James Hamilton (derogatory)
@jameshamilton
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Londoner lurking in LA. Head Writer: Dogs In Space (Netflix), Jentry Chau Vs The Underworld (Netflix, 2024). Creator & EP: Murder For Dummies @casualviolence .
Los Angeles, CA
Joined March 2008
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Murder for Dummies. A horror-comedy-murder-mystery-mock-doc from
@casualviolence
.
Six episodes coming to YouTube, starting October 11th. Subscribe on YouTube today to watch episodes the second they’re released.
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Very spooky that in “And Maggie Makes Three” there is a picture of Maggie on the wall before she is even born
…in an episode where the whole story is about why there are no baby pictures of Maggie
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I want to talk about this well meaning - and arguably *good* - advice, especially as someone who a) works in animation, b) has self-produced short films, and c) is making their own entire indie *series* right now...
This is easy advice to give, hard advice to follow.🧵
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I co-wrote this 🫥
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It’s very weird to me that so many people fundamentally misunderstand how storytelling works, to the point where they think a mishmash of assets from existing movies generated by something that cannot think or feel is a viable way to tell a story someone would actually care about
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I worked for two years on Gumball for CN. I then moved to LA to be head writer of Dogs In Space, then Jentry Chau Vs The Underworld, both for Netflix. I am, if I say so myself, good at my job.
I'm here on a work visa. If things don't get better soon, my entire life gets upended.
Cartoon Network is dead?!?!
Spread the word about what’s at stake for animation!!! Post about your favorite Cartoon Network shows using
#RIPCartoonNetwork
Active members of TAG can help by filling out your survey! Today (7/8) is the last day!
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I’m the head writer of this show.
I moved from London to LA to work on it, and was privileged to collaborate with an implausibly talented and hardworking writing team. We wrote our butts off through a global catastrophe to make this show funny, heartbreaking and weird.
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Dogs in Space is an animated character comedy about dogs on a very unusual space mission.
From first-time creator Jeremiah Cortez and Adam Henry with
@atomiccartoons
. Voice cast includes
@HaleyJoelOsment
@SarahChalke
@KimikoGlenn
and more!
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I’m the head writer of this show.
Jentry Chau Vs The Underworld is gonna be so, SO good, you guys. From the moment I read Echo’s pitch bible and pilot, I knew it would be something special.
It’s been a massive privilege to help make her vision for Jentry’s story a reality.
excited to announce the new animated series JENTRY CHAU VS THE UNDERWORLD from first time show-runner Echo Wu and executive producers Ali Wong (Beef) and Aron Coleite (Locke & Key)! Ali Wong will also star in this supernatural action series
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I just read a(nother) “WHY AREN’T YOU DOING MORE TO BREAK IN, ASPIRING WRITERS?” tweet on here, and I just want to say that feeling like I need to be constantly productive all the time has not been good for my mental health.
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Now that my visa has been approved by the US government (make of that what you will), I can say that I have accepted a head writer job on a new animated kids series for Netflix, working in Los Angeles. Sorry in advance for what I will make these cartoon characters go through.
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I was head writer on this! Trailer is out now! It looks pretty!
Netflix’s upcoming animated series Dogs in Space dares to ask "What would dogs do in space?" Watch the first trailer to find out:
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Just want to remind all of you that I’m a really rather good screenwriter who recently worked as head writer on a series starring and executive produced by Ali Wong, and I would dearly like a new job soon so I don’t end up having to move out of LA and back to England, cheers pals
Ali Wong stars in and exec produces Jentry Chau vs. The Underworld, an animated series following a Chinese-American teen living in a small Texas town, who finds out a demon king is hunting her for the supernatural powers she’s been working her whole life to repress.
Bowen Yang,
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Look at how many people are standing up for animation workers at the
#animationguild
rally!
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It was a ludicrous, wonderful privilege to be the head writer of this show and bring creator Echo Wu’s exceptional vision to life. You are NOT FREAKING READY for how good this series is going to be.
Ali Wong stars in and exec produces Jentry Chau vs. The Underworld, an animated series following a Chinese-American teen living in a small Texas town, who finds out a demon king is hunting her for the supernatural powers she’s been working her whole life to repress.
Bowen Yang,
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GET HYPED YOU COWARDS
THIS WAS THE BEST JOB I’VE EVER HAD
New look at ‘Jentry Chau Vs. The Underworld.’
The series will premiere this winter on Netflix.
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There’s a strong case to make for February 2023 being the worst month of my life.
My cat Jasper died half an hour ago - nearly twenty years old, at mum’s house, comfortable and safe. I will miss him so much.
We adored each other his whole life. Here I am with him last summer.
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I think what grates me about this take - and a lot of people in the industry give this as a note - is that they conflate being NICE with being likeable. That likeable = you want the character to be your mate.
I like the characters in Succession a lot. None of them are nice.
The whole poisonous set-up of “Succession” violates a cardinal rule of 21st-century storytelling: that at least some of the characters, and ideally the protagonist, should be likeable
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The show I moved here to be head writer on is getting announced tomorrow.
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Gee, so weird that the writers didn’t catch this! Could it be that maybe we deliberately set this up, and that if they watched more than one episode they would realise we were actively deconstructing this idea across the season? Nah. Impossible!
Sorry for the awful writing tho
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Shakira: 🎵 my hips don’t lie 🎵
Shakira’s identical twin: 🎵 My hips don’t tell the truth 🎵
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Joker in all other films: what if Batman’s arch nemesis was an insanely clever, Loki-esque trickster who thrives on chaos and contrasts comedy with brutality
Joker in “Joker”: w h a t i f
a m e n t a l l y i l l m a n
k i l l e d p e o p l e
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I genuinely feel sorry for everyone who responded to this with “that’s Lisa as a baby”
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We were all warned about how bad TV gets when the writers are on strike
"God Save The King": The Moment Charles III Was Crowned During Lavish Coronation
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In animation, “story editor” is head writer (unlike in live action, where there’s more positions between SE and showrunner). On shows with a freelance “writers summit” instead of staff, the SE doesn’t have a writing staff to collaborate with beyond an initial limited story break.
TV Staff Minimum Remains Key Sticking Point, But Some in WGA Privately Grumble: 'Nobody Asked for This'
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HI IT'S ME
I was head writer/co-developer of Dogs In Space, and head writer of upcoming Netflix series Jentry Chau Vs The Underworld!
I also co-wrote more than fifty episodes of The Amazing World of Gumball, and have written episodes of Unikitty, Bravest Warriors, and more!
Let’s remind everyone that their favorite animation is made by us—human animation workers! Post a pic or illustration of yourself, include your job & favorite series or movies you’ve worked on & tag TAG so we can share! Thanks Hannah Partlow for this graphic.
#StandWithAnimation
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People think it’s so sophisticated to pronounce Italian or French dishes with a hint of the accent, but imagine going to England as someone with any other accent and going “Please can I have [abrupt switch to cockney] a fish and double chips with mushy peas”
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I saw a tweet from a storyboard artist yesterday that described writers as "having all the power" in animation on script-driven shows, and... it isn't true. Writers are rarely the ones in charge on animated shows, even script driven ones.
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The one thing I *do* consistently say has helped not only me, but dozens of people I know, is "make your own work". None of my live shows or short films individually made me "break through". It's like chipping away at a wall: it'll crumble if you do it enough.
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I regularly get asked on here and other places about how to break into screenwriting professionally, and it's always a question I find hard to answer - because I could give you the step by step guide to how *I* did it, but very little would be applicable to you.
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Do you live in the south of England? Are you planning to get married any time soon? If so, please read this thread. It’s about my mum, who is about to open her own wedding floristry business. The Insta is @ ekfloraldesign.
Yes, this is a plug. But it’s an important one.
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I know it's shocking to hear that I, an animation writer, am available for hire right now... but I am!
I'm the head writer of Netflix's upcoming YA series JENTRY CHAU VS THE UNDERWORLD, starring and EP'd by Ali Wong, and also was head writer of DOGS IN SPACE, on Netflix now!
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The fact that a man who earns more than THIRTY MILLION DOLLARS A YEAR thinks that actors and writers asking for fair pay and work protections is “unrealistic” and “disturbing” tells you everything you need to know.
This is Victorian England level bullshit.
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I also think making your own work is deeply important if you have "broken in" as a professional in this business. Maintaining your own creative voice outside of work for hire is essential; making things for audiences that aren't for an algorithm-addled company remit is vital.
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Choose writing for your career if you like veering chaotically between feeling like a genius and feeling like an idiot
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HOWEVER. This fellow's advice - to make a "complete animated short film, and make it really good" makes it sound like it's within the reach of any animator who just goes for it.
So I want to talk about the thing that always gets overlooked whenever this advice is given: cost.
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Tomorrow I am pitching for an IP I would really rather like to adapt into an animated show, alongside an exceptional creative partner.
LUCK PLEASE
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If the AMPTP wanted negotiations to be over in just one week, they should have come in ready to accept our union’s demands 🤷♂️
The Animation Guild and Studios Do Not Reach an Agreement, Add Negotiating Dates in September
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It's how I not only improved at my craft and learned production skills beyond writing, but also built relationships with collaborators that have lasted *years* - and had a creative product I was (usually) proud of, and (always) learned from, at the end.
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Dogs In Space season two is officially coming out on September 15th! And apparently Netflix released these official screenshots, so… here you go! It’s cool to see these and know exactly which moments they’re from…
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I’ve had a few people ask me about the difference between writing for live action and writing for animation. Here’s my limited perspective as a working animation writer and story editor, who occasionally writes his own live action short films. Again: this is a bit subjective.
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Whether it's posting daily sketches and comics online, writing a novel, making an animated short like this guy suggests, or - in my very stupid current case - making an entire freaking indie TV show - I would wholly advocate for making your own work somehow, always.
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I would be very happy if Pixar only made films as authored, as specific, and as personal as Turning Red from now on.
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Question for new / emerging animation screenwriters, especially those who haven’t yet “broken in” to the industry: if you were offered a mentor, what would you want them to help you with?
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The Lego Batman Movie is the best Batman movie.
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One hard thing about being a screenwriter is that your creative expression is limited to an audience largely comprised of execs and reps. Limiting your art's exposure to a small group with specific business agendas is not a good way to grow as a creative.
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Hubris, thy name is .
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Woah! Netflix have put the first episode of DOGS IN SPACE on YouTube! Written by yours truly!
You can watch it here ahead of the launch on November 18th!
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Dogs In Space is out today! I’m really proud of the work the writing team did on this show, and feel especially close to Kira - she and her story arc with Garbage were a big part of my pitch for what I would bring to the table when I first joined the show.
I hope you enjoy it!
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On Dogs In Space I helped develop the show, including pitching its season one antagonist and season arc, wrote the pilot, led the writers’ room, and oversaw / edited / sometimes rewrote / punched up every script.
I got paid less than a staff writer on a live action show.
Did you know that there's a significant gap between the pay of Animation Guild writers and live action writers? Please read Our Mission Statement, and click through to the Animation Guild website for more information.
#PayAnimationWriters
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This was all said far more succinctly by
@allisonperryart
, but his responses to her *really* annoyed me, so... you got a lengthy thread out of it!
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So how to reconcile these two contradictory ideas?
1) Don't beat yourself up if you don't have the capacity to create.
2) If you feel the pull to make things, go for small, sustainable and achievable. Set yourself up for success.
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Fuck this and everyone who gives advice like this.
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I genuinely would love to know if all the people claiming they can impersonate these celebrities believe they can also mimic the voice. Sadly, the site does not have voice reels.
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A lot of artists I know, myself included, beat themselves up for not being productive enough when they have the hours available. We're all slowly learning that we're not Art Machines, and it's near impossible to prioritise creativity when you're scared, anxious or stressed.
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I'm running a writers' room on a new show next week (!!!) but it's still remote. I have gone to elaborate lengths to make sure I can basically run the room like I would in person: standing up, gesticulating wildly, and being able to point at people in high resolution
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So I’ll start, I guess.
You are enough.
Write when you’re inspired and excited.
If you aren’t - talk to other writers about your ideas and they will rejuvenate you. Collaborate.
You don’t have to work every day. Go outside!
Your productivity is not your value.
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If you genuinely think an AI can do any of those things, or understands what a metaphor is, or knows how to express a theme, or can use its infinite database of references to convey a sincere emotion, then frankly, I think you’re a fucking idiot.
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Now: when you're unemployed or under-employed, it's easy to make the argument that you could use the hours you have to invest in your own creativity and make your own work.
But not having an income and worrying about how to pay your rent will sap your creativity like a leech.
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"But if you're making an animated short, you don't need to pay for locations and props! You can do it all yourself!"
...Can you? Can you do storyboarding, character design, locations, editing, sound, music, voice acting, writing?
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I hired two first time staff writers for Dogs In Space and I just want to add that being inexperienced “in a room” doesn’t make you an inexperienced writer.
Keep hearing some rooms don't want a "first timer" as a staff writer. WHAT? Isn't that the point of that level in the first place? I know some SWs end up having to repeat but actively looking for someone to repeat that level feels unhelpful.
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Animation people looking for work!The “YA urban fantasy” series referenced on
@TitmouseInc
’s page is the show I am working on as head writer (unless they’re making more than one, which they could be!)
The scripts are really good, I promise.
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Starting a new story editor job for Netflix Animation, so, much like Covid-19, it’s probably going to be at least another year or so before the US can get rid of me.
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I’m often reluctant to share the “ADHD is like this!!!” tweets because sometimes they’re like “do you get tired? YOU’RE NEURODIVERGENT!!!”…
But fuck, yeah, this is an accurate description of my life.
People with ADHD don’t want to let you down or make you think we’re unreliable.
In fact, when we have a hard time following through it consumes us…it’s all we think about.
I know it may seem like we’re detached or flighty, but we’re not.
We’re ashamed and frustrated.
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I've spent the last three weeks running a writers' room for a new Netflix Animation show. I'm working with - and for - supremely kind, thoughtful and talented people across the board.
I'm knackered, but it's been wonderful. Not every show is like this. I feel very lucky.
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Just had some VERY GOOD WORK NEWS that basically means I get to keep working with the best creative team I've ever been a part of. Happy days!
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Maybe you can! But for just you to do all those things alone? That's a LOT of your time. Especially if you want to, as the poster suggests, make it "really good".
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Hello
#ThisIsAnimation
! I’m James - a writer and story editor. Currently developing some cool things with Dreamworks TVA and with Stoopid Buddy. Started out on Gumball - then moved onto Bravest Warriors, Space Chickens In Space and Unikitty!
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3) Don't do it for the sake of your next job. It's near impossible to detach your creative work from your profession - but really try and make something for *you*. Maybe that means not worrying about how "good" it is. Maybe that means exploring a whole new creative medium.
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I started out in my early twenties by putting on sketch shows and plays with
@casualviolence
. We were all rehearsing for free in our student houses, hiring a tiny theatre, calling in favours for poster design, buying cheap props... that was still a few hundred in outlay.
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...even WITH a talented director/editor/VFX artist working for FREE, me writing and co-producing for FREE, everyone in my group working for FREE... it still cost us money to make these films. And also time - which, as we all know, is money.
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But think about the stories that made you laugh out loud because they surprised you, or pointed out something you’d never thought of, or because the characters are so well thought out that they can subvert your expectations while still remaining themselves. They can grow.
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I'm a firm advocate of learning those other skills for developing your own creativity, but it's easy to hand wave away the fact that this takes hours upon hours of your time. Is it worth it? Yes, I believe so! Does everyone have those hours spare? No!
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Breaking in IS hard, and you DO have to hustle, but right now I feel like everyone is, at a minimum, slightly depressed and a little burned out. If you aren’t, I want whatever you’re on.
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PITCHED SHOWS I WOULD LOVE TO MAKE TODAY WISH ME LUCK PLZ
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Me encouraging you to watch Dogs In Space on November 18th because all the writers and artists worked very hard to make it an excellent TV show
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We’re going to see some really genuinely incredible stuff made by AI that will make us go “holy shit, what a cool toy!”
And you can use your cool toy to get Spider-Man to fight Batman for an hour and a half, and it’ll look just like a real movie!!!!!
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Animation friends! I'm looking for someone who can do character designs in the style of classic 70s Disney animation (101 Dalmatians, the Aristocats) for a project I'm working on. Looking for people with animation industry experience. Hit me up with recommendations / portfolios!
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And then the original poster talks about "getting [your film] out there" - again, like it's easy.
Putting creative work out there on the internet and finding an audience is not easy any more. The internet is broken. It costs money to have your things seen - and/or time (money).
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The cast of Dogs in Space includes
@HaleyJoelOsment
,
@sarahchalke
, Chris Parnell,
@dubjackharper
,
@iamstephbeatz
(from season two, out today!),
@davidlopezfilms
, Debra Wilson,
@KimikoGlenn
and more... and frankly, they're all giving career best performances. Both seasons out now!
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And 4) make something that's FUN! Something that brings you pleasure to create. Remember why we all got into this line of work in the first place? It's because we're creative little goblins and we love making things. Get back in touch with that.
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Even putting aside the financial cost: the time required to write, rehearse, gig and refine our shows each year was more than a part time job. It was thanks to immense privilege - in my case, being able to live with a family member in London - that I could afford to do it.
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I got choked up on the phone to my grandma and my mum this morning telling her that I would finally be able to come visit home for Christmas this year. I can’t believe it.
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Recently, an exec emailed me with some notes on a project, and said “I know writers hate getting notes…”
Hrm. I don’t know a pro writer who hates getting notes, full stop. Yes, we can be sensitive! But I think what’s more common is that… not all notes are created equal.
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Finding the perfect book to write in is hard, but I think I finally managed it.
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So maybe you do what I did, and collaborate with other people who want to be creative and develop their skills and will work for free with you in that spirit. I'm an advocate of that too! And if you have those relationships - great!
But again: easy to say, hard to do.
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Storytelling is how we connect with each other. How we convey experience of being alive. How we share perspective, emotion, humour, hurt and hope. How we learn empathy.
That might all sound wanky, but that’s why we go to the movies. Why we read books. We want to *care*.
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Look at this. This is from the CDC last week. One in five people can get a long term illness from covid. Even if you’re fully vaccinated.
Kidney failure. Neurological conditions. Cardiovascular conditions. Respiratory conditions. Blood clots.
Why the fuck doesn’t that matter?
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Any money from tickets would get poured into taking a show to the Edinburgh Fringe... which, as anyone who's taken a show there can tell you, is very expensive to participate in. As in, thousands. We'd scrape it back in ticket sales, but the initial outlay was high every year.
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When you're panicking about how you're going to be able to support yourself, or continue living in the city you've made your home... how easy is it to justify dedicating hours and hours of your time to a personal project?
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Oh my god, this wasn’t even the original tweet, but now there’s this one.
Bo Burnham, a millionaire, had several thousand dollars’ worth of equipment - not just the camera - as well as a spare guest house, and likely a production budget from Netflix.
I hate tweets like this.
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All my American friends need to watch this to understand me
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But I do think the OP - both in his post, and in some of the replies given to people who have tried to raise the issue with him - is being a little blind to how much investment, privilege and security is needed to make creating your own work something you can just *do*.
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