Archives for posts with tag: Dee Dee

Dexter's Odyssey poster design without taglines by timbox129

I still don’t know if you’ve heard about this or not but I thought you might be interested.

Anyway, the 12 things as mandated by my edict for what I wanted and envisioned for Dexter’s Odyssey—my planned Genndy Tartakovsky/Dexter’s Laboratory Cartoon Network characters n’ dinosaurs epic—are as follows:

1) FOR THE DEXTER’S LABORATORY CARTOON CHARACTERS, YOU MUST STICK TO THE CHARACTER DESIGNS AND ANIMATION ART STYLE DONE FOR DEXTER’S LABORATORY’S ORIGINAL 1990s RUN

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I understand the fact that the last two seasons of Dexter’s Laboratory weren’t as good as the show’s original 1990s run, but for the character designs and 2D animation art style for the Dexter’s Laboratory characters to be included in Dexter’s Odyssey (like Dexter, Dee Dee, Mee Mee, Lee Lee, Mandark, Action Hank and Dexter and Dee Dee’s Mom and Dad), just stick to those from the 1990s run of Dexter’s Lab, not those from the 2001-2003 revival.

 2) NO OUTLINES FOR THE SAMURAI JACK-STYLE CHARACTERS, BUT RETAIN THE OUTLINES FOR THE DEXTER’S LAB-STYLE CHARACTERS

Even if the 2D traditional and largely hand drawn animated toon characters in Dexter’s Odyssey should be put in an otherwise live action world alongside mainly CGI dinosaurs and real life flesh and blood human performers, there must be a contrast between those from or in the character design and animation art style of Dexter’s Lab (the original 1990s run, at least) and those from in the character design and animation art style of Samurai Jack.

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I suggest no thick black surrounding outlines for the Samurai Jack-style toon characters, but retain the thick, black, surrounding outlines for the Dexter’s Laboratory-style toon characters.

3) ONLY ONE CHARACTER OR CREATURE SHOULD GET THE REALLY BIG CHARACTER PART AND/OR TAKE A REAL HERO’S JOURNEY THE MOST IN DEXTER’S ODYSSEY

Well, I suggest the Asian friend of Dexter’s sister Dee Dee: Lee Lee, to be exact.

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Even though Dexter’s Odyssey may be titled after Dexter the boy genius himself, Dexter’s Odyssey should focus for the most part on his sister Dee Dee’s Asian Friend Lee Lee and her mythic and epic ‘hero’s journey’ and not just Dexter and Dee Dee themselves feuding!

4) THE DINOSAURS IN DEXTER’S ODYSSEY SHOULD NOT LOOK OR SOUND LIKE THOSE FROM THE JURASSIC PARK FRANCHISE

For too long, all films and video games that have happened to feature dinosaurs, have, without exception, contained conscious nods to the Jurassic Park franchise—whether it’s visual or auditorial.

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Dexter’s Odyssey’s dinosaur scenes should contain little or no conscious nod—whether be they visual, auditory or narrative—to the Jurassic Park franchise.

Instead of the usual scaly reptilian and featherless representations of dinosaurs like the Velociraptors in Jurassic Park, there should be more bird-like and feathery dinosaur representations like this dinosaur:

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There should be beautifully rendered feathers, plus some recently discovered dinosaurs that we never see restored before, as well as a respect for dinosaurs that does not always treat them as mindless movie monsters or just kids stuff all the time, y’know what I’m saying?

Also, There should be no doubt that Dexter’s Odyssey would “reinvent big dinosaur adventure entirely”. Rather than getting bogged down in endless rewrites and development hell like what would become Jurassic World (coming in 2015, perhaps), it should provide a fresh new look at dinosaurs by doing something not done well since Who Framed Roger Rabbit (unless Space Jam and Looney Tunes Back In Action are counted) by combining live action and animation as well as dinosaurs.

But dinosaurs aren’t just seen, of course, they are heard, and one practice that has endured since the early days of sound movies is the use of real animal noises in the creation of the roars of fantasy creatures including dinosaurs, for example:

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Murray Spivack manipulated lion and tiger vocalizations for the original King Kong movie; The late Ray Harryhausen employed the sound of a slobbering camel for the Valley of Gwangi; And Gary Rydstrom incorporated a baby elephant trumpet into the mighty roar of the Tyrannosaurus Rex for Jurassic Park.

If I hire somebody who is a sound designer or sound editor to continue this time-proven technique on the big screen for Dexter’s Odyssey, I and that person should live within that world, but have to make sure that the dinosaur sounds should sound different than the dinosaur sounds of Jurassic Park.

But at least I wanted some of the larger theropod dinosaurs in the story such as the infamous T. Rex to stand-in for the dragons of myth, legend and lore. Just kidding!

5) THE MUSIC SCORE FOR DEXTER’S ODYSSEY SHOULD SOUND AS EPIC, CINEMATIC, AND ETHNIC AS POSSIBLE

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And I mean it.

The score for Dexter’s Odyssey should be this unusual and bizzare blend of epic and cinematic music, some bits of toon music (for Dexter’s Odyssey’s more comedic moments) and ethnic instrumental and ethnic vocal musical sounds from all around the world.

Sorta like the music for The Lion King, right?

6) NO FART OR EXCRETION JOKES!

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Since it is supposed to be an epic movie project, replete with raging epic battles, serious/controversial subject matter and all, you must leave the toilet humor to something else entirely.

7) HAVE A GREAT EPIC, CINEMATIC AND ETHNIC MUSICAL SENSE IN THE SCORE, AS LONG AS IT MUST HAVE APPROPRIATE MULTI-CULTURAL MUSICAL INFLUENCES AND MUSICAL CULTURAL ASSOCIATION

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Not every piece of music in Dexter’s Odyssey has to succumb to a bad hip hop tune. This isn’t a The Lonely Island sketch you’re producing. This is a live action/animated epic film project that contains a diverse network of cultures that are different than one another, despite being in an alternate world where toons, humans, and dinosaurs live, so be more appropriate and more subtle with the multi-cultural kinds of music you’re choosing—whether it’s from Europe, or from Africa or from the Far East.

8) ALLOW DEPTH IN THE CHARACTERS—HUMAN OR CARTOON; NO FLANDERIZATION NOR JUMPING THE SHARK 

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Let the characters have more colors to them than just pink or green or purple or blue or black or red. Subtlety is your friend.

9) POP-CULTURAL REFERENCES NEEDS CONTEXT, NOT RANDOMNESS

 

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Even if Dexter’s Odyssey is an epic film project with raging battles, sweeping camera movements, rousing rescues and intense close-ups, Do NOT put in pop-cultural references just for the sake of pop-cultural references. They need purpose other than selling out something.

10) USE FEW OR NO CELEBRITY VOICES FOR THE TOONS

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Seriously, I will not over-rely on using Hollywood celebrities for the voices of the toon characters in Dexter’s Odyssey, I mostly wanted Dexter’s Lab and Samurai Jack toon voices that should sound just like the originals but provided by actors who can go with the occasional comedy or drama.

11) THE LIVE ACTORS SHOULD CLEARLY INTERACT WITH THE HAND-DRAWN AND/OR CGI ANIMATION, ESTABLISH EYE LINES AND BE CONSISTENTLY INVOLVED WITH ACTION THAT ISN’T TAKING PLACE AT THE TIME OF LIVE ACTION FILMING

 

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These are the three conditions that Dexter’s Odyssey’s live actors—since they may especially be relative unknowns and non-professional no-names (some of them possibly from high school drama clubs and other youth programs) should follow under, but nonetheless I shall allow even those non-professional no name and relative unknown live actors to improvise their dialogue.

and finally,

12) DO NOT OVER-RELY ON CGI FOR ITS SPECIAL AND VISUAL EFFECTS AND/OR MOVIE-MAKING IN GENERAL

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I know debate is still raging over whether computer generated effects are better than those done practically or if you and I can truly beat the real thing, but Dexter’s Odyssey should provide room for all manner of special effects in the cinema. It should combine not only live action and traditional 2D hand drawn Genndy Tartakovsky-style animation but also cutting edge digital graphics, miniatures, animatronics, prosthetics and makeup and/or even plain old visual trickery. If it is magical, it should go in the movie, whether it shall spring from a hard-drive or from a 2D animator’s pencil, or shall take a team of dedicated artists months to create. Dexter’s Odyssey should be an equal opportunities live action/animation/special effects event.

Again, you and I don’t want to be too judgmental, but what do you think?

Three Ballerinas, A Boy Genius, A Yutyrannus, and an Epic Journey

Three Ballerinas, A Boy Genius, A Yutyrannus, and an Epic Journey. ’nuff said.

 

Would anyone really accept an unusual epic love story involving a little red-headed mad scientist boy (Dexter?) and an Asian friend (LeeLee?) of a stupid and incredibly annoying blonde-headed ballerina tutu-wearing girl (DeeDee?)?

My Favorite Female Dexter’s Laboratory Character:

Lee Lee (Voice of Kath Soucie), the Asian friend to Dexter’s sister Dee Dee, even though she’s a minor or background character from the first seasons of the show.

My Main Blue Man:

Jake Sully (Sam Worthington), the 10 foot tall blue alien/human hybrid hero of James Cameron’s AVATAR (2009), the visuals and colors of which I like the most out of Jim Cameron’s 2009 3-D epic space opera.

So, that’s my 20th post in this blog.

I love Dexter’s Laboratory and The Powerpuff Girls and Samurai Jack, for they are my three most favorite TV shows and cartoons of all time, as much as James Cameron’s 2009 3D Sci-Fi action film AVATAR is my most favorite movie of all time (mainly because out of all the recent movies that came out these days, James Cameron’s AVATAR has, even in 3-D, the most amazing visuals and prettiest colors imaginable).

Now, if I were a filmmaker, film director and even animation artist, I would love to pay homage to Genndy Tartakovsky, creator of Dexter’s Lab and Samurai Jack, especially in ways best suited to the US-based, Russian-born animation director’s talents.

In the case of my own projects, while it might use and share the same cartoon characters as Dexter’s Lab and/or Craig McCracken’s Powerpuff Girls, I would also be clear in my intention that my own big screen hand drawn animated epic feature film project, which may be called “The Princess of Shangara”, would be unrelated to the rest of any of those already-established cartoon franchises from the 1990’s.

Now, there had been talk of somebody doing a theatrical big screen live action movie based on any of my three favorite TV shows, Dexter’s Lab, Powerpuff Girls and/or Samurai Jack-but it would take me, if I were to be an animation artist and filmmaker and film director, to cast my unique vision of a three-part theatrical big screen hand drawn animated epic inspired not only by Dexter’s Lab, PPG and/or Samurai Jack, and especially characters from any of the former two shows but also by, among other sources, the tale of the legendary Ancient Chinese female warrior Mulan (besides Disney’s 1998 animated interpretation of that ancient Chinese legend).

In fact, in my interpretation of the Ancient Chinese legend and folk fable of Mulan, I should take the more nonmusical route than Disney’s Mulan.

In the case of my movie, “The Princess of Shangara”, there would not only be characters from Dexter’s Lab and/or PPG, but also some slight DNA from Genndy Tartakovsky’s work, especially on Dexter, PPG, and Samurai Jack. Fans of Dexter’s Lab, PPG, Samurai Jack and even Classic Cartoon Network may notice some things, especially during the funnier moments, and especially during the more action-packed moments and especially imagery inspired by those of  Genndy Tartakovsky, Craig McCracken, and other people who used to work on the likes of Samurai Jack, Powerpuff Girls and Dexter’s Laboratory and the like.

It won’t be like any other animated feature on the big screen, for I’m gonna use music, sound design, cinematic and epic storytelling and very stylized 2D and 3D backgrounds to create mood, atmosphere and real emotional depth (though done almost entirely in pantomime) as the three main characters travels.

I’m gonna set out to make my animated three-part epic, The Princess of Shangara, not only epic and cinematic in scope, scale or even length, but to also incorporate everything I wanted in a action film like this: action, humor, intricate artistry, and minimal dialogue, some of it in an invented language.

If I combine these elements with my unique visual style and enthralling storylines, I may bring the kind of high energy to the three movies which together would made up the single story of Princess of Shangara  and give audiences on the big screen something they had never experience before in live action or animated form on the big screen.

Even if The Princess of Shangara part I through part III should be made in Cinemascope widescreen, and even if the unique visuals of Princess of Shangara would contain lush, painterly 3D and 2D backgrounds and hand drawn cartoon characters drawn as solid colors without any thick black lines, I wanted The Princess of Shangara to be flat and highly stylized-a lot of lighting and mood-it would be a theatrical big screen hand drawn animated epic with very little dialogue (some of it in a invented language) and more about the action, simple stories and the three main characters.

The three main characters in The Princess of Shangara in my case would be Lilimaia (Dee Dee’s Asian Friend Lee Lee, as well as The Princess of Shangara of the title), Daphne (Dexter’s Sister Dee Dee) and Mikaela (Dee Dee’s African American friend Mee Mee).

And while simple, the concept and back-story of The Princess of Shangara would leave room for much layering:

Lilimaia (Lee Lee) is a proud and pure warrior maiden of few words who is as mighty, brave and noble as she is young, fair and beautiful, and who is prophesized to be the one to bring about the downfall of the evil Dark Lord Mandark.

Many ages before, Mandark is warned that a newborn Princess of Shangara bearing a special mark would grow up to dispose him. 6 months from the birth of just such a child, Lilimaia’s father, The King of Shangara, had sent her away to be raised by a Shangaran-born book merchant named Taikiroh, and to also study with her world’s foremost scholars as well as to be trained in martial arts and stuff.

Along the way, Lilimaia (who looks physically just like Dee Dee’s Asian friend Lee Lee) befriends two girls, Daphne (a blonde girl who is physically just like Dee Dee from Dexter’s Lab) and Mikaela (a black girl who is physically just like Dee Dee’s black friend Mee Mee), and in the course of the three girls’ travels, they encounters exotic and mythical civilizations, living dinosaurs and other living Mesozoic fauna that are Triassic, Jurassic and/or Cretaceous by age, fire-breathing dragons and half-lion, half eagle griffins, rugged, beautiful landscapes and primeval forests, and modern urban cityscapes with fantastic trappings.

Eventually, with the help of Mikaela, Daphne and Daphne’s estranged boy genius brother Odysseus (Dexter) who has a fully equipped secret lab beneath the mountains, Lilimaia fully understood that she must accept the responsibility of her destiny. And so, with her mind and body sharply honed, Lilimaia returns home a woman as mighty, brave and noble a warrior as she is young, fair and beautiful a maiden (sort of like the legendary Mulan), and ready to vanquish Mandark and his evil forces and end Mandark’s attempts of conquest and enslavement of her world as well as to end Mandark’s evil reign. And with the help of Lilimaia’s friends and Daphne’s brother, Lilimaia finally managed to defeat Mandark and assume the throne that is rightfully hers.

The Princess of Shangara is going to be epic, awesome, good, great, and even cool, just like if not even more so than Dexter’s Laboratory: Ego Trip and Samurai Jack, or would it?

I think Dexter’s sister Dee Dee’s Asian friend, Lee Lee, from the Cartoon Network Show, Dexter’s Laboratory, deserves an epic comeback role.

And I also think Lee Lee deserves her own epic vehicle as well as her own spectacular showcase.

How about “The Princess of Shangara”, a massive, elaborate, theatrical big screen Dexter’s Laboratory/The Powerpuff Girls-inspired animated cartoon epic tale of mythical, biblical and legendary proportions (and made in Panavision/Cinemascope) with Dee Dee’s Asian friend Lee Lee being the main central lead character as well as the title character: a heroic warrior princess from the land of Shangara (a Far Eastern Asian/Chinese/Japanese-influenced land, complete with its own language, culture, customs, art, and lore) who is as mighty, brave, and noble as she is young, fair, and beautiful, and who, according to an ancient prophecy, is destined to stop the evil Mandark from conquering and enslaving the world.

That’s my wish for Dee Dee’s Asian Friend Lee Lee.

Do you remember the Dexter’s Laboratory Made-For-TV special-cum-movie, Ego Trip?

Well, I do remember Dexter’s Laboratory: Ego Trip. I have once seen it on New Year’s Day 2011 at 7AM on Cartoon Network in my basement.

And I like that movie besides James Cameron’s 2009 science fiction 3D extravaganza, AVATAR, or one of Dreamworks’ better CGI flicks, How to Train Your Dragon (2010), but nothing in Ego Trip or AVATAR is as epic as the climatic battle that pits Dexter and his future selves against Mandark and his future selves in Dexter’s Laboratory: Ego Trip, or what James Cameron describes as “The Mother of All Battles”, the Climatic War-Cum-Battle that pits Jake (as Toruk Makto, aka Rider of Last Shadow), Neytiri, Tsu’Tey, the Na’vi clans, Norm, Trudy Chacon, and The wildlife of Pandora (a Leonopteryx, Banshees, Direhorses, Hammerheads, Viperwolves, Sturmbeests, and last but not least, the Thanator that Neytiri rides in battle against Quaritch in his AMP Suit), against Quaritch and the so-called “Sky People” (and especially those in AMP Suits, too, especially Quaritch) in James Cameron’s AVATAR.


But alas…there is a difference between Dexter’s Laboratory: Ego Trip and James Cameron’s AVATAR and both scenes from both movies.

You see, while the Na’vi of James Cameron’s AVATAR had come across as Performance Capture CGI and brought to life from actors’ performances such as those of Sam Worthington, Laz Alonso and Zoe Saldana…

Dexter, with Dexter and Dexter and Dexter…

and Mandark with Mandark and Mandark and Mandark…

 as well as Dee Dee herself…

 are only 2D traditional hand drawn animated cartoons.

 And while James Cameron’s AVATAR is made for movie theatres and in 3D and runs between 162 and 180 minutes…


Dexter’s Laboratory Ego Trip is just a one-hour Dexter’s Laboratory made-for-TV special-cum-movie.

But anyway, I love both Dexter’s Laboratory (and Ego Trip as well) and James Cameron’s AVATAR.

What did you think of the climatic battle scenes in Ego Trip and Avatar (the James Cameron Movie), respectively? Which one is superior? Which one is better? Which one is funny? Which one is violent and grown up? And how do you compare and contrast the climatic battle scene in Ego Trip with the climatic battle scenes in James Cameron’s AVATAR?