Well, I always wanted to do a live action/animated movie like Who Framed Roger Rabbit (or to a lesser extent, Space Jam, Cool World or The Pagemaster), but in my mind, it might also to be a colossal epic twelve-chapter saga that comprised one large story or narrative arc.
That project will be called:
Not only I wanted a heartfelt epic blockbuster tribute to Genndy Tartakovsky and his animated cartoon works (most notably Samurai Jack and Dexter’s Laboratory) in ways best suited to the Russian-born, Chicago-bred cult animator’s talent and genius (even though the actual ToonTalker saga from Chapter I through Chapter XII will also be half live action movie and half special effects movie), but I also wanted a rich, epic coming of age tale along the lines of Star Wars, Harry Potter and the like, tracking the epic journey, adventures, destiny and epic life-altering, history-shaping transformation of one Brandon Robertson (the young ToonTalker of the title) from boy to young man, all the way towards his fateful ultimate battle against Khan Morgo The Demon-lord, whom I wanted to be an evil shape-shifting godlike demon wizard like Samurai Jack's nemesis Aku—during the climactic Great Collision of the Two Worlds that will release the animated cartoon characters and creatures into our real world.
But I also planned right from the start that the twelve parts of ToonTalker will become darker, edgier, and more epic in scale, scope, grandeur and tone as Brandon grows up while venturing between his animated Genndy Tartakovsky-esque cartoon fantasy domain (of which he, along with some real live action props will be among the few live action elements) and his real world home in Suburban Baltimore or Maryland (the same state that I grew up in), so like the Harry Potter books and movies, ToonTalker Part I through ToonTalker Part XII will start out as a tongue-in-cheek live action/animated children’s movie with stuff just like in Genndy Tartakovsky's TV cartoon works but will gradually become a more serious-minded live action/animated epic hybrid as Brandon and friends head towards their fateful ultimate/final battle against the evil Khan Morgo or Aku.
Just like MGM's 1939 classic of The Wizard of Oz used a black-and-white real world to bookend the Technicolor land of Oz, I also wanted to separate fantasy from reality by using the live action (set mostly in an Academy Flat 1.85:1 aspect ratio with some exceptions like the Great Collision of the Two Worlds climax in roughly the final third of the conclusive entry number twelve, as well as a mostly gritty, visceral, and realistic live action color scheme palette) to bookend the mostly 2d traditional and largely hand drawn Genndy Tartakovsky cartoon animations (which will be presented in a Cinemascope widescreen aspect ratio of 2.35:1 or 2.39:1, and which will also most often nod to Samurai Jack's animation and art style).
Here, I’ll give you two examples of what I wanted the live action and theanimation to look and feel like:
Also, while in addition to Peter Pan himself and his band of so-called Lost Boys, Peter Pan's fantasy domain of Never-Never-Land is populated by—let’s face it!—beautiful mermaids, fearsome pirates, and tribes of Native American Indians, the animated cartoon fantasy domain that Brandon Robertson visits will not only have the overall influence (visual designs and all) of Russian-born, Chicago-bred, and US-based cult animator Genndy Tartakovsky and his animated cartoon creations (especially Samurai Jack) but will also be populated by—let’s face it!—cartoon characters straight out of a Genndy Tartakovsky cartoon (especially those straight out of Samurai Jack) and also dinosaurs and Feudal Japanese Samurai Warrior Clans!
I know all this will also remind some people of a mash-up of Cool World (1992), The Pagemaster (1994), and also some movie idea that normally could have only been made about 20 or 30 years before, while the changing and alternating (or variable) aspect ratio will also make someone think of Brainstorm (1983) or the Blu-Ray release of The Dark Knight (2008), but what would you think of all this that will constitute my vision for the twelve parts of ToonTalker?