Vietnamese animation - we desperately need good scripts.

The film production facilities have been invested in and are as modern and comprehensive as those in other countries in the region. The number of films in the production quota has also increased every year. However, the biggest concern currently remains the issue of scripts.

Although only the first quarter of 2014 had ended, the animation studio was already worried about needing 10 more scripts to meet its target. Perhaps due to this urgency, the studio organized a seminar on "How to Get Good Scripts?". With 9 pre-prepared presentations and opinions expressed at the conference, the vast majority of participants agreed that the quality of films in recent years has significantly improved. The themes have expanded from monologues and fairy tales to historical films about the traditions of preserving and building the nation.

Young authors are also exploring new and innovative approaches in their expression. The art of education in Vietnamese animation is also gradually improving.

However, the animation studio is currently still worried and struggling with the script. This is not only a concern for the studio but also for the screenwriters who have been involved with animation for many years.

According to a young screenwriter, his greatest concern is creating a compelling story, and that's where the characters come in. Without characters, we have nothing. A good story? A wondrous world? A strong theme? All of that is of little use if our characters aren't interesting and engaging. For animation to integrate with the world, it can't be viewed as a fable or fairy tale, but as a film genre. At the same time, filmmakers can't think of their work as being solely for children, but for everyone, of all ages.

They write a lot but use very little of it.

How to create a good script is a question that not only animation studios but also the film and television industries are constantly trying to answer.

Scripts have never been truly scarce; the shortage, if any, stems from filmmakers failing to find common ground between scriptwriters and those responsible for editing, reviewing, and approving scripts.

It's also known that animation is a unique genre, requiring its own expressive language that not everyone grasps and understands. Therefore, animation studios should perhaps meet and discuss what works and what doesn't. Only then can scriptwriters grasp, understand, and flexibly apply the language of this genre.

The dwindling number of films being released has led to a situation where dedicated screenwriters are left in a state of uncertainty, unsure whether their scripts will even be produced. This is also the common sentiment among many other screenwriters.

There is no typical character yet.

Sadly, despite over 50 years of existence, Vietnamese animation still lacks a quintessential character. Meanwhile, the world of animation boasts iconic characters that are familiar to every child, such as Mickey Mouse, Donald Duck, and Tom and Jerry. Creating such iconic characters relies heavily on the scriptwriter and, subsequently, the animator. Only then can we have films with a distinctly Vietnamese flavor.

Despite encouraging signs through domestic and international awards that Vietnamese animation has achieved in recent times, those involved in animation still lament that "our animation is not inferior to that of other countries in the region in terms of technology and techniques; perhaps the only thing we lack is artistic vision."

According to BVPL