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This is a transcript for the 2016 film, "What Do Illustrators Do?".

Act 1: Opening

(Shows 20th Century Fox logo)

(Shows Clearwater Animation logo)

(Shows McGraw-Hill Financial logo)

(Fades to black)

(Fades to a white paper-textured background)

(Shows a pencil writing the text "TWENTIETH CENTURY FOX ANIMATION presents", and pauses in 5 seconds)

(The screen curls through the top-left corner from the bottom-right corner to a pencil-outlined silhouette of New York on a white paper-textured background)

(Shows a pencil writing the text "a CLEARWATER ANIMATION/MCGRAW-HILL FINANCIAL production", and pauses in 5 seconds)

(Fades to an illustration of New York; the illustration features a black painted silhouette of New York with a water-colored sunrise background)

(Zooms out from the illustration on John's desk)

(Pans to the paper with the written text of the movie title "What Do Illustrators Do?", and pauses for 5 seconds)

(Shows a pencil writing the text "THE MOVIE", and pauses in for 5 seconds)

(Fades to black)

(Fades to New York with a sunny background)

(The screen zooms through New York City and pans into Jacqueline's apartment)

(Shows Jacqueline playing with 2 other girls)

(Jacqueline's cell phone was ringing, as he picked it up from his pocket)

(He then started talking to Ann on his cell phone)

Jacqueline: (talking to Ann on his cell phone) Hello?

Ann's Voice on Phone: Hello there, Jacqueline.

Jacqueline: (talking to Ann on his cell phone) Hey, Mom.

Ann's Voice on Phone: What are you doing in your apartment?

Jacqueline: (talking to Ann on his cell phone) Uh, I was playing with my 2 girls.

Ann's Voice on Phone: Well, that's great. Hey, listen, I want you to come to Author Books, and visit me here, at my book illustration studio.

Jacqueline: (talking to Ann on his cell phone; confused) Why?

Ann's Voice on Phone: You know why. Because I need you, right now.

Jacqueline: (talking to Ann on his cell phone; confused) Um, okay. (neutral) I'll see you later. Goodbye, Mom.

(Jacqueline hanged up his cell phone and put it in his pocket)

Jacqueline: Well, uh, girls, I need to go--

Emily: Go where?

Katie: Author Books?

Jacqueline: Yes, I have to go to the Author Books company to see my mom, because she needs me, right now.

Emily: Okay.

(Jacqueline ran out of his apartment and walked down the stairs)

(The screen cuts outside Jacqueline's apartment building, as he went out of the building)

(Cuts to the Author Books building when Jacqueline went inside)

(Cuts to the lobby of the Author Books building, as Jacqueline walked and went in the elevator)

(Cuts to Ann drawing a character on a blank piece of paper, when Jacqueline came to see her)

Ann: Oh, hey, Jacqueline. Where are Kaz and Rick?

Jacqueline: Well, they're coming home.

(Cuts to Kaz and Rick on their skateboards, as they ride through various backgrounds)

Rick: Um, Kaz?

Kaz: Yes, Rick?

Rick: Why can't our skateboards go any faster?

Kaz: Well, I don't know, but they're supposed to go faster.

(Kaz and Rick stopped at the Author Books building, and carried their skateboards as they run inside the building)

(Cuts to John painting a background on a piece of paper, when Ann and her sons, Kaz and Rick walked in)

Kaz and Rick: Hi, Dad.

John: Hey, honey.

(John and Ann kissed together and Kaz and Rick got shocked for 5 seconds)

Kaz and Rick: Ewwww!

John: Hey, Kaz and Rick.

(Jacqueline runs in)

Jacqueline: Hello there, Rick and Kaz. Hey, Dad.

Kaz and Rick: Hey, Jacqueline.

Act 2: EraserMan and the Giant Green Monster

Jacqueline: So how's it going?

Kaz: It's going real good.

Jacqueline: Well, that's good. So, do you have something to tell us?

Ann: Well, yes. There is something I need to tell you.

John, Kaz, Rick and Jacqueline: What?

Ann: Well, a lot of people are saying that a huge giant green monster, that came from a UFO, is coming to destroy the city, and has planned to end the world as we know it.

(John, Kaz, Rick and Jacqueline got shocked and gasped)

Ann: Calm down, John, Kaz, Rick and Jacqueline! There is yet, one hope. The special has arisen.

(Camera pans to show Rick, staring in silence for 15 seconds)

Rick: I think I got it, but just in case... tell me the whole thing again, I wasn't listening.

(Ann slapped her own face, and used her hand to wipe her face)

Ann: (angry) Okay... okay, I'll tell the whole thing again. But you'll listen to me, not yourself. (neutral) What I meant to say is that a lot of people are saying that a huge giant green monster, that came from a UFO, is coming to destroy the city, and has planned to end the world as we know it. There is yet, one hope. The special has arisen.

(Rick finally listened to Ann)

Rick: I think I've listened to you, Mom, but I think I'll still do it.

Ann: (happy) Good. (neutral) Go tell your father about a huge giant green monster.

Kaz, Rick and Jacqueline: Okay.

Kaz: But I have to get Scooter and Leonard here now.

Kaz: LEONARD!!! SCOOTER!!!

(Leonard and Scooter walked in)

Leonard and Scooter: Okay, we're here.

Rick: Okay, now I will tell you something, Dad. Something bad happened here, a lot of people are saying that a huge giant green monster, that came from the UFO, is coming to destroy the city, and has planned to end the world as we know it. We must save the world, by drawing comic book superheroes.

John, Ann, Kaz, Leonard, Scooter and Jacqueline: Okay.

(John, Ann, Kaz, Rick, Leonard, Scooter and Jacqueline quickly drew the storyboards of their comic book superhero transformation sequence; their comic book superhero transformation sequence of John, Ann, Kaz, Rick, Leonard, Scooter and Jacqueline is the sequence that they changed into superheroes)

(John, Ann, Kaz, Rick, Leonard, Scooter and Jacqueline stored the storyboard paper into the storyboard sequence mind-creating machine as it runs by engine; the machine zaps John to change himself into a superhero named "EraserMan", and finally flys out the window)

(EraserMan flies into the monster that is about to knock down a building, as he punches the monster in the face with his main superpower called "eraser magic"; the monster's face is then erased by John's eraser magic power)

EraserMan: (strong voice) That's what you deserve for trying to destroy our city.

(The monster realized that his face is erased, as the monster falls to the ground, and crushes the taxi cab, which causes a nuclear explosion)

(Cuts to New York City, exploded)

(Shows static screen)

(Shows John, Ann, Jacqueline, Kaz, Rick, Leonard, and Scooter in a destroyed city)

Kaz: Okay, Dad, so here are the 2 things. First of all, how did you do that, and second of all... (angry) HOW IS EVERYTHING GONNA BE FIXED!?!

John: Listen, Kaz, I turned myself into EraserMan, to uh, you know, destroy that monster. So I erased the face out of it with my eraser magic. Oh, and by the way, the construction team are coming to fix the city.

Kaz: (nervous) Fine. But make it work.

(Shows the arm erasing the screen, and redrawing New York City into its beautiful, normal, clean mood; the arm also redraws the characters)

John: (happy) Thanks, narrator.

Narrator: (off-screen) You're welcome. But, we haden't start the story yet. John, Ann, Jacqueline, Kaz, Rick, Leonard, and Scooter... (John, Ann, Jacqueline, Kaz, Rick, Leonard, and Scooter sits down as the narrator tells the story) let me tell you a real story, what illustrators could really do.

(Shows Ann and John walking to the book illustration studio called Artist's Space, which is also the apartment)

Rick: (off-screen) So, what do illustrators actually, but really do?

Narrator: Well Rick, as a matter of fact, illustrators are artists that were specialized in enhancing writing or elucidating concepts by providing a visual representation that corresponds to the content of the associated text or idea.

(Shows Ann retelling and illustrating a book with her pencil on a blank piece of paper)

Narrator: Well, but they do tell stories by drawing pictures. But instead of using pictures as a slideshow in this movie, we can watch the animated segments of the film where two illustrators named John and Ann, live and work in their apartment building.

(Shows Scooter chewing on his bone)

Narrator: To suppose those 2 illustrators, they each decided to illustrate Jack and the Beanstalk as the example book. Would they tell the story the same way? Yes, they would. But would they draw the same kind of pictures in a different way. Well, duh, they could.

(Pans to Ann drawing a background on a piece of paper as Scooter peeks on the table to see what Ann is doing)

Ann: I'm going to retell and illustrate Jack and the Beanstalk. Go lie down, Scooter!

(Scooter walks onto his bed, and lies down)

Ann: (off-screen) I'll take you for a walk later.

Act 3: Creating a Plan for the Book

(Shows John drawing a character on a blank piece of paper, as Leonard jumped on a table)

Narrator: Meanwhile in John's apartment...

John: Leonard, the writer said that I've been asked to illustrate Jack and the Beanstalk.

Leonard: Why not, John?

John: (angry) Because I'm trying to work here. Go away, Leonard!

Leonard: What are you trying to work here?

John: (yelling) RAAAAAAAAAAAAAAAAAAAAAAAAAAH!!!

(Leonard runs away off-screen)

(Cuts to Leonard talking to Scooter, Ann's pet dog)

Scooter: Hi! Wazzup, Leonard.

Leonard: Hi! What are you doing?

Scooter: I was watching Ann illustrating a book. You know, she's busy illustrating "Jack and the Beanstalk". She told me to go lie down. What are you doing here?

Leonard: Well, I was watching John doing the same thing Ann does. He told me to go away. By the way, did you say "Jack and the Beanstalk"?

Scooter: (serious) Yes.

Leonard: So that's what he's illustrating!

Scooter: (shocked) Wait what? (sighs) Oh boy! Oh no! No one will buy two books with the same story!

Leonard: (cheering up Scooter) But... you can tell the same story many different ways.

Scooter: True... and they do different kinds of illustrations.

Leonard: Now wait just a minute, Scooter. (crouched down, feeling jealous) He... never understands a thing I say! I might speak English when I'm talking, but I also speak Cat in real life, just like most other cats do. John thinks he doesn't speak Cat.

Scooter: Well maybe we should tell them anyway!

Leonard: (thinking) Well... we'll see. (licks his leg) Anyways, let's go see what they're doing.

Scooter: Yeah! I have the same problem with her.

Leonard: Don't worry, everything's going to be just fine. Now let's go.

Scooter: (stands still) Okay.

(Leonard leaves to go to John's apartment while Scooter was standing still, but he looked at Leonard)

Scooter: Hey, wait for me!

(Scooter runs off-screen to John's apartment)

(Cuts to John thinking about illustrating a book)

John: (thinking) Hmmmm, there are so many scenes I want to illustrate! (shocked) But I need to fit all of Jack and the Beanstalk drawings into 32 pages. (serious) That's a tight fit!

(Cuts to Leonard and Scooter on John's couch)

Scooter: Leonard, did any picture books have 32 pages? Are all of them had 32 pages?

Leonard: Well, most picture books are.

Scooter: Okay.

(Shows John when he decided to pick a scene from the story he wants to illustrate)

Narrator: The first thing the illustrators do, is to decide which scene in the story they wanted to illustrate.

(Shows a plan of which pictures go on which page of which empty book)

Narrator: This plan shows which pictures from the story go on which page of which empty book.

(Scooter walked and sit next to the book plan)

Scooter: Um, I don't remember this story. Maybe Leonard does.

(Fades to black)

Act 4: Leonard's Story

(Fades to Leonard telling a story to Scooter)

Scooter: So what's it about?

Leonard: It's about a boy who plants a magic bean. The bean sprouts and it grows and GROWS right through the clouds! (climbs to the top of a plant) Jack climbs to the top of the beanstalk.

Scooter: What's up there?

Leonard: (acts like a giant) A mean, wicked GIANT!

Scooter: (scared) Yikes!

Leonard: Don't worry! Jack hides. Then, when the giant is asleep, Jack steals the hen that lays golden eggs.

Scooter: He steals?

Leonard: Yes. The hen wants to be stolen! She hates living with the giant!

Scooter: So Jack rescues the hen, right?

Leonard: Pretty much.

Scooter: Well, does he become rich and live happily ever after?

Leonard: Of course he does, but then he climbs the beanstalk two more times. He takes a sack of gold coins and then a singing harp while the giant is asleep. But the harp sings and the giant wakes up! He chases Jack.... Jack slides down the beanstalk and the giant is about to slide down too! (Leonard crashes into a house plant) But Jack chops down the beanstalk!

Scooter: What happens to the giant?

Leonard: There are different theories. Well, the giant falls down from the clouds, to the ground, and died forever. Thanks to Jack, he slayed a giant, and lived happily ever after. And that's how it happened.

Scooter: Good thing Jack saved the golden hen, the singing harp, and the whole entire kingdom. Isn't it, Leonard?

Leoanrd: Yeah. Me too. (Scooter walks to Ann's door) Where are you going, Scooter?

Scooter: Well, i'm going to see how she's doing with her story.

Leonard: Okay then, see you later. (Scooter walks off-screen) Now to continue the story.

Narrator: Thank you, Leonard. (fades to John creating a plan for his book) Now where was I? Oh yes, after the illustrators created their plan for their books, they needed to make a model, a model of the book called a dummy.

John: (thinking; in thoughts) Hmmmm. I need to make a dummy.

Narrator: John thought so.

(Shows Kaz and Jacqueline sitting on Ann's couch)

Kaz: (confused) Wait. So John, decided that he needs to make a dummy, right?

Narrator: (off-screen) Right. But he didn't need to make a dummy which is a doll. What I meant to say, was that he needs to make a dummy, which is the model of the book.

Jacqueline: (talking to Kaz) The narrator was right, y'know?

(Shows John that picked the book with the shape and size he wanted)

Narrator: First, they decide what shape and size the book will be.

(John drew skectches of the book model)

Narrator: Then, they make sketches of the pictures that will go on each page of the dummy.

(Shows the rough sketches of the dummy)

Narrator: The first sketches are often rough scribbles on tracing paper.

(Cuts to John sketching designs for his illustrations)

John: (thinking) I'll make Jack look like me in fourth grade.

Narrator: As they're sketching the designs for their illustrations of the book, illustrators need to decide how the things will look like: the characters, the clothes, the objects, the terrains, the settings, the animals, the vehicles. You name it!

Act 5: Using Imagination or Research

(Shows Ann and John using their imaginations inside their heads)

Narrator: Sometimes, illustrators can use their imaginations.

(Shows John doing some research on his computer for the book)

Narrator: But sometimes, they may have to do some research on their computers. And sometimes, they may have to do some research from any research book.

(John reads the leaf research book)

John: (thinking) Hmmmmm, what is the shape of a beanstalk leaf? (realized) I know, it's a green heart that was cut in half.

(John starts drawing a beanstalk leaf that was shaped like a half of the heart on a piece of paper)

Narrator: John knows what to do. Way to go!

(John started thinking of something)

John: (thinking) I imagine Jack lives in a small country cottage surrounded by palm trees... but it's located on a farm in a medieval time.

(Cuts to Ann and Jacqueline)

Jacqueline: Hey, Mom!

Ann: Yes, what does this story have to be about? It can be about Jacqueline. She can live in this building.

Jacqueline: Well, Mom, Jacqueline can look like me!

Ann: Well, that's great. She can look just like you. The beanstalk can grow on our roof!

Scooter: Leonard, I've noticed when that will make her book different from his.

Narrator: Some illustrators are also authors. They can change their story as they work on the sketches. Most illustrators can change or add characters to stories that are old.

(Shows the animated footage being converted from the final color CGI animated image into black-and-white rough hand-drawn animated image)

(Pans to Leonard the Cat and Scooter the Dog in their rough 2D animated sketch forms)

Leonard and Scooter: This is how we look when we are rough sketches.

Scooter: But also in rough hand-drawn animation.

Leonard: Right.

Narrator: Well, for animation, each animation file had problems such as glitches. Each illustration did the same thing, except that they had a different problem.

(Shows Ann in a color CGI animated form, confused)

Ann: (confused) Wait, should I draw this picture from a bird's eye view?

Narrator: For instance: From what point of view do you draw the magic bean being planted?

(Shows the illustration with the bird's eye view)

Ann: (off-screen; confused) I don't know.

(Zooms in the bean from the illustration)

Ann: (off-screen; confused) Close-up?

(Zooms out to reveal the boy's body, the plant pot, and the chair on the roof of the illustration)

Ann: (off-screen; confused) Far away?

(Scooter appeard as he saw 2 illustrations that had the bird's eye view)

Scooter: The close-up, bird's eye view shows the bean best.

Narrator: That's correct, Scooter.

(Shows the illustration with the mouse's eye view)

Ann: (off-screen; confused) Or maybe a mouse's eye view?

Leonard: (off-screen) Ha! (Leonard walks to the illustration) Would you look at that?

(The hole on the screen fades in as Ann popped out of the circle)

Ann: (serious) Now what?

Leonard: Look! (points at the illustration) The mouse can't see the bean at all.

(Leonard laughs for 10 seconds, until Ann gets really angry and punches him in the face)

Leonard: (screaming in pain) OOOWEEE!!! (angry) What was that for?

Ann: (angry) You think that mouse can't see the bean?

Leonard: (sad) Um, no, ma'am.

Ann: (angry) Good. Because the mouse can climb the pot to the top, and then, the mouse can see the bean, afterwards.

(Ann goes back inside, as the hole dissolves to dust)

Scooter: (talking to Leonard) I think Ann's right, y'know.

Leonard: (confused) Oh my. (serious) False alarm. Let's continue the story.

(Fades to black)

Act 6: Scale Models on an Illustration

(Fades to John drawing a beanstalk)

Narrator: How do you draw a beanstalk so it looks like it's growing?

(Leonard jumped on the table and tries to scratch most of John's paper)

John: Leonard! Stop scratching!

(John thinked of something, but then a lightbulb appeared on top of his head, the lightbulb shines)

John: Leonard! I've got an idea!

(The lightbulb disappeared)

John: (talking to Leonard) You'll give the drawing scale.

Leonard: Um, what is scale?

John: I don't know! Tell the narrator what the scale is.

(Shows Kaz and Rick sitting on John's couch)

Kaz: (looking at the camera) So, John's pet cat named Leonard, decided to tell the narrator, which could be you, what the scale is.

Rick: Is it true and nice to ask people questions?

Narrator: (off-screen) Maybe. What about you, Leonard?

(Pans to Leonard looking at the camera)

Narrator: (off-screen) Is there something you want to tell me?

Leonard: (looking at the camera) Yes, I have a question. What is scale?

Narrator: (off-screen) Well... scale or scales may refer to a scale ratio. A scale ratio of a model represents the proportional ratio of a linear dimension of the model to the same feature of the original. Thanks for the question, Leonard. We may now continue the story.

(Shows the storyboard illustration on a book page of Jack's cat watching a bean growing into a beanstalk; we then saw Leonard and Scooter walking to see the illustration)

Scooter: Wait, Leonard, was that you, as Jack's cat?

Leonard: Yes, but-- (looks at the illustration) Hey! (happy) That's me! And look at the beanstalk from the illustration! (cuts to the first picture of the illustration from off-screen) It's smaller than me, and then, it grew taller... (pans to the second picture of the illustration) ...taller... (pans to the third picture of the illustration) ...and taller...

(Shows Scooter talking to Leonard)

Scooter: Dude, you're like a measuring stick or... or... a scale!

Leonard: Yeah! Right.

Act 7: Ann's Thoughts of the Magic Bean

(Shows Ann working on the illustrations on a piece of paper with her pencil while Jacqueline was watching his mom working on something)

Narrator: There are usually more ways than just one to solve the same problem.

Jacqueline: Wow, mom! The beanstalk must be enormous.

Ann: Why thank you, it was a magic bean that grows into a beanstalk.

Jacqueline: Oh! But look at the roots!

(Shows Ann's illustration of the magic bean growing on the plant pot with the roots under Jacqueline's bedroom; Leonard and Scooter saw the illustration)

Scooter: Bow wow! Those roots are huge compared to Jacqueline!

(Shows Ann thinking and wondering of something in her art desk)

Narrator: Here is another problem: How do you make a beanstalk look really TALL?

Ann: (wondering) I wonder if I could draw Jacqueline looking down the beanstalk... (surprised) ...or looking up at all.

(Shows 2 illustrations of Jacqueline; one picture shows Jacqueline looking down the beanstalk while climbing, the other picture shows him looking up on a cloud where the beanstalk was heading to)

(Cuts to John thinking of drawing a big scary mean giant from Jack and the Beanstalk)

Narrator: No one knows how to make a human, an animal, or a thing, bigger than the real world scale. If you turn a human into a giant, then that would be more realistic than it was in one of the fairy tales. But, if the giant doesn't look BIG or SCARY enough, the illustrator will draw that picture again.

(Cuts to the giant walking to his castle)

Giant: Fee-fi-fo-fum! (stops to smell the blood of an human) I smell the blood of an Englishman, (walks to a human) Be he alive, or be he dead, I'll grind his bones to make my bread.

(The giant looks at the camera as the narrator was talking)

Narrator: (off-screen) Um, I wouldn't do that if I were you, but we didn't finish the film of the illustrators had what they do.

Giant: (sad) Sorry, Mr. Narrator.

(The screen fliped sideways to John as he got confused)

John: (confused) Well, maybe the giant should be bigger than the page... (starts drawing the giant) ...and what would Jack see when he looks up at the giant?

(Fades to black)

Act 8: Facial Expressions and Models for Illustrators

(Shows 2 of John's illustrations of the giant and Jack; one illustration shows the giant's head and body that were revealed while Jack's legs and feet were revealed; the other illustration shows the giant's leg and foot only, with Jack that had his legs and feet covered)

(Scooter came to the screen to see which illustration shows the best)

Scooter: Let's see, which picture do you think he should use in the book?

(Shows Kaz, Rick, and Jacqueline pointing at the picture that shows the giant's fully revealed head and body with Jack)

Kaz and Rick: That picture!

Scooter: Okay.

(Shows Ann making faces on her mirror while drawing a picture on a piece of paper)

Narrator: How would it feel to run across a table right under the nose of a sleeping GIANT? What would you do?

Ann: (looking at the camera) Just follow the nose.

(Ann continued working on the picture)

Narrator: No one knows if Jack followed the giant's nose. Because if he did, then that would be so creepy.

Ann: (looking at camera, angry) Well then, forget that idea, just finish up the whole story so we could move on!

Narrator: (off-screen) (sighs) Okay, okay, okay. I'm really chilled now. Anyway, the illustrators need to draw how their characters feel. If they don't know how to draw faces on paper, sometimes, they make faces in a mirror to see how an expression would look.

(Shows Jacqueline chasing Leonard)

Leonard: (screams) HEEEELLLLLLLLP!!!

(Jacqueline quickly catched Leonard with his hands, and picked him up)

Ann: Jacqueline, hold still. Now don't move a muscle.

Jacqueline: (disgusted) Uugh, Mom!

Ann: Just hold still for now, pretend you were running across the giant's table with the hen....

Jacqueline: (serious) Mom! I really am serious now! Hurry up! Leonard doesn't like being a hen!

Ann: I'm trying!

(Ann had her fist up with her thumb sticking out, then turned back and forth)

Ann: Good! That's perfect! I'll sketch quickly.

(Ann began sketching quickly)

Jacqueline: (serious) Fine, Mom. (angry) But hurry up now, because Leonard really does not like being a hen at all!

(Fades to Ann's completed sketched picture)

Narrator: A few hours later, Ann quickly skecthed the picture. But remember, sometimes illustrators need someone else to model for them.

(John opened Ann's apartment door to see Ann how she's doing so far)

John: Hi! Is Leonard here?

Ann: Hi! Uh, yes. He's modeling for me. Come on in!

(John went throught the door and into Ann's living room)

Ann: So how's it going?

John: It's going really good, what about you. How's your day going?

Ann: Really fine, today.

Jacqueline: Hey dad, Leonard was pretending to be a golden-egg-laying hen!

John: Oh yeah, well he came to your mom's apartment for role modeling, so Ann can sketch the moves and actions that you're doing.

Ann: That's right, John.

Act 9: Different Styles

John: So, uh... (clears his throat) What are you working on?

(Ann continued working on her dummy)

Ann: Well, um, i'm working on my own version of Jack and the Beanstalk. It's called "Jacqueline and the Magic Bean".

John: (confused) So am I!

Ann: (sighed) Oh, boy! (shocked) Oh, no!

(John and Ann showed themselves their dummies)

John: Oh, good! Your dummy is different from mine. Different place, different people...

Ann: And remember, our illustration styles are very different.

(Cuts to Jacqueline liking John and Ann's books)

Jacqueline: I like both books!

Scooter: (talking to Leonard) What is style?

Leonard: (talking to Scooter) It's how they draw the illustrations.

Narrator: (off-screen) Well not quite, style may refer to a phenomenon that gives birth to an art or architectural motif that distinguishes one era from another. (Leonard and Scooter are getting bored while the narrator was talking) That's called style. In any fictional stuff, style is the codified gestures, in which the author or the narrator tells the story. Along with plot, character, theme, and setting, style is considered one of the fundamental components of fiction. Style was also an aspect of literary composition. In the visual arts, style is a "...distinctive manner which permits the grouping of works into related categories." or "...any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made." It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, "school", art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art". Style is often divided into the general style of a period, country or cultural group, group of artists or art movement, and the individual style of the artist within that group style. Divisions within both types of styles are often made, such as between "early", "middle" or "late". In some artists, such as Picasso for example, these divisions may be marked and easy to see, in others they are more subtle. Style is seen as usually dynamic, in most periods always changing by a gradual process, though the speed of this varies greatly, between the very slow development in style typical of Prehistoric art or Ancient Egyptian art to the rapid changes in Modern art styles. Style often develops in a series of jumps, with relatively sudden changes followed by periods of slower development. This is the style of art and painting. (Leonard and Scooter are getting sleepy while the narrator was still talking) There is a new style of creating something called design. Design is the process of creating something, but also the creation of a plan or convention for the construction of an object or a system (as in architectural blueprints, engineering drawings, business processes, circuit diagrams and sewing patterns). Design has different connotations in different fields. (Leonard and Scooter are now sleeping) In some cases the direct construction of an object (as in pottery, engineering, management, cowboy coding and graphic design) is also considered to be design. That's what style means, Leonard and Scooter. (Leonard and Scooter are still sleeping) Leonard! Scooter! Oh, well.

(Fades to John, Ann, Kaz, Rick, and Jacqueline in the dining room, eating dinner)

John: So Rick, your mom thinks that she's still working on her book. Same thing with me.

Rick: Oh. (eats a slice of turkey ham) Yeah. Um, I need to wash my hands now.

John: Okay.

(Rick goes to the bathroom to wash his hands)

(Fades to black)

Act 10: Calling the Publisher

(Fades to Leonard and Scooter on Eileen Christelow's 2D drawing style form, followed by John, Ann, and Jacqueline's handwriting and drawing styles)

Narrator: Each illustrator has a different style of drawing, just as every person has a different style of handwriting.

Leonard & Scooter: (happy) We're trying a new style!

Scooter: Although, this is Eileen Christelow's animation style. Was that right?

Narrator: (off-screen) Well, yes. Of course, it's right.

(The image changed back to the CGI animated image)

Leonard: Good thing we're back in our normal CGI animated forms. So let's get going, we still have more work to do.

(Screen wipes to John calling the publisher on the phone)

Narrator: When illustrators have finished their dummies, they send and show them to the editor, the publisher, and the designer at the publishing company, besides Author Books. A publishing company will make and sell the book for the author and illustrator.

(Phone beeping sound effects were heard)

The Publisher's Voice on Phone: Uh, hello? Who is this?

John: (talking to the publisher on John's telephone) It's me, John. I've finished my own dummy, so I can show it to you. Hang on, i'll call you on Skype.

(The screen fast-forward the footage from John showing the dummy to the publisher on Skype, to John calling the publisher on the phone, again)

Narrator: Later after showing John's dummy to the publisher on Skype, he calls the publisher again to see if she likes it or not.

John: (talking to the publisher on John's telephone) So, do you like it?

(Cuts to the publisher in her office of the publishing company)

Publisher: (talking to John on her telephone) Like it? I love it! I love your illustrations, John! But Jack is too old at the end of the book. And on page 21, the giant doesn't look mean enough.

(Cuts to John calling the publisher on the phone)

Narrator: The editor decides whether the pictures tell the story.

John: Well, okay, those things should be easy to fix. I'll call you some other time, goodbye.

(John hanged up his telephone)

John: Now to change the book.

(John used his tools to change the book, while Scooter and Leonard came to watch John working on his book)

Narrator: So, the designer makes suggestions about the design of the book. She chooses the typeface for the words and the cover.

Scooter: (confused) Wait, so, if she loves his book, (angry) then why on earth does she want him to change it?

Leonard: Relax Scooter, she was just suggesting ways to make it better!

Scooter: (realized) Oh! Yeah, whatever!

(Cuts to black)

Act 11: Different Kinds of Tools, Lines, Textures, and Colors

(Fades to Ann teaching John how to make a finished illustration of the book)

Narrator: In order to create the finished illustrations of the book, the illustrators need to decide how they want to create them. If they do so, they can draw different kinds of lines and textures with different kinds of tools.

Ann: Well, i'm trying different kinds of lines...

(Shows the pencil-textured illustration)

Ann: (off-screen) Pencil,

(Shows 2 pen-textured illustrations)

Ann: (off-screen) Pen,

(Shows the paint-brushed textured illustration)

Ann: (off-screen) Brush.

(Fades to John teaching Ann how to color the illustration of the book)

Narrator: They can color their illustrations with paint, pastels, pencils, or crayons...

John: I'm experimenting. I've tried watercolors, watercolor crayons, and colored pencils.

(Shows 3 colored illustrations from the book; the first illustration was colored with watercolors, the second illustration was colored with watercolor crayons, and the third illustration was colored with colored pencils)

Narrator: They can do an illustration without any black lines at all! (shows John and Ann picking out their own illustrations they want) After the illustrators colored their own illustrations, they need to choose the paper they want to use for their finished illustrations.

(Shows the pile of papers)

Narrator: Here is the collection of papers that were formed into a pile. Some papers are good for watercolor, some of the other papers were good for pastels, most papers are also good for pencil ... Some are smooth, and some are texture.

(A loose-leaf notebook paper character named Paper from Inanimate Insanity was shown on top of the paper pile)

Paper: Hey, what about me?

Narrator: (off-screen) Paper, what are you doing on top of the pile of papers?

Paper: (angry) Hey, i'm a king of all papers.

(The paper clones had all popped out on the paper pile)

Paper clones: (angry) Yeah!

(Shows the arm ripping the screen by making a translation to John throwing a scrapped illustrated picture into the trash bin)

Narrator: Well, sometimes, if the illustrators don't like the pictures that are scrapped, they had to throw them away into the trash bin and start again.

Act 12: Finishing the Books

Ann: Okay, um, I want a smooth watercolor paper since i'm using pen with ink on it, and watercolor.

John: Well, okay. Good luck with that. Now I want some paper with a little more texture. I'm using watercolors and colored pencils.

(Shows John and Ann coloring the illustrations)

Narrator: Like I said, if illustrators think that the pictures are scrapped, they have to throw them away into a trash bin, and start all over again. But sometimes, they change the colors. (shows John changing the composition of the picture) Or they may change the composition. (pans to the clock and the image was in 3x fast-motion) It can take months to finish all the illustrations for a picture book.

(The image was back in normal-motion, and pans to Ann and Jacqueline looking at the illustrations from her bulliten board)

Ann: Phew! At last! I've finished all 32 pages and the cover!

Jacqueline: Yeah, that's a good thing. It looks great mom. (points at the unfinished picture of Jacqueline wearing a plain white shirt without the red polka dots) Except here. (looks at Ann) You forgot to add the red polka dots on Jacqueline's shirt.

Ann: (shocked) What the!?! (looks at the unfinished picture of Jacqueline wearing a plain white shirt without the red polka dots) Oh, phooey!

(Cuts to Leonard and Scooter)

Scooter: (angry) And she also forgot to feed me this morning. (points at his empty stomach) Now I'm gonna starve.

Leonard: Don't worry! You don't have to worry about her.

Scooter: (sad) Okay.

(Shows Ann editing and fixing her illustrated pictures)

Narrator: Before they are sent to the publisher, they need to be checked to make sure nothing is left out.

(Shows Leonard and Scooter on the couch watching Ann fixing and editing her pictures)

Leonard: Now remember, Scooter, once they've finished the books, they will pay attention to us again.

Scooter: Oh, okay.

(Shows John and Ann finishing their books)

Ann: Honey, I'm finished!

John: Me too! Can I see your book?

(Fades to John and Ann making their covers for their books)

Narrator: Once they've finished drawing the pictures of the book, they often created the cover of the book last.

Act 13: Ending

(Shows Ann's book cover)

Narrator: The cover tells a lot about the story: What is it about? It's about a main character named Jack, going on the adventure to the world of giants. Does it look interesting? I think it does.

(Fades to John, Ann, and Jacqueline showing Ann's book cover)

John: This is great, Ann. I like the way your jacket wraps around the book.

Ann: Thank you.

Jacqueline: That's me on the cover!

(John, Ann, and Jacqueline then shows John's book cover)

Ann: Wow! Your cover is terrific! Jack is escaping right out of the border.

(Shows John's book cover)

Narrator: The cover is a clue to how the illustrator will tell the story. (shows Leonard and Scooter getting happy) Scooter, would these covers make you want to read the books?

Scooter: (happy) Yes! I'm going to read them!

Leonard: (happy) Let's celebrate!

(Funky disco music plays as Leonard and Scooter are dancing to the beat)

(Fades to John, Ann, Kaz, Rick, Leonard, Scooter, and Jacqueline in their apartment)

Narrator: (off-screen) And that's how it happened when illustrators tell stories by drawing pictures.

Ann: Well, that's great. But me and my husband John, my children Kaz, Rick, and Jacqueline, and my pets Leonard and Scooter, need to get some sleep before tomorrow morning. Good night. (turned off the lamp, causing the screen to fade into black)

Narrator: (off-screen) Good night, everyone.

(Fades to the New York city skyline on a sunset background)

Narrator: If you want to be an illustrator when you grow up, you might wanna finish school first, before you work in a publishing company. (pans to the starry night sky background) You see, if adults made picture books for children, teenagers, and mostly adults, it's because they can read picture books whenever they want anytime, anywhere. (fades to black) Everyone can read picture books, and so can... you.

Act 14: Credits

(The text "THE END" zooms in, and pauses for 2 seconds)

(Leonard walked on-screen to the "THE END" text)

Leonard: (reading the text while looking) The end. (looks at the camera) Well, this is the end, folks. See ya.

(Leonard walked away off-screen as the text begins to shake)

(The text "THE END" finally shattered into pieces and fades to black)

(The closing title cards are playing, followed by the closing title crawl)

(After the credits, Scooter walked to the middle-center of the stage in a black backgound, and stays for 2 seconds)

(Scooter's head turns around to look at the camera)

Scooter: Oh!

(Scooter's body finally turns around, as he completely looks at the camera)

Scooter: (nervous) Sorry I didn't see you, audience. (serious) But you're still there. (neutral) Didn't I tell you to get out of the cinema when the movie was over? (talks to the audience politely) Well, then, go back to your homes. Please? Thank you. (happy) Well, see ya next time. This is Scooter, signing out! Peace!

(Scooter draws a white hole with his white crayon and jumped into it)

(The white hole finally vanished into fairy dust)

(Shows Clearwater Animation white print logo)

Text: Produced by CLEARWATER ANIMATION

Text: Released by TWENTIETH CENTURY FOX

(Fades to black)

Trivia

  • Most of the storyline was actually inspired from the book of the same name.
  • In the opening scene, Jacqueline usually has a cell phone.
  • The rough sketch sequence was photographed and animated in 2D rough hand-drawn animation, using Canon Canonflex cameras. All final 2D animation styles including digital ink & paint, clean-up animation, and compositing, are not permitted into the sequence.
  • The new illustration style sequence was created with Eileen Christelow's 2D drawing style in 2D final color hand-drawn animation with digital ink & paint.
  • Most of the CGI animation and some of the 2D animation was animated in-house by Clearwater Animation in Clearwater, Florida (main location for Clearwater Animation), New York City, New York, and San Francisco, California.