Actually tebop, you -have- started your movie. You have the script, correct? That's process step one. All the ideas in the world mean nothing if you don't have them arranged cohesively and coherently. I hope you have storyboards as well; that will save you a =lot= of time in actually planning and setting up scenes to animate. You have environments made and saved; that comes under the heading of set creation or location creation. It can help a lot at times to give what you have done their proper, professional names. Admittedly, what you have mentioned is pre-production, but without that, actual production would be an unmitigated disaster that would take orders of magnitude longer than it should have.....assuming you don't simply burn out.

Wolf's stuff on the dopesheet and graph editor are must know areas; One good way to train yourself in their use is to just load a low res figure with little or no texturing, load a bvh file, and then simple examine how things work. The graph editor is vital for keyframing; it shows all the changes in the single selected value for the entire length of the animation. You can adjust motion ranges in the graph, place keyframes in the dopesheet through it (technically, the dopesheet is really the animation pallette; dopesheet is a term from 2D animation, and refers to the usually hand written page that lists all the changes the animator plans to make in a figure. The term translated over into the various keyframe editors assorted apps have, and provided a bit of continuity to the past). You can repair a motion that's gotten damaged in the graph far easier than you can spinning dials.

Probably the one thing you want to avoid is biting into something too complex to begin with. Start with simple, short scenes. Oh, like a closeup on a character where they turn the head slightly to one side, and the eyes look in that direction, as if someone had called their name (just remember that natural human reflex is toblink the eyes closed to lubricate them -before- they move....and that the motion usually occurs when the eyes are actually closed for that fraction of a second (or, assuming 24fps, about 4-6 frames, depending on the speed wanted). It might not sound like much, but when the scene moves to the timing you want, you can save it out for actual rendering later with the actual figure, and hey, you have a couple of seconds in the can! That is the hardest thing of all to keep in sight; progress is measured in seconds and fractions of seconds in CG animation.

If you need motion references, they youtube is one source. A camcorder and a friend is another. You can find many of the Muybridge motion studies online, and they are some of the basics for timing motion.

However, there is really no tutorial that can come close to teaching as much as good, old fashioned jumping in and making things move to you whim. No tutorial can tell you how to make a character 'look' realistic; what looks perfectly natural for lets say the default M4 looks like utter trash on Don; not because the work itself is flawed, but because of the difference in boning, morphs, and the actual mesh's physique. Micheal is a slab of beef compared to Don, so the body mass differences will affect how each move. And getting that right is just a matter of watching a real person of similar mass and size move, and practicing applying the motions until your inner eye is satisfied.

Any specific questions you have, just ask. Edison's inspiration/perspiration formula truly applies to CG, and many of those who have done are more than willing to pass on their knowledge...at least as much as possible..... ;)