Board Thread:News and Events/@comment-10337166-20160513211451/@comment-26130256-20160518014039

You don't seem to quite get how different Monty's way of doing things was. How would YOU like to work 36 hours straight and sleep at your desk? I wouldn't. That might work for a solo project, but most of Monty's methods simply wouldn't work once you had more than 3-4 animators on a project. And the fact that Shane refused to play nice with the other kids probably didn't help.

And your argument about animation and story sounds like how Michael Bay makes movies. "We have great special effects, so great that we need hours for files to load!  What's a story?" (I'm exxaggerating, but hopefully you get the general concept.)  When you're trying to tell a story, the story is what must take priority. If a fight makes no sense at a certain time, either scrap it or move it somewhere else. You can have amazing music, but if it's too loud to hear anything or is out of place (imagine switching the Qrow v Winter music for the Weiss&Yang v Flynt&Neon music), then it needs to go or be fixed.

Or think of it like a video game. Doesn't matter how pretty it is if the story is illogical or the gameplay is buggy.

One last example about a "genius's vision" and having help. When George Lucas made the first Star Wars movies, he had an entire team of writers, editors, and advisors to help keep him grounded. Do you know what happened when the studio gave Lucas complete creative control?

The prequel trilogy, that's what happened. Any questions?