is an incredible

load to bear, and

it's

especia.llyough for Rosie, being a

woman,

in what mary narrow

minded

dogs say

is

a man's

game.

Like the

Muppet character hat is her

parallel (Terri

Springer)

Rosie is extremely

efficient,

organized,and

obsessedwith her ability to do

a

job

well

--

but where

Terri comes

off as kind

of screwy, Rosie comes off as some kind of

goddess.

n his foot

thumping affection

for Terri,

EIiot is blindedby her failings and oniy sees erfection. n transposing his perfectiononto Rosie,

Eliot has created

a

superwoman;

a

police gal

incapable

of

making a \4rong move;

and a real

pain

in the ass or Ace.

Rosie

s also the

possessor

f an ex{remelyvolatile Irish temper. Ace

has been

(and will

be)

on

the receiving

end

of

"the

wrath

of

Rosie" and will tell

you

that it is set off,

mainly, by even he

slightest hint of sexism conceming what some dogs

(Bugsy)

see as a

womar doing

a man's

(police)

work. Often, Ace can see that an eruption s immalent and, even

tiough thesedumb

chauvinistic

animals

deserve

t,

he tries his best o steer hem clear ofthe

blast radius.

"You

don't

wanna say that. You really don't wanna

say thaf'. BOOOOOOOOOOOOOOOM

Chaos

Mayheml Incredible off screenOoo's and

Ouchesl

Then reveal he thug all tied

up like a

pooch

pretzel,

with Rosie

standingover him, looking refreshed.

Ace

grins. "Aw,

you

went and said

t".

Being the

perfect

Police Dog isn't easy.

There are momentswhen Rosie

exposes he tiny

chinks

in her armour, but only during times of self doubt,

and only

in

the

presence

f her dad;

a framed

photo that occupies

ar honoured spot on her

office wa1l.

Although Rosie can't stand

Ace's

disregard or

procedure,

she

can't

argue with his winning record,and has a

gaudging

espect or

him. There are

times

when

Rosie needsAce,

but asking Ace for help

is a bitter

pill

for

Rosie to

swallow.

And

you

can bet dollars o dog

hairs that Ace isn't

going

to make

it easy or her. The

only

reai weight Rosie

has on Ace is that

she has he

power

to

yank

his

private

eye dog

license

anytrme she wants- t's a

threat

that

Ace tates very seriously

-

one

that keeps Ace

on his toes,

and off of Rosie's.

Being a high level

official of

Dog

City, Rosie

answers o only one dog, the

Mayor of

Do8

City,

a shallow, credit

grabbing politician

who

prefers

photo-ops

o backing

cops. A dog

who rivals

Ace as Rosie's hief

sourceof aggravalion.

As Chief of Detectives,Rosie is

forever finding

herself n the middle of

great

danger.

During

the course

of

his

investigation, Ace

will often

come to Rosle's

escue,ard, almost

inevitably,

Rosie retums he favour,

sometimes o the

relief, but more

often

the dismay of loner,

Ace

Hart.

DOC CITY BIBLE

(Revi lcd

1.r3)


31/81

Eddie

Eddie

s a

young

spaniel,

enetgetic,

venly enthusiastic

og

City

newspup

who

ancies imseif

as

Ace'ssidekick

ld a

pivate-eye-in-training.f Jimmy

Olsen

were

a dog

he'd

be Eddie Eddie

worshipsAce.

He thinks

Ace is the

cat'smeow

(pardon

he

er?ression).

Like

all frisky

pups,Eddie s eager

o

please nd s always

p for

new

andexciting

experiences,

so much so that he can hardlycontainhimself (Hence he newspapersll over Ace's office)

Unfortunately

or Ace,

Eddie

nevershuts

up and appears

ut of

nowhere

at

even he slightest

mentlon

f a case, ot

wantiflg o

missevena second

fthe

action.

Remember

he Wdner Bros'

cartoon

with

Spike

and Chester?

he

frisky ittle

puppy

who

is always

bouncing

aroundSpike

yammering,

Whaddaya

wa$nado

today,Spike?

Ya want should

scare

us up a

cat to

punch

out?

Huh, Spike,

huh?"Eddie

s Chester).

He'salso

a;uvenile

authorityon

ust

about

everysubject,

gift

that

s, at

the same

ime' a help

and

a hindrarce

o Ace. mean,

who

wants o heal he casualty

ate

of

Acapulco

liff divers

ust

when

youlre

about o

take hat

en story

plunge

o savea drownilg

client?

This

is the cross hat

Ace must bear.And even hough t's crysta.l

lear hal Ace

is calling

he

shots,

we ca$\ help

getting he sense hat Eddie

s often

a half step

ahead f Ace,

nnocently,

nd unintentionally,

cluing our

imageconscious

ero n to

the blatantlyobvious.

But

even

hough

Eddie

s more

knowledgable

factswise) hanAce,

knowledge

oesn't tackup

against

xperience,

r thinking

on

your

feet,

and

in that department,

Ace

Hart always codes

out on

top

Eddie can be

a colossal

ain in the neck,

and Ace often catches

imself

antasizing

ew and

exciting

ways of shutting

him up, but

in the end,

Eddie's

enthusiasm

nd

excitement

le

contagious

.nd, s Ace

would say,

"A healthy eminder hat

n this

flea-bitten

world of ours

there's

till a few

patriotic,apple

pie-eyed, ll Americanine,

et

nosed

upsout there

Dog

love

eml"

BugsyVile

BugsyVile is a dumb

versionof Vito Corleone.

decidedly ense

Dogfather

whose

pe[chant

for senseLess

cts

of

violenceandover he

op antrums ave

madehim

the

most eared riminal

caaine

n Dog

City.

Every ime

we

see

Bugsyhe s

plotting,or in

the act of

commltflng,

ome

totally

ridiculous anine aper hat,

he eels, s so senseless

hatnobody

would

expect

im to try

itl Bugsy ivesby a strong

codeof ethics.

Aboveail elsehe

prizes

andoften

ewards) enseless

behaviour, enseiess otrves,

nd senselessiolence.

Is

therea

pattem orming

here?)

Like his Muppet

parallel, (Bruno) Bugsy is a character

f extremes-

xtremely

senseless

Extremelydense- xtremely

volatile.And exfiemely

aln abouthis

iooks

_-

a humorous

spect

of Bugsy'scharacterhat

we intend o

play

up more his

season.

This

diabolical

Don

dons

tailoredsuits,snappyshoes, nd

an egregiously ad oupde

-

an ill

worn

rug that

often

gets

Bugsy nto embanassingituations,

lying off

(as

hey end o

do) at

moments

f exfieeeeeme

crisis,necessitatingetrieval

at extreeeeeme

eril.

To one of

his boys.

DoC CIT Y BIBLE

(Itcvi led

0r.93)

1 0


32/81

Bugsy

also ends o speal

with the

circumlocutory

ver-vocabulatiol

hich

s demonsfrative

f

a

pefionage

om of

Damon

Runyon-esque

xffactionSo

to speak

He's a

stocky ire-plug

of a

guy,

who

nevertieless

s iight on

his feet

and,whenca1led

pon,can

do a

great

ango-

A dapper

Don

who rules over

his

gang

of hapless

enchdogs

ith an iron

paw,

but

is tumed into

a

cowering

pup

by even he

slightest

f snarls

rom his cuddly eline

moll'

Kitty Litter'

Kitty Litter

AlthoughBugsy

s the boss,and

maste of

his world, Kitty

is the cat

who

pulls his

srings.

Because

ugsy s so dependant

ll

Kitty for love, companionship,

rd

status

all

mob bosses

require

a

gorgeous

abe

o their arm)

Kitty is able o

ride herdover

him using

a subtleblendof

feline lirting,

mild manipulation,

nd

pronouncedouting.

This

s not to

imply

that Kifty has

designs

n running he

show.That

would be too much

work- She simply

uses

her hold over

Bugsy o

get

all

the really

neat

stuff

in the

worid; wildly expensive

itty

curios

and

ewelled

playthings

or the

much

pampered

ussycat.

nd

judging

by

how tightly

Kitty

has Bugsy

wrapped round er ittle

claw, t's safe

o assumehat

whatKitty wants

Kitty

gets

Think of her

asMercedes uehlof "Maried to the Mob", or asa moremanipulativeercionof the character

Adelaide

n

"Guys

and

Dolis."

With Ace Han,

Kitty hasa soft

of

"Catwoman-Batmar"

elationship.

he ikes

him' but they

are

on opposite

idesof the

law. This

relationship houldbe treated

s a

mild flination

on Kitty's

pan,makingAce uncomforlable.

nd

Bugsy ed acedmad.

Kitty always

emergesrom

everyscrape bsolutely

rccratched,lipping

nto

the shadows rd

leavingBugsy

o take he fall.

She s owner/hostess/star

erformer

f

the Kitty

Kat Club, he

back

oom of whichserves s

he mainheadquarters

ndmmpus oom

or Bugsy

and his

gang.

F isky

Frisky is a

psycho.

He's

like Joe Pesci

in

"Goodfellas"

times

ten.

His total enjoyment

of

psychopathiccriminal behaviour

can

be

played

to the hilt. He lives

to test the

limits of crazed

behaviour,

ald his extreme energy

is his signature rait. Frisky's

frail little

frame is always

in

motion, like Peter Lorre on

a thirty cups of coffee,

his little

paws

wringing

like a fly on

a cow-

pie.

At times it's hard to

pin

down what Frisky enjoys the most;

the act of

doing something

insanely crazy

or

the anticipation of same.

Frisky's nicknamederives rom his natureand his onetrue talent.Frisking. For him it's noi only

a

quick

ix but an art orm.

"Ooooo emme risk him, BosslCaa huh?Can

pleeeeeeeease?1"

He is so overly enthusiastic bout

t

that

any dogs he frisks endsup thoroughly

dishevelled;

heir

clothes are on backwards,

inside out, their

pants

on their

heads

and

tieir shoes

on

thelr ears.

Frisky is

a

cr.urningmanipuiator and can

easily

con

Bruiser,

Mad

Dog, even

Bugsy,

into doing

things his way. But not Kitty.

Frisky hatesKitty, notjust because he's

a cat, but because

hehas

Bugsy's eaJ.Too many times

has Kitty swooped n and re-routedBugsy

to her

personal agenda,

DOG CITY BIBLE (Rcviled 01.93) l l


33/81

just

when Frisky had him

primed

o do things

his way.

Frisky and

Bruiser

have an nterestingeiationship.

They are

a

team,

with Frisky

playing

he

masterand

Bruiserplaying

he malleable

lave.

nnocent

ulk that he is, Brujser oves

Frisky,

but

Frisky resents ruiser,

not for his

size,but for

the act

that

Bruiser s Bugsy,s ephew,

fld

chief heir o the family business.

he mere

hought

of this sendsFrisky into fits

of rage,

prompting

Bruiser o snatch im

up in that

protective

way

he does, ver-stroking risky's

head

andsaying.Tlere, here. iFlle ella

When t comes

o Mad Dog, Frisky

s the

gang's

hief ranslator

nd

wrangler.

Frisky ranslates

Mad Dog'sunintelligible

mutteringsnto

ntelligible

mutterings nd s in charge

f flipping him

his doggy

biscuit ewards.

Largely

because obody

else

n the

gang

s crazyenough o

get

hat

close o Mad Dos's

mouth)

Bruiser

Bruiser s stupidity-squared,lwaysat easta stepor two behindwhat,s oingon. probablyan

ex-boxer

the

sport,

as well as

the breed),Bruiser

doesn't

ust

have

cauliflowerea$, nes

gor

cauliflower rains.

Confusions

his metier-AIso,

Bruiser

akes bsolutely verything bsolutely

literally.

(So,

whe4

Bugsy says I

don't know

the meaning

of the word fear,,,Bmiser would

naturally espond

Duh

tlat means,

-h, ein'scared,

oss',.

Or somethingo that effect).

He's

big,

strong,

unchy

and,despite

is life of crime,

ather

weetand nnocent.He

ust

fell

in with

a

bad

lot and

really doesn't

know

the difference.

Bruiser

also

happens

o be Bugsy Vile's

nephew, nd since

he's

family,"

he'sabove

riticism.

This car be very embarrassing

or Bugsy

who, having

ust

defended

is sister's id

for dropping

a

safeon Frisky,s oe, henhas o

suffer

the ndignily

of having he

self-same

afedropped

n his

toe. But the

gang

needsmuscle,

nd

Bruisers muscle

ersonified.

Mad

Dog

Mad Dog is the missing

ink,

Dog Primeval, ure

aaimal

aggression, lone wolf.

WhereFrisky

is a tiny bundle

of energy

andBruiser

a big,

shambling aloot,

Mad Dog s long and ean;a

dark

presence

loping hrough

he

shadows,

o hin his pa,rts

eem o be held up by air. Most

of the

time he's narticulate.

e

ql\ly

spealsafter

eceiving

sha$

blow to the head,at which ime he

will

speak n a short

burst

of

intellectual

cuity.

Sort

of a

"talk

toggle', f

you

will,

that Bugsy,

Frisky, or Bruiser

can

usewhen

n need

of a.r

eniightened

dea or opinion. No

one

has

ever

figuredout where his comesrom, especiallyMad Dog.

In the

Muppetcanon,

e's

closesto Animal

rom

,,The

Muppet

Show,,

-

kind of hanging

ack,

breathing eavily,

eyes

half closed,

ntil

somerhing

etshim

off, thenZANG All he

has o do

is twitch and

he others

hold

their collective

reath,

bsolutely nsure

f

what

he's

going

o do

nextl

Sometimes e'll

viciousiy

che\rr'

p the

umiture,

or

bury t_he

eta\\ay

car,or somerimes

he'll

J

ustdo nothing.

You'reneverquite

surewith

Mad Dog.

He,s ast

as ightningandabsolutely

mercrless

-

an

unstoppable

oe

except hat

he responds

utomaticallyo doggy

commandsike

DoG

CITY BIBLE

(Reviscd

1.93)

L 7


34/81

"Fetchl"

and

"Stay ",

and

can

be

totaily controlled

y bones.All kinds of

bones,

of which

t\e

members

f the

gang

carry

on theit

person t a.ll imes.Theoniy downside

bout

his bone

etish

is

rhat

Mad Dog can

go

tolally

qll

of connol

ar hesightof it.

AlthoughMad Dog

is with the

gang

at all

tines, he is

often

obscured

y

whatever

doglike"

pursuit

e'sengagedn.

(Napping, hewing owna fle4 snarling

t

his reflection

n a minor, etc)

He can be

summonedwith a simple command

r whistle,and

will always

appear lutching

somethingn his slobberingaws -- a clue o wherehe'sbeen,be t a garbage cow,a used ar

lot,or a

graveyard.

Drop

t, MadDog Drop ti" Smack

Alas

poor

Yorkie,

knewhim

weli".

Smack

OTHER CHARACTERS

ln addition, Ace's Dog City

is

populated

by

assoneddogs and cats

of

vaious breeds,

markings,

pedigrees

and occupations.

They can be doctors,

awyers,

police Labs,

politicians and fire

commissioners,

ews hou:rds

TV

Newscaster

Bowwow

Wowwow

is a

pafiicular favourite) and

any other kind of

canine or feline careerswe need o depict.

One set of characters

worthy

of

particular

menfion s:

Rottweiler & Leon Burger

Rottweiier

s

an ultra-evil German

Baron,

saddled

with an eager o

please,

etch-happy

henchdog

named Leon Burger. Ahhough he'd like nothing better, Rottweiler

never

gets

to be

in a full

episode,

elegated

only to

the

opening easerofthe

Ace Hart adventures,

rd only

when we feel

l ike usinghim.

The

general

consensus morg the creative

powers-that-be

s that

we usedRottweiler

a few

tlmes

too

many last

year.

He becamesort of a one note

gag

that

gets

harder

o top.

Whenever

possible

the Miter should find a way to hook the audiencewith the story that

Eliot is currently

working

on, saving Roftweiler for those divinely

silly cameos hat

inevitably spring

to mind.

The

Telephone

When the Telephone s picked up in either Ace'sor Eliot's World, all we hear on the

other end

,>

c^rc , 'ucu ud^rn ts .

In Eliot's Worldr This

may be Eliot's boss,Eliot's Mom, A Lucky Dog

Contest

Call or

some

otherset-up or or:r episode, tc.

ln Ace'sWorld:This

may be Ace'sMom, A Lucky Dog Contest all,

a

potential l ient,

r

simplya

gag

DOG

CITY BIBLE

(Rcvi3rd

0l . r . l ) I J


35/81

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37/81

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P_I

\rdTe-=

I

Itq?aE.ssr

oF\S

.

R . O U G T ]

D I A L

(codthued)

ryg

BqARD

El-iot

shuffles

back into

his

desk,

dusting hinself

off,

EL IOT

(con t ' d

)

And I

ceitainly

don't. want Bowse

runninq things.

Can

you

imagine?

(ears prick up)

Wait-a-ninute. . .

El-iot

reaches OS then

plops

on his Ihinking

Cap

--

a doctored hard

hat

w-ith a ]ight bulb attachment.

EL IOT

(s ing

song )

I'n

gretting

an idea I

DING The

lightbulb

l ights, then Eliot starts excitedly looting

through

a

pile

of

painted

backgrounds. El iot smooths a new BG down

on his

drawing table as

he says:

ELlOT

Bu t f i r s t ve ' ve

qo t ta

pay

a v i s i t t o

Poor

old Bugsy.

AXCLE

ON

EL IOT 'S

DESK

o

revaF l

F n i i n r i nd ^ f

BXT. TIta DOG CrFr DOG POIIIID

(BST.

SEOT

OMINOUSMUSIC sets

the mood as we PUSII

IN &

INT. lTEa DOG

POI'}TDVISITING

CEI;IJ

A NrGq"r

SHa-r

ese

5*vrL'(?+r_rs

i

s,

LH.

ar-rY

/€.evs1

CUT EO:

FRISKY,

KITTY, and BRUISER

are huddled

apprehensively together .in

the centel

of the

heavily shadowed cel l ,

(Mad Dog

paces

back

and

forth

in front of

the bars l ike

a caged animal

--

which he

is.)

CLOSE

ON

THE

GANGas we

hear the

OS SOUNDSOF LOCKS and HEA\'I DOORS

OPENTNGAND

CLOSING. Each

CLANG nakes the

gang

fl inch. Then

FOOrSTEPS

re heatd.

cetting

closer. And closet.

The cang huddfes

even tighter

as the Visit ing

CelL door explodes

opent CLANG Then

a welf

padded

GUARD

DOG

wheels

in

a

frightening siqht.

It.s BUcSy

VILE.

trussed

up in sone

elaborate muzzle

a Ia Hannibal

Lecter.

The

Guard Dog

parks

Bugsy

in front of

the cang, each of

then

reacting wide eyed at the sight. And just when the tension can get

no higher,

the

Guard ki11s the nood by

unceremoniously

"snapping,'

o f f Bugsy ' s

muzz le .

He

saunte rs ou t

t i r ed l y say ing :

GUARD

DOG

You

gots

five minute6.

And

stay off

the

furniture I

Bugsy-scowls

at

the

Guard. then

lrisky col lapses

at

cl-rngrng

to Bugsy,s

legs the way

dogs do,

u) lAf5

,

/

(fttHc.

04)

.r

Bugsy ' s fee t ,


38/81

*

FRTSKY

(wiLd

sobs

)

t

Say i t

a i n ' t . so

Dog fa the r t

I

Hoe ,w i f l

+ - \

*

we qo

on wj.thout

you-hoo_hooooo

t |

\

*

Bugsy

pats

Prisky,s

head,

T=.|

+

* ,Bugs

laps F

(

ih,

Fher.e

+E

lruthin,


39/81

'Bor6

BruL 6r '

(coatLlued)

BUGSY

--

mlmephewBru

ser.

CI,ANG

Frisky's

chin

hits the floo .

BUGSY

After al

I

,

this i6 a

family

business, and Brui6er is fanily.

ANOTHER THOUGHT BAILOON APPEARS oveT FTisK\,. In i t,

Frisky

breaks

kicking and sclea$ing l ike a spoiled kid.

aa.-,t€

FRISKY

(

OS,/ECHO-Y

tshouldabinme Itshouldabinme

ment

complete

by

Frevrovs

BAtrldi'

ng Mad D og o n t h

i t ty

head ,

B uise

a i t r ' t

nak the a

ing him to ris and sing Bert

Barks:

Therrrrrre

Do9-faut

_.--3

--- J

Lo-sa

ce tha

hi

Brui

noves ne

here .

Brf i -

'5

-rsoear.d

Sal.eo$

teFi+-rE-s.

ese

fte

oR

It ain ' t*, arq€E.

,. L-r\t(=.

eg

Ea^crs

No-)

.

Prisky k+€k€--+*+--€€t e€rfts,

E D T e r v r d ^ I . t h i n d \

T r r i n ' + + : i ' r + a l l , 5 t

Bruiser

scoops

Frisky up to console

hirn. near

stroking the skin

right

off his scran'ny

spine.

BRUISER

There the re

l i t t - l e fe l ta .

I , 1 I n i ss

6

unca Bugsy

too. . .

'-_slc{s

wroE

oN THE

GROUPas Bugsy

gets

all secret-ive-

like . Ite--l:oelfuef t

:::i

l+'-= g t he1

srle*Ely

be

D

_^-o

IN'r 'O

SHO? (in€lEding

a sEil l

apo lectic

F=i+lq4-

1tu

*

The

Gang leans

even closel

as we

CUT TO:

L--l

BUGSY hush-hush

)

Witt

da foist order

of business

now

in

conpletion. da

second

itetn on our

co l l

ec t i ve agenda i s

thus Iy . . .

ssssss

rrrrrrrrrr : I

6 Kitty, waving and

fawning at an

y gestures

to

Bugsy. He reluctantly

"pres

Kitty to RIIIIIIIIP off his toupee and

p ison

. (Bugsy guickly covers

his embarrassment \,rith

striDed hat l


40/81

Ef,r, r,EEDOG

porrrfD

(

COmrNUoIts

BUcSy (

OS, bettows

)

BUST

I.(E THE HECK

OUTTA

HERRRRRE

I

* The vrhole place shakes at the sound of Bugsv,s c

*

TO:

A BI,ACX

A

WEITE

TV

II{AEB

The

AINOUNCER

(fron

"Radio

Daze, ')

e a r l y - d a y s

- o f - l i v e - T V

c u r t a i n .

-re-r}rt-

.s€q

?

|

7-l r,a.t_ -^"r_.1

stands

in front

of

your

basic

-_

as we CUT

f .+z

L'

ANNOT'NCER

Friends,

has a

beagle

burgled your

bungatow?

e

poodl6

p,rrloi""o

io"i

t l l

property?

A heinous

hound

heisted

Your hydtant? Then give a whistle

for

Ace

Ha t,

private

Eye Dog

The

Announce

WHISTLES

pOR

THE

DOG,

cuing the

curtains

to open.

Behind

is a IRIO

OF SINGERS/DANCERS.

hey

are costumed

as

ace

Of

Healts

in the

styLe

of

the cLassic

Old cold

Cigarette colunercials,

tap dancing

across

the

screen. (They

sing to

the tune

of the

D .

whippet

Jingle

fron

',Radio

Daze.,

slowed

1o a

tempo

nole suitable

for

tap

dancing

)

.

TRIO (

singing

)

Ace

Hart.

he,s

the private

eye

hound

/ sends

thugrs'n

crboks

striiqht

to

the pou4d /

Tl:{

".up

.gu"""_-gq.

Ace,

sranding

in

a cool pose

unde

a

ramp.

As rhey

GAIN

os we

supER THE

A PHONE

NID,iBiR

across

the

o f the

sc leen :

555-54 I3 ,

TR IO

(

CONr 'D

CalI

f ive

five

five

six

four

one

three,

and

fet

Ace

Hart

solve

vour

nys-ter_y

I

Ace

takes

the

toothpick

from

his

nouth

to add:

*

The

Announcer

ACE

( fol lowing

cadence

)

That,s

Ace

Hart,

private

Eye Dog

/

I

guarantee

your

case

f,I l

crack

/ Or

you

wil l

get

--

and

Trio

but

in

to bring

it hone.

. . -

ANNOUNCER/TRrO

s ings)

--

ooub-Le

your

noney

baaaaaaaaackl

street

bottom

3 tL


41/81

ACT TWOr

BxT.

POT CE DOG

ETADoUARTERS

-

X

Nlkrrf-

6l

qe

l{r.s

oFJ

Y@E_

-

gaN

E-

\r.9\S,

-ir-{F

ROSrE (O.S .

)

Clearly this is the work of

cxininala'

nastefirdod.

*

rNT. ETADQUARTARS

(

COIITTNUOUS

)

fhe ir:ate

BANK PRESIDENT fumes

as Rosie

and the

police

Dogs

study

a huge

map detai l ing

the

cu1prit,6

tunnels.

n

BANK P.RESIDENT

Chief

o'crar-]/ | (

YAr*.c.-peoi+eks

j

'npin+_ihfot+91+-haaF

-end -. '

r-to

rAds )

3

are you going

to do??

* Rosie vrheels on the Bank pres. and gives

on of these

I

I don,t

\nant

catch phrases

I

L+--rafit

rcsEltsil

I want

my boltes

backl

Nq9o I

- -= : - -

Fr \ ls . T .v .

Pre-sident

hops

up and down

in

a

rage f-A

nearby

tv-YEi

t

or

from

the

jrnpact.

An Ace

Hart

co[ulercial

is

alreadv

in

l ie

hear the

famil iar

j ingle,

then

Ace

says:

ROSIE

$baierer-i$.-+€+ee,---SD

t.

BANK

PRESIDENT

Fr

es_\- lN

A

cEr^4e

wA\€

wH'.8

HA.S

\< o


42/81

'Bo.r

Brufucr'

(coatltrEad

18

ACT TWO

EXI. POLICE DOG

EEADQI'ARTERTI

-

DAY

r02.

RosrE

o.s .

)

Clearly

this

j-s

the itork of

a

criminal

mastermind.

rNT. EEAnQInRITERS

(

CONr MUOI'6

)

The

irate BAIIK PRESfDENT

fu[es

as Rosie and the Police Dogs study

a huge

map detailing

the cul-prit 's

tunnel-s.

103.

ROSrE (CONE)

The hit on

your

bank was

the first

in a cli.[le

wave

which

ha6

klocked

Dog

CitY

on its haunches.

104,

BANKPRASIDENT

Chief O'Gravl'l

... These clooks have

had

you

jumping

through hoops

for

weeksl be E are You going to do??

Rosie wheel,s on the

Bank Pres. and

q.ives

hiJn

one of these:

105 .

ROSrE

I'n

leaving no bone untuned Every

lead is

being checked and all known

criminals

put

under 24-hou

surveillance

...

EyCgqLllg

by the

book.

IO5. BANKPRESIDENT

f don't want catch phrases I I want

my bones backll

8ts1

The Bank Plesident hops up and down in a rage. A nearby TV set

switches on from the impact. AIt Ace Halt conunercial is a.lready in

progress.

We hear

the

familia

Jingle,

then

Ace

says:

107 . ACE

(on

sc leen)

I

guaran tee your

case f ' lL c rack , o r

you lri

11

get

--

108. ACE/ANNOITNCER/TRIOon screen)

--

dou-ble

your

mo-ney baaaaackl

The Bank President snaps up a

phone

and

dials.

109. BANK

PRESIDENT

Operato ? Get

me

Ace Hartl


43/81

@

=..\2->-

oot

F I N A r -

B C 2 A R D , , , ,

\INC€

AJATALS

A

sut+i

kre

('r)n\e

g6

6":-qoop

BAAP...

.lL

v\ 5.

trr

q5s.€.

$

MAP,,.

F€'A'iA,,R

t

Axr

E

,,-.

ta-os rl

b

ll\ffE:t- lN

s

o

E,

1RK

o|Jl_

4

Wtu,Ql(

f1\u

PqN

_|.E

p11241

P

x

c\ur&

r,Jtue

hA\q\

t{As

WVEN

fud

V\'YbVEV

90(/t

vJr_ah

tu | r..l1-€F

tt

oL-D)

For. " cro

,

.llii

-c'tes, "

iD l

rft,(

op

(tl


44/81

w

_#Lffij

finE

&rv- lo

ottogtE,

Bgsr,

Qiaq.ct'")

f-ostz

puN"<

/ t l t P a '

L4\tvr

fo

o(,

\tor


45/81

_ v

t J

41e,

'i.,,

ono

o.-

V-No\)hJ

0urNM

,

?uf

,*nO"14

t\oo(Z

q/nra\wNo€

r'1

\L . -hE :

PtaVtloA4:

Posre

R-rs

_-

'

r'nr.,ls

Bet'r\ ttE

3\cL,

@

hl\9e,

{?€fomg{a(

N

sudOq

T{'\lN6.t'

^'Are

\toq-':

7

f(4' '

, , ,

ccsle

siPa,E-S;.A^)A

L r F r s

E ' | c . ' @ " e

ar

_rb

sEE

@

ve+.re-

oo-r

.d)

v t9

Y\ '

/.

el"o .(.--Tah-----

"i,.Iro"r

lYrup

uac

c,Fr1/"1

AvAw


46/81

fEDQfl

dAtffii

Dt,|-,E|lct

3ANL?ttz(

T.

v-JAF.Yt

MU\

gonwr

n

bx:v

?oo


47/81

t s:

_d&tffi

flnle

/r'

7t

ft'fAL

@ApR

o6

otx.QrE'

V-'+

AOFANT\U&

Cloov


48/81

l@gz

_5661ffi

u9-19

otneE,

glnv

&.E<

ao blt.,&

P"e

Gq

l'\t

fle

f&i\E

l(r

AhV;tl

o


49/81

r- zr,-- r

-lz

@pr-

W,

1-o

SAAP

Qw<

9*,*?we,

,"9a.lrq.g*

QTvpn

t

4/o

7<

rt9

o

+

4

tbX'tV

r2.<

Tde":

,uu

6er,..

9wvQrt*v

r-e


50/81

rw

_Effii

Atl'el

.rt

,+

vtnfrJa

rco

(

Nl,u-

t s

t/+

@

ra*a-

o.r-

euoP

[uD

&l

\Hr

r,JA4

41|tr

@

A


51/81

PFrS€F-r BP.a)

'Boar

Brulser'

(cotrthueal)

N4eS

{

r MPRf:-SS' 6N-S

C.e

\ rak

D 'aL .

- , tY rNa

ELIOT

Look,

you're just

gonna

have

t rus t me . fh i s i sn ' t as c razy as

1ooks .

*

Bruno \ratches

Eliot for

a beat. He

perforns

the universa.l sign

for

*

"Screwball"

then

groes

back to

raiding the

fridge as rre

WIPE fO:

*

eyeballs

with picks

and

shovels.

fhey

stop and

Bruiser

*

load,

CLAI'IKITY-CLANXITy-CLANG

I I

Friskv

fr;aks.

\

B:rT.

DOG POIrllD

-

NIGHT (ANIUATION)

K a.,t

-

13

s,-rL,a-E-D

,i)

D.u

i-trerN

/-nv

'

r,P.-a-fi*.r.

+

WIDE

ON THE

SCENE. Searchl ights

s\reep

the area as

three

SILHOUETTES

*

tip

toe along

the tovrering prison

i.ral l .

---

'-"-=--'

'

c:,osE

oN Bruiser,

Frisky

and r{ad

Dog as rhey

stink


52/81

Reveal

Kitty sl inking

into scene.

Brui6et

whips

around

to

h is shove l send ing

Pr i sky f t y i ng

O,S . (SFX:

CLANGI )<

K ITTY

(con

d )

A*?'( '":";-

Your

plan

is rd

dig Bugsy

right

,."t-:Jjif:__

"t:

ltflr-Fo:ff cG*r, -r*c loa pooND.

s-t^..'{6c.v s

86

^ E ^l^l.o

.#

s,.z.g

oe'*l--

s*,i.

4'

C'

ON FRISKY.

He

peels

hinself out

of a Frisky-shaped

indentatioi

Lhe

prison

waIl

and staggers

back

to the

q;oup.-

BRUISER

Oh

yeah.

Did I think

o, that?

KITTY

tet's

just

say

it came

to

you

on the

,

\@@

ae9

Storyboard Notes 3

Documents

Transcript of Storyboard Notes 3