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Mini Dragon Group (ages 6-7)

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John Duran
John Duran

Human Cat FE Animation Script


The show has received acclaim from critics, with praise for each episode's animation style, creativity, diverse storylines, and themes.[11] The show has won several accolades from the Primetime Creative Arts Emmy Awards.[12]




Human Cat FE Animation Script


Download Zip: https://www.google.com/url?q=https%3A%2F%2Furlcod.com%2F2uiTfz&sa=D&sntz=1&usg=AOvVaw3fJr_ECyAaIgd7SYFkvatu



Brothers Sedgewick and Fletcher move to an ice-covered colony planet where almost the entire population has been genetically modified to have superhuman abilities. Sedgewick, who is not 'modded', is branded as an "extro" by his peers. Against his brother's advice, Sedgewick accompanies him to a race across ice floes with other modded youths to catch a glimpse of the massive Frostwhales that breach through the ice to breathe. As they race back to safety, Fletcher seems to injure his leg, forcing Sedgewick to carry him. The brothers barely survive the breach, having been unlucky that the Frostwhales hit the ice one time fewer than they habitually do. They enjoy the view of the Frostwhales breaching, after which Sedgewick realizes Fletcher faked his injury to help his brother gain the others' respect.


The project evolved from a late 2000s meeting whereby David Fincher and Tim Miller decided to make a remake of the 1981 film Heavy Metal. Announced in 2008, the project was to be produced by Paramount Pictures although Fincher and Miller had trouble getting the funding necessary for the project.[17] The project was originally intended to be a film with a budget of around $50 million, with several directors involved with each one directing different short segments and Blur Studio handling the animation for the film. The directors lineup included Miller, Fincher, James Cameron, Zack Snyder, Kevin Eastman, Gore Verbinski, Guillermo del Toro, Mark Osborne, Jeff Fowler, and Rob Zombie.[18][19] The film was expected to have over eight or nine segments and to be rated R like the original Heavy Metal film.[20][21] On July 14, 2008, however the production for the film stopped due to Paramount Pictures' decision to drop the film.[22] The film was switched to Sony division Columbia Pictures, due to an ongoing fight between the former studio and Fincher during the production of The Curious Case of Benjamin Button.[19] On 2009, Eastman revealed that he reunited with Jack Black to make a comedy segment for the film.[23] The former also revealed that Fincher and Cameron were originally intended to serve as executive producers of the film.[24]


Following a long decade to bring the animated anthology, Netflix took interest on the idea and decided to greenlit the series: "Well, David Fincher and I had tried to get a Heavy Metal film made for years and years. I mean, hundreds of meetings. The original movie came out in 1982 and it was very inspirational to a lot of animators who wanted to do adult animation. So when I met David, we wanted to do something together and we said, 'What about doing a new Heavy Metal film?' because he was an animation fan, but the world just was not ready for it at the time. But in the ten years that we did meetings and tried to get the project going, the world came around to see adult animation as viable, and Netflix was the one that was willing to take a chance. And so here we are."[29] The studio gave Fincher and Miller a total freedom to allow them to "breathe life into their vision".[30] The series would be taking the name of Love, Death & Robots instead, and it would consist of 18 episodes ranging from 5 to 15 minutes including a wide range of animation styles, from traditional 2D animation to photo-real 3D CGI.[31][32] While working in Netflix for the series House of Cards and Mindhunter, Fincher discussed with to break free of the half-hour and hour-long format for the animated series: "We have to get rid of the 22-minute [length of a half-hour show with commercials] and 48-minute [length of an hour-long show with commercials] because there's this Pavlovian response to this segmentation that to me seems anathema to storytelling. You want the story to be as long as it needs to be to be at maximum impact or entertainment value proposition."[33]


Screenwriters include co-creator Miller and Philip Gelatt (screenwriter of the film Europa Report), the latter who wrote more of the series' episodes than anyone. Many of the short films are short story adaptations, including sixteen of the eighteen in the first season[17] (most of which are adapted by Gelatt). Initially this was not planned, with the duo envisioning a variety of methods by which they would have developed the series. Miller originally suggested a longer list of stories that he wanted to adapt.[34] Miller primarily wrote outlines and drafts for each short and allowed for scripts to be changed as studios saw fit in order to aid the production.[35] Authors who have had their work adapted include Harlan Ellison, J. G. Ballard, Alastair Reynolds, Joe R. Lansdale, Neal Asher, Michael Swanwick, and John Scalzi, who also adapted several of his stories into scripts himself (except some of which are adapted by Gelatt).[36] Miller in an interview revealed that they are free to choose the story they want, but admits wanting to get the storyline of the episode right in order to give them their original flash of brilliance to a story that would not exist if it were not for the authors having ideas.[37] The third season includes more varied screenwriters with Philip Gelatt only writing four episodes of nine. Filmmaker Jennifer Yuh Nelson and Miller revealed that they chose to involve more screenwriters due to busying schedules of Gelatt. However, they also revealed that the writers managed to keep the episodes original to the short stories to make them more like them and ensure that they work.[38]


While Blur Studio is in charge of producing the series, it also was in charge of animating a few episodes for the show. As each episode has a different animation style, the visual effect supervisor for the series revealed that they contacted different studios: "We've been competing against some of these companies for years and admire them greatly. It was thrilling to bring everyone together and let them apply their unique visions to these shorts. It was here where all the creative freedom really paid off." The episodes produced by Blur Studio contain a 3D video game animation style, while also approaching the hand painted one.[40][41] Tim Miller revealed that for the each different stories, the crew approached certain studios for the specific stories to ensure what episode fit better with the animation style.[42]


For the remaining thirteen episodes, several animation studios were involved - Unit Image, Red Dog Culture House, Able & Baker, Axis Studios, Platige Image, Atomic Fiction, Sony Pictures Imageworks, Passion Animation Studios, Elena Volk's Independent Studio, Blow Studio, Pinkman.TV, Studio La Cachette, Sun Creature Studio, and Digic Pictures.[43] For the episode of "The Witness", the director of the episode Alberto Mielgo used a "never-before-seen aesthetic" to capture the realistic vibe, which lead to several discussions over if it was used motion capture for the streets and building. However, Mielgo confirmed that it was all animated and that it was not easy to do as they needed to keep the characters moving from scratch by using a software that was not used before.[44]


The third volume holds a 100% rating from 16 reviews on Rotten Tomatoes, with an average rating of 8/10, the website's critical consensus stating, "A concise collection of memorable cybernetic fables, Love, Death + Robots' third installment is its most well-balanced yet."[75] Writing for The Verge, Andrew Webster called volume III "arguably the strongest collection yet" praising the stories and various animation styles used in each short.[76] Johhny Loftus from Decider praised the season for its visuals and exploration of real life topics, "Love, Death & Robots keeps the run time tight and visual pizzazz expansive as it explores its titular topics in relation to society and ourselves. And oh yeah, swear words."[77] Tara Bennet from IGN considered that the stories for each episode weren't strong enough as the craftmanship though she praised the animation, "Love, Death and Robots Vol. 3 is the least accessible of the three seasons, especially if you aren't interested in an overabundance of gory violence. While there are some impressive examples of CG animation, the craftsmanship is mostly stronger than the stories featured."[78]


A non-human creature doesn't have to be a protagonist, like in "Animaniacs," "Invader Zim," or "Bojack Horseman," to add a certain kind of charm to a TV show. Whether a sinister, otherworldly being like Bob in "Twin Peaks," a beagle who pretends to be the Red Baron, a rabbit with a Brooklyn accent, or an infant version of Yoda, non-human characters have frequently become just as iconic as the shows that they're from.


First featured in a short story by Eric Knight, the tale of this fictional female rough collie was expanded into a novel in 1940 called "Lassie Come Home," then adapted into a movie in 1943 and a series in 1954. The TV series ran for 19 years and followed the eponymous Lassie as she performed heroic tasks for her human family and friends.


In the near future, humanoid robots populate an amusement park called "Westworld" where attendees are free to live out their fantasies within the world of the Wild West. That's all well and good until the robots' free will and capability of sentience are called into question. One such robot, Maeve Millay (Thandiwe Newton), is a madam at a local brothel who becomes instrumental in the robot revolt.


The 1978 sitcom "Mork and Mindy" stars Robin Williams as alien Mork from the planet Ork, who has been tasked with traveling to Earth to study humans. Once there, he befriends journalism graduate Mindy (Pam Dawber) and learns to understand Earth culture. The series is a spin-off of "Happy Days," with Mork appearing in season five of the popular 1970s/'80s sitcom. 041b061a72


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