The Making of "La Munkya" - Written By A Kid Ep 3 Behind The Scenes

Uploaded by geekandsundry on Aug 1, 2012


ROQUE BALLESTEROS: OK, "La Munkya." So this one always
kind of stood out to me.
It was just the way that she told the story, which was just
the most original, kind of bizarre, upside-down way of
telling a story.
She was so sure of herself, of how she described things.
But at the same time, what she was saying out of her mouth
was just this meandering amazingness.
EMILY: Once upon a time, there was a horse.
But it wasn't an ordinary horse.
ROQUE BALLESTEROS: If we literally did everything that
Emily said in her story, it would have cost way more money
and taken a lot more time.
JOSH FLAUM: And what's the wrestler's name?
EMILY: The Big Boy.
WILL BOWLES: Who'd beat him up?
EMILY: A little monkey that was so adorable.
The penguin mama was attacking Big Boy's grandmother, taking
all of their fish.
JOSH FLAUM: What is on the flag of Francine?
EMILY: All the pictures of the animals, all the colors of the
rainbow, all the colors of the houses, all the different
types of hats.
And third is just everything that I didn't say.
JOSH FLAUM: That's a really big flag.
EMILY: Yeah, it also has Bigfoot on it with a big foot
instead of Bigfoot.
ROQUE BALLESTEROS: One of the biggest joys of watching just
the raw footage of that was Will and Josh's reaction to
Emily's story as she was telling it.
Those guys could barely keep it together because it's just
the craziest things that were coming out of her mouth.
If we just went into an animated world, we would lose
some of that humor.
My solution for that was let's make Emily the main focus,
make her the animated character, and still keep her
within the real world of the interview.
They kind of had to be a little bit bigger just to fit
in the nice big yellow chair and also
cover all the gestures.
Any time her arm moved or her legs moved, we really had to
be cognizant of, OK, the character has to cover that.
EMILY: They're having a competition--
who could make the biggest piece of paper.
And eventually, the horse won.
ROQUE BALLESTEROS: The process of working on "La Munkya,"
first we got the footage of the interview.
And so I'd watch it, and then I would create storyboards for
the moments which I felt like, oh, OK, this would be a great
moment for it to be animated.
I had rough, stick-figure ideas of what the
characters might be.
And oh, she's a horse now.
Now she's the mayor.
I would edit that into the footage and make sure it was
flowing nicely.
The next phase is we sat down and just started doing designs
of the characters and figured out what the
characters would look like.
And in this particular case, because it was always Emily
talking the whole time and yet she was changing from
different form to form, I kind of wanted to have a
consistency between those characters.
I tried to keep her eye shapes, her mouth shapes the
same to make the viewer feel like, oh, this is the same
girl talking even though she looks totally different from
scene to scene.
Then we moved into a stage called layout, which we are
basically taking those finished character designs and
placing them in the scene exactly how
they would be placed.
And then finally after layout is done,
we move into animation.
So that's the real fun part where here's the dialogue, and
the animator will listen to the dialogue over and over
again, and then how would that character
act out that dialogue?
A lot had to do with eye blinks and which way she was
looking and how her mouth moves.
That's really a testament to the way she delivered that
story and the story that she told.
Oftentimes, you'll get bits of dialogue--
and you see these in feature movies, even-- there's
dialogue that's just really dead.
And there's nothing you can do with it.
But every time I listen to that story-- and I don't get
tired of listening to it.
Every time I hear it, I hear something different or some
other nuance to it.
JOSH FLAUM: So he won the competition.
What was the prize?
EMILY: One thousand million thousand and fifty hundred one
thousand hundred million thousand fifty bucks.
ROQUE BALLESTEROS: Favorite moment--
there's a lot.
I like the mayor moment.
All of a sudden, this mayor is just berating this poor horse
for no apparent reason.
Hopefully, we portray that visually in that similar way,
where we just kind of threw in the mayor.
I love the turtle with the spitball helmet.
I can't even explain why that was so funny.
It's just the weirdest moment--
how she described that and how that came up.
It didn't make any sense, but it did make sense.
I think Emily really made us laugh the whole time, the
whole process.