Follow you passion and success will follow.

3. Blockbuster era:

4. Blockbuster era:

5. Blockbuster era:

6. Blockbuster era:

7. The Long Tail

8. Norwegian Cinema:

9. Blockbuster era:

10. Blockbuster era:

11. The market:

12. Books:

13. How to write a blockbuster?

15. Great art comes from great ar=sts
• “Shows that really have connected with
audiences and been the biggest hits have
come from ar=sts and teams with great vision
and passion and connec=on to the audience,”
says Eric Coleman (SVP Disney Television
Anima=on).

16. • Write what you are passionate about!

17. Walt Disney / Marceline, Missouri

18. MaR Groening / Family & friends

19. Nick Parks / England

20. Jim Davis / Cats

22. Beginnings – SeWng a Story in Mo=on
• hRps://www.youtube.com/watch?
v=ufO8LbwTdu0
• Screenwriter Michael Arndt

25. What is your show really about?
• “Shows that have endured have a great theme
underneath it all, and tend to come from
creators with a strong point of view and a real
purpose in their storytelling,” says Eric
Coleman (SVP Disney Television Anima=on.)

27. Kidscreen Summit

28. MIPjr & Mipcom

30. Soltoppen

31. NRK pitch

39. o

40. l

41. BIBLE

45. Know your goal
• Know the audience, what you want to
accomplish, Eric Coleman (Disney Television
Anima=on) advices. “We want to work with
people who are not just interested in what
they want to say but also what the audience
wants to watch. When there is an overlap,
great things can happen.”

47. • Preschool:
• Kids (6 – 9):
• Tweens (9-13):
• Teenagers:
• Adults:

53. The 6 Year Old The 7 to 9 Year Old The 10 Year Old
Drama=c play - heroes & villains
Pretend gun play, war games
Block play- more detailed construc=on
Authority emula=on, i.e. policeman
Accumula=on
Trading Cards
Comic Books
TV viewing increases
Group sports
Video Games
Real Ac=on Hero Actors
Sports Heroes
Trading and trump cards
Hanging Out
Organised Clubs
Increased Gadget Interest
Music
Sports Heroes
More respondent to ads

55. THE ROLE OF PEERS
5-7 year olds
v Friends are oeen a maRer of
geography, with the girl next
door oeen a ‘best friend.’
v Girls at this age oeen move
effortlessly from friend to friend.
v This age group oeen have
‘Imaginary Friends’.
7-9 year olds
v Friendships take on a much
greater importance.
v Children are acquiring new
emo=onal and cogni=ve skills,
which makes them more
selec=ve with their friendships.
v This is a =me of ‘social stress’
with a great desire to ‘fit in’ and
have a ‘best friend’.
v Conflict and fall-outs between
friends are common.
v Bullying is prevalent.
9 + year olds
v Peer approval is key.
v Friendship groups are more
well established.
v Girls begin to show interest in
boys, and new friendships
develop.
v Girls emo=onally invest very
heavily in their friends,
suppor=ng each other through
life’s dramas!
32

57. HUMOUR AND AGE

58. 4 to 7’s 8 to 12’s
Sudden Surprise
Silly
High sensory
Slaps=ck
Ac=on
Darkside Appeal - cheeky/
naughty
Abstract & Subtle=es
Sarcasm
Puns and Innuendo
HUMOUR AND AGE
4

59. THE UP-AGEING OF ANIMATION
From the age of 8 years boys are beginning to think more logically. They can now think beyond black and white which means the
magical world of talking dinosaurs and trains are lee behind. Essen=ally girls look for more real heroes and begin to connect with real
life idols such as pop stars and actresses. Boys also shie towards more realis=c fantasies, however, due to a male brain being more
reac=ve, anima=on can maintain an appeal well into the teens. If an anima=on taps into their humour and is visually s=mula=ng, it
can remain a success. The reac=on is simple. If it’s entertaining then it is liked. It’s reac=ve.
Talking animals
lose appeal
from 6 years
Age group of
characters means
loses appeal from 7
years
One dimensional
humour loses
sophis=ca=on at 8
years
Trading Card
culture loses appeal
at 10 years
Combina=on of
abstract and
slaps=ck means
cross age appeal.
Bizarre quali=es
mean appeal
through to teens.
Combines verbal,
abstract and visual
humour.
Simple phrases and
cue bites mean its
understood by
children.
Boys see themselves
in Bart.

62. Episode numbers:
13, 26, 52, 104, 208

64. How long should it be?

65. Financing an animated TV series
• NFI 25 %
• NRK 25 %
• Fuzz 12 %
• MEDIA 12 %
• Other * 26 %
*) Regional fund, MG, Presales, EK, div.

66. What they do not teach you # 8
• The first 60 % financing of any TV series is
easy.

70. Hubert vs Elleville Elfrid

71. HUBERT
HUBERT:
PRODUSENT
(Frank Mosvold)
HEAD WRITER / MANUSFORFATTER
(Trond Morten Venaasen)

72. ELLEVILLE ELFRID
ELLEVILLE ELFRID
(Sesong 1)
PRODUSENT
(Frank Mosvold)
HEAD WRITER / MANUSFORFATTER
(Trond Morten Venaasen)
MANUSFORFATTER
(Susan Kim)

73. ELLEVILLE ELFRID
ELLEVILLE ELFRID
(Sesong 2-4)
PRODUSENT NRK (Elin Raustøl)
(Frank Mosvold) ----------------------
CAKE Entertainment Ltd
HEAD WRITER / MANUSFORFATTER
(Sam Barlow)
MANUSFORFATTER 1
MANUSFORFATTER 2
MANUSFORFATTER 3
MANUSFORFATTER 4
MANUSFORFATTER 5
MANUSFORFATTER 6
MANUSFORFATTER 7
MANUSFORFATTER 8

74. Anima=c – Elleville Elfrid

75. Final episode – Elleville Elfrid

76. Shaun the sheep

84. Frank Mosvold

85. • Frank Mosvold
• Phone: + 47 907 57 127
• Email: fmosvold@online.no
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