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me thinking about how we normally think of babies (innocent, docile, nice-smelling-some-of-the-time). A theme
suggested itself: how we perceive beauty and ugliness, and how that affects our assumptions and sympathies. Not
exactly the most original theme in the world, but when it comes to theme, originality isn't important. There are a
fi nite number of themes in fi ction. What matters is your presentation of that particular theme.
With a theme in hand, many of the details and plot points begin to arrange themselves.
To show a contrast between beauty and ugliness, another character was added: the mother. She would be
pretty and well put together. Of course, she would generally ignore the Beast, most likely because of the way
she perceived his ugliness. Maybe, in keeping with the theme, she could talk on the phone the whole time in
the background, selling makeup!
The theme also took hold of the cat.
For starters, the cat changed into a dog. To be honest, that had nothing to do with the theme. I just like dogs
better and happen to have one at my house that comes in handy for observation at animation time (score one
for producibility!).
However, the theme requires the Beast's nemesis to fall on the other side of the pretty/ugly line. Because the
Beast was acting badly and had the looks to match, I decided that the dog would act just as badly, but have
the opposite appearance: a prim poodle with poofy fur. Right away, then, the theme was beginning to inform
and strengthen several aspects of the story: character and plot.
The baby had a visual and behavioral counterpart and contrast in both the mother and the dog. It made sense
to me that other elements in the story, details really, would have counterparts too. Because the baby was most
directly contrasted with the mother, the dog needed a foil (a dramatic opposite) as well. And thus was born
the unkempt, always-friendly, always-panting poodle.
Although it isn't a part of the story, you will notice in the fi nal animation that many things come in contrast-
ing pairs: the Beast's toys, the kitchen props, and some of the furniture. In the fi nal product, portions of the
theme are found throughout: the plot, characters, actions, sets, and props. Adding details like this without
being horribly obvious in pointing them out serves to strengthen your theme, and consequently, your story.
I also had to adjust the plot to fi t more closely with the theme. The Beast and the dog just pointlessly running
around would be . . . well, pointless. For the theme to really come through in the plot, the decisions that the Beast
made and the consequences of his actions would have to affect the realm of beauty versus ugliness. I decided
that several times in the story, the Beast would have the opportunity to choose between something pristine and
something a bit nasty. His choices would be informed by both the nature of his character and the theme itself.
His fi rst choice is: What toy to chew? He discards the nice baby rattle and picks the doggy chew bone. The
dog is not happy (the dog's snotty character informs this action), and his activity gets the Beast's attention.
Another decision for the Beast: Which dog to attack? The ugly/beauty theme again takes hold.
And so, throughout the rest of the story, you see the Beast and the dog taking turns attacking one another in a
theme- and character-appropriate fashion, culminating in the Beast's failed sprayer assault, which drenches the
mother.
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