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[Proposal Doc]
[Screenplay]
[Character Designs]
[Publicity Poster]
[Character Model 1] [Character Model 2] [Character Model 3] [Character Model 4] [Character Model 5] [Character Model 6] |
Contact Information
| Wayne Parker, P.O.Box 1, Blenheim. Ph: +64 3 578 1200, Ph: +64 3379 0000, Fx: +64 3 379 0001, wjparker@xtra.co.nz
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| The CLEANATORS story concept follows the adventures of a Troop
of small variously ranked specialist robotic office cleaner devices led
by their fearless but often beleaguered Sergeant unit as against great
odds they attempt to locate and reunite with a lost inquisitive Corporal.
While structured as quality children's / family orientated entertainment featuring memorable characters and action elements, the story also includes an aspect of plot sub-text which also appeals to adult audiences. Both children and adult test readers have responded extremely positively (when an 11 year old can read a 100 page script in 2 days you know you're doing something right!). A key goal was to create a project that in practical terms could be produced in New Zealand for a modest outlay in film terms. From an animation point of view, the characters are robotic mechanical structures not possessing the same intricacy as organic based creatures (i.e. hair, skin, clothing, movement etc.). Also the characters do not speak but communicate only by sounding modem type tones and buzzes together with eye movement and non-complex gesturing. The live action is also straightforward with most back plates comprising empty static sets while most live action scenes featuring actors do not include animated characters. There is almost no direct interaction between actors and the animated Cleanators. Also there are no primary staring actor roles reducing costs and simplifying production scheduling. Acting roles are limited to one or two scenes only and most could be cast as cameo appearances of well-known celebrities further adding to marketability of the property. The 'Cleanators' project would ideally suit a co-production model with a 50/50 equity share between a New Zealand Production company (live action component) and an established Effects / Animation house. NB: Although the project was originally intended as a CG against live action production (i.e. 'Stuart Little' etc.), it could also be rendered as a full CG feature (i.e. 'Toy Story', etc.). The production of live action components would be well suited to emerging Digital Cinema technologies such as HD 24P thus reducing costs significantly. A large proportion of the shots required are either interiors or dusk / night shots where lighting requirements tend to be designed around existing sources to maintain location atmosphere as opposed to daylight work where sunlight is required to be equalized in many cases. In both forms (CG only and CG + live action), internationally CG animated features have performed exceptionally well financially at the box-office and have the ability to cross multiple regional markets. The Cleanator project would be easily adapted to foreign markets due to the limited dialog requiring multiple language translation. Additionally, the potential of DVD, book, clothing and especially toy, franchise opportunities should also greatly increase the commercial value of the concept. The Cleanators package includes rights to Internet domain names www.cleanators.com, www.cleanators.net, www.cleanators.org, Trade Name properties, character designs and drawings. The music component will be an essential element in both the soundtrack and marketing strategies, ideally through the attachment of a high profile local or international musician (for at least the development of an original song). The establishment of primary musical themes prior to shooting would ensure the visual production tone is in line with the soundtrack and would allow all music elements to be fully developed over the full period of the project lifespan rather than just considered towards the end of post-production.
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| Emerging nightly from their corner located steel box home, a Troop
of 35, four inch high, variously ranked, robotic office cleaner units dutifully
and skillfully clean their assigned corporate building office area. Led
by their faithful Sergeant unit (SG) who directs the 8 Corporals (CP1-8)
who in turn organize the private ranked specialist units (PGs, PDs, etc.),
the various routine cleaning tasks are undertaken with total military like
precision.
But occasionally accidents do occur, and most generally to an over eager Corporate unit designated CP7. But thanks to the organizational abilities of SG (the Sergeant) and often the combined efforts of the entire troop, the day is usually saved and the problem put right. One day, after an office tenant moves out, the Troop are moved on to a series of locations that just don't to work out; there's the issue with a Bank security alarm, a seemingly haunted church organ, and then there's the problem at the restaurant at the top of the 1000 foot tourist attraction known as the Skytower. While the work is well within their capabilities, the spectacular city views prove to be a major distraction so it's outside for a look. And of course inevitably a mishap occurs resulting in the inquisitive, problem plagued Corporal unit (CP7) being trapped outside in the cold, harsh and unforgiving city. To make matters worse, the next day the remaining Troop is collected and accidentally delivered to a run down printing works where they must contend with the most atrocious of conditions. Meanwhile CP7 stumbles into CIA Headquarters causing mayhem and chaos by being mistaken for a robotic spy and explosive delivery device. Life proves no better for the rest of the troop when a likeable specialist liquid carpet cleaning unit (LQ) becomes fouled with printing ink rendering it inoperable and stranded. Then when the Printing Company goes bankrupt, the Cleanators find themselves mistakenly locked up awaiting auction with the rest of the company's assets. But following a daring rescue, an adventurous escape, and SG's unwavering leadership in the face of total adversity, plus a little help from 'above', CP7 and the Troop are eventually reunited, but only just before CP7 is replaced and LQ (the liquid cleaning specialist) is written off for good. So with their grand adventure now over, they're cleaned, repaired and upgraded then packed into their shiny new steel Cleanator box home. Finally when delivered to their new cleaning assignment, one last surprise awaits; it's a modern ostentatious office environment belonging to an organization clearly at the highest echelons of the corporate world. Cleanator Heaven at last!
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| It should be noted that although the story conforms to classic 3 act
structure with clear defined turning points (CP7's separation from the
troop / CP7’s decision to seek help in the church), the story excludes
an antagonist character i.e. an ‘evil scientist’ who’s attempting to take
over the World or steal a Cleanator for some malicious deed.
This was a conscious decision in line with the key goal of creating a script that could be produced within a budget achievable using local financing. Simply put, to carry a story involving an antagonist character with complex motives, the Cleanators would be required to speak to provide a narrative response to the ensuing threats. The technical and creative input required to provide this additional exposition coverage would have added significantly to the overall cost of the production. Instead it was decided to create a World story consisting a series of essentially coincidental events providing a number of formidable challenges to further obstruct CP7’s journey to reunite with Cleanator Troop 77. This story concept has been successfully incorporated into a number of films, the most obvious being ‘Forrest Gump’. A side effect of negating the requirement for the Cleanator characters to speak, is the enhanced sense of isolation of CP7 while separated from the Troop. If CP7 was able to speak actual dialog (instead of the incomprehensible Modem / Morse code tone sequences currently specified), an accompanying ‘buddy’ character would have been necessary during most of the journey home. Instead, greater audience empathy results from the perception of absolute loneliness, helplessness, and vulnerability experienced by CP7 while wondering the city alone.
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| 1. Structured as quality children's / family orientated entertainment
featuring memorable characters and action elements
2. The story also includes an aspect of plot sub-text, which also appeals to adult audiences. 3. Script length (100 pages) is within currently accepted industry standard for family / comedy genre (100 pages). 4. Conforms to currently recognised industry standard three act story structure. Turning points determining act lengths occur within accepted script page count limits (end of act one p.30; end of act, 2 page 60; denouncement, page 97). 5. Both children and adult test readers have responded extremely positively (when an 11 year old can read a 100 page script in 2 days you know you're doing something right!). 6. A key goal was to create a project that could be produced in New Zealand for a relatively modest outlay. 7. From an animation point of view, the characters are robotic mechanical structures not possessing the same intricacy as organic based creatures (i.e. hair, skin, clothing, movement etc.). 8. The characters do not speak but communicate only by sounding modem type tones and buzzes together with eye movement and non-complex gesturing (reduces pre / post production complexity). 9. The live action is also straightforward with most back plates comprising empty static sets while most live action scenes featuring actors do not include animated characters. 10. There is almost no direct interaction between actors and the animated Cleanators. 11. There are no primary staring actor roles reducing costs and simplifying production scheduling. 12. Acting roles are limited to one or two scenes only and most could be cast as cameo appearances of well-known celebrities further adding to marketability of the property. 13. The 'Cleanators' project would ideally suit a co-production model with a 50/50 equity share between a New Zealand Production company (live action component) and an established Effects / Animation house. 14. NB: Although the project was originally intended as a CG (computer graphics) against live action production (i.e. 'Stuart Little' etc.), it could also be rendered as a full CG feature (i.e. 'Toy Story', etc.). 15. The production of live action components would be well suited to emerging Digital Cinema technologies such as HD 24P thus reducing costs significantly. 16. A large proportion of the shots required are either interiors or dusk / night shots where lighting requirements tend to be designed around existing sources to maintain location atmosphere as opposed to daylight work where sunlight is required to be equalized in many cases. 17. Existing locations should suffice as sets. No set construction and minimal set decoration envisaged. 18. In both forms (CG only and CG + live action), internationally CG animated features have performed exceptionally well financially at the box-office and have the ability to cross multiple regional markets. · Toy Story 2 $245.02 million19. The Cleanator project would be easily adapted to foreign markets due to the limited dialog requiring multiple language translation. 20. Additionally, the potential of DVD, book, clothing and especially toy, franchise opportunities should also greatly increase the commercial value of the concept. 21. The Cleanators package includes rights to Internet domain names www.cleanators.com, www.cleanators.net, www.cleanators.org, Trade Name properties, character designs and drawings. 22. The music component will be an essential element in both the soundtrack and marketing strategies, ideally through the attachment of a high profile local or international musician (for at least the development of an original song). 23. The establishment of primary musical themes prior to shooting would ensure the visual production tone is in line with the soundtrack. (proposed themes / original music CD currently in production). 24. Would also allow all music elements to be fully developed over the full period of the project lifespan rather than just considered towards the end of post-production. 25. All current internationally acclaimed Animation studios (originally established to out-source animation and effect technologies) only gained wide industry recognition as major industry players via an association with an internally produced (CG or CG / live action) animation feature film. · Pixar Animation: ‘Toy Stoy’, ‘A Bug’s Life’ |
| Copyright (C) Wayne Parker, 2007. All rights reserved. |