Lights... Camera... ACTION!!: A Hollywood Quest

IMPORTANT ANNOUNCEMENT
Hi Magoose here one of the guys helping Duke.

So we have some bad news.

The quest has been canceled as duke does not want to write it anymore.

I'm going to ask if I can take over for it, because I like this quest, and it would be a shame to kill it
TBF, Mags, you have been doing a lot of the heavylifting for the quest, so this will be in good hands. :)

To be clear to everyone, this is just me burning out on imagination of the quest, since my muse has been hitting me over the head a lot with so many different ideas that I just can't find myself too interested in this.

I'll still hang out here, though, since this still does have a sepcial place in my heart.

I'd like to thank you all for making this a wonderful experience while it lasted.

I'd also like to thank @Magoose, @Fluffy_serpent, and @Martin Noctis for doing so much to help prepare and write this quest. I couldn't have done it without you all. :D

I'll see you all around.

With so many regards, Duke William Of.
 
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Honestly, Battleship is one of those films that I'd more than be okay with just handing off to one of the other studios. It's not that good of a film or anything, it's a dumb concept, and it's not like it much money either.

Universal Animated Movie Pitch:
Maus

Ignore that 😅
 
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Honestly, Battleship is one of those films that I'd more than be okay with just handing off to one of the other studios. It's not that good of a film or anything, it's a dumb concept, and it's not like it much money either.
I disagree here. I was going to do a pitch with it and add some changes to make it work, as I believe that the main issue is that the Main Character seems to be all over the place, without a goal to try and reach for. Streamlining the story could be of great help there.
Universal Animated Movie Pitch:
Maus

Ignore that 😅
...No.

Please don't... :cry:
 
I disagree here. I was going to do a pitch with it and add some changes to make it work, as I believe that the main issue is that the Main Character seems to be all over the place, without a goal to try and reach for. Streamlining the story could be of great help there.

...No.

Please don't... :cry:
If you want i can add your version of the pitch to the post ?,or just supress the post,i'm not atached to that movie,just think it could be fun
 
I disagree here. I was going to do a pitch with it and add some changes to make it work, as I believe that the main issue is that the Main Character seems to be all over the place, without a goal to try and reach for. Streamlining the story could be of great help there.
Nothing's stopping you, I just don't know that I'd agree, but you do you.

...No.

Please don't... :cry:
I assume that you're saying that because of giving it to Universal? The reason I'm doing that is that I actually saw that apparently Art Spiegelman accused Spielberg of plagiarism over An American Tail and actually split up Maus into 2 parts so that he could release it earlier and beat him to the punch. I thought it was interesting and wanted to do something with that and with that kind of apparent resentment, it would be interesting and might make sense that he'd take Maus to be produced into a film by a competitor of Lucasfilm to spite Spielberg. I chose Universal because they were the first that came to mind, but anyone would do fine, and now that I'm actually thinking about it, I think Disney would make more sense because of the new Dark Disney stuff.
 
Its an already depressing topic, and we're already probably going to be helping steve with HIS big work on that subject.
Doesn't change the fact that we could do it better in my opinion.
If you want i can add your version of the pitch to the post ?,or just supress the post,i'm not atached to that movie,just think it could be fun
I'll see what I can do, and then get in contact to see how we can collaborate.
I assume that you're saying that because of giving it to Universal? The reason I'm doing that is that I actually saw that apparently Art Spiegelman accused Spielberg of plagiarism over An American Tail and actually split up Maus into 2 parts so that he could release it earlier and beat him to the punch. I thought it was interesting and wanted to do something with that and with that kind of apparent resentment, it would be interesting and might make sense that he'd take Maus to be produced into a film by a competitor of Lucasfilm to spite Spielberg. I chose Universal because they were the first that came to mind, but anyone would do fine, and now that I'm actually thinking about it, I think Disney would make more sense because of the new Dark Disney stuff.
Wait, but we haven't even done An American Tail, it's not even a script yet. We could easily speak with Art and manage a deal to make Maus and solve the issue easily enough. There is no reason to try and create resentment...not that I'm sayingyou're doing that, just that since there is none at the moment, we could at the very least try to get Maus on our side.
 
Wait, but we haven't even done An American Tail, it's not even a script yet. We could easily speak with Art and manage a deal to make Maus and solve the issue easily enough. There is no reason to try and create resentment...not that I'm sayingyou're doing that, just that since there is none at the moment, we could at the very least try to get Maus on our side.
Sure, that's certainly true, I just thought that it would make for a quick and interesting side narrative in the quest.
 
Universal Animated Movie Pitch:
Maus

Ignore that 😅
Really? The animation corperation whose entire model is based upon mass production of unintelligent children movies is going to make a deep and hard animation movie about the holocaust? Even if Spiegelman wants to have it animated in the first place and offers it to Universal, they would reject it because fucking the movie up could have the entire nation at their throats at a misplaced gaffe. Even other animation corperations would be deeply uncomfortable making it. Ironicly the only place where he could have it animated is in LucasFilm due to their large pool of talent and company culture of taking risks and not being afraid of cultural commentary.
 
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I, Bruce, the Action King...
I, Bruce, the Action King...

The pitch hadn't gone well. Not that Tim blamed them- he had only been working for Disney as an apprentice animator for a year. Who was Tim Burton? In Disney's eyes, he was a new guy who hadn't even cut his teeth in anything substantive before pitching an entire idea- and certainly not something called "The Nightmare Before Christmas".

And, in retrospect, perhaps an idea that wasn't suited for the House of Mouse. The Old Man that had looked at the pitch had pointed out that Disney was now focusing on Teen/Adult Horror for October and animations for children. They didn't want to mix or confuse the market with something with the words "Nightmare" in the title...and there was really no place in the schedule for them to release the film even if they wanted to. October was for Horror thrillers and December was for the family friendly animation or movies.

And when he voiced his opinion that the music should be done by someone like Danny Elfman ("what's New Wave?" he was asked) and that the movie should be done in stop motion...well, that had been the end of it ("do you know how much that'd cost- we're an animation studio!") The Old Man shook his head at the new generation, and told Tim to get some more experience and then he'll understand why his pitch just didn't work.

And...the Old Man had a point. Actually, all the points made sense. And yet...

And yet, there was something in him that told him the idea was great. That there was a great movie to be made- a great story to be told. That was why he put on his best black shirt, and went to the Lucasfilm Campus in Los Angeles. Where the fact that he worked for Disney opened the door to him pitching directly to Yoshiyuki Tomino. Yoshiyuki F'ing Tomino.

Tim was a fan- a huge fan. And what followed was , in retrospect, a little embarrassing for a guy pitching a movie. But, Tomino-san took it with aplomb and quickly asked Tim what his story was. And, Tim told him.

"This story is about a man who feels tired of doing the same project over and over- even though he is the best at it? But, after trying another project that fails, his spirit of innovation is revitalized and once more inspiration arises?" Tomino asked after the pitch.

"Well, I wanted there to be a love story, too. A story of longing, acceptance, and triumph."

"Yes. It is...very good, Tim-san. And your portfolio? May I look at it?"

"Of course!"

And Tim showed him, his heart thrumming at showing his work to a master of the craft. And the follow up...

"I was thinking that the story would be most visually striking and served by being stop motion rather than animated."

Tomino-san paused a moment, his finger in-between pages of the portfolio as he digested the words.

"Yes- quite ambitious, Burton-san. And yet...such ambition is appropriate for the young. And yet...appropriate."

Tomino-san looked at an assistant that was nearby and said something in Japanese. And then, he pulled out a pencil from the a nearby desk.

"Do you mind if I make some suggestions, Burton-san?"

"Please, call me Tim, Tomino-san. And, I'd be honored to hear any insights."

"Yes...I think if you tightened the design here, the expressiveness of the character can be increased..."

What followed was a masterclass, such that Tim Burton lost track of time. He didn't want the lessons to end...but end it did when he heard a knock.

And he turned to see Bruce O'Brian. Bruce F'ing O'Brian!

"Sorry to interrupt. But, you asked for me, Tomino-san?"

"Ah, yes! Bruce-san! Let me introduce you to this most impressive artist, Tim Burton. Tim-san has a most interesting story that he wants to make. And I thought I needed your okay."

Bruce offered Tim his hand, with a simple," Hi. Bruce O'Brian."

Tim numbly shook the man's hands, noticing the strength beneath the grip and the rough calluses of a man who fought Ali and won.

"Tomino-san. You have full authority to okay pitches, as you know..."

"Yes. But...this is a special case. Please, Tim-san. If you would give the pitch to Bruce-san?"

And Tim Burton once again gave his pitch to Bruce O'Brian.

And he listened.

"Huh. Yeah- interesting story..." he said as he trailed off in thought.

The Action King nodded," Yeah- the story of a man who wants to try something new. Lucasfilm is built on that and yet...sometimes...anyways, what type of music were you thinking."

"Err...I'm a fan of Danny Elfman..."

"Oh! Oingo Boingo- yeah they're good. Carrie likes them."

Tim was surprised for a moment before he realized. Of course the man who was on the record of the "Mansion Sessions" and was married to the Princess of Rock would know Oingo Boingo.

"I mean. I think it's a great project- I'd give it a go. But, I still don't understand why I was called." Bruce said quizzically.

"Well, Bruce-san, Tim-san and I agree that this story would be best done as stop-motion with puppets rather than animation."

"Oh. Yeah..." Bruce mused, " Yeah. I can see that. It'd cost more. And...knowing ILM and George...we'd end up starting up an entire puppetry/stop motion wing which would cost money..."

He looked at Tim and smiled.

"But, you know what, this is Lucasfilm. We aren't going to shy away from trying something new. Plus...George and Steve would love to see it. Maybe be a good excuse to try and contact their idol. Hmm...yeah. I like it. I'd love to have us make A Nightmare Before Christmas. And, if Tomino-san says you're talented...it's good enough for me!"

Bruce offered his hand out to Tim Burton again.

And this time, when Tim shook his hand, he did so with a wide smile. Bruce's grip was still strong, but it felt like a firm lifeline.
 
Movie Pitch: Kung Fu Panda II
Well, as mentioned before, I love the Kung Fu Panda franchise. personally, I think it's a shame that so much time passes in between movies, but I also understand that it is necessary if we want to have truly quality animation and writing...it's just that in the latest two entries we've not been delivered what was promised. I mean, okay the third one was passable, even if I think they went a bit too fast by making Po the master so quickly. In my opinion it would have worked better if Po went on a final adventure with the Furious Five, and he learned that he had to finally accept that they had to move on to their own students and travels, leaving Po with a lesson of moving on, but never forgetting them either.

But the Fourth film...there are no words to describe what I saw there. Po being told he has to train the new Dragon Warrior? Why? The Dragon Warrior is supposed to be an event, not something that just happens when the last one retires. Why the heck is Po being replaced when he's still on his prime...and where the fuck were the Furious Five during the movie?! All they did is make a non-speaking appearance and that's it?!!

No, it's clear that if we want to try and make the Kung Fu Panda Franchise, then we will have to do it ourselves from the third movie onwards. However, that does not mean we can't have the second, and best, entry in it now.

Thus, I give you:

Movie Pitch:
Kung Fu Panda II


GENRE: Action/Adventure/Martial Arts/Wuxia

SUB-GENRE: Fantasy/Humor/Family


FORMAT: Animated
Movie

Set Up: The sequel to Kung Fu Panda, and the second installment in the Kung Fu Panda franchise. Po is now living his dream as the Dragon Warrior, protecting the Valley of Peace alongside his friends and fellow kung fu masters, the Furious Five. But Po's new life of awesomeness is threatened by the emergence of a formidable villain, who plans to use a secret, unstoppable weapon to conquer China and destroy kung fu. It is up to Po and the Furious Five to journey across China to face this threat and vanquish it. But how can Po stop a weapon that can stop kung fu? He must look to his past and uncover the secrets of his mysterious origins; only then will he be able to unlock the strength he needs to succeed.

Director: John Lasseter
Composer: Hans Zimmer

Master Po the Dragon Warrior: He is the adopted son of Mr. Ping, as well as one of Master Shifu's students at the Jade Palace. He is also the foretold Dragon Warrior of legend, and a master of the Panda Style of kung fu. Po is usually easygoing, playful, and cocky like a big kid, as well as rather "fanboyish" when expressing his love for kung fu. Po possesses a kind and selfless nature, and is generally friendly and laid-back. He also has a strong sense of justice, and is willing to risk his life to protect others. Though immature and oblivious in some situations, Po is able to take things seriously when it is called for, and is not hesitant to accept heavy responsibility—at times taking on more than he can handle.

Played By: Robin Williams
Alternate: Chris Farley

Master Tigress: She is a member of the Furious Five as well as one of Master Shifu's students at the Jade Palace. She is a master of the Tiger Style of kung fu. Tigress is the strongest and boldest of the Furious Five. She is noted to have the typical qualities of a hero: overachieving, brave, fearless, and willing to do anything to save the day. The one exception to her willingness, however, was to believe in Po, whom she thought was a joke. But even the strongest can be wrong, and Tigress learned that destiny sometimes arrives in unexpected ways. She is generally friendly, but the least sociable of the Five, and can be very intimidating at times due to her incredibly serious and direct demeanor.

Played By: Carrie Fisher
Alternate: Michelle Pfeiffer

Master Mantis: He is a member of the Furious Five as well as one of Master Shifu's students at the Jade Palace. He is a master of the Mantis Style of kung fu. He was impressed by Po's wholeheartedness, even though Po knew Master Shifu was trying to get rid of him. Pragmatic and open-minded with a dry sense of humor, Mantis was actually the first of the Five to develop acceptance and liking of Po as a person, alongside the factor of Po's girth, declaring size did little to define a warrior and could actually be used as an advantage, no matter what style one practices. Mantis is a strong defender of this philosophy of his, noted to being a tad sensitive regarding his own small stature

Played By: George Carlin
Alternate: Dan Aykroyd

Master Viper: She is a member of the Furious Five as well as one of Master Shifu's students at the Jade Palace. She is a master of the Viper Style of kung fu. In defiance of the villainous stereotype of snakes, Master Viper is the most charming, kind, compassionate, and sweetest of the Five, as demonstrated with her quickly developing empathy for Po as his indomitable tenacity became obvious. She also demonstrates a great deal of dislike for displays of cruelty or injustice. Viper is a lightning-fast warrior capable of taking down the most intimidating foe. Her power lies in her strength, her sinuous nature, her precision and her deadly strike.

Played By: Michelle Yeoh
Alternate: Jaclyn Smith

Master Crane: He is a member of the Furious Five as well as one of Master Shifu's students at the Jade Palace. He is a master of the Crane Style of kung fu. Crane has demonstrated a dry sense of sarcastic humor on occasion. In his spare time, he enjoys practicing the ancient art of Chinese calligraphy, especially as a way to meditate or wind down after a stressful day. Though brave and reliable, he also tends to show more nervousness than his companions. In addition to his Kung Fu skills, Crane is always there to correct Po whenever he gets his facts wrong or needs to memorize a spell.

Played By: Donnie Yen
Alternate: Frank Welker

Master Monkey: He is a member of the Furious Five as well as one of Master Shifu's students at the Jade Palace. He is a master of the Monkey Style of kung fu. While going by Shifu's strict teachings, it would appear that Monkey in general has taken Oogway's teachings more to heart, being similarly relaxed and displaying a calmer side to his personality. He was the first of the Five to recognize Po's determination, even though he shared in the Five's general decision of the panda until Po proved himself to be the Dragon Warrior. He's also the first of the Five to have called Po by name. He harbors the strongest sense of humor within the Five, responding most strongly to Po's sense of comedy.

Played By: Jackie Chan
Alternate: George Takei
Master Shifu: He is the current senior master of the Jade Palace and trainer of many kung fu warriors, including Tai Lung, the Furious Five, and the Dragon Warrior Po. Meditative, perceptive, and creative, Shifu approached kung fu and teaching with dynamism. These traits effectively enabled him to see the key to training Po, as seen when instead of reprimanding the latter regarding his "food outbursts", he simply used this knowledge to develop Po's instinctive "food skills" into tremendous kung fu strength.

Played By: Dustin Hoffman

Master Storming Ox: He is a master of kung fu, and was the star pupil of Master Thundering Rhino. Often hotheaded, favoring action over contemplation, Ox is a constant challenge for his old Master. But he is also a loyal friend and trusted member of the Kung Fu Council, which protects the citizens of peaceful Gongmen City. Storming Ox had lost hope when he witnessed the death of his master by Shen's new weapon, and surrendered to the peacock's will.

Played By: Dennis Haysbert

Master Croc: He was the former leader of the Wool Stealing Crocodile Bandits, after he lost his fight with Master Thundering Rhino, he became thoroughly humbled and decided to turn over a new leaf, now serving as a member of the Kung Fu Council. Croc was a devoted and loyal warrior to his master and fellow apprentice Storming Ox, but his spirits were crushed by the death of his master at the hand of Shen and his unstoppable weapon.

Played By: Sylvester Stallone

Master Thundering Rhino: He was a master of kung fu. He was the previous leader of the Kung Fu Council, which protected the vast metropolis of Gongmen City after the city's single heir, Lord Shen, was exiled for his crimes. He has been noted to be revered for his wisdom, kind humor, and good deeds, though he was defeated in the end when Lord Shen returned with his new weapon, being killed in a single strike which demoralized the rest of the masters in Gongmen City.

Played By: Victor Garber
Lord Shen: He was the son of the royal Peacock family and heir to the Gongmen City throne. In his youth, Shen used the gun powder in fireworks to create weapons. When he overheard the Soothsayer foretell to his parents that he would be defeated by a warrior of black and white if his obsession persisted, he led his personal army of wolves on a genocidal raid on the pandas in an attempt to circumvent the prophecy. But upon his return, his frightened parents exiled him from the city forever. Shen plotted his revenge for over thirty years, eventually creating an unstoppable weapon: a cannon.

Played By: Anthony Hopkins
Alternate: Charles Dance

Wolf Boss: He was the leader of Shen's wolf army, and also served as Shen's military strategist and most loyal and trusted servant. Once a guard at Gongmen City's royal palace, he left with his wolf pack and his master Shen after being banished for their heinous crime against an innocent farming village. As the years passed, he continued to help Shen in his goal of ruling China by forging his weapons, raiding villages for more material, and providing military support. Though he was treated as a mere subordinate by his master, Boss Wolf continued to show loyalty and support up until the final battle, where he stood up for himself and his wolf pack, losing his life for it.

Played By: Dom DeLuise
Alternate: Jim Varney

Soothsayer: She is an aged goat who was named for her unique gifts and abilities. Blessed with the gift of second sight, she had served as advisor to the Peacocks her entire life. But after making a dark prediction about their son that resulted in the destruction of a village and nearly an entire species, she was burdened with guilt even after the young prince had been banished for his actions. It wasn't until thirty years later that her prediction came true, and she was able to help the "warrior of black and white" that she had prophesied would defeat Shen. The Soothsayer often acts mysterious. However, her credibility is often doubted given her humorous traits.

Played By: June Foray
Alternate: Freda Foh Shen
Mr. Ping: He is Po's adoptive father and the owner of his noodle shop business Dragon Warrior Noodles and Tofu in the Valley of Peace. Mr. Ping discovered Po when he was a young cub, and soon after adopted him. Coming from a line of noodle chefs, Mr. Ping considers his work deeply fulfilling and wants to teach his son everything about noodle-making, hoping that Po would take over the family business after him. However, he has since accepted the differing ambitions of his son, and is proud of his son's role as the Dragon Warrior.

Played By: James Hong
Alternate: Pat Morita

A.N.: I changed the voice actor for Shifu, as Dustin Hoffman is alive and working at the moment. His voice for Shifu was inspired and I don't see a reason to change it. Furthermore I also have some ideas for the Voice Actors for Oogway, Tai Lung and Mr. Ping, thought mostly they are just the original actors, since I don't see a reason why we should change them. Hopefully we can begin the movie franchise in 1988, which is around 20 years before the first one begins, and with our technological advances, it should be feasible.

Oogway: Randall Duk Kim, Toshiro Mifune
Tai Lung: Ian McShane, Brian Blessed
Mr. Ping: James Hong, Pat Morita
Commander Vachir: Michael Clarke Duncan, James Earl Jones
 
Here ya go, @Duke William of. Like I said, quick and easy.

Animated Movie Pitch
An American Tail
Directed by: Don Bluth
Written by: David Kirschner, Judy Freudberg, and Tony Geiss

GENRE: Adventure/Comedy
SUBGENRE: Musical
FORMAT: Animated Movie​
SET UP: A young mouse named Fievel Mousekewitz and his family emigrate from Russia to the United States by boat after their home is destroyed by cats. During the trip, a fierce storm throws Fievel from the ship, and he loses contact with his family. Luckily, he manages to sail to New York in a bottle. There, Irish mouse Bridget, an Italian mouse named Ton, and a kindly cat named Tiger help Fievel search for his loved ones.
In 1885 Shostka, Russian Empire (a city that is today located in Ukraine), the Mousekewitzes are a Russian-Jewish family of mice who live with a human family named Moskowitz. While celebrating Hanukkah, Papa gives his hat to his son, Fievel, and tells him about the United States, a country in which he believes there are no cats. The celebration is interrupted when a battery of Cossacks ride through the village square in an anti-Semitic arson attack and their cats attack the village mice. The Moskowitz home, along with that of the Mousekewitzes, is destroyed, while Fievel narrowly escapes from the cats. They flee the village in search of a better life.

In Hamburg, Germany, the Mousekewitzes board a tramp steamer, setting sail for New York City. All the mice aboard are ecstatic at the prospect of going to America, believing that there are "no cats" there. During a thunderstorm on their journey, Fievel finds himself separated from his family and washed overboard. Thinking that he has died, they proceed to the city as planned, though they become depressed at his loss.

However, Fievel floats to New York in a bottle and, after a pep talk from a French pigeon named Henri, decides to look for his family. He encounters conman Warren T. Rat, who sells him to a sweatshop. He escapes with Tony Toponi, a street-smart Italian mouse, and they join up with Bridget, an Irish mouse trying to rouse her fellow mice to fight the cats. When a gang of them called the Mott Street Maulers attacks a mouse marketplace, the immigrant mice learn that the tales of a cat-free country are not true.

Bridget takes Fievel and Tony to see Honest John, an alcoholic politician who knows the city's voting mice. However, he is unable to help Fievel search for his family, as they have not yet registered to vote.

Led by the rich Gussie Mausheimer, the mice hold a rally to decide what to do about the cats. Warren is extorting them all for protection that he never provides. No one knows what to do about it until Fievel whispers a plan to Gussie. Although his family also attends, they stand well in the back of the audience, and they are unable to recognize Fievel onstage with her.

The mice take over an abandoned museum on the Chelsea Piers and begin constructing their plan. On the day of launch, Fievel gets lost and stumbles upon Warren's lair. He discovers that he is actually a cat in disguise and the leader of the Maulers. They capture and imprison Fievel, but his guard is a reluctant member of the gang, a vegetarian tabby cat called Tiger, who becomes friends and frees him.

Fievel races back to the pier with the cats chasing after him and exposes Warren as a cat when Gussie orders the mice to release the secret weapon. A huge mechanical mouse, inspired by the bedtime tales Papa told Fievel of the "Giant Mouse of Minsk", chases Warren and his gang down the pier and into the water. A tramp steamer bound for Hong Kong picks them up on its anchor and carries them away. However, a pile of leaking kerosene cans has caused a torch lying on the ground to ignite the pier, and the mice are forced to flee when the fire department arrives to extinguish it.

During the fire, Fievel is once again separated from his family and ends up at an orphanage in an alley. Papa and Tanya overhear Bridget and Tony calling out to Fievel. Papa is sure that there is another "Fievel" somewhere, until Mama finds his hat. Meanwhile, Fievel ends up in Orphan's Alley, and is convinced by a trio of bullies that his family should be looking for him, not the other way around, and the reason why they haven't is because they don't care. Saddened by this, he cries himself to sleep.

Joined by Gussie, Tiger allows them to ride him. This allows them to find Fievel. Papa returns Fievel's hat, commenting that it now fits him, and he has grown up into a mouse. Henri ends the journey by taking everyone to see his newly completed project—the Statue of Liberty, which appears to smile and wink at Fievel and Tanya, and the Mouskewitzes' new life in the United States begins.
Erica Yohn as Mama Mousekewitz
Nehemiah Persoff as Papa Mousekewitz
Amy Green as Tanya Mousekewitz
Phillip Glasser as Fievel Mousekewitz
Christopher Plummer as Henri
John Finnegan as Warren T. Rat
Will Ryan as Digit
Hal Smith as Moe
Pat Musick as Tony Toponi
Cathianne Blore as Bridget
Neil Ross as Honest John
Madeline Kahn as Gussie Mausheimer
Dom DeLuise as Tiger

Nice that we got that included. You know, it would be a fun idea if we make it so that it's canon that American Tail and Basil of Baker Street occupy the same universe. Maybe a few cool easter eggs spread throughout the film like Fievel is going through New York and a newspaper mouse is shouting how the brilliant Basil captured the Trapper or a wanted poster of Professor Ratigan. Heck, one of the Basil books has him travel to the American West and we could have an adult Fievel tag along to replace the "Fievel goes West" movie.


View: https://www.youtube.com/watch?v=1HG9igUxx5o

Also if American Tail is a Dreamworks movie, then this Family Guy gains a whole extra layer to the joke in it being about the Disney-Dreamworks rivalry. I could see Seth making another joke later in the episode or in a following episode about Dreamworks getting revenge.

Stewie: This is terrible! If I don't reach Brian soon the mob's going to do worse things to him than when Dreamworks got revenge for Feivel.

Cuts to Mickey in his office in Disneyland snorting cocaine.

Mickey: Haha, I love money, haha!

Door is destroyed into pieces and a bloodied and gutted Donald Duck is thrown onto the floor while Goofy is thrown through a window.

Goofy: Yahoooooey!

Mickey: Donald, Goofy, what happened!

A mob of iconic Dreamworks characters storms into Mickey's office.

Mickey: Dreamworks! But how, I thought the Looney Tunes dealt with you Japanese freaks!

Moses: You really think a bunch of silly cartoons can overcome the power of God and anime on our side?

John Henry: You fucked with the wrong studio you damn dirty rat.

Basil: Mickey Mouse, I find you guilty of the murder of Feivel Mousekewitze. We have all the evidence to prove it.

Mickey: Alright fine, take me to jail, but it's pointless I tell you. I got the judges in my pocket and you won't lay a single finger on me.

Woody: Oh we're well aware of that partner.

Megamind: It's a good thing that Dreamworks isn't afraid to relish in villainy.

Po: Prepare to be skadooshed.

Mickey: No, NO!!

Universal Animated Movie Pitch:
Maus
I assume that you're saying that because of giving it to Universal? The reason I'm doing that is that I actually saw that apparently Art Spiegelman accused Spielberg of plagiarism over An American Tail and actually split up Maus into 2 parts so that he could release it earlier and beat him to the punch. I thought it was interesting and wanted to do something with that and with that kind of apparent resentment, it would be interesting and might make sense that he'd take Maus to be produced into a film by a competitor of Lucasfilm to spite Spielberg. I chose Universal because they were the first that came to mind, but anyone would do fine, and now that I'm actually thinking about it, I think Disney would make more sense because of the new Dark Disney stuff.
Really? The animation corperation whose entire model is based upon mass production of unintelligent children movies is going to make a deep and hard animation movie about the holocaust? Even if Spiegelman wants to have it animated in the first place and offers it to Universal, they would reject it because fucking the movie up could have the entire nation at their throats at a misplaced gaffe. Even other animation corperations would be deeply uncomfortable making it. Ironicly the only place where he could have it animated is in LucasFilm due to their large pool of talent and company culture of taking risks and not being afraid of cultural commentary.

As Nova said above, it both doesn't make sense that Spiegelman would trust an adaptation of his work to the company that made Ice Age and views its animation as just kiddy material, and there's no way that Universal would touch Maus with a ten foot pole. Plus I think even Sid, a Jewish man would put his foot down at Blue Sky making a holocaust movie. Dreamworks or Disney would be better, and at least with Dreamworks we have multiple filmmakers who can or will make powerful holocaust films.

Well, as mentioned before, I love the Kung Fu Panda franchise. personally, I think it's a shame that so much time passes in between movies, but I also understand that it is necessary if we want to have truly quality animation and writing...it's just that in the latest two entries we've not been delivered what was promised. I mean, okay the third one was passable, even if I think they went a bit too fast by making Po the master so quickly. In my opinion it would have worked better if Po went on a final adventure with the Furious Five, and he learned that he had to finally accept that they had to move on to their own students and travels, leaving Po with a lesson of moving on, but never forgetting them either.

But the Fourth film...there are no words to describe what I saw there. Po being told he has to train the new Dragon Warrior? Why? The Dragon Warrior is supposed to be an event, not something that just happens when the last one retires. Why the heck is Po being replaced when he's still on his prime...and where the fuck were the Furious Five during the movie?! All they did is make a non-speaking appearance and that's it?!!

No, it's clear that if we want to try and make the Kung Fu Panda Franchise, then we will have to do it ourselves from the third movie onwards. However, that does not mean we can't have the second, and best, entry in it now.

Thus, I give you:

Movie Pitch:
Kung Fu Panda II


GENRE: Action/Adventure/Martial Arts/Wuxia

SUB-GENRE: Fantasy/Humor/Family

FORMAT: Animated Movie

Whatever happens with Kung Fu Panda, and even if we make it years early and in 2D, can we just all collectively agree to end the movies at Kung Fu Panda 3 and not do 4? That one seriously did Kung Fu Panda dirtier than Toy Story 4, and apparently it was originally meant to be an animation, live action hybrid that introduced humans into the franchise.
 
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Whatever happens with Kung Fu Panda, and even if we make it years early and in 2D, can we just all collectively agree to end the movies at Kung Fu Panda 3 and not do 4? That one seriously did Kung Fu Panda dirtier than Toy Story 4, and apparently it was originally meant to be an animation, live action hybrid that introduced humans into the franchise.
Well, from the beginning the creators mentioned that they had planned the franchise to have six parts, so perhaps we should try to match them? I do agree with you that Toy Story 4 managed to ruin the franchise's message, but then again that was an addition to an already finished trilogy, made mostly to cash in more money than to actually tell a story that could match the themes and nuance of the previous entires.

With Kung Fu Panda 4, it was just a bad story bad movie, and bad addition to the saga overall.

Eh, in the end, I don't mind if it's a trilogy, though I am willing to go beyond if the rest of the players want to.
 
Well, from the beginning the creators mentioned that they had planned the franchise to have six parts, so perhaps we should try to match them? I do agree with you that Toy Story 4 managed to ruin the franchise's message, but then again that was an addition to an already finished trilogy, made mostly to cash in more money than to actually tell a story that could match the themes and nuance of the previous entires.

With Kung Fu Panda 4, it was just a bad story bad movie, and bad addition to the saga overall.

Eh, in the end, I don't mind if it's a trilogy, though I am willing to go beyond if the rest of the players want to.
You sure? That's at least 2 movies we'd need to make wholesale. And we'd need the Tai Lung redemption arc. Maybe the 6th part could be about letting go.
 
You sure? That's at least 2 movies we'd need to make wholesale. And we'd need the Tai Lung redemption arc. Maybe the 6th part could be about letting go.
Well, if we for six films then they would be four as I refuse to use the third and fourth films. If we do the Tai Lung redemption arc then I'd prefer if those were the last 2 films though. GIve it some symmetry since Po's legend begins with Tai Lung, and redeeming him becomes his last film.

That's if we go for six films.
 
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TV Show Pitch: The SCP Files
As Nova said above, it both doesn't make sense that Spiegelman would trust an adaptation of his work to the company that made Ice Age and views its animation as just kiddy material, and there's no way that Universal would touch Maus with a ten foot pole. Plus I think even Sid, a Jewish man would put his foot down at Blue Sky making a holocaust movie. Dreamworks or Disney would be better, and at least with Dreamworks we have multiple filmmakers who can or will make powerful holocaust films.
This was already addressed in the post you quoted where I said that I picked Universal more as an impulse because they're our "arch enemies" in the public consciousness, but that on review, I thought Disney would be a better choice. Just FYI.

I've had this on the backburner for god knows how long *checks notes* since SEPTEMBER!? Jeez, that's a long fucking time, lol. Regardless, now is as good of a time as any to finally begin putting this out. For those of you who don't know what SCP is, first off, what rock have you been living under? Secondly, it's an online community project where different people across the internet make stories all set in the fictional setting of SCP, which stands for Special Containment Procedure, despite the misconception that SCP stands for Secure, Contain, Protect, which is actually just the motto of the SCP Foundation. The SCP Foundation is a secret organization that studies, contains, and if necessary, destroys anything that can be deemed anomalous, which can range from a toaster that makes you think that you're a toaster, to literally the embodiment of all evil. They do this nominally to protect humanity, though their true motives can never be known. It's a lot of fun and there are tons of great stories of all different kinds. It's kind of the spiritual successor to Creepypasta's, tbh. If you don't know much about SCP, I implore you, do yourself a favor and get into it, you won't regret it. SCP is definitely something that I can see us being able to milk for fucking ages, probably straight up decades because of how much content exists and how much can be made from it and I've already got tons of other seasons lined up. This series in particular I envisioned as our version of Goosebumps or Tales From The Crypt, but with a bit of a twist in terms of the framing. Aside from the Proto-ARG and Found Footage elements, I wanted each of the SCP to be framed as if they were actually real and were leaked files. I think it would be very entertaining to see done at this time, particularly with some of the SCP's available. I'm still kind of stuck on whether or not I want the episodes to be fully found footage, specifically following a sort of whistleblower who is the narrator/horror host for the audience, along with any other found footage or recordings that'd be used, or if I want to mix the found footage with more traditional episode formats and combining the lore dumps from the whistleblower/conspiracy theorist narrator with the normal parts of the episodes following encounters with the SCP's. Feel free to chime in with your thoughts on that. I do have ideas for other SCP related series, but I'll leave those to later. I decided to start off Season 1 of SCP with a lot of familiar faces within SCP, things like Shy Guy, The Sculpture, or Plague Doctor, but I did decide to add a few different SCP from the typical "newbie" SCP. Nothing too special, but just adding a little bit of spice like Cragglewood Park, Bobble the Clown, or the Stalker Mailbox. Don't worry though, we'll start getting pretty out there with some of the other seasons. The SCP Seminar episodes, just for clarification's sake, are intended to be lore dump heavy episodes that are used to cover a lot of things in one episode that wouldn't necessarily be able to otherwise have it's own episode or that would need a lot of episodes to cover. You may also end up noticing that there are multiple episodes labeled as SCP-001. That is very much intentional, not only because of the fact that SCP does not have an actual, definitive SCP-001, but also because I wanted to fuck with the audience by giving them one of the SCP-001's and letting them think that it was the first SCP (since that factors in specifically with The Prototype's story) before blindsiding them with a bunch of other SCP-001's that also give contradictory accounts, before explaining what the fuck is happening with the final SCP Seminar of the Season by going over some other 001 proposals and the lore surrounding them. Also yes, the SCP # followed by a title of the SCP is meant to be the actual names for each of the episodes. For the episodes, I wanted to include more to them in the pitch, outlining how each of the episodes would go, but since I'm still not 100% on the framing for each episode, I'll just leave that to the Sidestory. I very easily see SCP becoming a staple of horror and would likely end up with a revolving door of a bunch of different horror writers and directors working on the series for different episodes and whatnot, which would be pretty cool. The special effects department and ILM is really going to have their work cut out for them with SCP though, lol. As an aside, I've been noticing a bit of a pattern with Mavis/my pitches for her in that they've primarily been comprised of 3 main things, with those being Mecha/Robots, Horror, and Christianity. Like, it's overwhelming and it's not even close. Funny how that all works out, particularly with the horror stuff, lol, since Mavis is absolutely not the type to enjoy horror media since she'd be frightened too easily, the thought that she might end up becoming a sort of horror icon because of stuff like Faith, Lucius, Amnesia, Promised Neverland, Hush, or SCP is amusing to me. I feel like I have a lot more that I want to say, but I can't really think of it right now, so I'll just let y'all go for now. I'd like to thank @overmind for his help with this back when I first asked for his help writing up a summary for this, and without further ado... I hope y'all enjoy and let's traumatize some kids who try and stay up late! And speaking of late, it's 2:30 and I have class early tomorrow so with that being said, sleepy time now😪💤💤

TV Show Pitch:
The SCP Files
Written by
: Mavis Kingsley

GENRE: Horror/Thriller
SUBGENRE: Anthology, Proto-ARG, Found Footage
FORMAT: Television Series​
SET UP: Just as humanity lives and dies, it does so ignorant of the danger that everyday existence brings upon the planet. Creatures from myth and beyond, dangers just under the thin layers of reality, monsters that can only exist as proof that there is no loving God, deals made in the dark in exchange for just one more day to live...all this happens underneath our noses. And the reward, is to live and do it all over again. This thankless work of protecting humanity from horrors unseen is the job of the Special Containment Procedure Foundation, or SCP Foundation. An organization dedicated to the study, containment, and if necessary, neutralization of anomalous phenomena. Led by the mysterious O5 Council, those at the Foundation work relentlessly to protect humanity's fragile sense of normalcy and ensure it's survival, regardless of the what it may cost along the way.
Episode 1: SCP-173 The Sculpture
Episode 2: SCP-106 The Old Man
Episode 3: SCP-682 Hard-To-Destroy Reptile
Episode 4: SCP-049 Plague Doctor
Episode 5: SCP-035 Possessive Mask
Episode 6: SCP-096 Shy Guy
Episode 7: SCP-999 Tickle Monster
Episode 8: SCP-323 Wendigo Skull
Episode 9: SCP-087 The Stairwell
Episode 10: SCP Seminar-Foundation Part 1
Episode 11: SCP-294 The Coffee Machine
Episode 12: SCP-1128 Aquatic Horror
Episode 13: SCP-5172 North American Ice Machines
Episode 14: SCP-178 3-D Specs
Episode 15: SCP-3288 The Aristocrats
Episode 16: SCP-3000 Anantashesha
Episode 17: SCP-2571 Cragglewood Park
Episode 18: SCP-3199 Humans, Refuted
Episode 19: SCP-056 A Beautiful Person
Episode 20: SCP Seminar-Foundation Part 2
Episode 21: SCP-1269 Stalker Mailbox
Episode 22: SCP-939 With Many Voices
Episode 23: SCP-001 The Prototype
Episode 24: SCP-993 Bobble the Clown
Episode 25: SCP-001 The Spiral Path
Episode 26: SCP-231 The Seven Brides
Episode 27: SCP-001 The Scarlet King
Episode 28: SCP-001 The Factory
Episode 29: SCP-001 The Foundation
Episode 30: SCP Seminar-001 Proposals
 
Well, it we for six films then they would be four as I refuse to use the third and fourth films. If we do the Tai Lung redemption arc then I'd prefer if those were the last 2 films though. GIve it some symmetry since Po's legend begins with Tai Lung, and redeeming him becomes his last film.
If your going to make more then three Kung Fu Panda movies maybe you could loot some plot bits from the tv series. Tai Lung has a nephew named Peng for instance. Maybe have Tai Lung be wounded or a ghost manipulating the well meaning Peng to steal magical artifacts to heal/resurrect him so he can get revenge on Po. During the climax Tai lung either saves Peng from something when he had a chance to save Po or refuse to kill Peng who gets in his way.

I've only seen one, two and the animated series by the way. So I have no idea how the other movies in the series paly out.
 
If your going to make more then three Kung Fu Panda movies maybe you could loot some plot bits from the tv series. Tai Lung has a nephew named Peng for instance. Maybe have Tai Lung be wounded or a ghost manipulating the well meaning Peng to steal magical artifacts to heal/resurrect him so he can get revenge on Po. During the climax Tai lung either saves Peng from something when he had a chance to save Po or refuse to kill Peng who gets in his way.

I've only seen one, two and the animated series by the way. So I have no idea how the other movies in the series paly out.
Well, i was planning on using Fenghuang for the third movie, and perhaps recycle the Chameleon for a future entry (after fixing her entire motive that is! Being too small my ass! Are the writers even trying at this point!).
 
TV Show Pitch:
The SCP Files
Written by
: Mavis Kingsley

GENRE: Horror/Thriller
SUBGENRE: Anthology, Proto-ARG, Found Footage
FORMAT: Television Series​
SET UP: Just as humanity lives and dies, it does so ignorant of the danger that everyday existence brings upon the planet. Creatures from myth and beyond, dangers just under the thin layers of reality, monsters that can only exist as proof that there is no loving God, deals made in the dark in exchange for just one more day to live...all this happens underneath our noses. And the reward, is to live and do it all over again. This thankless work of protecting humanity from horrors unseen is the job of the Special Containment Procedure Foundation, or SCP Foundation. An organization dedicated to the study, containment, and if necessary, neutralization of anomalous phenomena. Led by the mysterious O5 Council, those at the Foundation work relentlessly to protect humanity's fragile sense of normalcy and ensure it's survival, regardless of the what it may cost along the way.
Episode 1: SCP-173 The Sculpture
Episode 2: SCP-106 The Old Man
Episode 3: SCP-682 Hard-To-Destroy Reptile
Episode 4: SCP-049 Plague Doctor
Episode 5: SCP-035 Possessive Mask
Episode 6: SCP-096 Shy Guy
Episode 7: SCP-999 Tickle Monster
Episode 8: SCP-323 Wendigo Skull
Episode 9: SCP-087 The Stairwell
Episode 10: SCP Seminar-Foundation Part 1
Episode 11: SCP-294 The Coffee Machine
Episode 12: SCP-1128 Aquatic Horror
Episode 13: SCP-5172 North American Ice Machines
Episode 14: SCP-178 3-D Specs
Episode 15: SCP-3288 The Aristocrats
Episode 16: SCP-3000 Anantashesha
Episode 17: SCP-2571 Cragglewood Park
Episode 18: SCP-3199 Humans, Refuted
Episode 19: SCP-056 A Beautiful Person
Episode 20: SCP Seminar-Foundation Part 2
Episode 21: SCP-1269 Stalker Mailbox
Episode 22: SCP-939 With Many Voices
Episode 23: SCP-001 The Prototype
Episode 24: SCP-993 Bobble the Clown
Episode 25: SCP-001 The Spiral Path
Episode 26: SCP-231 The Seven Brides
Episode 27: SCP-001 The Scarlet King
Episode 28: SCP-001 The Factory
Episode 29: SCP-001 The Foundation
Episode 30: SCP Seminar-001 Proposals
Huh. Neat pitch. X-Files before X-Files, huh?
 
Huh. Neat pitch. X-Files before X-Files, huh?
Yes, but no. There aren't meant to be any main characters in The SCP Files like Mulder and Scully other than the narrator/the whistleblower/conspiracy theorist(whatever the hell they are). Everything else is purely anthological aside from the instances where certain SCP personnel are involved with multiple SCP, like Dr Bright or Dr Clef, they aren't really meant to be main characters either, or instances where SCP or certain figures are mentioned numerous times, like Dr Wondertainment.
 
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Movie pitch

Sequoyah



Genre:historical/Drama
Subgenre:Biopic
Format:Movie

The film tells the story of Sequoyah's life,there are multiple theory for some partsof his early life i placed them all so the eventual writer could pick wich one he want.

Sequoyah was born in the Cherokee town of Tuskegee, Tennessee, around 1778. James Mooney, a prominent anthropologist and historian of the Cherokee people, quoted a cousin as saying that as a little boy, Sequoyah spent his early years with his mother. In the people's matrilineal kinship system, children were considered born into their mother's family and clan, and her male relatives were most important to their upbringing. His name is believed to come from the Cherokee word siqua meaning 'hog'. However, Davis says the name may have been derived from sikwa (either a hog or an opossum) and vi meaning 'place, enclosure'. This is a reference either to his childhood deformity or to a later injury that left Sequoyah disabled. According to a descendant of his, he was born with the name Gi sqwa ya which means 'there's a bird inside.' After repeatedly failing to complete his farm duties, his name was changed to Sequoyah which means 'there's a pig inside.'

His mother, Wut-teh, is debated to be either the daughter, sister, or niece of a Cherokee chief. Historians believe her to be related to the chiefs who have been identified as the brothers Old Tassel and Doublehead. John Watts (also known as Young Tassel) was a nephew of the two chiefs, so it is likely that Wut-teh and John Watts were related in some fashion. Due to native customs, Sequoyah learned everything from his mother like the Cherokee language and his first job of a tradesman.

Sources differ as to the true identity of Sequoyah's father. John B. Davis cites Emmet Starr's book, Early History of the Cherokees, as the source for saying that Sequoyah's father was a Virginian fur trader from Swabia named Nathaniel Guyst, Guist, or Gist. Other sources state that his father also could have been an unlicensed German peddler named George Gist, who came into the Cherokee Nation in 1768, where he married and fathered a child. Another source identified his father as Nathaniel Gist, son of Christopher Gist, who became a commissioned officer with the Continental Army associated with George Washington during the American Revolution. Gist would have been a man of some social status and financial backing; Josiah C. Nott claimed he was the "son of a Scotchman". The Cherokee Phoenix reported in 1828 that Sequoyah's father was a half-blood and his grandfather a white man.

The New Georgia Encyclopedia presents another version of Sequoyah's origins, from the history Tell Them They Lie: The Sequoyah Myth (1971), by Traveller Bird, who claims to be a Sequoyah descendant. Bird says that Sequoyah was a full-blood Cherokee who always opposed the submission and assimilation of his people into the white man's culture. The encyclopedia noted that Bird presented no documentary evidence of his assertions, but his account has gained some credibility in academic circles.

In any case, the father was absent before Sequoyah was born. Various explanations have been proposed, but the reason is unknown. Wuh-teh did not remarry afterward (assuming she married her son's father in the first place). Sequoyah had no siblings, and his mother raised him alone. According to Davis, Sequoyah never went to school and never learned English. He and Wuh-teh spoke only Cherokee. As a youth, he spent much of his time tending cattle and working in their garden, while his mother ran a trading post.

Sequoyah became lame early in life, though how, when and where are not known. Some reports indicate this may have been caused by injury in battle; others say the cause was a hunting accident. Davis wrote that an early issue of the Cherokee Advocate said that "...he was the victim of a hydrarthritic trouble of the knee joint, commonly called 'white swelling'." One doctor speculated that he had "anascara ". In any case, lameness prevented him from being a successful farmer or warrior.

Despite his lack of schooling, Sequoyah displayed much natural intelligence. As a child, he had devised and built milk troughs and skimmers for the dairy house that he had constructed. As he grew older and came in contact with more white men, he learned how to make jewelry. He became a noted silversmith, creating various items from the silver coins that trappers and traders carried. He never signed his pieces, so there are none that can be positively identified as his work.

Sequoyah possibly took over his mother's trading post after her death, which Historian John B. Davis claimed occurred about the end of the 18th century. His store became an informal meeting place for Cherokee men to socialize and, especially, drink whiskey. Sequoyah developed a great fondness for alcohol and soon spent much of his time drunk. After a few months he was rarely seen sober, neglecting his farm and trading business, and spending his money buying liquor by the keg.

Fortunately, he realized that he was not making good decisions, and took up new interests. He began to draw, then he took up blacksmithing, so he could repair the iron farm implements that had recently been introduced to the area by traders. Self-taught as usual, he made his own tools, forge and bellows. He was soon doing a good business either repairing items or selling items he had created himself. His spurs and bridle bits were in great demand because he liked to decorate them with silver. Although he maintained his store, he both stopped drinking and stopped selling alcohol.

Up to this point, while Sequoyah was not formally educated and didn't know how to read or write he was impressed by writing, and referred to correspondence as "talking leaves" recognized the advantage that comes with an established written language. He believed one of white people's many advantages was their written language as it allowed them to expand their knowledge, partake in many forms of media,have a better network of communication and way to transmit information to other people in distant places, which his fellow American soldiers were able to do but he and other indigenous people could not. The Cherokee's disadvantage was having to rely solely on memory which sparked his interest in wanting to create some form of a written language for the Cherokee nation,but amajority of the Cherokee believed that writing was either sorcery, witchcraft, a special gift, or a pretense; Sequoyah accepted none of these explanations. He said that he could invent a way for Cherokees to talk on paper, even though his friends and family thought the idea was absurd.

Sequoyah is believed to have started developing what became his Cherokee syllabary in hopes of unifying the Cherokee nation and making them more independent around 1809, Sequoyah began creating a system of writing for the Cherokee language while being totaly illiterate. Over the years, his approach was to use a pictograph or logographic system, where every word in the language had a character or symbol. As he failed to plant his fields, endangering his survival, his friends and neighbors thought he had lost his mind. His wife is said to have burned his initial work, believing it to be witchcraft. He realized that his first approach was impractical because it would require too many pictures to be remembered. He tried making a symbol for every idea, but this also caused too many problems to be practical,In 2008 archeologist Kenneth B. Tankersley (Cherokee Nation) of the University of Cincinnati announced having found carvings from the syllabary in a cave in southeastern Kentucky, where Sequoyah is known to have had relatives. This cave was the traditional burial site of a Cherokee chief, Red Bird. Some 15 identifiable Cherokee syllabary symbols were found carved into the limestone, accompanied by a date of 1808 or 1818. In addition, there were petroglyphs that appeared to include ancient Cherokee symbols, in addition to bears, deer and birds.

After moving to Alabama, Sequoyah took part in the Battle of Horseshoe Bend.
It is unclear when Sequoyah initially moved to Alabama from Tennessee. Many Cherokee began migrating there even before ceding their land around Sequoyah's birthplace in 1819, as they were under continual pressure by European-American settlers. Some sources claim he went with his mother, though there is no confirmed date for her death. Others have stated that it was around 1809, when he started his work on the Cherokee syllabary. Another source claims it was in 1818. However, this date is too late, because Sequoyah was already living in Alabama when he enlisted in the army.

In 1813–1814, Sequoyah served as a warrior of the Cherokee Regiment (Col. Gideon Morgan, Commander) at the Battle of Horseshoe Bend against the "Red Sticks" (Creek, or Muskogee, renegades). His white comrades called him either George Guess or George Gist. The Creek War had started during the period of the War of 1812, and represented an effort by traditional Creek to assert their power within the people and expel the European Americans.

While serving, Sequoyah witnessed the disadvantages of not having a written language. Unlike the white soldiers, he and his fellow Cherokee warriors could not write letters to home, read their military orders, or write down any events or thoughts that occurred during their service. This only pushed his determination to create a reading and writing system for the Cherokee language. In his early stages of developing the writing system, he faced criticism from his peers because they believed putting words to paper was witchcraft.

In 1817, Sequoyah signed a treaty which traded Cherokee land in the southeast for land in Arkansas. But in 1819 he backed out of the treaty which resulted in the loss of his first Alabama home, causing him to move to Willstown (Curently Fort Payne), Alabama.

Sequoyah's final attempt was to develop a symbol for each syllable in the language. Using the Bible as a reference along with adaptations from English, Greek, and Hebrew letters, by 1821 he created 86 symbols, later to be 85 symbols, that depict the syllables of the Cherokee language. The syllabary is not an alphabet but a chart or guide to represent each symbol that stands for a consonant-vowel sequence or a syllable. The symbols are written in a chart layout, with the columns being each vowel and the rows being each consonant.
Sequoyah's six-year old daughter, Ayokeh (also spelled Ayoka), helped him in his process to create the syllabary by being the first person to learn from it. Word spread in their town that they created a new way to communicate, and they were charged and brought to trial by the town chief. Sequoyah and Ayokeh were separated but still communicated by sending letters to one another. Eventually the warriors presiding over their trial, along with the town, believed that Sequoyah did in fact create a new form of communication, and they all wanted him to teach it to them.

Sequoyah's syllabary was completed about 1821 but it was not accepted by the Cherokee nation at first. But after the people began to see its value, the syllabary quickly spread and Sequoyah was awarded a medal from the Cherokee National Council in 1824. This same year, Sequoyah moved from Alabama to Arkansas.

In 1825 the Cherokee Nation officially adopted the writing system. The syllabary provided mass literacy for the Cherokee Nation, which was one of the first indigenous groups to have a functional written language. By the end of 1825, the Bible and hymns were translated into Cherokee. In 1826, the Cherokee National Council commissioned George Lowrey and David Brown to translate and print eight copies of the laws of the Cherokee Nation in the Cherokee language using Sequoyah's new system.

In 1828, the Cherokee Phoenix, religious pamphlets, educational materials, and legal documents were all made using the syllabary. The Cherokee Phoenix was the first bilingual newspaper in North America because it had both English and Cherokee languages. This newspaper helped keep unity in a dispersed Cherokee Nation by allowing them to have their own network of communication and information. The syllabary was used for over 100 years to make newspapers, books, religious texts, and almanacs (calendars).

When the Cherokee Nation purchased their first printing press, some of Sequoyah's handwritten symbols needed to be modified. To make the symbols more clear, they were replaced by adaptations from the Roman alphabet, and used in the Syllabary from that point on.

After the Nation accepted his syllabary in 1825, Sequoyah traveled to the Cherokee lands in the Arkansas Territory. There he set up a blacksmith shop and a salt works. He continued to teach the syllabary to anyone who wished.

In 1828, Sequoyah journeyed to Washington, D.C., as part of a delegation to negotiate a treaty for land in the planned Indian Territory. While in Washington, D.C., he sat for a formal portrait painted by Charles Bird King (see image at the top of this article). He holds a copy of the syllabary in his left hand and is smoking a long-stemmed pipe. During his trip, he met representatives of other Native American tribes. Inspired by these meetings, he decided to create a syllabary for universal use among Native American tribes. Sequoyah began to journey into areas of present-day Arizona and New Mexico, to meet with tribes there.

In 1829, he would reluctantly sign a treaty that exchanged the Cherokee land in Arkansas for Indian Territory (Today Oklahoma). He was one of the "Old Settler" delegates that went to Washington, D.C., to sign the treaty,after that he settled in present day Sallisaw, Oklahoma, with his wife and daughter,Sequoyah moved to a location on Big Skin Bayou, where he built Sequoyah's Cabin that became his home for the rest of his life. It was declared a National Historic Landmark in 1965.(The present-day city of Sallisaw, Oklahoma, developed near here.) The house was operated by the Oklahoma Historical Society until it will be purchased by the Cherokee Nation on 9 November 2016.

The syllabary was not hard for the Cherokee people to learn, and by 1830 (just 5 years), 90% of Cherokees were literate in their own language.more than the rate of literate withe people in many place. Over time, naturally, tribes began to form their own dialects depending on what region they lived in. There are two main dialects, the Eastern and Western. The Eastern Dialect, also referred to as middle or Kituwa dialect, is spoken in the Qualla Boundary in western North Carolina. This land was purchased by the Cherokees in the 1870s. The Western Dialect, also known as Overhill or Otali dialect, is spoken in eastern Oklahoma and North Carolina. There was a Southern dialect, also called lower dialect, spoken in South Carolina and Georgia until around 1900. But since no more Cherokee tribes reside there, that style of dialect is no more

In 1838, the Cherokees from the southeast were relocated to Indian Territory under Chief John Ross. After this relocation, Sequoyah set out to unite the 16 other Old Settlers with the Ross Party because they already established their own government. In 1839 when the Cherokee were bitterly divided over the issue of removal to Indian Territory, Sequoyah joined with Jesse Bushyhead to try to reunite the Cherokee Nation. Sequoyah, representing the Western Cherokee, and Bushyhead representing the Eastern Cherokee, made a joint plea at a tribal council meeting at Takatoka on 20 June 1839. They succeeded in getting a voice vote to hold a new council of all Cherokee to resolve the reunification issues. This is when the Act of Union and a new Cherokee Constitution was createdand Sequoyah with 16 other Old Settlers and about 15 representatives of the Ross party signed the Act of Union, and a new Cherokee constitution was created.

Sequoyah dreamed of seeing reunification of the splintered Cherokee Nation.And soon after the signing of the new Cherokee constitution in the spring of 1842, he began a trip to locate other Cherokee bands who were believed to have fled to Mexico and attempted to persuade them to return to the Cherokee Nation while also spreading his teachings of the syllabary, by then mostly residing in Indian Territory. He was accompanied by his son, Teesy (Chusaleta), as well as other Cherokee men identified as Co-tes-ka, Nu-wo-ta-na, Cah-ta-ta, Co-wo-si-ti, John Elijah, and The Worm

Sometime between 1843 and 1845, he died due to an estimated respiratory infection during a trip to San Fernando de Rosas in Coahuila, Mexico. A letter written in 1845 by accompanying Cherokee stated that he had died in 1843.

In 1938, the Cherokee Nation Principal Chief J. B. Milam funded an expedition to find Sequoyah's grave in Mexico. A party of Cherokee and non-Cherokee scholars embarked from Eagle Pass, Texas, on January 1939. They found a grave site near a fresh water spring in Coahuila, Mexico, but could not conclusively determine the grave site was that of Sequoyah.

Sequoyah's work has had international influence, encouraging the development of syllabaries for other, previously unwritten languages. The news that an illiterate Cherokee had created a syllabary spread throughout the United States and its territories. A missionary working in northern Alaska read about it and created a syllabary, what has become known as Cree syllabics. This syllabic writing inspired other indigenous groups across Canada to adapt the syllabics to create writing for their languages.

A literate Cherokee emigrated to Liberia, where he discussed his people's syllabary. A Bassa language speaker of Liberia was inspired to create his own syllabary, and other indigenous groups in West Africa followed suit, creating their own syllabaries.

A missionary in China read about the Cree syllabary and was inspired to follow that example in writing a local language in China. The result of the diffusion of Sequoyah's work has been the development of a total of 21 known scripts, which have been used to write more than 65 languages.

A great man whose work has had a major influence across the American continents, Africa and Asia yet still unknown, this will allow us to shine a little light on Indian culture other than with a warrior, this could reach a different audience than our usual films and shouldn't be too expensive.

Also it's a pretty good Oscar bait, it's a true story, a little old, intellectual enough so that the Oscar pigs can feel intellectually superior by voting for it, it's talking about a minority so it allows them to having the "you see I voted for this I am therefore not racist" but it also does not denounce a societal problem in a way that could contradict their vision of how the world should be and that is not of animation which prevents them from considering it as a stupidity without interest destined to children and mentally deficient. (yes I don't have the best opinion of the Oscars as an institution)
 
I thought Disney would be a better choice. Just FYI.
It is better then Universal but I still think Disney would pass on it due to the simple factor that Card, the conservatives and moderates within Disney would scream if they sticked the Disney logo anywhere close to the greatest human genocide in history which is still in living memory. Even the Disney brothers would also be uncomfortable as one misstep could permanently stain the Disney brand.

Also Disney has a reputation as a classical and magical animation study. Sure you got 'Dark Disney' but that's still kidsy and fantasy stuff like "Black Cauldron" and "War of the Worlds" scary for children and teens but not too far off from classical Disney (and which still is controversial in the company) , but the holocaust is an EXTREEM step up for their brand image. Like imagine if now you read on Twitter that Disney is making a animated Holocaust movie with talking animals, I can guarantee you people would be up in arms about it and the news would satirise it to hell and back.

Disney at the end of the day is a corperation who wants to be associated with magic, awe and escapism. The holocaust is the most extreem inverse from those values and would be therefore be rejected as a movie. But those are my 2 cents.

EDIT: If you want proof that the public would not stand for it look at Disney's America theme park and how the public reacted to Disney covering american history in a theme park.
 
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I would think a character study of the Star Wars empire in the Lights Camera verse is a fun Sci fi challenge for our EU.

And no…it's not because of the new show

Not the reason at all.

Edit: Comparisons to Legend of the Galacic Heroes will be the debate of the decade.
 
Blah came back from a work thing that took me out of the country, glad to see this quest is back.

Oh and Creepshow was accepted!!! Do I do anything more with that?
 
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