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New page: Here's an excerpt I just found by accident in the net, from the interview of Bryce Malek, the writer and Story Editor of the original Transformers series. The interviewer, Rik Bakke, menti... |
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Here's an excerpt I just found by accident in the net, from the interview of Bryce Malek, the writer and Story Editor of the original Transformers series. The interviewer, | Here's an excerpt I just found by accident in the net, from the interview of Bryce Malek, the writer and Story Editor of the original Transformers series. The interviewer, TCC, mentioning Mr. Dery about how the designs of the original Transformers series come about. You can find this on this website | ||
Revision as of 18:22, 7 January 2008
Here's an excerpt I just found by accident in the net, from the interview of Bryce Malek, the writer and Story Editor of the original Transformers series. The interviewer, TCC, mentioning Mr. Dery about how the designs of the original Transformers series come about. You can find this on this website
http://cybertronchronicle.freewebspace.com/60-astrominutes/bryce_malek_2.html
"TCC: You mentioned earlier that you had little to do with the
Autoscout design in A PRIME PROBLEM. I was wondering,
though, to what extent you or other writers would influence
the visual aspect of the show. I know that storyboarders and
conceptual artists like Floro Dery created amazing location
and device designs, but was their creative vision really as
disconnected from that of the writer(s) as it might seem? Would
you simply write your script and "hope for the best?"
MALEK: You have to understand the enormity and complexity
of producing a show with this kind of scope and concept -- and
schedule! There just wasn't much time to dream, communicate
and express all our ideas as well as we wanted. For example,
whenever we had to introduce a new species of toy -- say, the
Insecticons -- (which, by the way, we had to do with virtually
every episode) we had to create a backstory, characters, plotline,
headquarters, props, etc. We often left it to the assigned writer
of that script to come up with the details, so that we could
concentrate on story points. However, many writers probably
assumed that Dick and I, or Hasbro, or somebody else, had
already determined what the headquarters would be and so
they would just write: INT. - INSECTICON HEADQUARTERS -
DAY in their script, without any explanation or description. We
would be working on a half dozen scripts at a time, and would
frantically insert whatever ideas we had into the final script.
There was no time for personal discussions or reviewing and
modifying artwork (by the story department). I often didn't see
any artwork except the storyboards until the show was on the
air! The many talented artists at Marvel did the bulk of the
creative work in how the show looked, and we tried to stay
out of their way and not mess things up."
See, the writers tried to stay out of the way of the artists and not mess things up.
What is the implication of this? So, when writing articles, go to the main source and do not speculate.

