February 1997 Vol. 1 No. 11

Animation Nations The State of America s Toon Boom Korea s 21st Century Goals

Piet Kroon on Animating in Two Worlds Jackie Leger on Suzan Pitt Table of Contents

3 Editor’s Notebook by Harvey Deneroff 5 Where the Action Is Harvey Deneroff sums up the current state of America’s animation industry, with an emphasis on recent mergia mania, feature films and prime time shows.. 10 The Lyon Conference (English & French - Anglais et Français) Jean-Luc Ballester talks how a 1983 government proposal changed the French animation industry and how the major entertainment union used it to improve working conditions for animation artists. 22 The Changing Winds of Korean Animation Chung-bae Park explains why South Korea is turning its attention to animation as part of its economic strategy for the 21st century. 25 Shin Dong Mun, an Old Warrior in Korean Animation John A. Lent interviews one of the pioneers of Korean animation, who had a profound effect on the course of the nation’s indigenous production. 28 Staying Ahead of the Game Jerry Hibbert, drawing from his own experience, provides some thoughts on the need for production companies to embrace change. 32 Animation in Singapore Gigi Hu reports on the current attempt by the island nation to bolster its fledgling animation industry. 36 Don’t Quit Your Day Job,Work the Night Shift Dutch filmmaker Piet Kroon contributes the first in an occasional series devoted to a day in the life of an animation artist. Herein, Kroon explores the whys and wherefors of how he balances working as an independent filmmaker while holding down a full-time job at Warner Bros. 40 Susan Pitt:An Animator’s Journey Jackie Leger explores the visions of painter, designer and animation filmmaker, Suzan Pitt. In Passing 44 Louise Beaudet:A Passion For Animation (English & French - Anglais et Français) Cinémathèque Québecoise, Tom Knott, Caroline Leaf, Gerald Potterton, Hélène Tanguay, Adrienne Mancia, David Ehrlich. 50 Renzo Kinoshita:A Talk With Miyasan Sadao Miyamoto By Harvey Deneroff. 53 Remembering Al Mark Mayerson on.Al Eugster. Festivals, Conferences, etc. 57 NATPE ‘97:The Buzz of the Biz! by Susan Hornik 60 Heard at NATPE 97 by Wendy Jackson 62 News 68 Desert Island Series . . .Animation Industry-ites Piet Kroon, Pat Raine Webb, Jerry Hibbert, Steve Hulett, Jeff Massie and Georges Lacroix. 71 AWN Comics Dirdy Birdy by John R. Dilworth. 72 Next Issue’s Hightlights February 1997 1 Cover: Raven in Ralph Bakshi’s Spicy City, his forthcoming series for Home Box Office premiering in July. © 1997 HBO Animation .

© Animation World Network 1996. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.

ANIMATION WORLD MAGAZINE February 1997 2 by Harvey Deneroff

Animation Families few days before that I heard of Last month, the Los Angeles the death of Al Eugster. I had County Museum of Art imported only met him briefly when I a Fleischer retrospective from dropped in to see him at Kim American Museum of the Moving and Gifford, in New York, back Image in New York City and in 1979 or 80. He was also a curated by Mark Langer. On friend of my father’s and some- Friday, January 10, there was a where I still have the kind letter reception in honor of animator he wrote him when he was ter- Myron Waldman and Max minally ill. Yet, it was only after Fleischer’s son, Richard. Langer hearing of Eugster’s death did I and the Museum took advantage come to realize that after his of the occasion to gather all the passing, that he was responsi- ex-Fleischer people and/or their ble in a way I hadn’t thought of such things? After all, my father families they could find. It was before for my interest in anima- died when I was young and he perhaps the last opportunity to tion. shouldn’t waste his time with me! have such a gathering while You see, Eugster was one of However, with my seven-year- some of the original Fleischer my father’s classmates in the Art old daughter, Allegra, I am not artists were still alive. program at Cooper Union, in above pointing out that her The unusual part for me was New York, in the late 20s and grandfather Joe had actually being invited not as a member of early 30s. (This was still a time worked on some of the Betty the press or as an animation his- when Cooper Union, a richly Boop and Popeye cartoons she torian, but because my father endowed private school, was likes so much. But it was not until had worked for the Fleischer tuition free.) The class graduated the end of the reception, when Studios. As an animation histori- in the midst of the Great all the ex-Fleischer people and an, this fact had many times Depression, when jobs, especial- their families were asked to pose helped pave the way in inter- ly for an artist, were very scarce. for a group picture that she final- viewing my father’s friends and However, as animator Eddie ly realized that she was, in her colleagues. Such was the small Rehberg recalled, Eugster was words, “part of the Fleischer fam- community of artists that was the the only student who always ily.” It was a proud moment for New York animation industry of came to class dressed in a good me, that seemed somehow to the 1930s and 40s, even if they suit. When asked where he got provide a sense of closure. did not know him, they at least his money, Eugster explained that When I first started doing knew of him. To tell the truth, it he was working in animation. As research on the 1937 Fleischer was hard for me to conceive of a result, my father, Rehberg and strike, I only half jokingly said I being the subject of being the several others followed him into was only doing it to have a subject of any sort of historical the business—a decision which chance to meet my father’s inquiry. certainly influenced my career friends. As it turned out, my When Jerry Beck once tried to choices many years later. researches did help me develop a find out about my father and January also saw the passing clearer picture of who my father how it was to be the adult son of of Louise Beaudet and Renzo was, as well as who I was. an animator, I was taken aback. Kinoshita, two people who ded- My feelings, if anything, were Why would he want to know icated their lives to helping the only deepened, as it was only a

ANIMATION WORLD MAGAZINE February 1997 3 animation community define itself. When I was a budding ani- mation historian, Beaudet was one of my heros. (It was a senti- ment that I’m sure was shared by many others.) After all, she was ANIMATION WORLD NETWORK the curator in charge of anima- 6525 Sunset Blvd., Garden Suite 10 tion at the Cinémathèque Hollywood, CA 90028 Québecois, the only film archive Phone : 213.468.2554 that specialized in animation! In Fax : 213.464.5914 the days before the current Email : [email protected] boom, when animation was still largely considered a marginal activity, Beaudet and the Cinémathèque provided a sense ANIMATION WORLD MAGAZINE of validation for filmmakers and [email protected] historians alike, and helped pave PUBLISHER the way for the current wide- Ron Diamond, President spread interest in animation. Dan Sarto, Chief Operating Officer Thus, I was delighted when she EDITOR-IN-CHIEF agreed to write a story on the Harvey Deneroff Cinémathèque, when I wanted ASSOCIATE EDITOR/PUBLICITY to start a series on occasional Wendy Jackson pieces on archival resources for the Society of Animation Studies CONTRIBUTORS : Jean-Luc Ballester Newsletter. Harvey Deneroff Renzo Kinoshita was an Jerry Hibbert accomplished filmmaker, but he Susan L. Hornik is perhaps most widely thought Gigi Hu of as being synonymous with Wendy Jackson ASIFA-Japan, an organization he Piet Kroon help found and nurture. Along Jackie Leger with his wife and collaborator, John A. Lent Sayoko, he also had more than a Mark Mayerson little to do with starting the Chung-bae Park Hiroshima International WEBMASTER - Animation Festival. As such, he TECHNICAL EDITOR became a vital cog in Japan’s ani- Guillaume Calop mation culture. And while Renzo and Louise were never part of my DESIGN/LAYOUT : immediate animation family, as Al Guillaume Calop Eugster was, in a very real sense IMP Graphic e-mail : [email protected] they were. —Harvey Deneroff ADVERTISING SALES [email protected] North America : Bart Vitek Europe : Vincent Ferri UK: Roger Watkins

ANIMATION WORLD MAGAZINE February 1997 4 WWhheerree tthhee AAccttiioonn IIss by Harvey Deneroff he American animation indus- terms of the sheer volume of ani- and of digital special effects (as in try is riding high these days in mation being turned out and Forest Gump) have started to blur Tmore ways than one. Its sheer money being earned, there has the line between live action and ani- size and dominance in mation, providing both the domestic and even more employ- most international markets ment for animation has made it the envy of artists. most other animation However, it is almost nations. And for better or too easy to fall into the worse, it’s where the action trap of characterizing is. the current era more Los Angeles studios in terms of expansion have now become home (of the number of ani- base for an increasingly mators, the number of international cadre of ani- theatrical films and mation artists. The glamour their increasing box and money that have long office returns) and to attracted their live-action almost neglect looking brethren to Hollywood are at “artistic” side of now working their magic Christmas card from Warner Bros. displaying the fruits of the Time- things. Animation has in the frame-by-frame Warner/Turner Broadcasting merger. been a stepchild so world. very long, it becomes Only a few years ago, it was never been any period like it in the tempting to stand in awe of block- something of an oxymoron to talk history of the medium. Animated busters like The Lion King and quick- about animation art and Hollywood features are almost becoming a ly put aside any critical qualms one in the same breadth. After all, its commonplace in theaters, while the may have about them. For a film “Golden Age” had long since dis- direct-to-video market is providing like Space Jam, the Warner Bros. appeared into a nostalgic haze—a an increasingly lucrative market for publicity machine hyped the film’s concept glorified some 30 years ago lower budgeted titles. Television pro- technical wizardry that to talk about in André Martin’s magnificent poster- duction is not only expanding, but anything else seemed like heresy. sized chart on the “Origine et âge is showing an increasing willingness (Somewhat the same approach was d’or du dessin animé américain de to venture out of the kiddie rut into taken by Disney is promoting Toy 1906 à 1941/Origin and Golden more adult programming. The inter- Story.) Age of the American Cartoon Film, active realm, despite recent set- 1906-1941.” While there were there backs, promises continued expan- Only a few years ago, it was have been revisionists who have dis- sion, especially as the introduction something of an oxymoron to puted the parameters of this peri- of DVD-ROM, with its increased stor- talk about animation art and od, there was no dispute that it rep- age capacity, should increase the Hollywood in the same resented an era that was no more. demand for animation in terms of breadth. However, the recent boom has both volume and complexity. Finally, caused most commentators to the increased use of animation in While the current batch of ani- speak of a new Golden Age. In live-action films (as in Mars Attacks!) mated event films may often leave

ANIMATION WORLD MAGAZINE February 1997 5 Entertainment, a major producer of mation. TV animation for both the domestic With Fox, WB and UPN tying up and international market; if this was increasingly larger blocks of time of not enough, in a separate deal, it once independent TV stations, the bought out New York-based Jumbo American market for syndicated Pictures and promptly put a new shows (i.e., programs sold directly to version of Doug on ABC. stations rather than to networks) Time-Warner’s merger with has shrunk drastically. Even Disney Turner Broadcasting, saw Turner has had to scale back on the syndi- Feature Animation absorbed by cation deals for its Disney Afternoon Warner Bros. Feature Animation, package, and now allows stations while Hanna-Barbera has now to broadcast less than its full pack- become a division of Warner age. However, given Disney’s situa- Television Animation. Time-Warner, tion, I suspect the company will which controls the budding WB somehow endure this hardship; the DreamWorks SKG last year made its ani- Network and several cable channels same, however, cannot be said for mated debut last year with its “clay (including HBO, which has just set studios who do not have their own adventure” CD-ROM, The Neverhood, via up its own animation studio) added television networks (terrestrial, cable DreamWorks Interactive, a joint venture with Microsoft. several animation-friendly cable out- or satellite) to rely on. The situation lets, including the Cartoon Network, effectively precludes most overseas something to be desired, there is as well as the rights to the MGM producers from making further still much to be admired in cartoon library and the pre-1948 inroads into the US TV market for American animation today, espe- backlog of Warner Bros. cartoons. the immediate future; the situation cially in television. After all, one Twentieth Century Fox has com- must be especially frustrating to rarely hears of “creator-driven” in the bined its highly successful Fox Japanese companies, who have same way in theatrical circles as in Children’s Network with Saban, a seen their product gain popularity in television. Producers perhaps feel leading international supplier of home video. they can ill afford to allow the cre- animation programming; Saban, in ative freedom in theatrical films that turn, continues its deal to handle Theatrical Features big name directors get in the live- children’s programming for the The most visible and seemingly action arena. Perhaps, as one wag Paramount-controlled UPN net- most lucrative branch of the US ani- pointed out to me, the reason most work. mation industry lies in theatrical fea- theatrical films follow the Disney Paramount, fashion for using two or more direc- which was tors on a film is not so much to engulfed by share the workload, as it is to better Viacom a few years control the creative process. back, could always ask Saban to step Merger Fever aside and turn the Overhanging all this has been job over to the specter of the recent wave of Nickelodeon, part mergers and takeovers, along with of Viacom’s MTV the growth of new broadcast net- Networks. works in the United States. The Nickelodeon, effect, especially in television, has though, seems pre- been to effectively curtail market occupied for the access. For instance, Disney’s time being with takeover of ABC effectively shut out doing more anima- most non-Disney companies from tion for its cable ser- the network’s Saturday morning line Doug, the flagship series of New York-based Jumbo Pictures, vice and expanding up. In addition, as a result of get- which was bought by Disney last year. into theatrical ani- ting ABC, it took control of DIC ANIMATION WORLD MAGAZINE February 1997 6 would be done in New York (and possibly other animated features to be done by Nickelodeon). If so, the city will have finally reestablished itself as a major regional production center, a cachet it lost with the demise of Famous Studios, Terrytoons and the shift of animat- ed commercial production to Hollywood in the 1960s. In the meantime, Warner Bros., 20th Century Fox and DreamWorks are actively pursuing the Holy Grail of Disney-style animated block- busters with their own in-house units. Warner Bros. Feature Space Jam. Animation, fresh from its rescue tures. The field has been almost in more than half the money that operation on Space Jam and bol- totally dominated by Disney since Space Jam did, on a budget per- stered by new talent absorbed from the alliance between Steven haps one-tenth its size. Besides lay- Turner Feature Animation, is betting Spielberg and Don Bluth ended ing the groundwork for theatrical on The Quest for Camelot, which after The Land Before Time (1988). versions of such shows as The will do battle during the Christmas One after another, the films put up Simpsons, it may very well rid the season with Don Bluth’s Anastasia, by various pretenders, ranging from common misperception that ani- being done in Phoenix, Arizona, at Rich Animation (The Swan Princess) mated features can only be suc- Fox’s new animation facility. to MGM (All Dogs Go to Heaven) cessful if they appeal to kids. If it DreamWorks SKG is mounting have fallen by the wayside. does open the doors to lower bud- the most ambitious assault on However, late last year, there were geted animated features aimed at fortress Disney, with four animated signs of erosion. The Ivan Reitman- older audiences, it will surely make features in the works, starting with Warner Bros. Space Jam generated Beavis and Butt-head Do America a the an epic-scaled biography of enough money at the box office to landmark film. Moses, The Prince of Egypt, for demonstrate that someone else In the meantime, MTV’s sister 1998. The company is strongly hint- besides Disney can successfully mar- company Nickelodeon is going ing that it will not necessarily ket an animated event film. (The fact ahead with a movie based on its indulge in the excess of merchan- that the film’s inflated budget may popular Rugrats severely interfere with its profitabil- show from Klasky ity, is really of little concern in these Csupo, which is matters.) most definitely kid friendly.. This con- Animation has been a stepchild ceivably could be so very long, it becomes followed by a ver- tempting to stand in awe of sion of Jon Sciesak blockbusters like The Lion King and Lane Smith’s and quickly put aside any criti- wacky children’s cal qualms one may have about book, The Stinky them. Cheese Man, to be directed (or at least The second and most important co-directed) by breakthrough was Mike Judge’s Smith; like Beavis Butt-head and Beavis on the set of their landmark feature Beavis and Butt-head Do America and Butt-head Do debut, Beavis and Butt-head Do America. (MTV Animation) which has brought America, this is

ANIMATION WORLD MAGAZINE February 1997 7 dising hype and tie-ins that seem tors, (I’ve heard said that the reason almost de rigeur for any major ani- that Nickelodeon has not dealt mated film these days. If this is real- more with more traditional studios, ly so, it would be a refreshing is that they demanded higher change and perhaps indicates licensing fees than Nickelodeon DreamWorks’ hopes that the film was willing to pay; while the dif- would be taken more seriously. ferential has narrowed over the The company, spurred on by years, it remains significant.) the success of Toy Story, last year Despite this and the increased bought a 40% interest in Pacific concentration of power in TV, pro- Data Images, a major computer duction continues to increase. Of animation house, and immediate- special note is the proliferation of ly put it to work on Ants, featuring prime time shows, mostly on cable, the voice of Woody Allen; also in but also on-air. It is an aspect of CGI is a version of William Steig’s television animation that is perhaps book, Shrek, to be done by Klasky Csupo’s Rugrats feature based on the the best indicator of how far things popular TV show will be Nickelodeon Movie’s DreamWorks Feature Animation first animated feature. have progressed over the last few itself, which will also use motion years. Thus, after several fruitless capture techniques. Warner Bros. attempts to cash in on the early will also chime in on the CGI front popularity of The Simpsons, all with a version of Ted Hughes’ Iron doubts have vanished about the Giant (Iron Man), which has been viability of programming animation in development for several years. in the evening hours, especially if they aimed at adults. Television Cable’s Nickelodeon continues The announcement that the to flex its muscles not only by CBS will give up programming ani- increasing the number of animat- mation on Saturday mornings was ed shows it puts on, but by begin- remarkable only for the way it was ning to program such shows in the almost treated as a nonevent. With evening/prime time hours, includ- NBC having done the same five ing Craig Bartlett’s Hey Albert and years ago, that leaves ABC as the Kablam! Sister channel MTV will last of the original three terrestrial Dr. Katz, Professional Therapist, Comedy Central’s give us more episodes of Beavis networks programming animation prime time animated hit show. and Butt-head along with its new at that time of the week. But with spinoff, Daria, featuring BABH’s ABC’s Saturday mornings given only “intelligent character.” almost entirely over to Disney prod- Of more interest though is what uct, the days of Saturday morning HBO is doing; a premium cable animation as we once knew it are network noted for its top flight now over. original movies, HBO also expand- While the major networks were ing into more adult animated fare. decimated by such upstarts as the Thus, Ralph Bakshi, whose New Fox Kids Network and Adventures of Mighty Mouse Nickelodeon, their exit from the spurred the current rage of creator- market does change the dynam- driven shows (as well as bringing ics of the market somewhat. the talent of John Kricfalusi to the Though the licensing fees paid by fore), will be returning to series tele- the likes of CBS to producers had vision with Spicy City, which been cut over the past few years, promises to be in the same it was still considerably more than raunchy mode as many of his the- Mike Judge’s King of the Hill. that paid by most of its competi- atrical films.

ANIMATION WORLD MAGAZINE February 1997 8 tially series pilots dressed up as old-fashioned car- The situation effectively pre- toons. Nevertheless, it cludes most overseas produc- has provided a vehicle ers from making further for reaching out to both inroads into the US TV market young filmmakers and for the immediate future. such veterans as Ralph Bakshi (whose work was Home Video considered too risqué to The home video market has be shown) and Bruno long been one of the animation Bozetto. To date, Cow industry’s most lucrative outlets. Until and Chicken, Dexter’s recently, most attention in this arena Laboratory and Johnny has been focused on the video ver- Bravo have gone this sions of such blockbusters as Toy route. Story and such classics as Snow Among terrestrial White and the Seven Dwarfs. More broadcasters, Fox is bet- recently, the direct-to-video market ting on Mike Judge’s has exploded, what with Disney’s King of the Hill, which is two Aladdin sequels setting new being shown right after sales records for original video pro- The Simpsons. Produced ductions. Universal Cartoon Studios concurrently with Beavis is enjoying similar success, if on a Ralph Bakshi’s new HBO series, Spicy City. and Butt-head Do lesser scale, with its follow ups to The Land Before Time. Both studios HBO will also air a version of America, Judge’s new have stepped up production in this Todd McFarlane’s comic book, show, despite its rather tentative area, with Disney opening a new Spawn, from its new in-house stu- nature of its early episodes, is Canadian studio, with branches in dio, along with more episodes of remarkable for its sympathetic por- Toronto and Vancouver, devoted Hyperion’s stylish Fairy Tales for trayal of a middle American family, strictly to making home video Every Child, which offers multicul- which seems a hell of a lot truer to movies. tural renderings of familiar stories. life than most of today’s TV sitcoms. However, until the direct-to- The Cartoon Network, despite Steven Spielberg, whose com- video market starts to be more its international success, still remains pany, Amblin, enjoyed a productive adventuresome, most of the interest unseen on many US cable systems. relationship with Warner Bros. in will be in this month’s long-delayed But this has not stopped it from producing such shows as Tiny Toon release of Richard Williams’ The Thief introducing Adventures and the delightful Pinky and the Cobbler (even if it is in its more and and the Brain (especially in its prime bastardized version) and in the lat- more new time version). He is now supervis- est in anime. shows ing things at DreamWorks TV each sea- Animation and is is looking toward son. (They the new WB Network to debut his are also prime time broadcast on sister adventure seri- cable channels al, Invasion: America. In addition, there are TNT and TBS, Harvey Deneroff is Editor of such cable standbys as which are more Animation World Magazine; he Klasky Csupo’s widely seen in also edits and publishes The Duckman (USA Network) the US.).At least Animation Report, an industry and Dr. Katz Professional one a year is newsletter. being based Hanna-Barbera’s Cow and Chicken. Therapist (Comedy on its widely publicized World Central). Premiere Toons, which are essen-

ANIMATION WORLD MAGAZINE February 1997 9 The English Français Les Lyon Assises Conference de Lyon

by Jean-Luc Ballaster par Jean-Luc Ballester

Telling the story of animation in France along L’Animation étant tout à la fois un Art, une tech- with the evolution of the labor movement would nique et un secteur industriel, raconter l’histoire de certainly be of great interest, since animation is an art, l’animation en France en tentant d’aborder ces trois a technique and an industry. It might take a whole aspects, et en faisant le parallèle avec l’évolution du book to do so, but that’s not my objective. What I syndicalisme dans ce milieu serait certes du plus grand would like to do is to recall the turbulent times in intérêt, mais nécessiterait pour le moins un ouvrage the 1980s, when the microcosm that is French ani- entier. Telle n’est pas mon ambition. Au début des mation was deeply shaken by changes that were to années quatre-vingt, le microcosme de l’animation change the profession’s outlook on the economic française fut secoué par des bouleversements qui and social levels, with deep repercussions on the cul- allaient grandement modifier la physionomie de cette tural front, the results of which profession sur le plan are still being felt in the audio- économique et social, avec de visual field. graves répercussions au In response to the 1983 niveau culturel : C’est sur cet Lyons Conference, which épisode que je voudrais brought together both public revenir, car il a laissé des traces authorities and professionals dans le paysage audio-visuel. in the field, the French Minster En réponse aux assises of Culture decided to imple- de l’Animation qui en 1983 ment a plan to boost the avaient réuni à Lyon l’ensem- French animation industry, a ble de la profession et les pou- sector which had great poten- voirs publics, le Ministère de Jean-François Laguionie’s L’acteur (The Actor) (1974). tial for job creation. That plan la Culture décida de mettre en was called: Plan Image. place un plan de relance du Dessin Animé Français, The SNTPCT (National Union of Workers and secteur industriel potentiellement créateur d’emplois, Technicians of TV and Film Production) found itself dit “Plan Image”. Le SNTPCT (Syndicat National des at the forefront, since it had always fought to restruc- Techniciens et Travailleurs de la Production ture that profession. Despite the mobilization of a Cinématographique et de Télévision [Audio-visuel]), great many professionals, the initiative only partly qui s’était toujours battu pour structurer cette profes- attained its objectives. Furthermore, the union suf- sion artisanale, trouva tout naturellement sa place en fered despite its stated analyses and claims that were première ligne de ce combat. Pourtant, malgré la taken into consideration by an increasing number mobilisation d’une grande partie de la profession, of professionals. Thus, it might be helpful to analyze cette relance n’atteignit que partiellement ses objec- what led to this partial failure. tifs. De plus, bien que les analyses et revendications Today, all over the world, animation is experi- que le Syndicat avait exposées publiquement depuis

ANIMATION WORLD MAGAZINE February 1997 10 encing a new “Golden Age,” and SNTPCT is regain- plusieurs années aient été prises en compte par un ing its vitality and recruiting a new generation of nombre croissant de professionnels, l’image du syn- technicians. dicat en sortit affaiblie. In order to understand the current situation in Analyser ce qui s’est passé à l’époque peut nous France, we need to look back at the past, not as an aider à comprendre quelles furent les causes de ce exercise in nostalgia, but to see what role the union demi-échec. Aujourd’hui, non seulement le dessin played and what status it has today. animé connaît dans le monde un nouvel “âge d’or”, mais le SNTPCT retrouve une certaine vitalité dans A Profession in Search of its Identity l’animation et draine de nouvelles générations de SNTPCT’s Animated Cartoon Section was created techniciens. Cette mise en perspective ne relève donc in 1974. The aim was to give the profession the iden- pas de la vaine nostalgie, mais doit permettre de mieux tity it needed to grow. The first two tasks the sector comprendre la situation actuelle de l’animation en faced were to reinforce the idea of solidarity among France, quel rôle y joua le Syndicat et quelle place il individual animators and to help promote that pro- occupe aujourd’hui. fession within the animation industry. In order to achieve these goals, it was important to provide it Une profession à la recherche de son identité with a basic agreement. C’est en 1974 que fut créé un secteur Animation Initially, SNTPCT unsuccessfully tried to include au sein du SNTPCT, afin de donner à cette profession animation in the film industry’s basic contract. At the l’identité dont elle avait besoin pour se développer. same time, the union was able to sign a number of Les deux premières tâches de ce secteur furent de agreements were signed in the studios, particularly renforcer, chez ces individualistes que sont les ani- at Savec, a production com- mateurs, l’idée de solidarité, et pany affiliated with the pow- de faire reconnaître cette pro- erful Mutuelle Generale de fession dans les instances dont l’Education Nationale ( a elle dépend. Pour cela, l’objec- teacher’s union) as well as 3A, tif principal fut tout naturelle- the studio created by ment de la doter d’une base Jacqques Rouxel, the creator conventionnelle. of Shadocks, and Belokapi. Le SNTPCT tenta d’abord Rouxel’s industrial films de faire inclure l’animation dans allowed him to stand apart la Convention Collective de la from the usual “spaghetti” pro- Production ductions and allowed him to Cinématographique, sans suc- produce more ambitious cès à ce jour. Dans le même Jacques Rouxel’s Les Shadoks (The Shadoks) (1968). works, such as films by Piotr temps, plusieurs accords d’en- Kamler and Michel Ocelot. Thanks to the help of treprise furent signés dans les studios où ce syndicat Mgen, Savec was also able to turn out a great many était parvenu à s’imposer, notamment à la Savec, short films, including those of Michel Gauthier. entreprise de production dépendant de la puissante Belokapi, which started in 1968, was regularly Mutuelle Générale de l’Éducation Nationale, et aux 3A, involved in doing miniseries like Plume d’Elan by le studio fondé par Jacques Rouxel, créateur des Philippe Landrot, La Vache Normande or Les Shadocks. Les films industriels de Rouxel qui tran- Miniminos by Gilles Gay. Firmly established in these chaient sur la production habituelle lui permirent, à studios, SNTPCT had the opportunity to improve coté de cette production “alimentaire” mais néan- working conditions that allowed the gains in cre- moins créative, de produire des oeuvres plus ativity and wages that followed. ambitieuses, comme les films de Piotr Kamler ou Michel Since its closing in 1977 of Idefix, created three Ocelot. La Savec, grâce au soutien de la Mgen, pro- years earlier by Uderzo and Goscinny, French ani- duisit un grand nombre de courts-métrage, dont ceux mation had been plagued by inefficient equipment de Michel Gauthier. Belokapi, créé en 1968, avait une as well as a reduced number of technicians. production régulière de petites séries (Plume d’Élan, As the union stated its memorandum to the de Philippe Landrot, La vache Noiraude ou Les Ministry of Culture, “The lack of incentive to produce Miniminos, de Gilles Gay). Le SNTPCT, bien implanté

ANIMATION WORLD MAGAZINE February 1997 11 has created structural weakness and made our com- dans ces studios, eu l’opportunité d’y faire progress- panies noncompetitive.” The industry could be divid- er les conditions de travail qui permettaient cette créa- ed into “small studios which were trying to survive,” tivité, et les conditions salariales qui la sanctionnaient. among them were those of Albert Champaux, Cependant, depuis la fermeture en 1977 du stu- Manuel Otero (Cinemation), or André Martin and dio Idéfix fondé 3 ans auparavant par Uderzo et Michel Boschet (Martin Boschet Films). The union Goscinny, la situation du Cinéma d’Animation Français was never able to establish itself in those studios, se caractérisait par des entreprises aux équipements which were operating on a “once in a while” basis. peu productifs et insuffisants, et par un nombre réduit Naturally, working conditions and wages were not de techniciens. Comme le constatait le Syndicat dans guaranteed there. le mémorandum qu’il remit à l’époque au Ministère de Because of that, the assessment made by the la Culture, “l’absence d’impulsion à la production entre- 1983 Lyons Conference was alarming. While TV sta- tient cette situation de faiblesse structurelle et de non- tions were broadcasting more and more animated compétitivité de nos entreprises”. L’industrie de l’ani- shows for kids, fewer and fewer were made in mation se résumait donc à la difficile survie de petits France, despite the fact that some were conceived studios, parmi lesquels on peut citer ceux d’Albert there (e.g., Ulysse 31 by Nina Wolmark and Bernard Champaux, de Manuel Otero (Cinemation) ou d’André Deries, or L’Aventure de la Vie by Albert Barille). Martin et Michel Boschet (Les Films Martin Boschet). Most of the shows came from Japan or the US. Le Syndicat ne parvint jamais à s’imposer dans ces Because it was still working at a craftsman’s scale, petites structures travaillant au “coup par coup”, et France seemed unable to handle productions requir- les conditions de travail et de salaires n’y étaient pas ing large crews, tight schedules and competitive pro- garantis. duction costs. Even the commercial spot market was C’est pourquoi l’état des lieux dressé à Lyon en lost by French producers to their English colleagues. 1983 fut alarmant : alors même que les chaînes de If France were equipped with the means neces- télévision diffusaient de plus en plus d’heures d’ani- sary to produce just half of the shows broadcast each mation dans les programmes pour enfants, de moins year on the 3 major networks, that could have gen- en moins de ces films étaient réalisés en France, même erated 500 jobs. That fact is all the more distressing si certains y avaient été conçus (Ulysse 31, de Nina when one realizes that animated cartoons, which Wolmark et Bernard Deries, ou L’aventure de la vie, were invented in France by Emile Reynaud and Emile d’Albert Barille). La plupart venait du Japon ou des Cohl, are an integral part of French cinema’s cultur- États Unis. La France, habituée à travailler de façon arti- al identity. sanale, paraissait incapable d’assumer des produc- tions qui nécessitaient des équipes importantes, des Rouxel’s industrial films délais serrés et des coûts de fabrication concurren- allowed him to stand apart tiels. Même le marché des spots publicitaires échap- from the usual “spaghetti” pro- pait aux animateurs français au profit de leurs col- ductions and allowed him to lègues anglais. produce more ambitious Pourtant, si la France avait disposé des moyens works, such as films by Piotr nécessaires pour produire et réaliser ne serait-ce que Kamler and Michel Ocelot. la moitié de la production diffusée annuellement sur les trois chaînes d’alors, cela aurait déjà couvert 500 Broadcast Series Law emplois en France. Constat d’autant plus désolant An eight million franc credit was granted by que l’animation, inventée par les Français Emile Culture Minister Jack Lang to promote animation fol- Raynaud et Emile Cohl, fait partie intégrante de l’i- lowing the request by professionals centered around dentité culturelle du Cinéma Français. SNTPCT, which became very much involved. But despite its involvement, the union was also very crit- La Loi des Séries ical of the measures that were adopted. It seemed to Interpellé par la profession, dont le SNTPCT qui make more strategic sense to them to foster the devel- était apparu à cette occasion comme l’organisation opment of agreements with large consumer orga- la plus représentative d’un secteur éparpillé, Jack Lang, nizations, instead of handing out subsidies for the Ministre de la Culture, débloqua un crédit de 8 millions development of new techniques which did not give de francs pour le dessin animé et les nouvelles images.

ANIMATION WORLD MAGAZINE February 1997 12 any assurance of any actual production. Le Syndicat s’impliqua beaucoup dans cette relance, As they put it: “Market development will enable appelée pompeusement “Plan Image”, bien que our companies to insure employment for our tech- restant très critique par rapport aux mesures adop- nicians and rebuild their capacity to finance their tées : plutôt que de distribuer des subventions pour projects themselves, because they would have an de “nouvelles techniques” sans s’être assuré au préal- assured market waiting for them.” able d’un développement programmé de la produc- France Animation Studio, which had been newly tion, il nous paraissait stratégiquement prioritaire d’im- created, thanks to the help of the Ministry of Culture, pulser la production nationale, notamment par un was designed to spearhead that renewal; along with développement important des commandes des gros Belokapi, it decided to meet the challenge by start- consommateurs institutionnels. C’est en permettant ing production of large-scale TV series (26 x 26 or le développement du marché que nos entreprises, 52 x 13). assurées d’un débouché, seraient amenées à s’équiper, The desire of these companies to remain com- à assurer l’emploi des techniciens, et à reconstituer petitive in terms of cost, while promoting a certain leur capacité d’autofinancement. “French quality” in the manner and content of the Le studio France-Animation, nouvellement créé shows, soon came against the problem of finding avec l’appui du Ministère de la Culture pour être le professionals who could effectively handle industri- fer de lance de cette relance, et Belokapi relevèrent al-style production. Other studios tried to meet the pourtant chacun de leur coté le défi en se lançant challenge and encountered the same difficulties; as dans la fabrication de séries “lourdes” d’animation they were less fortunate, they quickly disappeared pour la télévision (26x26 ou 52x13). L’ambition de (Ex Bzz that made the Bibifoc series, which would ces deux entreprises de rester dans des coûts de fab- finally be animated in Asia). rication compétitifs tout en pro- Under the leadership of mouvant une certaine “qualité Gilbert Wormak, France française”, tant dans la facture Animation hired Michel que dans le contenu, se heurta Gauthier, a graduate of IDHEC immédiatement au problème du (Institute for Graduate Studies recrutement de professionnels of Film, the former name of aptes à mener à bien une fabri- today’s FEMIS [Foundation for cation de type industriel. D’autres the Study of Editing, Image and studios tentèrent le pari et, se Soundtrack]) where he majored heurtant aux mêmes difficultés, in animation. Gauthier got his eurent moins de chance et dis- initial training at the end of the parurent rapidement ( Exemple 60s, on Rouxel’s Shadocks. Jean-François Languionie’s Pot’r et la fille des eaux : BZZ, qui devait produire la série (Pot’r and the Mermaid) (1974) Between 1974 and 1984, he Bibifoc, finalement animé en Asie) produced about 40 films (short and long series), France-Animation, dirigé par Gilbert Wolmark, s’ad- which was warmly received in cartoon and short joignit les services de Michel Gauthier. Diplômé de film festivals (Alloscopie Nº 1, Mister Jerry and Dr. l’IDHEC (Institut des Hautes Études Debyll, Un matin ordinaire, La Campagne est si bell.) Cinématographiques, ancienne appellation de He quickly established himself as an original writer, l’actuelle FEMIS : Fondation pour l’Étude du Montage, whose artistic inspiration closely followed the path de l’Image et du Son.), section Animation, Michel blazed by John Hubley. But it was in another aspect Gauthier avait fait ses premières armes à la fin des of his prolific career that Wolmark was mostly inter- années soixante avec l’équipe des Shadocks de ested in. Within the union, Gauthier and his team Jacques Rouxel avant de réaliser de 1974 à 1984 une had already completed an in-depth study of the ani- quarantaine de films commandités de plus ou moins mation industry, as well as on working conditions; longue durée, abondamment primés dans tous les and had tried to establish a methodology that would festival d’animation ou de courts métrages ( Alloscopie ensure the efficient production of TV series without N° 1 : Grand prix du Festival de Biarritz 1976, Mister sacrificing creativity. It was this initiative that led to the Jerry et Dr Debyll : Prix du Film Publicitaire au Festival agreements signed with Savec and 3A. That know International d’Annecy 1979, Un Matin ordinaire : how had been successfully tested with such broad- Prix Jean Riesser Nadal au Festival International de

ANIMATION WORLD MAGAZINE February 1997 13 cast series as Amstram Gram (60 minutes) or M le Lille 1981, prix spécial du Festival de Grenoble Martien (60 minutes), both Belokapi productions. 1981,1er prix du Festival International d’Espinho, Cinnanima 1981, Grand prix du Festival International An Economic and Cultural Stake de Stuttgart 1982, La Campagne est si belle : 1er prix Gauthier was involved in the founding of France du Festival International d’Antibes, prix spécial du jury Animation, directing the implementation of its struc- au Festival de Marly-le-Roi 1986, nominé aux Césars). ture and team that were to produce Monde Il s’était vite affirmé comme un auteur original, Eglaoutis (26 x 26). On the other hand, under the inscrivant sa démarche artistique dans la voie ouverte leadership of Nicole Pichon, Belokapi hired Michel par John Hubley. Pillysser and Bernard Kessler to complete the Mais c’est un autre aspect de sa carrière prolifique Robostory series. Because they were unionized and qui intéressa sans doute Gilbert Wolmark : Dans le experienced, the Robostory team, as opposed to the cadre du syndicat, Michel Gauthier et son équipe one at France Animation, refused to give in on the avaient mené depuis longtemps une réflexion appro- matter of salaries, as they felt that they had already fondie sur les métiers de l’animation et les conditions proven that their production costs could be com- de travail, et tenté de mettre en place une méthodolo- petitive. This debate forced Gauthier to resign, gie apte à assurer la fabrication de séries avec effi- because for him the debate was more cultural than cacité au plan économique, sans sacrifier pour autant economic. But this did not prevent him from defend- l’aspect créatif.C’est cette démarche qui avait permis ing France Animation. d’aboutir à la signature des accords d’entreprise à la Denouncing the producers who chose to export Savec et aux 3A. Ce savoir-faire avait été expérimen- production under the pretext that the storyboards té avec succès sur des séries telles que Amstram Gram were done in France, Gauthier stated that, (60 min) ou M Le Martien (60 min), deux productions “Animation, from the Latin Belokapi. anima, is an integral part of the creative process, that it was not Un enjeu économique disassociated with its concep- et culturel tion . . . It is not something that Michel Gauthier participa donc be conceived of as a mechani- à la fondation de France- cal process which can be sub- Animation en dirigeant la mise contracted out.” en place de la structure et de Equally convinced that the l’équipe de réalisation des animation was a cultural tool as Mondes Engloutis (26 X 26 Mn.). important as its commercial Bélokapi, de son coté, dirigé par potential, the union always Nicole Pichon, recruta Michel fought to safeguard the artistic Michel Boschet & André Martin’s Mais où sont les Pillyser et Bernard Kessler pour and technical qualities of films. nègres d’antan (Where Are the Blacks of Yesteryear) mener à bien la série Robostory. They fought to get legislation (1962). Contrairement à ce qui se passa passed that would put an end à France-Animation, l’équipe de to the legal vacuum that still exists in that profession, Robostory, forte de son expérience et majoritairement but also to defend working and salaries Many syndiquée, refusa de transiger sur les salaires, esti- thought that the wages proposed by the union were mant avoir déjà prouvé que les coûts de fabrication too high and that it was an attempt to destroy the pouvaient être concurrentiels avec les minima ratifiés industry. “Producers would never be able to make conventionnellement. Ce différent amena Michel animated cartoons in France with such high salaries.” Gauthier, qui plaçait le débat moins sur le plan It’s a fact though that with those “high salaries,” économique que culturel, a quitter le syndicat. Mais Belokapi was able to produce Robostory, a 52 x 13 il n’en continua pas moins à défendre l’animation : series at FF 42,000/minute, while at the same time dénonçant les producteurs qui choisissent de délo- France Animation produced Les Mondes Engloutis for caliser la fabrication en expliquant que les story-board FF 52,000/minute, paying their technicians wages sont fait en France, Michel Gauthier répond que “l’an- that were 50% lower. imation, du latin Anima, est partie intégrante de la Because of a severe shortage of highly-skilled pro- création, elle est indissociable de la conception (...).

ANIMATION WORLD MAGAZINE February 1997 14 fessionals, France Animation was forced to hire and Cet événement rare ne peut être envisagé comme large number of beginners (for 98% of them, it was un processus mécanique et donc, être délégué”. their first job in animation). That team, nevertheless, Convaincu également que le film d’animation was able to quickly gain a technical mastery that représentait un support culturel non moins important allowed it to produce 2 blocks of 26 episodes of Les que ces potentialités commerciales, le Syndicat s’est Mondes Engloutis. The union was not able to recruit toujours battu pour la sauvegarde de la qualité artis- this new generation of technicians, who were not tique et technique des films. Cela non seulement en able to immediately appreciate the relationship that réclamant une réglementation pour mettre fin au vide existed between trade practices and its economic juridique dont souffre toujours cette profession, mais and social context. également en défendant les conditions de travail et But awareness came with experience, as was de rémunération. Beaucoup trouvaient les salaires seen with the liquidation of Belokapi, a company syndicaux “délirants” et criaient au sabordage : jamais that Michel Gauthier and his team had finally joined, les producteurs n’allaient pouvoir produire de l’ani- but it was too late. mation en France avec de pareils salaires! Pourtant, The agreements fell apart, and for the next 10 avec ces salaires “délirants”, Belokapi a produit years, salaries dropped to a point, in some cases, Robostory, série de 52 fois 13 minutes pour un coût close to the minimum wage. Working conditions minute de 42 000 Fr. alors que dans le même temps, also deteriorated without preventing the producers France-Animation produisait Les Mondes engloutis à from subcontracting in the name of “economic real- 52 000 Fr. la minute avec des salaires de techniciens ism.” inférieurs d’environ 50%. En effet, en raison du Today, that debate belongs to history. France manque dramatique de professionnels confirmés, Animation sent animation to China and the Bayard France-Animation avait du recruter une grande par- Group liquidated Belokapi. There was neither high tie de débutants (98% des techniciens accédaient wages nor any series to produce. pour la première fois à la pratique de leurs métiers). Cette équipe parvint Asterix to the pourtant rapidement Rescue à un niveau technique Production of ani- qui lui permit de mated TV series was mener à bien deux not the only aspect of série de 26 épisodes the promotion of ani- des Mondes Engloutis. mation. Gaumont Cette nouvelle généra- planned the produc- tion de techniciens tion of a feature film, que le syndicat ne sut to be directed by Paul pas rallier ne prit pas and Gaëtan Buzzi tout de suite la mesure inspired by Albert du lien existant entre Uderzo and René la pratique de ce méti- Goscinny’s Asterix er et le contexte éco- comic books. To do nomique et social this, Gaumont had to dans lequel il s’exerce. build a structure that Cette prise de con- would allow it, later Michel Ocelot’s Les trois inventeurs (The Three Inventors) (1980). science vint avec l’ex- on, to make two other périence, et se con- movies with the two famous Celts. Because cartoon crétisa notamment au moment de la liquidation de animation was not recognized in any bargaining Bélokapi qu’avait rejoint Michel Gauthier, suivi par une agreement, the contract signed by Gaumont bore partie de son équipe. Mais il était sans doute déjà trop job descriptions corresponding to live-action classifi- tard. L’abandon de la défense des salaires fut fatal aux cations. accords qui tombèrent en désuétude, et au cours des That situation helped a multinational team of dix années qui suivirent, le niveau des rémunérations technicians to realize this lack of recognition. Being s’effondra jusqu’à atteindre un niveau proche du SMIC

ANIMATION WORLD MAGAZINE February 1997 15 poorly represented amidst a diverse team, the union (Salaire Minimum de Croissance [actuellement : 6 431 was not able to directly negotiate a contract with Fr mensuels.] Salaire plancher au dessous duquel the company. aucun salarié ne peut être payé, selon la législation The presence, however, of Yannick Piel, française, sauf de rares exceptions.) dans certains cas. Gaumont’s producer on Asterix, in the multilateral Les conditions d’emploi et de travail se dégradèrent commission for the extension of collective bargaining également dans les mêmes proportions, sans que cela of film production, allowed the union to negotiate empêche les producteurs de retourner à leurs vieilles within that commision! Unfortunately, due to a rea- habitudes de sous-traitance, au nom du “réalisme son pertaining to the commission, and which have économique”... Aujourd’hui, ce débat appartient à nothing to do with animation, the extension was l’histoire, France Animation sous-traite l’animation en not ratified and remains without effect. Chine, le groupe Bayard a liquidé Belokapi, il n’y a After the three Asterix films were made, and plus ni salaires “délirants”, ni séries à animer... despite the company’s success, Gaumont did not maintain the structure and the high quality team that Astérix à la Rescousse ! made these films were dispersed, to the sorrow of the La production de séries télé ne fut pas le seul volet French film industry. Had Gaumont kept the team de la relance du dessin animé : La Gaumont mit en intact, which it was able to do, France would then chantier la fabrication d’un long-métrage, réalisé par have been equipped with the means to produce ani- Paul et Gaëtan Brizzi, tiré de la bande dessinée Astérix, mated features in competition with the US and d’Albert Uderzo et René Goscinny. Pour cela elle créa Japanese giants. That has not happened since the une structure qui lui permit ensuite de réaliser deux days of the Idefix Studio. autres films avec les célèbres gaulois. Les fonctions de l’animation n’étant reconnues dans aucune conven- While TV stations were broad- tion collective, les contrats de la Gaumont portaient casting more and more ani- des dénominations de fonctions correspondant à des mated shows for kids, fewer postes dans la prise de vues réelles. Cette situation fit and fewer were made in prendre conscience à une équipe où se côtoyaient France, despite the fact that toutes les nationalités d’Europe, du manque de recon- some were conceived there. naissance dont souffrait cette profession. Trop faible- ment représenté dans cette équipe très hétéroclite, French Animation: Let’s Liquidate le Syndicat ne put négocier directement un accord The final blow to the attempt to revive French d’entreprise. Pourtant, la présence de Yannick Piel, animation was, without doubt, given by the liqui- producteur des Astérix, représentant la Gaumont dans dation in early 1988 of Belokapi by the Bayard Group, la commission mixte d’extention de la Convention which controlled it. The closing of a studio that was Collective de la Production Cinématographique per- turning out five international quality series, was an mit au Syndicat de négocier les définitions de fonction eye opener to the technicians who fought for four et d’obtenir en 1989 leur adoption dans le cadre de years to live up to the challenge posed by the Plan cette commission. Malheureusement, pour des rai- Image. son inhérentes à cette commission et n’ayant rien à Their efforts were reduced to nothing, although voir avec l’animation, cette extension n’a toujours pas they had already won a challenge thought by many été ratifiée et reste donc sans effet à ce jour. as impossible to meet: to establish the basis for a Après la réalisation des trois long-métrages d’Astérix French animation industry of a certain level for the et bien que le succès fut au rendez-vous, la Gaumont production of TV series, as well as for the making of ne maintint pas la structure, et l’équipe de très haut quality features. Efforts that were destroyed by the niveau qui avait animé ces trois films fut dispersée, cynicism and lack of cultural ambition of those in pour le plus grand dommage de la production whose hands lay the destiny of the audiovisual indus- française. Si la Gaumont avait maintenu ce studio, try. elle en avait les moyens, la France disposerait d’un By seriously questioning what they called the outil de production de long-métrage, ce qui n’est plus “unwise” management practices of Nicole Pichon, arrivé depuis le studio Idéfix, capable de rivaliser avec whom they accused of launching too many shows les géants américains et japonais. without securing their financing, the leaders of the

ANIMATION WORLD MAGAZINE February 1997 16 Press Group “in 8 days liquidated a company that Le dessin animé français : on liquide... existed for 20 years,” Michel Gauthier said at the Le coup de grâce à cette tentative de relance du time, while working on Ys la Magnifique in the dessin animé français fût sans conteste la liquidation Montreuil Studio. What led us to that? début 1988 de Bélokapi par le groupe Bayard, qui Unlike the American and Japanese networks, the en avait pris le contrôle. Cette mise à mort d’une struc- fees French television pays for animated program- ture qui était en train de fabriquer cinq séries de niveau ming are very low; being only 10% to 15% of their international ouvrit les yeux des techniciens qui s’é- actual budgets versus 50% to 70%. Producers thus taient battus depuis quatre ans pour relever le défi have to come up with the rest of the financing on du Plan Image. Alors qu’ils avaient gagné ce pari their own, betting on additional income from other réputé impossible : établir les bases d’une production rights, such as toys, gadgets, books, etc. Belokapi Française d’animation de niveau industriel, aussi bien saw the downfall of its enterprise when TF1 (the pour la production de séries télé que pour la réalisation de long-métrages de qualité, ils virent leurs efforts réduits à néant par le manque d’ambition cul- turelle et le cynisme de ceux qui déte- naient entre leurs mains l’avenir de l’audiovisuel : Remettant en cause la gestion “imprudente” de Nicole Pichon, accusée d’avoir lancé trop de séries importantes sans s’assurer de leur financement préalable, les dirigeants du groupe de presse ont “liquidé en huit jours une entreprise qui existait depuis vingt ans”, comme le soulignait Michel Gauthier, qui réal- isait alors Ys La Magnifique dans le studio montreuillois. Comment en était-on arrivé là ? Paul & Gaëtan Brizzi’s Fracture (1977). La télévision française, à la dif- férence des networks américains ou French public TV network, which was privatized in japonais, paie très mal le dessin animé : de 10 à 15% 1986), under the direction of Hervé Bourges, can- du budget de fabrication, alors qu’il faudrait qu’elle le celed their showing of the Robostory episodes it had finance pour 50 à 70%, comme cela se fait dans ordered because of privatization! The prospects of d’autres pays. Le producteur doit alors monter son marketing the program’s ancillary rights vanished financement en spéculant sur les retombées finan- and Belokapi was forced to return the down pay- cières des droits dérivés : jouets, gadgets, livres... ven- ments it had received from toy manufacturers and dus dans la foulée de la diffusion. Bélokapi a vu cette publishers. There is no protection against these types belle mécanique s’enrayer lorsque TF1 (première of “accidents,” because TV networks have the free- chaîne de télévision française, anciennement chaîne dom on whether they will broadcast a show they publique, privatisée en 1986 par le Gouvernement) bought or not—”deprogramming” being a common a annulé la diffusion de Robostory, pourtant com- practice among commercial broadcasters. TF1 had mandée par la Une au temps d’Hervé Bourges, pour once before put Belokapi in jeopardy when pro- cause de privatisation. Les espoirs de commercialisa- duction of Robostory was beginning by withdrawing tion des droits dérivés se sont envolés, et Bélokapi a from the financing package, although it was sup- du rembourser les avances consenties par les fabri- posed to come up with a quarter of the budget. cants de jouets et par les éditeurs. Il n’y a guère de Nicole Pichon was then forced to make up for the bal- recours contre ce genre “d’accident”, toute chaîne ance through the banks. restant libre de ne pas diffuser ce qu’elle a payé, et les At the time of Belokapi’s liquidation, the man- déprogrammations sont monnaie courante dans agement of children’s programming units contend- toutes les télés commerciales. La Une avait déjà mis

ANIMATION WORLD MAGAZINE February 1997 17 ed that the production and depreciation costs of Bélokapi en difficulté au début de la production de French animation were still higher than those of com- Robostory, qu’elle devait financer à hauteur du quart panies in the Far East, which prompted them to cyn- de son budget, en se retirant du montage alors que ically comment that, “the economics of lower cost la série était en cours de fabrication, obligeant Nicole also applied to the animation industry.” Pichon à trouver cette somme auprès des banques. On average, the cost for one minute of animation “Les lois économiques du moindre coût s’ap- was FF 50,000 in France against FF 2,000 in Japan, pliquent également au dessin animé”, faisaient remar- where the work was often subcontracted out to quer avec cynisme les responsables d’unités de pro- Korea. The teams working on Mondes Engloutis (FF gramme pour la jeunesse au moment de la liquida- 52,000/minute), Robostory (FF 42,000/minute), or tion de Bélokapi, en arguant que le prix de revient et Ys tla Manigique (FF 32,000/minute) were at odds d’amortissement des dessin animés français était with the declaration that, “It is wrong to say that Toei encore largement supérieur à celui des pays d’Extrême- can produce an episode a day,” as Michel Gauthier Orient. En moyenne 50 000F la minute contre 2 000 said in protest. At best, the schedule would be one au japon, où le travail est parfois sous-traité en Corée episode per week. With Belokapi, we were able to ou à Hong-Kong. Les équipes des Mondes engloutis turn out 2 a month, at a cost of FF 32,000/minute. (52 000 Fr la Mn), de Robostory (42 000 Fr la Mn) Furthermore, the Japanese industry is 30,000 work- ou de Ys la magnifique (32 000 Fr la Mn) s’inscrivaient ers strong compared to 300 in France. We must also en faux contre ces déclarations : “Dire que la Toei peut add that the arguments and figures cited by the dif- produire un épisode par jour est faux,” protestait ferent network heads were shameful and dishonest, Michel Gauthier. “La cadence est au mieux d’un par because Plan Image’s objectives has never been to semaine. A Bélokapi, nous étions arrivés à deux par align with Japanese and Korean production capaci- mois, pour un coût de 32 000F la minute. En outre, ties; instead, they were to build an industrial sector l’industrie japonaise dispose de 30 000 salariés, con- able, among other things, to maintain the cultural tre 300 en France.” Ajoutons que les arguments et specificity of French animation. When Jacqueline comparaisons des responsable de chaînes relevaient Jouvert, head of programming at Antenne 2 (France’s d’une mauvaise foi éhontée : Le but du Plan Image second public TV network), declared that, “I imposed n’avait jamais été de s’aligner sur la capacité de pro- a 30% quota for national animation and I intend to duction du Japon ou de la Corée, mais de construire respect it,” she just wanted to be reassuring. She also un secteur industriel apte, entre autres, à préserver added that, “We will broadcast all the shows ordered la spécificité culturelle de l’animation française. from Belokapi.” But in order for her to do so, the Jacqueline Joubert, responsable des émissions pour shows had to be finished, and this was not the case la jeunesse d’Antenne 2 (Deuxième chaîne de télévi- with Ys la Manifique, despite all the efforts put forth sion française, publique) se voulait rassurante et to save the project. déclarait : “J’ai imposé un quota de 30% d’animation Antenne 2 did not increase its share to make up nationale dans mes programmes, je compte bien le for the hole left by the withdrawal of Belokapi; and respecter. Nous diffuserons les films commandés à since another investor did not come up with the Bélokapi.” Encore aurait-il fallu que ces films puissent extra FF 8 million, the half-finished series ended up être terminés, ce qui ne fut pas le cas de Ys la forgotten. Magnifique, malgré les efforts déployés par l’ensem- ble de l’équipe pour tenter de sauver le projet. A2 Animation is not something n’augmenta pas son apport pour combler le trou that be conceived of as a creusé par la defection de Bélokapi, et comme aucun mechanical process which can autre investisseur ne vînt apporter ces 8 MF man- be subcontracted out. quants, la série pourtant à moitié animée finit aux oubliettes.

Ys la Magnifique, or the Engulfed Series Ys la magnifique, la serie engloutie In 1985, the project, winner of the Antenne Ce projet, lauréat du Concours A2/Ministère de 2/Ministry of Culture contest, was the first Franco- la Culture, est devenu en 1985 la première grande Canadian production of international standing. Its coproduction franco-canadienne d’envergure inter- aim was to reconnect with its European cultural her- nationale. Son ambition était de renouer avec le pat-

ANIMATION WORLD MAGAZINE February 1997 18 itage (Ys la Magnifique was inspired by a Brittany rimoine culturel européen (Ys la Magnifique s’inspire legend) and to show that it was possible to offer d’une légende bretonne), et de montrer qu’on peut original stories using quality animation, while respect- servir des histoires originales par une animation de ing the demands of a series. At the time, that ambi- qualité tout en respectant les contraintes de la série. tion was considered by many as “unrealistic, out- A l’époque, cette ambition était considérée par dated and even useless,” and was widely criticized. beaucoup comme “irréaliste, dépassé, voir même The technicians who were working on it, union and inutile”. Ce combat a été abondamment dénigré. On nonunion, were blamed for betting too much on a a reproché au techniciens qui le menaient, dans le “mediocre” series. If many fought hard for the exis- Syndicat ou en marge de celui-ci, de tout miser sur les tence of an industrial sector capable of producing séries, considéré comme des produits “médiocres”. Si animated series, it is because they considered that it certains se sont beaucoup battus pour qu’existe un was only on that foundation would it be was possi- secteur industriel de l’animation de série, c’est parce ble to build an industry capable of turning out fea- qu’ils considéraient que c’était sur cette assise que ture films and leave enough creative space for short pouvait se construire une industrie du long métrage, auteur films. In fact, that objective was supposed to mais aussi un espace de création pour le court allow the creation of an economic dynamics that métrage d’auteur. En effet, cet objectif devait perme- would trickle down the whole animation industry ttre de créer une dynamique économique propre à and pull it out of the craftsman ghetto it was kept in. This is the case in Japan, where the numerous TV series are nothing but the ransom that we have to pay to see masterpieces like those of Takahata or Miyazaki. We did fight to end up providing mediocre animation to the public. Our fight is an attempt to build the foundation of an industry. Today in France, there are no more animated series, and that is not a gain for animation in gen- eral. If no producer is ready to bet on making a series in France, it will seem impossible to expect to Piotr Kamler’s Une mission éphémre (A Short-Life Mission) (1992). see feature films as well. The diffi- rejaillir sur l’ensemble des productions d’animation et culties met by Jean Francois Laguione in the mak- sortir l’animation du ghetto de l’artisanat. C’est le cas ing of Le Chateau des Singes or Michel Ocelot with au Japon, où les innombrables séries dont la télé nous Kirikon et la Sorceiére are a testament to that. As for a abreuvés sont la rançon pour les chef-d’oeuvre d’un the French film La Vie est un Grand Chelm, it was ani- Takahata ou d’un Miyazaki. Nous ne nous sommes mated in Romania. pas battus pour imposer de l’animation “médiocre”, nous nous sommes battus pour tenter de construire Embezzlement of Public Funds les bases d’une industrie. Although the demise of French animated car- Aujourd’hui, pratiquement plus aucune série n’est toons was also a serious failure of the government, animée en France, et l’animation en général n’y a it did not stop it from “opening the umbrella” so to rien gagné : Si plus aucun producteur de séries ne fait speak. Two special funds were used: the support le pari de fabriquer en France, il semble tout aussi fund and the support account both served as a shield impossible de réaliser un long-métrage en France, si and an alibi for hiding. The reality is that those funds l’on en croit les difficultés rencontrées par Jean-François are being collected even as we speak, by producers Laguionie (Le château des Singes) ou Michel Ocelot who are not doing any work on in France except (Kirikou et la Sorcière). Quant au film français La Vie for storyboards, graphic research and the model est un Grand Chelm, d’Albert Kaminski, il a été animé

ANIMATION WORLD MAGAZINE February 1997 19 sheets—enough to keep 10 persons busy. The real en Hongrie, co-production oblige. work is sent off to Korea or Taiwan, only to come back for postproduction (sound, editing, etc.). It is Le détournement des fonds publics clear that public funds are subsidizing jobs for Koreans Bien que la liquidation du dessin animé français fut and Taiwanese. un grave échec aussi pour les pouvoirs publics, le TV networks don’t play their role either. Instead of gouvernement, “ouvrit le parapluie” : le fond de sou- promoting a national production that will create its tien et le compte de soutien furent les deux dossiers own market, which is the indispensable basis for the alibi derrière lesquels l’Etat s’abrita. En réalité, ces aides existence of an industry that would help create sont encore aujourd’hui raflées par des producteurs French cultural expression, the networks limit them- qui ne fabriquent pas sur le territoire : A part le story- selves to filling their schedules with cheap product. board, les recherches graphique et les model sheets – du travail pour une dizaine de personnes – l’ou- vrage s’en va très vite en Corée ou à Taïwan, et ne Unlike the American and revient que pour la sonorisation et le mixage, c’est à Japanese networks, the fees dire la signature. Ainsi les fonds publics vont finale- French television pays for ani- ment à la production étrangère et subventionnent mated programming are very l’emploi des Coréens ou des Taïwanais. low; being only 10% to 15% of Les chaînes de télé, de leur coté, n’assument pas their actual budgets versus 50% leur rôle : favoriser une production nationale pour to 70%. contribuer à créer leur propre marché, base indis- pensable à l’existence d’une industrie, et permettre The failure of Plan Image is not to be found only l’expression culturelle de la France. Elles se contentent at the level of competition between the economic de remplir des grilles de programme avec des pro- superpowers, which has more than adverse social duits bon marché. effects; it is also a failure on the cultural front. The net- L’échec du Plan Image ne se situa donc pas seule- works and the large organizations responsible for ment sur le champs de la bataille mondiale que se the future of audiovisuals bear a heavy responsibili- livrent les grandes puissances sur le plan économique, ty for this failure. il n’eut pas seulement des répercussions sociales dom- mageables, ce fut bien une défaite sur le plan cul- Mickey to the Rescue of French Animation, turel. Les chaînes de télé et les grands groupes qui or the Other Way Around détiennent les destinées de l’audiovisuel entre leurs Today, animation is experiencing a promising mains portent la lourde responsabilité de cette échec. worldwide renewal. Gaumont has decided to come back for the Dupuis series after the success of Spiron. Mickey a la Rescousse du Dessin Animé Français, Gaumont continues to mine this Franco-Belgian ani- ou le Contraire... mation heritage. A number of series are under way. Aujourd’hui, le dessin animé connait un renou- Very few or none will be made in France. The fight veau prometteur dans le monde : aussi la Gaumont is already lost. The battle for better working conditions revient-elle à la série, Dupuis, après le succès de Spirou, must be fought endlessly. The members of SNTPCT continue l’adaptation du patrimoine de la B.D. fran- are there to fight it, despite the setbacks and diffi- co-belge, plusieurs séries sont en chantier. Très peu, culties, wherever they may be. Especially in the Walt voire même aucune ne sera animée en France, ce Disney Feature Animation studio in France—the only combat là est perdu. La bataille pour les conditions de studio that can claim to have the largest team of travail est sans cesse à recommencer. Les militants du European animators, which also has the capacity to SNTPCT sont toujours là pour la mener, malgré les produce animated features without subcontracting revers et les difficultés, partout où ils sont. work out. Notamment dans le studio de dessin animé Ironically enough, that same studio made an français qui réunit la plus grosse équipe d’animateurs important contribution to the adaptation of a mas- européens, le seul qui ait la capacité de produire des terpiece of French cultural heritage: Victor Hugo’s long-métrages sans sous-traiter, Walt Disney Feature Notre Dame de Paris. It may seem pitiful that not Animation France. Ironie du sort, ce studio vient d’ap- one French producer was able to acquire the nec- porter une contribution décisive à l’adaptation en ani-

ANIMATION WORLD MAGAZINE February 1997 20 essary means to tap into that heritage and instead mation d’un chef d’oeuvre du patrimoine culturel watch it pillaged by major American corporations. français : Notre Dame de Paris, de Victor Hugo. On Of course, one may argue that Disney’s studio, based peut trouver désolant qu’aucun producteur français in Montreuil, on the outskirts of Paris, is a French stu- ne se soit donné les moyens de puiser dans ce patri- dio with a French and European crew, and is proud moine et qu’il soit exploité, pillé diront certains, par les of its specificity. Majors compagnies américaines. On peut aussi con- In 1990, the union created as a section of SNT- sidérer que, justement, le studio Disney, basé à PCT in Disney and was able to acquire an audience Montreuil, en banlieue parisienne, est un studio well beyond the limits of the company. That audi- français, réunissant une équipe française et ence is expressed not only in the number of mem- européenne unie et fière de sa spécificité. bers, but also in the fact that its people on the Board Créée en 1990 en son sein, la section syndicale du of Personnel are regularly elected by large margins. SNTPCT a su redonner à ce syndicat une audience They were not only able to recapture its credibility qui dépasse les limites de l’entreprise. En effet, celle- among the new generation of technicians, but it ci ne s’exprime pas seulement dans le nombre des was also able to present itself to management as a adhésions, mais également dans le fait que les can- major interlocutor. It then became possible to see didats présentés par le Syndicat aux élections des insti- that many agreements were signed and, in particu- tutions de représentation du personnel sont régulière- lar, a minimum wage agreement, which stands as a ment élus à une large majorité. Non seulement le reference point in the industry, since the termination Syndicat a su retrouver auprès des nouvelles généra- of the agreements prior to Plan Image. tions de techniciens une crédibilité qu’il avait perdue, We are certainly far from being a full-fledged mais il a su également s’imposer auprès de la Direction industrial sector, with large studios turning out qual- comme un interlocuteur incontournable. C’est ainsi ity productions promoting France’s cultural heritage. que plusieurs accords ont pu être ratifiés, notamment And we are far from full employment for the indus- un accord de salaires minima garantis qui fait déjà try’s technicians—layout artists, animators and design- référence dans la profession, le premier depuis l’a- ers—things that were promised or hoped for with bandon des accords antérieurs au Plan Image. On Plan Image. Yes, we are far having a strong union est peut être loin du secteur industriel où plusieurs presence in all the major companies, able to compel grosses structures fabriqueraient des séries de qual- negotiations for our claims. And we remain far from ité, mettant en valeur le patrimoine culturel français, having contracts guaranteeing basic hiring and work- loin du plein emploi pour les techniciens de l’anima- ing conditions. Despite all that, the presence of tion, les lay-out men, animateur et autres décorateurs. Disney in France must be viewed as a plus, not only Toutes choses qu’avait promis ou laissé entrevoir le for French animation, but for the union as well. It is Plan Image. On est loin du Syndicat présent dans only by multiplying contacts with unions in other toutes les grandes entreprises, imposant la négocia- countries, by trying to broaden its audience beyond tion de ses revendications, loin des conditions d’em- national boundaries, by being present inside the bauche et de travail garanties conventionnellement. most famous animation studio of them all that the Pourtant, la présence de Disney en France peut être union will be able to continue the fight that will allow un atout non seulement pour le dessin animé français, the singular little voice of French animation to be mais également pour le Syndicat. Car c’est aussi en heard. multipliant les contacts avec les syndicats des autres —Translated from the French by Bassirou Thioune pays, en cherchant à élargir son audience au delà des frontières et en étant présent au sein du plus grand et du plus célèbre studio de Dessin Animé que le Syndicat pourra continuer à se battre pour faire entendre la petite voix singulière du dessin animé français.

Jean-Luc Ballester is a representative of and Editor Jean-Luc Ballester est le représentant et editeur de of the newsletter for the Animation Department of l”Animation”, journal du secteur animation du SNT- the SNTPCT in Paris. PCT.

ANIMATION WORLD MAGAZINE February 1997 21 The Changing Winds of Korean Animation by Chung-bae Park n December, South Korea, known animated feature by Shin Dong Korea, but local broadcast outlets as the “Miracle on the Han River” Woo of the Shin Dong Hyun broth- could not afford to make such Iand a major automobile and semi- ers (Korea’s answer to Walt and Roy shows themselves. As a result, Korea conductor exporter, joined the Disney). The film’s success sparked became subordinate to the OECD. Today, however, the most public interest in Korean animation. American and Japanese oligopoly. important topic of conversation Though after one more film, the concerns the future of Korea’s enter- Shin brothers’ success ended due A Decade of Subcontracting tainment industry. And animation is to a dispute with their distributor. In The 1970s was the decade of the center of that industry. Nineteen the early 1970s, the market for subcontracting. Korean animators, ninety-five will be remembered because of their low wages and as a turning point for Korean ani- high skills, were in high demand mation: it was the year when the by American and Japanese pro- world’s second channel devoted ducers. While subcontracting exclusively to animation was greatly expanded the Korean ani- established and when Korea first mation industry, it also gave it a played host to the Seoul bad name, as it seemed to demon- International Cartoon & strate a lack of creativity and plan- Animation Festival (SICAF). These ning. events took place against a back- Before the 1988 Seoul Olympics, ground of the increased pro- as a result of cultural reform, there duction of animated features, all arose a demand for domestically of which signaled the start of a made animated TV series. The new phase in Korea’s animation demand was finally met when industry. Korea’s two major broadcasting sta- tions, KBS and MBC, showed the From Subcontracting to first locally-made animated series: Planning Wandering Gga Chi and Go On Korean animation nominally Running Hodori. The following began with a commercial for year,Wonder Kiddy 2020 sparked Lucky Toothpaste in 1956. But, Official poster for the Seoul International Cartoon interest on the international scene. it is usually agreed that it really and Animation Festival (SICAF). While both subcontracting and began with the production of Hong Korean animation rapidly shrank as domestic production continued to Gil Dong (1967), the country’s first the country was flooded with for- coexist after 1988, some studios eign animated films and TV shows. began to enter into co-production Korea’s animation industry Korea’s animation industry deals with Japanese and American acquired the unique distinction acquired the unique distinction of companies, enabling Korea to begin of being dominated by feature being dominated by feature films. entering the international anima- films. Most American and Japanese TV tion market. Disney’s success in series were being animated in 1992, spurred a revival the follow-

ANIMATION WORLD MAGAZINE February 1997 22 ing year of local animated features subcontracting to indigenous pro- games, the animation market start- for the first time in seven years. duction. This resulted in develop- ed to take off. ment and planning departments Another important change was What Inspired These Changes? being set up in the larger studios. the increase in the production of in- The first factor in changing Third, changes occurred house productions and the contin- Korea’s animation industry was that because of the new expectations uing challenge of making feature- the country’s major industrial com- engendered by the success of length films. The number of ani- panies changed their Disney animated fea- mated features increased steadily attitude about investing tures and the global (one each in 1993 and 1994, and for the 21st century. spread of Japanese three in both 1995 and 1996), as With the worldwide animation. Disney’s did the number of TV shows (five entertainment industry success, in particular, to six new series a year between expected to become allowed Korea to 1994 and 1996). However, with the highly profitable, they dream of animation exception of Little Dinosaur Dooly in became eager to enter as being a viable December 1996, most indigenous the field, which of industry in the same animated productions have not course included ani- league as automo- been successful. This shows that, mation! biles and semicon- despite Korea’s demonstrated tech- Jeiljedang invested ductors. And it was nical proficiency in animation, its in DreamWorks SKG the success of near- productions lack the creativity char- and began to produce by Japan’s animation acteristic of Korean cultural prod- animation through industry that sup- ucts. JCOM. The Dong Yang View outside of theater at ported that dream. SICAF. Group established the While subcontracting greatly Tooniverse cable channel, while From the Edges Towards the expanded the Korean anima- such industrial giants as Samsung, Center tion industry, it also gave it a Hundai, and DaeWoo are also These structural changes result- bad name, as it seemed to entering the fray. ed in many changes in the Korean demonstrate a lack of creativi- Second, there were changes in animation industry itself. Nineteen ty and planning. the structure of the animation indus- ninety-five, the first year of planned try itself. During the 1970s and animation, proved to be the turn- 1980s, Korea had been relied on as ing point. The most important For 1997, it is expected that the a source of cheap labor. When its change, though, was the birth of development and production of work force became more expensive the Dong Yang Group’s Tooniverse. original material will provide new and Korea started to shun low tech (Until then, Dong Yang had been opportunities to incorporate Korean industries, it started to lose subcon- a leading confectionery and finance styles, characters and plots, result- tracting work to Southeast Asia and company.) The laws governing ing in films of the same quality as China. It is a situation that threatens Korean cable television demanded Dooly. Korean animation is ready to the livelihood of the some 20,000 that 30% of programming be local- compete in the international mar- people employed at 450 studios. ly made, a mandate that was easi- ketplace through original TV series These workers, along with the ly fulfilled by animation. As a result, and international co-productions. major industrial companies, pro- along with co-ventures in such relat- As to computer animation, vided the basis for a transition from ed industries as cartoons and Korea, which was once a desert,

Armagedom (1995).

ANIMATION WORLD MAGAZINE February 1997 23 from only one prior to 1995, to four power of Disney and Japanese in 1995, and eight last year. These companies. well-educated directors, animators However, with substantial invest- and planners will ensure that the ment from the country’s industrial expansion of the local industry will giants, the increased interest by the not be short-lived and as such will public, and a new cadre of highly provide the most powerful force in trained animation artists, the Korean Korean animation. animation industry now has the Recent developments in anima- potential to change. tion parallel the country’s industrial Animation in Korea can perhaps policy, which is noted for govern- best be compared to country’s shoe ment working hand-in-hand with industry. During the 1970s and the private sector. The most impres- 1980s, Korean labor was a vital fac- sive example of this collaboration tor in subcontract shoemaking, a was SICAF, where attendance was role now assumed by China and over 300,000, once again illustrat- Southeast Asia. Recently, a slogan ing the great interest in locally-made used by a local shoe manufacturer product. The Korean government Poster for 1995 version of Shim brothers’Hong Gil Dong. also sees animation as the most competitive industry for the 21st has made significant progress, century. To demonstrate their con- which started withWa Bull in 1991. fidence, it has provided tax breaks The progress eventually resulted in by changing animation’s industrial having films entered into competi- classification and providing services tion at last year’s Hiroshima to producers—two changes which Animation Festival; in addition, this clearly demonstrates the govern- technology is now being used in ment’s commitment to the field. movies, commercials and other Despite all the changes and areas of film and television. progress made by Korea’s animation industry, it continues to remain on The laws governing Korean the periphery of the international cable television demanded that subcontracting system. The winds 30% of programming be locally of change are blowing, but nobody made, a mandate that was eas- knows whether they will turn into a ily fulfilled by animation. typhoon or simply fade away. Some Dinosaur Dooly (1996). speculate that the future of Korean animation is not bright, because of gained considerable popularity: “To Due to the animation boom, a the industry’s inability to plan, conquer or be conquered.” This number of animation schools were investors who demand immediate motto perfectly expresses the criti- established. Thus, the number of results, and the overwhelming cal situation of today’s Korean ani- animation courses has increased mation industry.

Chung-Bae Park is Vice President of MICOM , in Korea, and whose book, Animation Story, was pub- lished last year. An experienced animation producer, he was until recently President of Seiyong 1995 version of Shim brothers’Hong Gil Dong. Anitel.

ANIMATION WORLD MAGAZINE February 1997 24 ShinShin DongDong Mun,Mun, AnAn OldOld WWarriorarrior inin KoreanKorean AnimationAnimation

by John A. Lent

ne of the well kept secrets the world’s largest animation pro- arts, and set in motion plans for a of the animation world is ducer, its 80 to 100 studios churn- comics/animation museum and an Othe role played by South ing out up to 1,000 works yearly animation town. Korea, both in the production of for US, Canadian, Japanese, and Some results of this activity foreign films and television shows European clients. include the production of at least and in the dynamic transformation Even more impressive are the a half dozen feature-length films, of its sluggish domestic industry. strides made to develop local car- the establishment of a television In just 30 years, Korea has become toons, mostly since 1994. cartoon network, the binding Discovering that 98% of together of the desperate anima- all exportable visual tors into a professional organiza- products from Korea tion, and the publication of a quar- were animation, the terly animation journal. government acted Observing this phenomenal quickly to exploit this growth with more than a bit of resource. In less than nostalgia and wonderment has two years, it granted the been the acknowledged father of industry manufacturing Korean animation, Shin Dong status, affording a 20% Mun. Punctuating his reminisces tax break; established an with the question, “You ever hear annual Seoul Inter- such a miserable story of anima- national Cartoon and tion?,” Shin delights in delights in Animation Festival telling how the industry grew from (SICAF), contests to three people (himself, his wife, and encourage the creation his brother Shin Dong Woo) to of local cartoon charac- thousands of employees, from one ters and animation, and makeshift studio to about 100, and annual prizes for the from hand-made equipment to best animation; pro- computer technology. moted co-production Born in 1927, in what is now efforts; spurred the cre- North Korea, Shin has lived a life of ation of at least nine a movie script. His early interests university and college in science and art were combined training programs in as he pursued the study of archi- Poster from Shin’s second feature, Moppee & animation and cartoon tecture, a subject which he soon Chadolbawee. Courtesy of Chung-bae Park.

ANIMATION WORLD MAGAZINE February 1997 25 realized was not to his liking. He said, “We would make 10 minutes dropped out of the university at of animation, not like it, throw it the beginning of the Korean War, away, and do it again and again and during the ensuing conflict, until we got it right.” Improvisation was a prisoner of both the North dominated production as Shin Koreans and the Americans. applied knowledge he picked up through his many hobbies, one of which is astronomy. He explained: “As for special effects, I taught Discovering that 98% of all myself. One of my many hobbies exportable visual products is astronomy. I applied techniques from Korea were animation, used by astronomers to get the the government acted quickly double exposure effect. We impro- to exploit this resource. vised everything, even the way to get shadow effect through the Improvisations concept of accumulation of light.” Shin broke into animation with Finally, Shin and his crew faced no knowledge of the field, but the problem of obtaining equip- armed with dogged determina- ment and supplies. “We had no tion. His first work was a com- color, no cels,” he said, “and we mercial for a Korean rice wine could not import from Japan as company, completed at the time there were restrictions.” The result Story sketches for Shin’s first feature, of the historical student uprisings was that scavenging was added Mong Gil Dong. in early 1960. For the next six to Shin’s many duties as an ani- Moppee & Chadolbawee cost Shin years, Shin continued to produce mator. When the US Air Force financially. “I made a financial fail- animated commercials, until in threw away expired wide film used ure and the movie production 1966, he and a few friends in air surveillance, he was there to people were disappointed with embarked on making Korea’s first retrieve it. The film was erased with me,” he said. A devotee and imi- full-length feature, Mong Gil chemicals to make it transparent. tator (down to wearing a beret) of Dong. Based on a comic book When he could not obtain the use Osamu Tezuka, Shin likes to point story by Shin’s younger brother, of the animation camera at the US out that Japan’s premier cartoonist Shin Dong Woo, Mong Gil Dong Eighth Army base, Shin sent his also lost money on his animation. was an immediate success. The cameraman there to measure the “Mine is a sad story,” he said; “I lost number of people who saw it in stand and then duplicate it. The big money as I don’t have business Seoul during the first two weeks two of them designed a hand- ability. I’m suitable to be an artist, totaled more than 200,000. Shin made camera. not a business tycoon like some of remembered police controlling my juniors.” Among the latter he traffic in front of the theaters, there Disappointments & Happy referred to are Jung Wook and being so many ticket holders. Times Nelson Shin, both of whom went Getting a film like this (70 to Immediately after the release on to head major studios after 80 minutes, more than 125,000 of Mong Gil Dong, Shin began working with Shin in the 1960s. cels) into production took unimag- work on a second feature, From 1974-80, Shin headed inable patience and ingenuity. The Moppee & Chadolbawee, a mix- Universal Art Company, which problems seemed almost endless. ture of the fiction of Shin and his working as a subcontractor for For starters, there was the weath- brother. The six-month production both Japanese and American ani- er. The rainy season played havoc was shown in August 1967. Shin mation houses. The company with cels, which stuck together used lip synchronization in the car- went bankrupt, mainly because and were damaged. Then there toon, the know-how for which he “my junior partner was a swindler,” was the lack of training and exper- gleamed fro his life-long interest in Shin said. Disenchanted, he quit tise of the small staff, which neces- music. Korean animation in what he sitated repeating work; as Shin Like so many of his works, described as the “epochal year of

ANIMATION WORLD MAGAZINE February 1997 26 YYourour AdAd CouldCould BeBe HerHere!e!

For rate cards and additional information about various opportunities for exposure at Animation World Dong-Hun Shin at SICAF, 1995. Network, 1980.” For three years, he trav- Shin said this was his “happiest contact our eled, first settling in Toronto for time,” as he produced the series Los Angeles half a year, where he worked as a single-handedly (“I did not employ office at layout artist at Nelvana. After that, any assistants”) until 1992. he became somewhat of a free Shin’s last work in animation 213.468.2554 spirit, journeying for two years was making titles for Ninja Turtles from “Texas to Alaska.” He painted in 1993. Paraphrasing General landscapes, primarily of the 22 US Douglas MacArthur, he said that, or e-mail national parks he visited; the works like old soldiers, he is just fading any of our sales were sold to Korean Americans for away from animation. He spends representatives: traveling money and “some to his time now creating paintings send home to my wife.” and illustrations of musicians and listening to the more than 4,300 North America: disks he has collected. “I don’t “We would make 10 minutes Bart Vitek want to do risky work like anima- of animation, not like it, throw [email protected] tion again,” he said. it away, and do it again and again until we got it right.” Europe: Returning to Seoul, Shin was Vincent Ferri appointed honorary chairman of [email protected] Dai Won Animation Company in 1983, where he helped with the feature, Dokko Tao (1983). That John A. Lent is on the faculty of U.K. same year, Munwha Broadcasting Temple University, in Alan Smith Company commissioned Dai Won Philadelphia. He is also the editor [email protected] to produce a daily animation series of Asian Cinema, the journal of for children. Dai Won’s head, Jung the Asian Cinema Studies Society, Wook, one of Shin’s assistants ear- which he also chairs. Other Location: lier, gave him the assignment to do independently under his Shin [email protected] Dong Mun Production Company.

ANIMATION WORLD MAGAZINE February 1997 27 StayingStaying AheadAhead ofof thethe GameGame

by Jerry Hibbert

The most common mistake I see, company history, I will be able to is the use of computers in place of show how we have evolved, a good idea or as a substitute for grown and branched out into new poor draughtsmanship. The purest areas as and when the time seemed filmmaker’s skills (be they for a 30 right. These changes have varied second TV commercial or a one- from hiring a new director, to and-a-half-hour feature) will always exploiting the opportunities offered be the most important. The ability to by the Internet. create images, the art of character- We are, primarily, a commercials ization, the scriptwriting, all of these production company, having pro- skills come way ahead of technique. duced over 1300 spots for compa- Yet computers, and the inevitable nies ranging from large multina- avalanche of new technology now tionals to small specialized compa- available to studios, should be nies and charities. We have also viewed with discerning enthusiasm! directed music videos for artists like In the 14 years Hibbert Ralph Queen and Fleetwood Mac, and Animation (HRA) has been operat- television title sequences for the UK’s ing, I believe that the changes in Independent Network and the BBC. the animation industry have been My partner, Graham Ralph and greater than at any other time. In I joined forces in 1983. In an early order to maintain our position as attempt to buck tradition, we invit- Jerry Hibbert. one of London’s leading studios, we ed maverick designer Pat Gavin to have had to keep our eyes firmly on join us as third director. His inclu- ritain is now generally con- the horizon as well as on the sidered to be one of the coun- job in hand. Btries at the forefront of the ani- mation explosion. Our home grown Embracing New Ideas talent is in great demand overseas, As a studio, we made an and our ability to keep one step early decision to try and ahead of the new technology embrace new ideas and boom is well known. Few anima- explore new directions in an tors now regard technological attempt to keep us on our toes, growth with suspicion, or as a creatively, and to allow us to threat to their traditional skills, but compete successfully in an ever Title sequence for South Bank Show No. 6 rather the complementary tool it changing market. I hope, that (London Weekend Television), directed by Pat actually is. by taking you through our Gavin.

ANIMATION WORLD MAGAZINE February 1997 28 won over 40 commen- well as being in competition at fes- dations from around the tivals in Annecy, Berlin and Adelaide. world, and had moved Graham followed this with a com- to our own large plete change of style, producing a promises in London’s half-hour version of Wagner’s Soho. Rhinegold, which was shown on Graham in particular BBC Television in 1994 as part of felt the need for fresh the Operavox series. challenges and an entertaininents division Speeding Up the Production seemed to offer the Process opportunities that he felt By this stage, in an attempt to would creatively refresh speed up the production process him. So in 1989, we and to allow us greater flexibility Dale Farms Bring Me Sunshine spot, directed by Graham launched Hibbert Ralph before entering an edit suite, we Ralph. Entertainment (HRE) became one of the first companies sion was considered to be a radical with Graham at the helm. to invest in an Animo system. This is step at the time, as Pat is not an ani- The new company’s aim was to a software package tailored to the mator in the purest sense, but his produce television programs with needs of animation studios. It runs love of animation, combined with the same professional approach and on a network of high-performance his formidable design and film skills adherence to quality already estab- PCs and, starting with layout meant that he was able to add a lished within HRA. Placing the designs, original animation draw- completely new dimension to our emphasis on strong narrative struc- ings and backgrounds, the system fledgling studio. ture and designing simple, but provides numerous production tools In the early years, we concen- charming characters and back- to produce high quality digital ani- trated on commercials and TV title grounds, sequences, including many award- Graham winners for London Weekend managed Television’s arts flagship The South to sur- Bank Show. mount As our reputation grew, natu- the first rally enough, our workload and most increased and by 1989 the need for pressing another director became of para- problem, mount importance. Luckily we did- that of n’t have to look far, as one of our having to star animators, Kim Burdon, was the adjust to obvious choice. He has gone on to the far produce some of our most memo- smaller rable commercials, adding to the budgets awards cabinet in the process! The of the studio does not consider itself to entertain- have a house style—we have con- ments centrated on being flexible and world! Toshiba Ni-Cam spot, directed by Jerry Hibbert. experimental and avoided the His first pigeonholing by clients that can so project, a charming children’s series mation direct to disc, videotape or often hinder a studio’s growth. called Spider!, was snapped up by 35mm film. In essence, we use it as By this, stage, Graham was the BBC almost immediately. It aired a flexible paint, trace and com- experiencing commercials overload! in 1991 and has been sold through- positing package, as it can scan He had directed hundreds of com- out the world, winning prizes at The drawings; create color character mercials over the previous 6 years, Chicago Children’s Film Festival, as models; digitally paint and recolor

ANIMATION WORLD MAGAZINE February 1997 29 sequences and combine all this with Short Film at The Berlin Film Festival. because in London, production other media such as live-action or It also went on to be honored at companies and facility houses are 3D animation sequences. the Amalfi Animation Festival, the generally regarded as two totally Graham gave it its first real test, Chicago Children’s Film Festival and different organizations. Hibbert employing it for the opening title the Zlin International Film Festival Ralph was seen to be redefining the sequence on Rhinegold and vari- for Children and Youth in the Czech accepted definition of a British pro- ous short sequences within the film Republic. duction company. In reality, we saw itself. It showed great potential from it as a simple extension to the outset, but was slower and less the traditional drawn ani- flexible than we had initially hoped. mation skills we already Now, three years on and several possess. updates later, it has shed its teething Most UK production troubles and has become fast and companies are reliant on reliable. We now use it regularly for facility houses to supply its paint, trace and inbetweening 3D computer work, capabilities and, ultimately, it will be which is budgeted and of enormous benefit to both HRA subject to inevitable time and HRE, but especially HRE, if the constraints. Although we entertainments side take on more still have strong working series work in the future. relationships with most of After Rhinegold, HRE was com- London’s facility houses, missioned by BBC to produce a this new setup has series entitled William’s Wish enabled our traditionally Wellingtons, which has become trained artists, animators something of a children’s classic in and directors, to have the UK. They are now at the plan- personal access to the ning stages for a third series. The equipment, which has second, meanwhile, has aired in the The Forgotten Toys (Meridian Broadcasting), directed by allowed us all far greater Graham Ralph. US, within Children Television freedom to experiment Workshop’s Big Bag program and is A series of The Forgotten Toys and break new ground. currently airing on BBC television in is now in production and due to air To take control of the new the UK. in the autumn of this year. The team department and help channel all is also busy developing a new half- this creative energy, we employed hour special entitled The First Snow Natalie Zita, a former award-winner The studio does not consider of Winter, which they hope to have with London facility The FrameStore, itself to have a house style—we in production later this year. to act as Head of 3D. Natalie was have concentrated on being closely involved in setting up the flexible and experimental and The Next Logical Step unit and was attracted to the new avoided the pigeonholing by One of the greatest changes we department because she felt that it clients that can so often hinder have chosen to undertake, has would encourage original work, a studio’s growth. been the setting up of a 3D depart- particularly at the heart of the ani- ment. After the computerization of mator’s craft: characterization. Their most recent, and most the 2D paint and trace process with Eighteen months later, and with ambitious project is a half hour spe- Animo, the next logical step was to a staff of 12, the New Technology cial entitled The Forgotten Toys. gear the studio up to tackle 3D Unit has certainly proved itself. As Featuring the voices of Bob Hoskins work. We began researching this well as meeting all our creative and Joanna Lumley, it was shown possibility 3 years ago and eventu- expectations, it has enabled us on the UK’s ITV (Independent) net- ally, 18 months later, our New when necessary to offer agency pro- work on December 26, 1995. It was Technology Unit opened it’s doors. ducers more flexibility with costs and recently awarded the UNICEF Jury This was considered to be a rad- scheduling, all of which adds up to and Children’s Jury prizes for Best ical step for a British studio, not least quite an attractive prospect for our

ANIMATION WORLD MAGAZINE February 1997 30 missioned animation stage-by-stage during it’s development, and can view our comments at any time, anywhere, provided they have a Web browser, a Hibbert Ralph pass- word and a connection to the Internet, and remain confident that their work cannot be seen by oth- ers. This extraordinary leap forward for the communications industry will allow us to service clients on the other side of the world, as if they were a mere street away. Even the most hands-on creative will feel 100% involved at every stage of the decision making process.

Toshiba London/New York spot, directed by Jerry Hibbert. The client can view their com- missioned animation stage-by- clients. us by the Internet. We have Set up stage during it’s development, We have produced in-house our web site and continually work and can view our comments at some notable commercials, includ- to improve it. any time, anywhere, provided ing two for Toshiba laptop com- Like everyone else, we intend to they have a Web browser, a puters entitled London/New York use it to advertise ourselves and to Hibbert Ralph password and a and Town and Country through allow people to “visit” our studio to connection to the Internet, and Duckworth Finn Grubb Waters view some of our past work. Where remain confident that their (London), and several US commer- we feel we can most benefit, is by work cannot be seen by others. cials, including Holiday Celebration utilizing a video web conference sys- for FTD through Grey (New York) tem made available to us by 2GL and Maze and Open Door for Systems Interactive. This package Although technical changes American Airlines through DDB streams video animation—still in have provided opportunities not Needham (Dallas). production—through a web con- previously considered possible, the In 1995, we hired two new ference page contained in the com- traditional skills have never been directors, bringing our total to six. missioning client’s secure project more important than they are now. Caron Creed and Andrew Painter folder. The client can view their com- But with a little help from our digi- had both worked at Richard tal friends, the sky is truly the limit. Williams’ studio, amongst In the words of the immortal Buzz others, and had been Lightyear, “To infinity and beyond!” offered positions at three of the major US studios. We were extremely pleased that they chose to join us, and they have contributed huge- ly to our success over the last 18 months. Jerry Hibbert is Director of Hibbert With so much new Ralph Animation and Chairman of expertise in house and fol- The Guild of British Animation. lowing on from our recent successes in the US, it seemed logical to investigate Hershey’s Sleigh Ride spot, directed by Jerry Hibbert. the opportunities offered to

ANIMATION WORLD MAGAZINE February 1997 31 Animation in Singapore by Gigi Hu

production and post-production art and design. Such areas have tra- facilities, including satellite uplink ditionally been given a low priority. and transmission capabilities (the Singapore can never be a second t is often said that the Singapore country now boasts of being home Philippines, which is well-known for economy is run by a paternalistic to some 15 satellite programmers her pool of talented artists and ani- Igovernment,, which has been in using it as a regional beaming mators. Virgilio S. Labrador, power since 1965. Foreign media base), the infrastructure is now Marketing Manager at Asia often associate the Island’s econo- ready for more adventurous nur- Broadcast Centre, said that, “Up to my with the tag name “Singapore turing. today, our best selling medium is Inc.” Singapore Inc. or not, there still the Komics, which have been salient changes in the we [have been] broadcasting sector since the early acquainted with since 1990s. Amidst lawsuits and warn- early childhood. It is ings against foreign press interfer- an expressive society, ence in the domestic politics of basically. Singing, Singapore, the government was not drawing, believing in shy about stating its objective to romance and adven- develop the island city as “an infor- ture—this is part and mation and media hub.” These parcel of our visual cul- developments were crystallized at ture.” His view is also the recent MIP Asia Exhibition held shared by fellow in Hong Kong, a premier Asian Filipino, David broadcasting exhibition event; the Ivan Foo (wearing cap) and classmates from Nanyang Patanne, a full-time Singapore Pavilion was noticeably Polytechnic at Yoyugi Animation Gakuin, November- animator based at represented by 13 media compa- December 1994. Animata, “due to our nies. Two of them were animation economic background companies, namely Animata and and structure of society, paper and Animasia. In the Singapore context, pencil are the cheapest materials investing in high-end comput- we can lay our hands on. We sim- Government Focus ers and software is not a finan- ply draw ourselves into college.” Singapore’s technocratic gov- cial problem, provided that it In the Singapore context, invest- ernment has always shown a pen- justifies public spending. ing in high-end computers and soft- chant for engineering or IT-related ware is not a financial problem, pro- industries. Computer animation vided that it justifies public spend- seem to fit the high-tech picture. I say “adventurous” because ani- ing. In August 1996, Having attracted companies to set mation deals with content produc- Alias/Wavefront, the American ani- up shop on the hardware side, i.e., tion, and it is also closely related to mation software company, set up

ANIMATION WORLD MAGAZINE February 1997 32 an office in Singapore. Its Senior Asia necessary. Frames, VHQ, Animasia, ID Imaging Sales Manager, Alex Kelly, reiterated Over at Ngee Ann Polytechnic, and Garman Animation. a key fact, that the “government recent developments include the Though there are not that many and the education segment” is establishment of a sophisticated to speak of, each has its own niche. growing rapidly in Singapore. “Digital Effects Studio” at the Among them, Animata Productions Department of Film is the oldest, with 15 years of gen- and Media Studies. uine 2D animation work, which has Like at Nanyang been slowly progressing from com- Polytechnic, the mercials to educational programs, necessary heavy feature films and animated episodes investment comes of sitcoms. I first met Mogan Subra from the Economic (Animata’s founder and Creative Development Director) and his staff in 1994, Board, a govern- when they spoke of the medium ment statutory with passion and optimism, their board. Both poly- struggles to get jobs, and at the technics are entrust- same time educating funding bod- ed the tasks of not ies of the medium’s potential. only training the Subra’s award-winning short Drawing and Illustration class at Nanyang Polytechnic. Photo current cohort of film, The Cage, is of penetrating courtesy of Albert Lim. full-time students, substance and social meaning. On but to also conduct the commercial side, Animata had courses to upgrade the skills of tele- also won international awards. The Education vision and multimedia profession- company had also produced Indeed it is happening in the als. Temasek Polytechnic, which had Singapore’s first animated feature, a polytechnics. In the first quarter of initiated and co-organized the first 75-minute film on The Life of the 1996, Nanyang Polytechnic Animation Fiesta in Singapore in Buddha. Their in-house dream pro- launched its three-year, full-time June 1996, is also in the process of ject, a series entitled The Adventures Diploma in Digital Media Design revamping its media design cours- of Hardy Driftwood, has also taken around the time when GCE “O” and es to meet new challenges. off. Two-and-a-half years in the mak- “A” Levels results were announced. It was a fast bid to attract young people into the barely formed indus- try. The polytechnic has more than 35 SGI machines ranging from Indy to Onyx, and other Mac and PC- based workstations. The course aims to provide professional train- ing in creative and IT skills. To help accomplish this, it signed a three- year Memorandum of Understand- ing with Sheridan College, bring- ing in Canadian expertise and the transference of artistic skills and Garman Animation Studio used 3D animation composited over a live-action back- knowledge. ground for this scene from the Thai feature Sayum Kui (Kantana, 1994). I had the privilege of visiting this “hottest course in town.” Indeed, ing, Animata has finally found a Sheridan College is exposing the Animation Companies sponsoring partner, the Hong Kong Nanyang Poly students to classical Strictly speaking, there are only and Shanghai Bank who has adopt- animation first, a step-by-step a handful of animation companies ed it as part of their corporate cam- approach that is the both basic and in Singapore, namely Animata, 25 paign, “Care for the Nature.” The

ANIMATION WORLD MAGAZINE February 1997 33 Cartoons), noted that Observations “the word got around Suddenly, there has been a that Singapore wanted boom in animation in Singapore to develop its comput- with a equally sudden demand for er animation industry.” animators. But Singapore is not He frankly stated that alone. The region is opening up its he is attracted by the broadcasting industry. Barely start- financial backing of ed, with a few home-grown indi- Wuthelam. The compa- vidual animators and companies like ny has already installed 25 Frames have decided to relocate $750,000 worth of to Kuala Lumpur. Like Indonesia, equipment and is Malaysia, by early this year, will have Wendy Boyd teaching Colour Theory module, Nanyang actively looking for ani- a total of 6 terminal TV channels, 8 Polytechnic. Photo courtesy of Albert Lim. mators and is employ- cable channels and 20 satellite TV series is currently shown daily local- ing experienced Filipino channels. ly on television on Premier 12. Each animators. Quek Siew Liang, Client 4-1/2 minute episode is created Servicing Manager at Animata, stat- especially for young children and Suddenly, there has been a ed that, “the region is hungry for preteens. Launched in November boom in animation in programs.” David Shaw, Senior 1996, Hardy Driftwood has gone Singapore with a equally sud- Animator, at ID Imaging, feels that on a roadshow from school to den demand for animators. “the region is in an awake mode; school, and a merchandising pack- there are opportunities and the envi- age of a poster, coloring book, T- ronment is more open.” shirt and comics is also being mar- Animasia is also launching its (Incidentally, Shaw was recruited keted. own character animation series, from Australia through the Internet Presently, it is on the way mak- called Losers in Life, at this month’s about one-and-a-half years ago.) ing a 23-minute per episode ani- NAPTE Convention in New Orleans. Singapore is susceptible to for- mated series of Si doel, a popular Created by Glen Kennedy, it stars eign influences. Independence Day, sitcom in Indonesia. By the end of two down and out spies in what is The Rock, Toy Story—such movies 1997, the 13-episode show will be have exposed the popu- seen on 5 TV stations in Indonesia. lation to the wonders of Interestingly, Animasia is also special effects. Jonathan developing along these same lines, Ang, Senior 3D Designer but its niche is clearly different. Part at VHQ, a company of the Wuthelam Group, a multi- known more for its one- national corporation, it has recent- stop post-production ser- ly merged with Kennedy Cartoons, vices, noticed that adver- in Manila, the studio wants to tising agencies and their explore all forms of animation. Just clients are now better one-year old, it has already gotten acquainted with the several commissioned projects: Kleo capabilities of digital the Misfit Unicorn, a 24-episode design for which there is series for Stanfield Animation in a growing demand. Vancouver and Chucklewood But one of the chal- Critters, a 13-episode series for Los Logo animation by Garman Animation for Singapore’s lenges he faced was the Angeles’ Encore Enterprises. Channel KTV’s program, KTV Gold . time factor. Clients are Canadian Glen Kennedy, the owner generally ignorant of the of Kennedy Cartoons and an expe- characterized as a rock ‘n roll com- time needed to do animation and rienced animator (mainly with the edy in the spirit of The Simpsons expect these jobs to be completed major American studios based in and Looney Tunes. in a couple of weeks. His experience Manila like the Hanna Barbera’s Fil- is shared by Shireen V. Pinto,

ANIMATION WORLD MAGAZINE February 1997 34 Director/Administration at ID in animation. For one thing, Imaging (a company which spe- Singapore’s young people now cializes in computer animation), said have more choices of training cours- that, “Clients expect us to cater to es and broadcasting personnel have last minute jobs. They didn’t realize more opportunities to relearn and that a 15-second animation job, upgrade their skills. If all goes well, depending on its complexities, can Singapore may meet the expected take up to 2-1/2 months involving demand for 2,500 digital media four persons’ work.” design producers by the year 2000. Garman Herigstad, American Albert Lim, Coordinator at animator cum animation software Nanyang Polytechnic’s Digital Media 3D animated commercial produced by trainer, who has extensive experi- Design Centre, puts it clearly that, VHQ. ence in Asia, finds Asian clients “tend “Singapore is attempting to create though, did lead them to a subsi- to want it quick and cheap.” Having an animation industry, we are at the dized trip to Yoyogi Animation worked in Hong Kong, Taiwan, training people stage. Our ultimate Institute in Tokyo, where they Thailand and China, he finds that goal is to help contribute to the attended an 8-week crash course perhaps art skills are not a prized media hub of this region.” I could on cel animation. Juan will never possession in Chinese society. Now, not disagree. It does make sense forget his Japanese counterparts’ with the onslaught of computer that, with the country’s strong IT fervor, “Oh, they draw while queu- technology and heavy investment infrastructure and a general non- ing or waiting for classes.” It was an by government in digital media, he technophobic populace, Singapore eye-opening experience for him. cautioned about the inadvertent can contribute to the world’s ani- Two foreign speakers who production of computer technolo- mation arena as Philippines has. attended the Animation Fiesta in gists and information animators in However, I just wonder whether the June observed that, “the country the long run. higher authorities are aware of the needs more Subras, the kind of The nature of this medium. Donald Cage productions.” In short, ani- If all goes well, Singapore may Duck will quack and strike unrea- mation that “breathes,” emotions meet the expected demand for sonably if you try to make him con- sublime or expressed. 2,500 digital media design pro- form; look what happened to Well, the machines have arrived, ducers by the year 2000. Michael Jordan at the Toon City in foreign companies have moved Space Jam and the in the Japanese their base to Singapore and spon- cult film, Akira, which is superbly sorship is not lacking. It will be inter- The Future rebellious in both its storytelling con- esting to further monitor Singapore’s As an animation scholar and a tents and techniques. attempt to develop a computer ani- video/filmmaker, I welcome this Can animators been mass-pro- mation industry and how it will help overwhelming explosion of interest duced? Lilian Soon, animation contribute to the government’s over- teacher at Temasek Poly’s all objective of turning the island Videographics and republic into Asia’s broadcasting Photography Course, said hub. that, “For last year, out of over 20 students, I was Gigi Hu is now a Ph.D. student lucky to have 3 who were based at the University of Hong committed to do an ani- Kong, Department of mation work for their grad- Comparative Literature. Prior to uation project.” Recalled this, she was a media and cultural Ngee Ann Poly graduate, studies lecturer at Temasek Juan Foo, for their batch Polytechnic, School of Design, who graduated in 1995-96, Singapore. Last year, with Lilian only four were keen about Soon, she organized Singapore’s studying the medium fur- Animation Fiesta. 3D animated commercial produced by VHQ. ther. Their enthusiasm,

ANIMATION WORLD MAGAZINE February 1997 35 DonDon tt QuitQuit YYourour DaDayy Job,Job, WWorkork thethe NNightight ShiftShift by Piet Kroon he first thing I do in the morn- produced in Europe. ing is check my fax machine. From time to time everybody TMost mornings I will find who works in the animation designs sent to me by Gill Bradley, industry should make a short the art director of my film personal film. Most people T.R.A.N.S.I.T. Sometimes I find key haven’t done their own thing poses from one of the animators for since college. Don’t get me approval. Then I log in to pick up wrong. I enjoy working in fea- my email. Production notes from ture animation very much. The

Iain Harvey, T.R.A.N.S.I.T.’s British quality standards are high in fea- Piet Kroon producer, or correspondence from ture animation. You have to push Picture Start, the Dutch co-produc- your limits, so you grow as an artist. /An American Tail II in London, I er. Real urgent issues I try to deal But on the other hand there’s dropped out of the feature anima- with straight away, but there is not the”cog in the machine” trauma. tion business to make DaDA, a 10 a lot of time in the morning. I have Working in a big studio your artistic minute short, produced by Cilia van to get to work. scope is precisely defined: you are Dijk and financed by the Dutch Film I drop off my son at his school, animating, doing lay outs, clean ups Fund. I wrote the script while I ani- after a busy family breakfast, and or painting backgrounds etcetera. mated with Paul Driessen on his film get on the freeway to drive into It is virtually impossible to influence The Waterpeople. I guess I took a Glendale. By day, I work as a story- anything beyond your scope. You cue from his work: to develop a film board artist for Warner Bros. Feature are making the film that the studio out of a simple, strong, visual idea. Animation. By night, I direct a 10 has bought off on. The reels are In DaDA, everybody walks minute animated short, that is being locked, the dialogue is recorded. around carrying books on their The big machine is running. heads. The more books stacked on That’s why every now and again your cranium, the smarter you are you should put together your own perceived to be. The story takes off little machine. Celebrate your when a little boy is born with a per- strengths and learn to live with fectly round head. To the horror of your weaknesses. Exorcise some of his parents no books will stay put, your own demons along the way. no matter what they try. Ultimately, they take their son to a hospital, Dropping Out to Make DaDA where a learned scholar saws off After having animated on the top of the kid’s skull to study his Piet Kroon’s DaDA. Amblimation’s Feivel Goes West brain. The doctor discovers the kid is really a genius. He realizes that it

ANIMATION WORLD MAGAZINE February 1997 36 debut as an official Storyboarding, to me, is filmmaking selection of the in the truest sense. It is about exper- 1995 Berlin Film imenting and developing. You basi- Festival. Since then, cally get to take the first whack at it was screened at visualizing a script or a treatment. Zagreb, Hiroshima, You go through the whole cine- Ottawa and many matographic process of staging, other international breaking down sequences into film festivals. Over shots. And you explore character the two year peri- relationships, dream up gags, any- od it toured the fes- thing to make the film more enter- tival circuit, it taining. received a number You sketch out you story ideas of special mentions and pitch them to the director and and won a couple the producer. Like a carsalesman Piet Kroon’s DaDA (Gila van Dijk Film Productions). of awards, like the you talk them through the conti- Golden Mikeldi for nuity boards, giving your best shot is not the books you carry around Best Animated Film at the Bilbao to sell the exitement, the drama, the that matter, it is how you “process” Short Film and Documentary fun. Sometimes they buy it, some- them and create something new Festival 1995. times they don’t. Your soul gets out of them. The final twist of the stepped on a lot in story. It’s one film, that somehow seems to be From time to time everybody thing when an idea or gag is reject- especially shocking to American who works in the animation ed, what is worse is when they are audiences (maybe because they are industry should make a short half used or used the wrong way. suckered out of a happy ending), is personal film. On the basis of the storyboards that the father feeds the brilliant the timing of the film is worked out brain to the cat. Because with the in the storyreels, the first mock up top sawed off, he can pile an infinite Ready To Be a Cog Again version of the film to be, complete amount of books on his son’s head. It took me two-and-a-half years with soundeffects and scratch dia- He’d rather have a kid that looks to complete DaDA. I wrote and logue. Then the exact cinematog- intelligent, than an intelligent child. directed it, animated (most of) it, raphy of the shots is determined in While I was working on DaDA, organized the xerox and paint (with lay out and the scenes are distrib- I became a father myself. Actually, the help of numerous volunteers), uted to the animators. So when you the last scene I animated before my personally put down every single work in story there will never be a son Jesse was born was the one of cel under the camera (those are my single drawing on the screen that the expectant father nervously pac- fingerprints up there!), edited it, and you can call your own. Nothing to ing the room (off screen sound supervised the effects and sound point at. There are not many people effects provided by my wife). editing. Believe me, even though it willing to be bored to death with Beyond that, life has not imitated was a blast, after that you are ready endless stories about who thought art yet. We have no cat. to be a cog in the machine So what demons did I exorcise? again. The story has a lot to do with my So a year-and-a-half ago I background in university. Somehow, moved out to Los Angeles to the book list you attached to your work as a storyboard artist for papers always seemed more impor- Warner Bros. Feature Animation. tant than the paper itself. WBFA is a brand new outfit, I studied Film and Theatre which is great from my point of Studies, that is where I (re)discov- view, because everything is still ered animation and made my very in flux. There are a lot of oppor- first film, The Balancer (1987). tunities to grow. DaDA made it’s international Animating is like acting. Piet Kroon’s DaDA.

ANIMATION WORLD MAGAZINE February 1997 37 of what and which idea sparked in full production. and years on a film. There are a what gag three months later. Of all the major studios that got number of reasons for this: their The film I work on at Warner into feature animation, Warners has, films are highly personal, executed Bros. is called Quest for Camelot, in my mind, the biggest potential in a highly personal style, and this directed by Frederic DuChau and to actually get a piece of the Mouse’s way they do not have to split the produced by Frank Gladstone. It is action. The box office success of money. to be the first fully animated feature Space Jam is a case in point. The I was always at odds with this that this studio produces, not count- ing Space Jam, as a combination of live action and animation, and Cats Don’t Dance (which Warners basi- cally acquired as part of the merg- er with Turner). Mixing Arthurian myth and fan- tasy elements, Quest tells the story of a young girl who has to rise above herself to find the lost sword Excalibur before a ruthless barbarian overthrows Camelot. For the story crew, it presented a great challenge, since the film was, to a large extent, developed on the boards. A crew of 12 storyboard artists delved in and produced numerous sequences Layout design for Piet Kroon’s T.R.A.N.S.I.T. and put several versions of the film on a reel. Of course, there were tri- studio is part of a gigantic media approach. Some people are great als and tribulations and, as always, conglomerate and can really put a designers, but couldn’t animate to it had to get really bad in order to film in the marketplace. My son had save their life. Some great anima- get any better. There are always war never heard of Michael Jordan, but tors don’t have a story to tell. I stories. The good thing is that guess who he pretends to be when believe working with different peo- Warners did not lose its cool. They he is within 10 feet of a ball now? ple can only strengthen your film. It’s kept hammering away at it to get better to get feedback upfront than it right. Story on Quest is winding T.R.A.N.S.I.T. after the fact. As a director, you down now and the studio is already Right before I moved to America should be confident enough to take I had written and storyboarded in influences, harness them and another short film,T.R.A.N.S.I.T. I left keep the vision. Also, on a more while it was looking to get financed. practical level, with a bigger team Producers Iain Harvey and Cecile you can produce the film a lot faster Wijne had to raise serious money and move on to the next idea. Two- (that is, for an independent short), and-a-half years is a long time to because of the special way the film spend on 10 minutes. was set up. T.R.A.N.S.I.T is a film in sequences, each sequence (of It’s one thing when an idea or about a minute each) to be gag is rejected, what is worse is designed in a different graphic style, when they are half used or to be animated by a different ani- used the wrong way. mator, directed by me by fax, phone Character design by Gill Bradley for Piet and email from L.A. The downside of working with Kroon’sT.R.A.N.S.I.T. (Nice image, but In the Netherlands, most direc- more people is you have to have taken from a less than optimum xerox tors of animated films tend to work money to pay them. When you copy; lines need to be darker.) alone, and tend to work for years work on your own brainchild, it’s

ANIMATION WORLD MAGAZINE February 1997 38 easy to work for peanuts. If the gov- film sweeps across Europe in seven ernment grant runs out, you just sequences. Working out the art take on commercials to keep your- direction proved to be an enormous self going. That’s how I produced task. London-based art director Gill DaDA and I did have a few people Bradley selected and defined seven I paid on that. graphic styles, derived from the art deco period, inventing new ani- The downside of working with mation techniques along the way. more people is you have to Getting the characters to trans- have money to pay them. late consistently from style to style When you work on your own was one of the biggest tricks of the brainchild, it’s easy to work for film. We decided to base the char- peanuts. acters on real actors. Last November, when I was on a quick working visit Last summer, T.R.A.N.S.I.T final- to London, we arranged a video ly came together as a full-blown shoot. We had cast the film before- international coproduction with hand. We had the actors act out financing from the Dutch Film scenes from the film, as reference Fund, Canal + in France and for the animators. The main pur- Channel 4 in England. So, now I pose was to give the animators a spend my evenings writing notes clear picture of who the characters Frames from storyboard for Piet Kroon’s T.R.A.N.S.I.T. and memos, reboarding bits and are. But they might also pick up pieces, doing layouts and charac- some little idiosyncratic quirkiness- from France, presents a champagne ter sketches. Five sequences are es: pouting lips or a sweltering blink. picnic in St. Tropez. A great new tal- already underway. I took great care To me, that is what separates great ent fresh from the Royal College of to make an extensive storyboard animation from good animation: if Art, Andrew Higgins, will conduct and a tight reel to guide the ani- the animator reaches into his or her a murderous tour of Egypt, togeth- mators along. Later this month the own experience and captures the er with Gill Bradley. Another great first scenes will start to trickle in, and stuff that life is made of. Have your Dutch animator, Jeroen van I will know if the monster will come characters rub their noses like your Blaaderen, gives chase on the alive. aunt Edna and you’ve made them Orient Express. Nicolette van Gendt, human. The extraordinary lies in who did some amazing work on the ordinary. Geoff Dunbar’s Daumier’s Law, gets I was lucky to get a great team to handle the steamy love scenes in of animators to work on Baden-Baden. T.R.A.N.S.I.T. Michael Dudok de In April, I will take another trip Wit, whose film The Monk and the to England to direct the opening Fish was nominated for an and closing sequences. They will be Academy Award in 1994, is doing done by Richard Randolph of Ealing a sequence that is set on an luxu- Animation and involve the North rious ocean liner. Keiko Masuda, Sea, a diver, and hopefully no rain. who did marvelous work on The By July 1997, T.R.A.N.S.I.T Taylor of Gloucester, animates a should be ready, and strawberries fateful night in Venice. Arjan will never be the same . . . Character modelsheet for Piet Kroon’s Wilschut, a young and coming T.R.A.N.S.I.T. Dutch animator who also animat- Piet Kroon is a Dutch filmmaker ed on DaDA (and most recently on currently employed during the Set in the 20s, T.R.A.N.S.I.T tells Joanna Quinn’s Famous Fred), has day at Warner Bros. Feature the story of a tragic love triangle. a bloody confrontation in Animation in Glendale. We meet three characters and find Amsterdam. Valerie Carmona, a out just how they interrelate as the charming independent filmmaker

ANIMATION WORLD MAGAZINE February 1997 39

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ANIMATION WORLD MAGAZINE February 1997 40 Teitelbaum Also in Richard Foreman’s Symphony for 1980, she Rats in New York. Lehnhoff then createdWindow, a engaged her again for his produc- three dimensional tion of Berlioz’The Damnation of interior and film Faust for the State Opera of installation com- Hamburg, a large budget produc- missioned and tion in a high-end theater, with an exhibited by the hour of animation and effects inter- Institute of spersed throughout the three hour Contemporary Art performance. in Philadelphia. And in 1985, she created ESO-S, a Designed like a Pandora’s box, Suzan Pitt’s Joy Street. two screen perfor- the film opens up the depth of around the world, including First mance with live music by John and Pitt’s own inner psyche, merg- Prize at the Oberhausen Film Evan Laurie done at the Pyramid ing sensual and surrealistic Festival in Germany and awards at Club in New York. imagery in the form of a Ann Arbor, Baltimore and Atlanta Continuing her painting career, Freudian dream. Film Festivals in the US. Designed Pitt exhibited widely with a solo like a Pandora’s box, the film opens exhibition at the Denise Rene Joy Street up the depth of Pitt’s own inner psy- Gallery in Dusseldorf and the During the 1990s, Pitt’s work che, merging sensual and surreal- Delahuty Gallery in New York, as became focused on the natural istic imagery in the form of a well as several group exhibitions. environment and political activism, Freudian dream. Focusing on erot- These led to an invitation to created in particular rain forest activism. ic metaphors and intellectual refer- the sets, costumes and animation These activities and her travels to ences, she makes this matted-cel forThe Magic Flute, an experimen- exotic places like Guatemala, Belize work a visionary masterpiece. tal opera created by the avant-garde and Mexico had a major impact on

Expanded Cinema By the late 1970’s, Pitt was involved in the Expanded Cinema movement which led her to merge performance art with animation. Pit’s introduction to this art form was developed in a course she taught in 1976 at Harvard’s Carpenter Center entitled Loops. In the class, she had her students deconstruct animation to analyze all of its parts. This exercise grew into a large ani- mated/live show that included peo- ple as cartoons, experimental imagery from rear screen projection, and drawing on soundtracks. These early endeavors expanded her work into the world of real space and time, which grew into many more Suzan Pitt’s Joy Street. performances. In 1980, Pitt pre- director Nicholas Lehnhoff . After her career and her most important sented a performance at the Venice doing projections for this uncon- personal film Joy Street . Made in Biennial entitled Suone e Immagine, ventional New Age production from 1995, it has been acclaimed at set to the music of Richard 1983-87, she designed the sets for every major film festival from

ANIMATION WORLD MAGAZINE February 1997 41 this bad dream by an animated mouse (and The energy of the mouse, what a mouse!), Pitt whirling with joy and inno- develops the second cence, and the deep pain of the part of the film as an ode woman make a truly interest- to the great classics of ing movie experience. animation, with all the dynamism and pacing of sented at the Virginia International a 1930s Fleischer car- Festival, with the theme of “Wild toon. She blends her Places/Endangered Species.” She personal aesthetic with also recently directed Troubles the all the pizzazz of a mas- Cat, 12 different six-minute ter animator. The energy sequences produced by The Ink of the mouse, whirling Tank for the Cartoon Network edu- with joy and innocence, cational series, Big Bag, which and the deep pain of the explore issues of ethnicity and self- woman make a truly awareness. Pitt is now one of the interesting movie expe- directors represented on the roster rience. Pitt’s statement of The Ink Tank Too, a new division throughout the film of The Ink Tank in New York. Pitt’s Troubles the Cat, directed by Pitt for The Ink Tank, which reflects the passing of activism, diversity and creativity will she has recently signed a long-term agreement with as part of its Ink Tank Too operation. nature and innocence as keep her work relevant well into the a road to depression and next millennium. Hiroshima to London, and all those emptiness. in between. Today, Pitt continues to travel Traveling through Guatamala in and present her work at festivals 1993, she began painting lively and universities. She often gives a Jackie Leger is a Santa Monica- images of animals and birds with lecture entitled “Cartoon based documentary filmmaker color and fantasy, very much influ- Wilderness,” which discusses paral- interested in the roots of enced by natural settings of the rain lel histories of film animation, and American experimental film. forests. These evolved into images in wilderness exploration and exploita- Joy Street . During this time, she tion. This program was recently pre- also received several commissions for paintings, including a mural for the US Post Office in Fountain City, Wisconsin, and a series of silkscreens for Artists for Nature, an activist group in Germany exhibited at the Earth Summit in Rio de Janiero in 1992. Analyzing Joy Street, one might say it is the culmination of Pitt’s life as an artist and a woman. The images begin like a German Expressionist nightmare of a woman depressed by the concrete world she lives in. Set to the haunting music of The Jazz Passengers, this visual poem relates a sort of psy- chodrama of a plight which in fact touches the life of many. Saved from Suzan Pitt’s Asparagus.

ANIMATION WORLD MAGAZINE February 1997 42 SuzanSuzan PittPitt AnimationAnimation FilmographyFilmography

Animated Films The following films, except when noted, were produced and directed by Pitt. All were in color, except where noted.

Bowl, Theatre, Garden, Marble Game (1970), 7 min., 16mm. *Crocus (1971) 7 min., 16mm. A City Trip (1972), 3 min., 16mm. Cels (1972), 6 min., 16mm. Whitney Commercial (Whitney Museum of Art, 1973), 3 min., 16mm. *Jefferson Circus Songs (1973), 20 min., 16mm. *Asparagus (1979), 20 min., 16mm. Night Fire Dance (Columbia Masterworks Records, 1986) (Co-Director), 1 min., 35mm., black & white. Music video, with music by Andreas Vollenweider. Big Time (Warner Records, 1986) (Storyboard & Animation), Music video; music by Peter Gabriel. Surf or Die (Profile Records), 3 min., 35mm. Music video; music by The Surf M.C.’s. The Damnation of Faust (Hamburg State Opera, 1988), one hour, 35mm. Bam Video (Brooklyn Academy of Music, 1990), 3 min., 35mm. Colors/Colores (Public Broadcasting System, 1995, 1 min. 15 sec., video. Joy Street (Channel Four & PBS), 24 min., 35mm. Troubles the Cat (The Ink Tank, 1996) (Director), 12 six-minute sequences for the Cartoon Network.

*Distributed by the Museum of Modern Art, New York and the British Film Institute, London.

Expanded Film Performances Loops (Carpenter Center for the Visual Arts, Harvard University,. 1976), a multidimensional, live film theater performance combining film on several scenes, actors and music by the Harvard Composers Ensemble . Asparagus (Whitney Museum of American Art, 1979), film installation and exhibition of drawings. Suone E. Immagine (Venice Biennale), film performance with compos- er Richard Teitelbaum. ESO-S (The Pyramid Club, New York, 1985), a two-screen film perfor- mance with live music by John and Evan Lurie.

Stage & Costume Design The Magic Flute (State Opera Theater, Weisbaden, Germany, 1983-87). Sets, cos- tumes, and animated films for production that was in repertoire for sev- eral years.. Richard Foreman’s Symphony for Rats (1988), animated sequences. (New York City.) The Damnation of Faust by Hector Berlioz (State Opera Theater, Hamburg). Sets, costumes and animated films.

ANIMATION WORLD MAGAZINE February 1997 43 In Passing Louise Beaudet: A Passion For Animation

n January 3, Louise ty of this cinematic genre. She Beaudet, perhaps the most authored a number of historical Ofamous and respected ani- texts, essays and monographs. Her mation archivist in the world died exceptional programming skills were of lung cancer. In her role as cura- frequently in demand by festivals Louise tor of Montréal’s Cinémathèque for which she organized retrospec- Québecoise, she more than helped tives which were always rich and fulfill that organization’s special inter- surprising. Beaudet: est in animation. Herein are a few Louise Beaudet started the thoughts by some of the people Canadian chapter of the who knew and/or worked with her. International Animated Film une passion But first, to provide some general Association (ASIFA-Canada) for background, we start off with the which she served as president for two part press release issued by the more than 10 years. In September, pour Cinémathèque Québecoise. 1996, ASIFA-Canada presented her with the honorary Norman McLaren International Luminary Heritage Award at the Ottawa l’animation in the World of Animation International Animation Festival. Louise Beaudet Dies In January 1995, Louis Beaudet at Age of 69 was the first recipient of a new award created by ASIFA-East, in Montréal, January 7, 1997—It is New York, to honor people who, Le 3 janvier, Louise Beaudet, with sadness that the while not being animators, devoted peut-être la plus célèbre et la plus Cinémathèque Québecoise learned their lives to promote independent respectée des conservateurs de of the death of Madam Louise animation. cinéma d’animation dans le Beaudet, on January 3 as the result Her colleagues at the monde, est décédée. Le texte ci- of a long illness. Cinémathèque, as well as the après est un communiqué de Louise Beaudet worked at the numerous animators in many coun- presse de la Cinémathèque Cinémathèque Québecoise for 28 tries who knew her, cannot forget Québecoise qui retrace les years. She was first hired to coordi- her smile which was as strong as grandes lignes de sa carrière. nate a large animation retrospective her passion for animation. Quelques collègues et amis ont at the 1967 World’s Fair in Montréal également apporté leur (Expo 67), she was then made Summary of Her Career témoignage (texte en anglais Curator of Animation, a position she Beginning in 1973, Louise seulement, voir ci-contre) held until October 1996. Beaudet was Curator of the During her long career, Louise Animation Section of the Beaudet manifested a boundless Cinémathèque Québecoise, where passion for animation. The interna- she had been working full-time tional animation community since 1968, after having collabo- acknowledged that she played a rated in the Retrospective of major role in established the validi- International Animation for Expo 67.

ANIMATION WORLD MAGAZINE February 1997 44 She shared her knowledge of Board of Canada (1980, 1989), and Sommité internationale en animated film with the Franco- at the Varna Animation Festival in matière de cinéma d’anima- Québecoise Office, the New York Bulgaria for a Canadian retrospec- tion Animation Festival (she was a jury tive (1981). Louise Beaudet décédée à member in 1975), the Canadian Starting in 1982, she was invit- l’âge de 69 ans Film Institute, at the Ottawa, ed to prepare and present exhibi- Toronto and Hamilton International tions on animation, organize retro- Montréal, le 7 janvier 1997 – C’est Animation Festivals, at the New York spectives, or be part of symposiums avec tristesse que la Cinéma- Film Library (at a 1978 symposium), devoted to pioneers and film thèque québécoise a appris le the Sinking Creek Film Celebration in archives by such organizations as décès de Madame Louise Nashville (1979), the Museum of the Musée des beaux-arts in Beaudet, survenu le 3 janvier Modern Art in New York as part of Montréal, the Museum of Modern dernier des suites d’une longue retrospectives of the 40th and 50th Art in New York, Pacific Film Archives maladie. anniversaries of the National Film at the University of California, Louise Beaudet a été à l’em- ploi de la Cinémathèque québé- coise pendant 28 ans. Engagée initialement pour coordonner l’or- ganisation d’une importante rétro- spective de cinéma d’animation presentée dans le cadre de l’Exposition Universelle de 1967, elle s’est par la suite vu confier la fonction de conservateur du ciné- ma d’animation. C’est ce poste qu’elle a occupé jusqu’à octobre 1996. Tout au long de sa carrière, Louise Beaudet a manifesté une passion sans limite pour le ciné- ma d’animation. Son rôle prépondérant dans la mise en valeur de ce genre ciné- matographique est reconnu à l’échelle internationale. Elle est l’auteur de nombreux textes his- toriques, essais et monographies. Ses qualités exceptionnelles de programmatrice étaient regulière- ment sollicitées par les festivals pour lesquels elle organisait des rétrospectives toujours riches et étonnantes. Louise Beaudet est à l’origine du chapitre canadien de l’Association Internationale du Film d’Animation (ASIFA-Canda) dont elle a occupé la présidence pen- dant plus de 10 ans. En septem- bre 1996, ASIFA-Canada lui a Front half of cover illustration by Jacques Drouin from the Tribute to Louise Beaudet issue of the ASIFA-Canada magazine (September 1996). decerné le prix honorifique “Heritage Norman McLaren” à l’oc-

ANIMATION WORLD MAGAZINE February 1997 45 Berkeley, the San Francisco Film filmmaker, Louise filled a role of casion du festival du cinéma d’an- Festival, the Pacific Cinematheque equal importance, that of promot- imation d’Ottawa. in Vancouver, and festivals in Bristol, ing films and filmmakers both old En janvier 1995, Louise Brussels and Annecy (jury member and new. More importantly, she Beaudet fut la première recipi- in 1985), and the Museum of Fine ensured that many of these films endaire d’un nouveau prix créé Arts, Boston. would be able to be seen by future par le groupe américain ASIFA-East She wrote articles for generations through her efforts as pour souligner le soutien offert par Québecoise, Canadian and French an archivist. No one had more pas- des personnes qui, sans être des cinema journals, texts for exhibition sion for animation as an artform animateurs, ont consacré leur vie catalogues at Berlin and Montréal than Louise. In the world of ani- à la mise en valeur du cinéma (in 1982), and for works jointly pub- mation she was a treasured icon. indépendant. lished by the Cinémathèque While I was with the Ottawa Ses collègues de la Cinéma- Québecoise and Les éditions Pierre International Animation Festival I thèque, aussi bien que les anima- Lherminier in Paris (Les cinémas had the opportunity to work with teurs de nombreux pays qui ont Canadiens), with the Cinémathèque Louise on a number of occasions. fréquenté Louise ne sont pas prêts de Toulouse for Charles R. Bowers She always provided the greatest d’oublier son sourire qui n’avait ou le mariage du slapsticks et de retrospectives. The Festival was not d’égal que sa passion pour le ciné- l’animation and Du nouveau sur a Festival without the presence of ma d’animation. Charley Bowers. She is the author of Louise. the monograph, Á la recherche de Looking back on the current Resumé de carrière Segundo de Chomon, published by resurgence and interest in anima- Louise Beaudet est conserva- the Annecy Festival (1985) on the tion the foundation was not laid by teur depuis fin 1973 de la section occasion of a retrospective of this such films as The Lion King and Animation à la Cinémathèque Spanish pioneer. Who Framed Roger Rabbit, but by québécoise où elle est perma- She was a member of the Board the pioneering efforts of people like nente depuis 1968, après avoir of Directors of ASIFA-Canada from Louise Beaudet. Louise you will be collaboré à la rétrospective mon- 1970 to 1979. missed. diale du Cinéma d’Animation dans On January 25, 1996, ASIFA-East le cadre d’Expo 1967. paid homage to her for her over 25 Caroline Leaf, Filmmaker, Elle a fait profiter de ses con- years of accomplishments: her build- Cambridge, Massachusetts naissances du cinéma d’animation ing of the Cinémathèque’s collec- Every Wednesday evening in à l’Office franco-québécois, au tion, her collaboration with numer- Montreal, Louise hosted a program Festival du Film de New-York ous festivals, her participation and of animation films at the (membre du Jury en 1975), à creation of special programs, her Cinémathèque Québecoise. I l’Institut canadien du Film, aux good taste in the field of animation, counted on Louise’s programming Festivals Internationaux d’Ottawa, and her connivance (complicity) to keep me up to date and Toronto et Hamilton, au New-York with the animation filmmaking com- informed about what was happen- Film Library (symposium en 1978), munity. Louis Beaudet is the first ing around the world in animation. au Sinking Creek Film Celebration recipient of this new award. There were films from festivals…no de Nashville (1979), au Musée —Translated from the French by need to leave Montreal to see the d’Art Moderne de New-York dans Harvey Deneroff & Annick Teninge best of the festivals…and archival le cadre d’une rétrospective pour films, and often filmmakers were le 40e et le 50e anniversaire de Tom Knott,Warner Bros. brought in. It was great program- l’O.N.F. (1980, 1989), au Festival Feature Animation (formerly ming. I will always remember de Varna en Bulgarie pour une Director, Ottawa International Louise’s chuckling laugh. She was rétrospective canadienne (1981). Animation Festival) really a lady, poised and sparkling. Depuis 1982, pour préparer et présenter des expositions sur le Louise Beaudet was a pioneer Gerald Potterton, Gerald cinéma d’animation, organiser des in every sense of the word, how- Potterton Productions, rétrospectives ou participer à des ever she would not have consid- Montréal travaux consacrés a des pionniers ered herself one. Although not a With the passing of Louise et aux archives de cinémathèques,

ANIMATION WORLD MAGAZINE February 1997 46 Beaudet, the animation world has have been able to be together so elle a été invitée par le Musée des lost one of its greatest friends. Her much. Beaux-Arts de Montréal, le Musée kindness, humor, helpfulness and Louise and I have been col- d’Art Moderne de New-York, la knowledge of just about anything leagues and friends for over two Pacific Film Archives de Bekerley, to do with animation and its expo- decades. Her dedication to the art l’Universite de Californie, le Festival nents around the globe was of animation really inspired me de San Fransisco, la Pacific unique. Sleep well Louise, we will through the years. When I started at Cinémathèque de Vancouver, les not forget you. the NFB in the Festivals Office in festivals de Bristol, Bruxelles et 1970, I did not know Annecy (membre du Jury en that much about cine- 1985), le Musée des Beaux-Arts de ma and even less about Boston. animation. I loved car- Elle est l’auteur d’articles parus toons, like everybody dans les revues de cinéma québé- else, but was ignorant coises, canadiennes et francaises, about Canadian and de textes pour des catalogues international animation. d’exposition à Berlin et Montréal In 1974, the Festivals (en 1982) et de travaux co-édités Office moved next to par la Cinémathèque québécoise Norman McLaren and et les éditions Pierre Lherminier de Grant Munro’s office— Paris (les cinémas canadiens ), what a way to introduce avec la Cinémathèque de me to such a wonderful Toulouse pour Charles R. Bowers Left to right:Adrienne Mancia, Louise Beaudet, Jacques Drouin, and Helene Tanguay at Ottawa 96. Photo by world! I am not sure of ou le mariage du slapstick et de Candy Kugel. the exact date, but I think l’animation et Du nouveau sur I met Louise for the first Charley Bowers. Elle est l’auteur time in 1975. The Festivals Office de la monographie A la Hélène Tanguay, National Film collaborated constantly with her at recherche de Segundo de Board of Canada the Cinémathèque Québecoise. Chomon publiée par le Festival Louise is, as far as I’m con- d’Annecy 1985 à l’occasion d’une Remembering Louise cerned, the best animation pro- rétrospective de ce pionnier Louise Beaudet died of cancer grammer I have ever known. She espagnol. on January 3. For the past 18 always knew what to select and Elle exerce des responsabilités months, we both found ourselves how to present it. The order of the au sein du Conseil going to the same hospital, as a lit- films in every program was perfect. d’Administration de l’ASIFA Canada tle over a year ago I suffered a We all know how important it is for de 1970 a 1991. stroke. I spent many, many days dur- a film to be well programmed. Le 25 janvier 1996, ASIFA-East ing the last year at the hospital for In 1979, I joined ASIFA-Canada lui a rendu hommage pour le tra- tests of all kinds; at the same time, and was elected to the board the vail accompli depuis plus de 25 Louise was going through radio- same year. I spent the next 15 years ans: la mise en place de la collec- therapy and chemotherapy. And with Louise working on special pro- tion de la Cinémathèque, sa col- we met more than once in the cor- jects, organizing events, working laboration à de nombreux festi- ridor. We were both going through on the magazine, doing numerous vals, sa participation à l’élabora- some very difficult times. Thank God collaborations with the Ottawa tion de programmes spéciaux, son my health is good now. Because Festival and it’s many directors, wel- bon gout en matière d’animation we were both home last year, we coming international guests to et sa connivence de tous les had the chance to visit more and Montréal like Yuri Norstein, Bob instants avec la communauté des think about life and how precious it Clampett, Lou Bunin to name only cinéastes d’animation. Louise is. Writing these words makes me a few. So many came to the Beaudet est la première récipi- feel happy and sad at the same Cinémathèque through the years. endaire de ce nouveau prix. time. I miss Louise a lot and, at the Thanks to Louise, as I met and dis- same time, feel very privileged to covered so many great animators,

ANIMATION WORLD MAGAZINE February 1997 47 my life changed! left us a big hole in our lives, Louise in Montreal and me to New York. It was also because of her that I left behind a mountain of accom- The “Best of Zagreb” show was joined the ASIFA-International Board plishments. She was, is, and will a success, and we began to bring in of Directors. I spent 6 years on the always be such a force in the ani- other venues, such as Edith Kramer’s board with a fantastic group of indi- mation world. Pacific Film Archives in Berkeley and viduals. Our meetings were the Museum of more than long, but I have Contemporary Arts in to say that those years were Boston. Increasingly, so formative and enriching. there were other venues I met the Kinoshitas, Jerzy that wanted the Zagreb Kucia, Pat Webb, Nicole show that Louise and I Salomon, and so many oth- programmed, but we ers dedicated to the devel- couldn’t handle the work. opment and promotion of We were able to do what animation throughout the we could only because world. I have been active Yugoslavia would fund in ASIFA for so many years cultural activities. The because of her. head of the Studio, Louise and I worked Zelimir Matko, was an hard and enjoyed working entrepreneur. He headed together. She used to say sales and marketing for the same thing about me. the Zagreb Studio and he We worked so well as a helped Louise and I bring team. We had so much fun the films we chose to inventing new projects. We North America by speak- believed in animation and ing to various producers we loved animators. I still and animators and do, of course! We also encouraging them to wanted to have a strong Left to right: Hubert Tison, Louise Beaudet and Adrian Mancia at cooperate with us. ASIFA-Canada, that was rep- last year’s Ottawa Animation Festival. Louise had the best resentative of its member- animation archive in the ship. Canada is a huge country and world in Montreal and was my we did our best to reach out and Adrienne Mancia, Museum of guide to all this. We decided that have personal contacts with the Modern Art, New York based on the “Best of Zagreb” show, membership. I made so many new we would do the “Best of Annecy” friends through ASIFA. The following is excerpted from in alternate years. We also did a We both retired from the ASIFA- Mark Langer’s interview with “Best of Ottawa” once and two Canada Board a few years ago. I Mancia in last month’s issue of “Best of Hiroshima” shows. These left the Festivals Office to become Animation World Magazine. programs were always chronically the Marketing Officer for the English underfunded. We would get travel Animation Department at the NFB. The first international animation and hospitality by being invited to sit Now, I really work closely with the program I did at the museum was on juries, by begging for hospitali- animators! It’s really great to be after the Zagreb Festival in 1972. ty from the festivals or sometimes a around Wendy Tilby, Paul Driessen, Zagreb was different then, filled little from our institutions to cover Chris Hinton, John Weldon, Janet with freshness, vitality and humor. print transportation, etc. Perlman, and all the new “younger” The work coming from the Zagreb What I tried to do with the pro- animators. Studio was so lively and inventive. I gramming, a little subversively, was I miss working with Louise. I miss met Louise Beaudet there and we to draw it out for a week. With the our conversations on animation and decided to collaborate to bring “Best of Zagreb” or “Annecy” as an cinema in general. I miss my friend. these films to North America—she anchor, we would also program When Louise died, she not only to the Cinémathèque Québecoise homages to filmmakers or present

ANIMATION WORLD MAGAZINE February 1997 48 animation from various countries— glass, she asked me what I had with which she would always Japanese animation, Khitruk, Pritt thought of Paul Driessen’s new film. receive the visiting animators I Pjarn, and so on. We did our “Best I remember that in the first blush of would bring to her through the of . . .” until a year ago. Louise has wine to my cheeks, I uttered a few years. More than anyone I know in been in ill health and wanted to words of what I naively thought our family of animation, Louise rep- retire. This, plus a shortage of funds passed for wisdom. Louise gently resented the nobility and purity to stopped the program. Frankly, out- smiled, placed her hand on my arm which we all aspire. She was always side of the Cinémathèque and said: “But my dear, surely you honest with others and with her Québecoise, I do not know an insti- noticed that . . .” And she launched own ideas, and she continued to tution where the exhibition of ani- into one of the most thoroughly fight unhesitatingly and vigorously mation is a priority. perceptive analyses of a film I had for what she felt was the highest ever heard at a festival. Awed, all I form of our art. Thank you Louise, David Ehrlich, Filmmaker & could do was bring the glass to my for what you have done for all of ASIFA-International Vice lips and nod appreciatively. us. We hold up our glasses and President, Randolph,Vermont Now, 15 years and a number of toast you in all our languages, and glasses of wine later, I am still a bit I can hear you saying, “But my The following is excerpted from awed by this wonderful lady, by all dears, I thank all of you for what Ehrlich’s obituary in the January the energy and charm she mus- you have done for animation! I’ve 1997 issue of the ASIFA-East tered to put together the 1982 Art done nothing.” Well, Louise, you’ve Anymator; in turn, it was based on of Animation show at the Montréal done everything and we love you. a piece in the September 1996 Museum of Fine Art (I say “charm” ASIFA-Canada magazine. because who else but Louise could For more on Louise Beaudet, have talked the Czechs into parting we heartily recommend readers to I first met Louise in 1982. She with their whole Trnka collection!), take a look at the September 1996 was sitting on the patio outside of by all the wonderful shows she sin- issue of ASIFA-Canada, devoted to a the old Annecy Casino sipping a gle-handedly organized at the “Tribute to Louise Beaudet,” that glass of white wine with a few male Cinémathèque Québecoise, by her includes 12 articles celebrating her admirers and she graciously invited leadership of ASIFA-Canada and by life and career. me to sit down. After pouring me a the professionalism and warmth REGISTER with Animation World Network TODAY and

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ANIMATION WORLD MAGAZINE February 1997 49 RenzoRenzo Kinoshita:Kinoshita: In Passing AA TTalkalk WithWith MiyMiyasanasan SadaoSadao MiyMiyamotoamoto

by Harvey Deneroff (1978)—a moving portrayal of the and designer at Baer Animation. horror of the A-bomb attack on His career in Japan spanned near- Hiroshima, and The Last Air Raid ly 35 years and includes working Kumagaya (1993). It was a great at Osamu Tezuka’s Mushi pleasure to work with him and I Productions on Astro Boy. He also was proud to be his friend. I will worked at Sanrio (in Tokyo and miss him sorely.” Los Angeles) and Toei Animation, —Pat Raine Webb, President, before establishing his own com- ASIFA-UK pany, Raku-Kobu, an animation and merchandizing company in As Pat Webb so eloquently Tokyo, in 1989. states in her brief tribute, Renzo The following is based on my Kinoshita was a major figure in the conversation with Miyasan, with Renzo Kinoshita - 1990 international animation commu- Willie Ito, another friend of Renzo enzo Kinoshita began work- nity. For many, he and his wife and a colleague at Disney, acting ing as an independent ani- Sayoko were the personification as translator. Miyasan said he had mator in 1967. His own of the spirit of independent film- “many, many memories of Renzo,” R making in Japan, and were close- and here are some of the ones he major work, Made in Japan won the Grand Prix at the New York ly associated with ASIFA-Japan and shared with me. International Animation Festival in the Hiroshima Animation Festival. 1972. He became involved with But in talking to Miyasan Sadao Miyamoto, a veteran Japanese ani- ASIFA (The International Animated He was quite famous in Japan, mation artist who knew Renzo Film Association) and was a tower not for his own films, but for since they were both apprentice of strength as vice president. His the work he did on a 90 minute wisdom and dedication had a animators in Osaka back in 1957, TV show back around 1965 great influence on animation in I got a somewhat different per- called Geba Geba. Japan and throughout Asia and spective on him as both artist and he established the ASIFA Japan human being. national group in 1981. In 1985, Miyasan, whose appearance, We were both from the Osaka the first Hiroshima Animation with trim beard and bald head, as area and started at the same time Festival was held as a result of he likes to point out, makes him at a little animation studio there long years of tireless work by him look very much like Renzo, is cur- where we were in training togeth- and his wife Sayoko. His other rently character art manager at er. Renzo sat in front of me and well-known works include Disney Consumer Products in he looked older; I thought he was Japonese (1977)—a send up of all Burbank. He came there after a veteran animator and was thus things Japanese, Picadon working as a directing animator a little shy about approaching him.

ANIMATION WORLD MAGAZINE February 1997 50 There was another animator, who would go out and raise hell with me and Renzo. But I was the one who would have to watch their sake drinking to make sure these two guys didn’t get into any trouble. This all happened, of course, before Renzo was married to Sayokosan. After about a year at Mushi Productions, Renzo left and got into making his own films, while I stayed on doing TV series and fea- ture films. Renzo met Sayoko at Mushi, where she was sort of a secretary to an executive. She had Kinoshita's The Last Air Raid Kumagaya (1993). gone to art school and hung out Meanwhile, Renzo looked back at to a barber shop and have it cor- with our crowd. That’s how they me and thought I was an old vet- rected. But, of course, the barber met. About three years later, after eran, and was also a little reticent cut everything to match the short he started his own studio, they about striking up a conversation. part. So, when he came back to got married. And that, basically is how our the office, he was almost bald. The Renzo had a unique style, and friendship began. irony of it all is that it never really I remember when I became one Eventually, I moved to Tokyo grew back to its fullest. So, the of the premiere animators in Japan and started working for Mushi way we all remember Renzo, with and had had the chance to eval- Productions. Then, lo and behold, his bald head was the result of us uate a lot of artist portfolios. But Renzo came there and started fooling around and giving him this when I would see Renzo’s work, I working there at the studio, where haircut. we both worked on Astro Boy as animators. There are some funny little anecdotes I could tell about when we were a bunch of young guys working together, raising hell and doing all sorts of funny things. Renzo was a little cheap about going to the barber shop. Back then, believe it or not, he had a lot of hair and I had an Elvis Presley. Renzo asked me if I could give him a trim. So, I took a pair of paper scissors and started to trim his hair. It was kind of uneven, so I cut a little bit more. There were a bunch other guys working in the place and one of them said, “Let me have a hand at it now.” Eventually, they all got in on it and pretty soon his hair was a total mess, short here and long there. Kinoshita's Made in Japan (1972). In the end, he was forced to go

ANIMATION WORLD MAGAZINE February 1997 51 got the feeling that if they were Among his tight circle of animators, we would always dis- for sale, they would be worth buy- friends, there are some very cuss what we’re working on, what ing, they were that good. famous illustrators who all kind of are our new ideas. But that was Renzo was quite involved with learned together. Renzo could one film that we never actually the independent filmmaking always depend on them to come talked about. If we did talk about movement and ASIFA, but I was in and help them out on a film. it, I would have described it vivid- not closely in touch to talk about So, he was able to get the best ly, because as an animator you’re these things. However, I vividly designers and illustrators and all able to describe things that way. remember when he and that. He was very dedicated in But in spite of that, Renzo cap- Sayokosan were the motivating making his films and developing tured it all. force to get the Hiroshima When we were students Festival off and running. and learning the craft, we Sayoko was always very would talk for hours about much involved in the cre- American animation. We ative part of it. She would always spoke of how some- go out and really promote day we would come to the a lot of their travels to United States and work in ASIFA events, which they the animation business always did together. there, which I eventually He was quite famous did. I would write letters in Japan, not for his own and at Christmas we would films, but for the work he exchange cards, where I did on a 90 minute TV would say, “Come on, show back around 1965 when are you ready to called Geba Geba. He did come to America and work brief, five second spots, here?” And he would say, with a character spaced “I would love to, but you throughout the show know how much I like called Geba Geba Ozisan apple pie. Do you have a (Uncle Geba Geba.) good recipe for apple pie?” which they blended opti- So, I said, “My wife makes cally with a live-action wonderful apple pies, so if Renzo's autograph from Hiroshima 96 comedian and they would to our own Wendy Jackson. you come you can have all banter back-and-forth. And you want.” And that was the that was a very popular character his craft, and he was very proud of very last note I sent to him in my for Renzo. it, but in a low key sort of way. last Christmas card I sent him. In But Renzo’s main focus was his It’s ironic about the film he that note, I also said, “I will be own little films and documen- made about Hiroshima and the A- coming back to Japan in May, so taries. But to make money in order bomb. You see, I was born in we will get together and we’ll talk to keep these films in production, Hiroshima and experienced the more about American animation.” he would make commercials to bombing as a child and saw the I heard the news of his death subsidize his independent films. mushroom cloud. I never talked from a friend we both worked His company was always a two about what I saw or experienced with in Osaka, who sent me the man studio. It was him and to Renzo, but what he depicted obituary in an Osaka newspaper. Sayokosan. He would hire people in his film was so true to life: the It’s rather poignant that we ended like me to come in and help him bomber flying over, the blue sky, up talking about apple pies and out on a film, but he never had and the smokey part; I was just American animation. like a full-time crew. Renzo was absolutely flabbergasted at how essentially the art crew, while real Renzo’s image was; it was Sayokosan would do the ink and exactly like what I actually saw. paint and background. It was funny, because as fellow

ANIMATION WORLD MAGAZINE February 1997 52 Remembering Al by Mark Mayerson Animator Alfred Eugster, whose Fleischer, his opinion meant a lot to character into separate cel levels to career started in the silent era and me. Shortly after that, I took my first keep it alive. His work was far supe- ended doing animation for TV, animation job at Teletactics. rior to anyone else’s on the series and passed away the night of January 1, I worked with Al on two occa- his exposure sheets were an educa- 1997 at the age of 87. The follow- sions. In January 1978, I helped out tion. ing memoir and biofilmography was Al gave every scene his full atten- prepared by his friend and sometime tion. He never felt superior to the colleague, Mark Mayerson. material or hacked something out to get it off his desk. Within the limita- first met Al in 1975 when I was tions of budget and schedule, he researching an article on cartoons worked hard to get the maxiumum Ireleased by MGM when he let me entertainment out of every scene. interview him about the Iwerks stu- I hadn’t been animating for many dio. years, and the show was being made When I went up to Kim and without pencil tests. If I was having a Gifford, I had no idea what to expect. problem with one of my scenes, Al Al was 66 at the time, and I guess I would always take time to help me expected to see a balding, white- out with it. “It’s all production,” he haired old man. Instead, I saw some- Eugster in a detail from his class gradua- would say, meaning that it was as one who could have been in his 50s. tion picture from Cooper Union in 1932. good a use of his time as his own He had a full head of brown hair and Photo courtesy of Harvey Deneroff. work. an upright posture and he energeti- on the Science Rock episode about cally waved me into his office and gravity. It was a short freelance Coming from someone who answered all my questions, and even assignment, and I always thought had worked for Disney and lent me a staff photo of the Iwerks that I got the job out of pity. Al knew Fleischer, his opinion meant a studio. I wasn’t working steadily and I believe lot to me. In 1976, I had finished school and he convinced Kim and Gifford that started working in film as a produc- he needed help hitting a deadline. Al was very regular in his habits. tion assistant at J.C. Productions, one The second time was from May until I’ve heard stories that people could of the many small commercial hous- October 1980. Kim and Gifford was tell time by when he lit up his cigars. es in New York. At the same time, I doing the TV series Drawing Power, He kept all his papers meticulously was animating as a hobby and was created by George Newall and Tom filed, and anything he wasn’t sure able to use the studio’s facilities to Yohe, the people behind the how to classify he put in a file marked shoot my animation on 16mm. I Schoolhouse Rock series. “limbo.” showed it to Al and asked him if he Al Eugster was always generous thought I was good enough to work It’s All Production in helping people professionally. professionally in animation. He told The studio’s work was very flat in Assistant animator Ed Cerullo told me me I was. Coming from someone design and limited in animation, but that when he worked with him in who had worked for Disney and Al was an expert at breaking up a the 1950s, Al gave him opportunities

ANIMATION WORLD MAGAZINE February 1997 53 and the last visit I also found out that he had a broth- gave him a copy er who worked as a soundman in of David Gerstein’s the New York film industry. After Al’s Felix book, Nine death, his niece told me that Al also Lives to Live. While had a sister and a half brother and I got it backwards, half sister. Over the years Al had I’d given Al mater- dropped various bits of information, ial that reflected such as ghosting at least one Felix the start and end Sunday comic strip page for Otto of his career. Messmer or the fact that he’d done Al had defi- comic book work under the name nitely aged since I Eugie. He also told me that his first had last seen him. Fleischer animation was not Swing He had heart trou- You Sinners, but an industrial film Left to right: Otto Englander, Shamus Culhane, and Al Eugster at ble and failing eye- made for Westinghouse. Al may have Disney in 1935. From Shamus Culhane’s Talking Animals and Other People (St. Martin’s Press, 1986). Collection of Bernie Wolf. sight. He had meant Finding His Voice made for given up his cigars Western Electric, but I’m not sure. to animate. Joe Funaro, who worked due to doctor’s orders. He was bent I was shocked to hear of Al’s at Famous Studios before entering over and moved very slowly. He also death. He seemed the same in the priesthood, remembered Al fond- had lost strength in his hands and December as he had when I saw him ly in an article that appeared in the complained that some books were in October and he was scheduled to New York Daily News. too heavy to hold. Because of his eye- have cataract surgery on January 8. sight, reading and writing were diffi- Al was the first veteran animator A Very Private Man cult. When I found this out I com- I ever met, and one of the nicest. He After Drawing Power, I moved to municated with him by phone. I’d was genuinely interested in helping Toronto and kept in touch with Al always call him Sunday nights and me out and took an interest in what mostly by phone and mail for the he’d always be watching 60 Minutes. I was doing. I’m really, really going next 12 years. I have to admit that He got a kick out of Andy Rooney, so to miss him. our conversations grew awkward I timed my calls so they ended well after he retired. We didn’t have a before Rooney’s segment. Al Eugster (1909-1997):An whole lot in common except anima- Annotated Biofilmography tion and I’m sorry to say that I let our He never felt superior to the contact lapse in 1992. material or hacked something (The filmography proper for In 1996, Bill Lorenzo threw a out to get it off his desk.Within Eugster’s theatrical films was com- memorial tribute to Shamus Culhane, the limitations of budget and piled in collaboration with Dave and mentioned that Al’s wife had schedule, he worked hard to Mackey and remains incomplete— passed away and that he was in a get the maxiumum entertain- Mark Mayerson.) retirement home and gave me his ment out of every scene. address. I wrote to him, but many Al Eugster was born on February weeks went by without a reply, so I While Al was very pleasant and 11, 1909 and began his animation called the retirement home. I had no easy to talk to, he was a very private career in 1925 at the Pat Sullivan stu- idea what condition Al was in, so I man. It was only in the last year that dio, working for Otto Messmer on was afraid that he might be too ill to I learned that he had no children. I the Felix the Cat series. His first job communicate. I was told he was okay started asking him questions about there was blackening in drawings of and I phoned him directly and his background. While he’d answer Felix. While at Sullivan, he attended reestablished contact. I called him reg- them, he wouldn’t volunteer any Cooper Union at night to study art. ularly after that and visited him twice, extra information. I found out that in October and on December 28, just his father played the French horn Fleischer Studios days before he died. During the first with John Phillip Sousa and Toscanini. In 1929, Al moved over to the visit I gave him a copy of the new His father died young, in his 40s, but Fleischer Studios, where he did his book on the Schoolhouse Rock series, Al did not give a cause of death. I first animation.

ANIMATION WORLD MAGAZINE February 1997 54 ComiColor) Culhane again on Popeye Meets Swing You Sinners (1930; Talkartoon) William Tell and A Kick in Time. Strike Up the Band (1930; Screen Song). Eugster was the Gulliver’s Travels (1939; fea- sole animator. ture). Eugster did work on Sky Scraping (1930; Talkartoon) Gabby, including a shot The Grand Uproar (1930; where Gabby and King Little Talkartoon) are covered with stones on The Bum Bandit (1931; the balcony near the start of Talkartoon) the film. Russian Lullabye (1931; Screen A Kick in Time (1940; Color Song) Classic) A-Hunting We Will Go (1932; Way Back When a Razzberry Talkartoon with Betty Boop) Was a Fruit (1940; Stone Age) Stopping the Show (1932; Betty Hawaiian Holiday (Disney, 1937) featured Eugster’s anima- Popeye Meets Willian Tell Boop). Al remembered ani- tion of Donald doing the hula. (1940; Popeye) mating Betty Boop imitat- The Dandy Lion (1940; ing Maurice Chevalier and Disney Animated Antics) Fanny Brice. He joined Disney in 1935 and Two for the Zoo (1941; Gabby) became a Duck man as well as work- Baby Wants a Bottleship (1942; Mintz Studio ing on Snow White. Popeye) In 1932, Al went West to work A Hull of a Mess (1942; Popeye) for Mintz on Krazy Kat cartoons, Moving Day (1936; Mickey, Donald Mr. Bug Goes to Town (1942; fea- where he was teamed with Preston and Goofy) ture). Eugster animated Mr. Blair on many films. Hawaiian Holiday (1937; Mickey, Beetle, Swat and Smack. One Donald and Goofy). Eugster scene that’s his is where Swat Lighthouse Keeping (1932; Krazy Kat) anmated Donald doing the and Smack are dancing in imi- Prosperity Blues (1932; Krazy Kat) hula. tation of Hoppity and Honey. The Minstrel Show (1932: Krazy Kat) Clock Cleaners (1937; Mickey, Donald Al originally animated the Wedding Bells (1933; Krazy Kat) and Goofy). Eugster animat- dancing to be faster, but Dave Wooden Shoes (1933; Krazy Kat) ed the the sequence of Fleischer told him that it Bunnies and Bonnets (1933; Krazy Donald on the mainspring, as would be sexier if he slowed Kat) well as the final shot of it down. Antique Antics (1933; Krazy Kat) Mickey, Donald and Goofy Whacks Museum (1933; Krazy Kat) doing the shimmy. Famous Studios Eugster is credited as co- Snow White and the Seven Dwarfs In 1945, Al joined Famous as a writer, not animator. (1937; feature). Most of Al’s head animator and stayed until 1957. work was on the bed build- He worked on a lot of Screen Songs Ub Iwerks ing sequence, which was cut, and Popeye cartoons, as well as Little Al worked here from May of 1933 but one of his remaining Audrey and the Noveltoons. to 1935,where he co-animated sev- shots includes birds and ani- eral ComiColor shorts with Shamus mals pulling on Dopey’s robe The Enchanted Square (1947; Culhane. to warn him that Snow White Noveltoon) is in trouble. The Wee Men (1947; Noveltoon) Jack and the Beanstalk (1933; Naughty But Mice (1947; Noveltoon) ComiColor) Fleischer Studios (Miami) The Baby Sitter (1947; Little Lulu) The Little Red Hen (1934; ComiColor) Al rejoined Fleischer to work on Butterscotch and Soda (1948; Little The Brave Tin Soldier (1934; Gulliver’s Travels in Miami and stayed Audrey). An an interesting ComiColor) at the studio until 1943, when he parody of Billy Wilder’s Lost Puss in Boots (1934; ComiColor) went into the army. During his stay, Weekend. The Queen of Hearts (1934; he had a chance to work Shamus Sing or Swim (1948; Screen Song)

ANIMATION WORLD MAGAZINE February 1997 55 Camptown Races (1948; Screen (1965; Noveltoon) mated Saturday morning series for Song) Poor Little Witch Girl (1965; NBC. Al animated all the Professor Spinach Vs. Hamburgers (1948; Noveltoon) Rutabaga segments. (Rutabaga was Popeye) Shoeflies (1965; Honey Halfwitch) a carnival pitchman who extolled the Readin’, Ritin’, and Rhythmetic (1948; Baggin’ The Dragon (1966; Honey virtues of fruits and vegetables.) Screen Song) Halfwitch) During much of this time, Al worked Winter Draws On (1948; Screen A Balmy Knight (1966; Modern without an assistant or inbetweener Song) Madcap) and did all the pencil artwork him- The Emerald Isle (1949; Screen Song) The Defiant Giant (1966; Honey self. Stork Market (1949; Screen Song) Halfwitch) Eugster made perhaps his sole Hot Air Aces (1949; Popeye) Potions And Notions (1966; Honey Farm Foolery (1949; Screen Song) Halfwitch) Our Funny Finny Friends (1949; A Wedding Knight (1966; Modern Screen Song) Madcap) Win, Place And Showboat (1950; The Blacksheep Blacksmith (1967; Screen Song) Modern Madcap) Gobs Of Fun (1950; Screen Song) Think Or Sink (1967; Merry Maker) Lunch With A Punch (1952; Popeye) My Daddy the Astronaut (1967; Fun At The Fair (1952; Kartune) Fractured Fable). Shamus Friend Or Phony (1952; Popeye) Culhane’s highly praised film Shuteye Popeye (1952; Popeye) done in the style of children’s Hysterical History (1953; Kartune) drawings. Ancient Fistory (1953; Popeye) The Squaw-Path (1967; Go-Go Baby Wants A Battle (1953; Popeye) Toon) Popeye, The Ace of Space (1953; The Stuck-Up Wolf (1967; Fractured Shamus Culhane’s My Daddy the Astronaut Popeye) Made in 3D. Fable) (Famous Studios, 1966), designed by Gil Miret and animated by Al Eugster. From Crazytown (1954; Noveltoon) The Opera Caper (1967; Go-Go Shamus Culhane’s Talking Animals and Other Popeye’s 20th Anniversary (1954; Toon) People (St. Martin’s Press, 1986). Popeye) The Fuz (1967; Fractured Fable) Mister And Mistletoe (1955; Popeye) The Mini-Squirts (1967; Fractured on camera appearance in John Assault And Flattery (1956; Popeye) Fable) Canemaker’s documentary Otto Parlez Vous Woo (1956; Popeye) Marvin Digs (1967; Go-Go Toon) Messmer and Felix the Cat. A Haul In One (1956; Popeye) Mouse Trek (1967; Fractured Fable) He retired from Kim and Gifford The Crystal Brawl (1957; Popeye) and animation in September of 1987, Dante Dreamer (1958; Noveltoon). Kim and Gifford ending a 62 year career. Features a Little Nemo-like Al joined Kim and Gifford in 1968. In 1995, Al’s wife Hazel, known character. Ironically, at a time when the anima- as Chick, passed away, ending a mar- tion business rarely offered full-time riage of 61 years. They had no chil- After Famous, Al freelanced for employment, he began his longest dren. He is survived by a niece, Joan various commercial studios in New uninterrupted stay at a single studio. Bell and a half-brother, Charles. York, including Anim Cent. He also Kim and Gifford did commercial work worked on the Joe Oriolo Felix the and also the Science Rock series, Cat TV cartoons. which is still being rerun on ABC. Al Mark Mayerson works for animated Science Rock segments on Catapult Productions in Toronto. Paramount gravity, bones and the nervous sys- He recently directed and co- In 1964, he rejoined Paramount, tem, among others. In 1978, he did wrote Monster By Mistake, a com- working under Shamus Culhane and intersititals for NBC’s Saturday morn- puter animated half hour TV spe- Ralph Bakshi before the studio closed ing lineup, based on the theme cial that ran on Canada’s YTV. in 1967. Saturday Morning Fever. In 1980, Kim Mark can be reached by email at and Gifford produced work for [email protected]. The Story of George Washington Drawing Power, a live-action and ani-

ANIMATION WORLD MAGAZINE February 1997 56 NATPE ‘97: The Buzz of the Biz!

by Susan Hornik

t the National Association of block, that also includes classic sto- Television Programming ries called Enchanted Tales) and AExecutives (NATPE) conven- the new adult weekly from Japan, tion last month, key television exec- Sushi TV. utives from around the world con- Bohbot Entertainment’s Karen gregated in New Orleans to Lee Brown feels that US producers wheel, deal and negotiate. And need to tone down the violence if one trend was clear: animation is they want to strike pay dirt in inter- the hottest ticket in town! Kids national markets, which is why shows, adult satires, feature films they are offering the new weekly and even network logos have all kids show, Dangerous Dinosaurs. gone to the toons! While there’s “enough action to DIC Entertainment’s Robby intrigue kids, the heroes usually London feels that the animated don’t want to use weapons.” market is quite competitive, noting Instead, Brown has opted for what that, “producers are obliged to take she terms “nonimitative violent any action to make their project action,” with plenty of tail-thrashing stand out from the crowd.” To that and growling, but few guns. end, DIC’s show is Mummies, a half Sky Dancers (Abrams/Gentile & Gaumont), MG/Perin has had a lot of suc- hour weekly series which is being based on the popular girl’s toy. cess with their first foray into ani- executive produced by Ivan mation. “We’ve had an excellent Reitman of Ghostbusters fame. response from our stations to our E is for Education! “Animation is a unique art form new fully animated educational Many syndicators with kids prod- with its own reason for being,” said series, Chucklewood Critters.” The uct stressed the unlimited possibili- Sachs Entertainment’s Barbara show, which is currently in produc- ties of animation can adequately Schwecke. Right now, she sees the tion, has been sold to the BBC as blend with the limitations of Federal surge being led by the major stu- well as to stations in the US. Communications Commission dios and their decision to build their guidelines. Summit Media Group’s own animation facilities. While at Co-Production Land Shelly Hirsch feels that “FCC-friend- NATPE, Sachs wanted to sell a third Animation is also very big in ly doesn’t necessarily mean stand- season of Bananas in Pajamas, international markets. “There is a lot ing in front of a desk. The intention which is being reformatted to 15 of demand—more than we can is to inform and educate—and ani- minutes and paired with a Random produce,” explained Claude mation is a tool.” Summit was at House show, The Crayon Box. Berthier, chief executive officer of NATPE with the youth-appealing, Sach’s half hour weeklies, New Marina Productions, who was at the FCC-friendly Mr. Men, Oscar’s Adventures of Zorro and Kewpie conference to promote The Princess Orchestra (part of Summit’s “Just 4 have been sold to WPIX/New York. of the Nile, an FCC-friendly series Kids” weekly 90-minute program

ANIMATION WORLD MAGAZINE February 1997 57 co-venture between Filmworks (UK), HTV’s Harvest Entertainment (UK), Stay Tooned! Alliance Communications The following NATPE items high- Corporation (Canada), ZDF light the convention’s animated (Germany), Nickelodeon (UK) and news bites: Canal Plus (Spain). Other financiers include YLE (Finland) and VPRO • From the start of NATPE’s open- (Holland). In addition, Alliance ing session, the innovative use brought a third season of Reboot of animation techniques were and another season of Beast Wars, present, when Medialab’s (which is distributed by Claster unveiled Cleo, a real-time Television), two high-tech comput- motion capture animated char- er-generated animation series pro- acter who “starred” in their 3-D duced by Alliance and Mainframe. performance animation presen- Catalyst Entertainment teamed tation. with co-owned Phoenix Animation Studios, CanWest Global System • Montreal-based Telescene Film and the Opaskwayak Cree Nation Group is the producer for on Red Raven, a new FCC-friendly Student Bodies, an FCC-friendly Red Raven, Phoenix Animation’s new show half hour animated series for fall live action/animation series set which is being developed in association with the Opaskwayak Cree Nation. 1998. The program is based on the in high school where kids work comic book and chronicles the on an alternative student publi- set in ancient Egypt. adventures of Lynx, a Cree warrior cation, which is being distrib- Since their introduction, Gau- who can transform himself into a uted by Twentieth Television. mont Multimedia’s highly successful supernatural hero. The show is scheduled to pre- Dragon Flyz and Sky Dancers (both miere in syndicated television in produced by Abrams/Gentile Many syndicators with kids the fall of 1997. Entertainment) have sold in over 70 product stressed the unlimited territories worldwide. The series, possibilities of animation can • Nelvana had two animated prop- developed from the number one adequately blend with the limi- erties at the conference: Ned’s selling toys in the USA, have recent- tations of Federal Newt and Sticking Around, a ly been sold to RCTI in Indonesia, Communications Commission half hour series that will be seen and Dragon Flyz has gone to Fox guidelines. this fall. Sticking Around, created Kids Network in the UK. Gaumont’s by Robin Steele and Brianne Mickie Steinmann was also excited One of the most beloved char- Leary, was adapted from a series that the company had just sold acters from the early world of chil- of shorts which originally ran on Home to Rent, which already airs dren’s television is returning this fall MTV’s Liquid Television. The in France and the UK, to air on Fox’s through an agreement between company is Saturday morning lineup. Rock star Saban Entertainment and Busch also Iggy Pop is working on the theme Entertainment. Captain Kang- co- music for the show. Gaumont has aroo will be back as the All- also entered into the enchanting New Captain Kangaroo to world of magic with its latest ani- highlight the Saban’s Kids mated series, The Magician. Network. The FCC-friendly Many of the companies exhibit- show will be an updated, ing at NATPE have established co- contemporary version of productions with a number of dif- the old standard, but ferent countries. For instance, enough of the classic ele- Alliance Communications offered ments will be retained to appeal the new animated series, Captain to the original viewers who are Star. The cult comic strip hero will today’s moms and dads. Mr. Happy from Summit Media Group’s be flying onto the small screen in a Mr. Men

ANIMATION WORLD MAGAZINE February 1997 58 producing with Medialab on call to find broadcast part- Donkey Kong Country. In ners to participate as char- addition, Scholastic’s The ter members of the Magic School Bus, the ani- International Animation mated series produced by Consortium for Child Rights. Scholastic Productions in The initiative is to find broad- association with Nelvana, cast time for the 100 public has been licensed to approx- service announcements imately 80 countries around (PSAs) on children’s rights the world, including the UK, issues currently being pro- France, Spain, Greece, and duced by more than 80 ani- several countries within the Encore Enterprise’s Chucklewood Critters. mation studios worldwide. Middle East and Latin America. seen through the poetic eyes of “We’re hoping that as the issue a curious young robot, Mirob, of broadcasters’ responsibility to • Desclez Productions announced and his three friends, Mimi, Pyra children becomes an increas- that the company is in pre-pro- and Cric-Crac. The Adventures ingly topical one, networks will duction on three new animat- of Professor Iris, which consists see this as a way of showing ed children’s series, Turtle Island, of 52 x 13 minute vignettes, is their support for positive kids Mirob and The Adventures of based on the Professor Iris char- programming,” said William Professor Iris. Produced by acter from the puppet series for Hetzer, chief of UNICEF’s Desclez Productions in associa- preschoolers, Iris, The Happy Broadcast and Electronic tion with Ravensburger, Turtle Professor. Communication Section. The 30 Island is a 26 episode, 30 second PSAs are being donated minute series which centers • Claster Television offered 13 all- to UNICEF by the producers and around a group of hilarious new first-run episodes for a sec- will be distributed to broadcast- characters in the South Seas ond season of All Dogs Go To ers for free. Cartoon Network, whose life is constantly inter- Heaven: The Series. Nickelodeon, RAI Television and rupted by pirates and buccaneer YLE-TV Finland are among the in search of gold and jewels. • Malofilm International, the inter- broadcasters already committed Designed for children and fam- national distribution arm of to the program. ily audiences, Turtle Island fea- Malofilm Communications, will tures a turtle king, a duckbill handle sales and worldwide dis- • NATPE announced that Disney platypus and an octopus beast. tribution for the children’s ani- Television Animation, Apple Mirob consists of 26, five-minute, mated series Turtle Island. Computer and IBM are the latest 3D-animated vignettes that additions to the list of leading- introduce preschoolers to a • Fresh on the heels of the success edge companies to exhibit at range of experiences of nature of its Animated Classics collec- the first annual international tions, Goodtimes Entertain- NATPE Animation and Special ment offered its new animat- Effects (ANIFX) Conference & ed series The Greatest Heroes Exposition, May 8-11 at the Los and Legends of the Bible, Angeles Convention Center. designed for family time peri- ods and mass market video sell-through to buyers world- wide. The series has already Susan L. Hornik been sold to broadcasters in ([email protected]) is a freelance numerous territories through- writer/editor in the television/film out the world, including Italy, industry. At NATPE, she is the edi- Spain and Germany. tor of The Daily Express, a con- vention daily magazine. • UNICEF is putting out the Bohbot’s Dangerous Dinosaurs.

ANIMATION WORLD MAGAZINE February 1997 59 Heard at NATPE 97 by Wendy Jackson

t the 1997 Convention and show that won’t entertain and ducing animation for an interna- Conference of the National won’t sell internationally or tional audience: “Bohbot distrib- AAssociation of Television domestically.” Andryc attributes utes product in over 55 countries, Program Executives (NATPE), our the success of Saban as a global and animation is the product that reporter on the scene, asked ani- company to the vision of its sells well internationally, having mation distributors: “What are founder, noting that, “Ten years the most transferable cultural con- some of the considerations ago, when most production com- tent. But the international market involved in developing, produc- panies were developing only for is a very complex market, and ing, and ultimately distributing the US market, Haim Saban had their demands are often contra- animation to the international the foresight to be international dictory. They want an animation market?” Herein are a selection of in scope and predict today’s glob- series that has notoriety, yet at the answers followed by some com- al economy. As you can see here same time they want something ments drawn from a panel dis- at NATPE, the world really has new. They want non-violence, but cussion “Animation: The Universal become one market.” they also want action. They want Language,” moderated by Nadia Nardonnet, Executive ratings as well as educational con- Cartoon Network President Betty Vice President of Bohbot tent. You have to balance all of Cohen , which discussed the real- International discussed some of these issues in developing ani- ities of the much-hyped global the challenges involved in pro- mation product for the interna- marketplace for animation. tional market.” Linda Simensky, recently Joel Andryc, Senior Vice appointed Vice President of President of Development, Original Animation for the Saban Entertainment, says he Cartoon Network responded: looks for properties that “tran- “If I thought about what every dif- scend cultural boundaries” by ferent Cartoon Network wanted, having evergreen appeal, or uni- it would be difficult because versal animal characters, citing as everybody wants something else. examples the Saban shows The In Asia, they like family-oriented Adventures of Oliver Twist based shows, in some places they only on the classic literature of Charles like funny animals, and in other Dickens, and 20,000 Leagues in places they like sarcasm. What I Outer Space a modern adapta- really try to do is to just not make tion of the Jules Verne classic. shows feel too American. I look “Most importantly,” adds Andryc for the universal gag, the univer- “a show has to have compelling sal sense of humor. I think the rea- characters and stories. If you don’t son slapstick works is because it’s Joel Andryc, Saban’s Senior Vice President have those elements, you have a of Development. funny everywhere. Whatever

ANIMATION WORLD MAGAZINE February 1997 60 motivates the characters should of the panelists on the Nelvana Chairman Michael not be specific to American life. I “Animation: The Universal Langu- Hirsh, in the course of the panel try to stay away from American age,” pointed out that the so- discussion, described the compa- jokes, although I’m seeing a lot called global marketplace for ani- ny’s unique positioning in the more of them now. Why not just mation consists mostly of marketplace: “Nelvana has been come up with some human per- American shows traveling world- very successful in producing sonality traits that are universal?” European projects with a more Nancy Steingard, Executive North American spirit, which then Vice President of Universal allows them to travel. We have a Cartoon Studio, noted that “a proximity to the US market, so we big focus of what Universal is try- understand the culture. At the ing to do is to capitalize on our same time, Canada has a heritage franchise properties.” She attrib- that is a little more European, so utes the international success of we can appreciate where our their animated show Casper, to European partners are coming its quality and the fact that the from. Working with European property is already established, companies, we’ve been able to having gained wide recognition take characters from one part of with the recent feature film. the world and adapt them so that Additionally, she points out that they work all over the world. That the international market is very marriage between Canadian and receptive to comedy. Anticipating European companies also has international success for one of another force behind it. Canada the new shows in development has official co-production treaties at Universal, Steingard said with those European companies. “Woody Woodpecker is a prop- Nancy Steingard, Executive Vice Producing these shows qualifies erty that we have on the draw- President, Universal Cartoon Studios. us for various incentive programs ing board right now, and it has wide, not the other way around. in Canada and also qualifies the already been very big in the inter- He noted that, “Out of the 125 European co-producers for incen- national market. We have a lot of new shows which were produced tive programs in those countries. great plans on the drawing board and shown in the United States The combination of those incen- for Woody for the upcoming year, in 1995-96, only 17 of them orig- tives, plus the license fees that we and we have some really amaz- inated from another country. can get in our respective coun- ing talent working on it.” Fourteen of those 17 were from tries on presales allows us to pro- Canada and the 3 others were duce those shows without any US In a good co-production, one from Gaumont in France, who presale. In a good co-production, plus one equals three. had a co-production agreement one plus one equals three.” with a Hollywood studio. The only way to get a European con- On the second day of the cept produced and shown in conference, NATPE presented a America is either to practically sell panel discussion entitled your concept to an American “Animation: The Universal company that’s going to change Language”. With Cartoon it, or to go through Canada, Network President Betty Cohen which has a unique position to Wendy Jackson is Associate Editor moderating, panelists discussed understand both the US and of Animation World Magazine. the realities of the much-hyped Europe.” global marketplace for animation. Nelvana is one Canadian company which is very familiar Michel Welter of Saban with European co-productions Enterprises International, one created for the US market.

ANIMATION WORLD MAGAZINE February 1997 61 Medialab Opens LA Studio. The giant international distributor French company Medialab, a sub- of Japanese animation has opened sidiary of Canal + has partnered a new Animated Shorts Division, with US company Four Media to which will be based in San Diego, form Medialab Studio LA, a joint and headed up by animation vet- venture which is one of the first real- eran Jan Cox, former producer of time performance animation studios the Spike & Mike’s Festival of to open in Los Angeles. After mak- Animation collections for Mellow ing a big splash with presentations Manor Productions. Beginning this of their work at NATPE 97, the new fall, the division will distribute a studio hopes to secure production series of full-length theatrical com- deals with Hollywood studios, con- pilations of original animated shorts tinuing the kind of service work they to be shown in theaters in the US have been providing for European Donkey Kong for France 2’s Donkey and abroad. “Manga Entertainment companies since 1989. Their pro- Kong Country, Digit for Belgacom is in the position to provide the best prietary motion-capture animation (Belgium) for the and the virtual talk opportunity for animators of inde- system can produce up to 15 min- show host Cleo for Canal +, who is pendently produced short films by utes of animation per day, and has acting as the LA studio’s spokesper- enabling them to have their work already been put to use to produce son for promotions. In addition to seen in theaters worldwide by the original animated characters for their motion-capture technology, general public.” said Cox, who is European television, such as a 3-D Medialab has produced 3D com- now accepting submissions for Bugs Bunny for RAI-TV (Italy), Bert puter animation for TV series, com- review. Animators who wish to par- the Fish for Nickelodeon UK, mercials, and feature film effects, ticipate should contact Cox at 964 such as The Adventures of Fifth Ave, Suite 3300, San Diego, Pinnochio and Insektors . CA 92101 USA.

PDI Adopts New CG Application. Hollywood Celebrates Departed Northern California computer ani- Animators. On February 1st, mem- mation company Pacific Data bers of the animation community Images recently adopted Platform’s will gather in Hollywood’s United LSF (Load Sharing Facility) software Methodist Church in a non-denom- for corporate-wide deployment. As inational celebration to honor the studio prepares for production departed members of the anima- Medialab’s motion capture technology in tion community. The second annu- action. on Dreamworks’ feature-length computer animated film Ants, they al “Afternoon of Remembrance” pre- recognized the need for a system sented jointly by the MPSC Local to manage the workload among 839 IATSE, ASIFA-Hollywood and their cluster of several hundred com- Women In Animation will pay trib- puters. The LSF software maximizes ute to more than 32 people who time and computing power by dis- died in 1996 and early 1997, tributing the workload of rendering including Saul Bass. Shamus and processing CG images across Culhane, Al Eugster, Lillian Peel, all of the computers in the network. Virgil Ross, and Clair Weeks. Animation World Magazine will Nelvana’s forthcoming Donkey Kong publish a report from the event in Country, made with Medialab’s motion Manga Entertainment Launches capture technology. New Animated Shorts Division next month’s issue.

ANIMATION WORLD MAGAZINE February 1997 62 driving a painted Beavis and Butt- pre-game telecast on Fox prior to Beavis and Butt-head Win head bus across the country and the Superbowl (January 26). Since Marketing Award. The Hollywood airing pre-produced animated “inter- Film Information Council has award- views” with the characters on TV ed talk shows are acknowledged in the recognition of the award.

Disney to Release Limited Edition Bambi Home Video. Walt Disney’s fifth animated feature, Bambi, will be released on home video on February 4 as part of a Colossal’s Pictogram spot for Coca-Cola. Beavis 55th anniversary limited and Butt- edition package, avail- 1995, Will Vinton Studio has creat- head Do able for only 55 days. ed 16 commercials for M&M/Mars America the Contemporary Disney and BBDO Advertising. Excellence In animators Dave Film Marketing Pruiksma, Doug Ball, Coca-Cola’s Colossal Campaign. Award for Mike Surrey and Ron Husband cite San Francisco’s Colossal Pictures is December 1996. the film as being inspirational in back in the swing of things with Against what their careers, featuring the contri- two new commercials for Coca- some consider to butions of several the legendary Cola, one in live-action and one be difficult odds, Nine Old Men animators who are using computer animation. The such as initial still with us today, including spots are Drew Takahashi’s most press resistance Green,Will Vinton Studio’s Marc Davis, Ollie Johnston and recent projects since resuming his and having a first female M&M character! Frank Thomas. focus as the company’s chief cre- teenage mentality film with “no pro- ative director. Pictogram, the 30 sec- motable stars,” the marketing team DirecTV To Broadcast Manga ond spot done in 3D computer ani- achieved tremendous box office suc- Titles. The Patlabor, Angel Cop, mation, was designed and direct- cess in the US, bringing in more The Guyver, Appleseed, and New ed by Jill Sprado, while the anima- than $51 million so far. Creative pro- Dominion Tank Police are among tion and compositing was produced motion techniques such as actually the 30 Manga Entertainment by Click 3 West. Pictogram will air Japanese animation titles to be throughout 1997 in over 192 coun- offered on DirecTV’s Direct Ticket Pay tries. Per View satellite delivery service, beginning February 1. Curious Captures Cap’n Crunch. In their sixth collaboration with Vinton Creates Female M&M Bayer Bess Vanderwarker, Curious Character. There’s a new face in Pictures presents a new 30 second Will Vinton Studios’ most recent spot for Cap’n Crunch Cereal using spots for the popular M&M/Mars ad composited live-action, cel, and SGI campaign . . . Joining the familiar computer generated images. The Blue, Red and Yellow M&M 3-D spot, entitled Treehouse, was computer-animated brand charac- directed by Steve Oakes and fea- ters is an all new Green character tures a cel-animated Cap’n charac- (yes, “Green” is her name), the first ter as a roving reporter interview- female M&M character to appear in ing kids to get their reactions to the the campaign. The first Green spots, addition of blue and purple berries entitled Talk Show, Myth and to Quakers’ Crunch Berries cereal. Soundtrack album cover from Bambi. Muscle Men premiered during the

ANIMATION WORLD MAGAZINE February 1997 63 The following items are from AWN’s January 21, 1997 Email News Flash:

California To Fund Education Initiative. After much pushing from Hollywood digital studios facing staffing crunches, California Governor Pete Wilson stated he will allot $1.2 million of the state’s 1997- 98 budget to fund scholarships for students pursuing careers in digital animation. The funds will be matched by a number of the ani- mation and effects companies seek- ing talent. Additionally, Wilson recently unveiled the state’s Digital Sue Loughlin image for Weight Watcher’s new ad campaign, produced by Acme Filmworks. High School initiative, which will translate into $1 billion in technol- Weight Watchers Gets multi-million dollar package, Willis ogy for California’s high schools. Animated. Acme Filmworks direc- received an equity interest in tor Sue Loughlin created two 30 Activision and a profit participation Ottawa To Present Student second spots now playing regular- in the title. Animation Festival. North ly on US national television. This America’s largest animation event, campaign marks a new direction for Kids’ World First Game Stars The Ottawa International Animation the client, Weight Watchers, depart- Howie Mandel. Kids’ World Festival announced plans to host a ing from spokesperson advertising Entertainment, a division of 7th new biannual event, the for the season of increased business Level, has released its’ first interactive International Student Animation in the beginnings of the new year. CD-ROM title, The Great Reading Festival of Ottawa (SAFO). Executive Loughlin, creator of the festival-rec- Adventure Starring Howie Mandel. Director Chris Robinson notes ognized short film The Occasion, Designed for children ages 6 to 9, “Students should have an opportu- has also created a series of three the animated educational title fea- nity to have their work screened print ads as part of the overall cam- tures the voices of Howie Mandel paign. (Bobby’s World) as Lil’ Howie and Maurice LaMarche (Pinky and the Bruce Willis to Star In Sony Brain, Yosemite Sam) as Stinky the PlayStation Game. Shoot ‘em up! Skunk. Activision is currently producing Apocalypse, a new animated action- Living Books Releases New adventure game for the Sony Arthur Game. Living Books, the PlayStation platform, featuring a “vir- San Francisco-based producer of tual” representation of Bruce Willis as interactive educational entertain- a main character. Using cyber-scan- ment for children, has released a ning and motion-capture tech- new interactive storybook based on nologies, artists will create an entire- the popular children’s book and PBS ly computer-generated 3D charac- animated TV series Arthur. The prod- ter based on Willis. This project will uct, entitled Arthur’s Reading Race use Activision’s new proprietary ani- features animated characters in mation system and engine tech- games designed to teach basic nology that they have been devel- reading skills to 3-7 year old kids. oping for two years. As part of his Living Book’s CD-ROM of Arthur’s Reading Room.

ANIMATION WORLD MAGAZINE February 1997 64 more often and within a more sup- on Thursday, January 23, features WebTV’s system. “Our goal is to portive environment.” SAFO will additional artwork and animation cybercast fully integrated, extensive offer a showcase for the growing clips by 24 international masters of on-air programming and PBS On- number of animated student films animation, including Pritt Parn, Jules line Web content to a whole new being produced, as well as spotlight Engel, Kihachiro Kawamoto, Ruth population of Internet users,” noted animation schools and programs Hayes, The DeNoojiers and others. PBS President and CEO Ervin worldwide and offer professional Each animator was commissioned Duggan at a press conference last workshops. To support the event, to create an original 10 second ani- week. the Animarket trade fair introduced mated film including a visual of the at Ottawa 96 will also take place at signature Absolut bottle shape. The Fox Kids Network Confirms the new student festival, offering site is being promoted as an “on- Plans To Launch Cable Network. the talent-hungry studios and pro- line animation festival” with two of During the NATPE convention in duction companies an opportunity the films slated to premiere on the New Orleans, Fox Kids Network to get a peek at the industry’s fresh site each week. The films have CEO and Chairman Margaret crop of talent. The entry deadline already won a prize at the Holland Loesch met with broadcast affiliates for films in competition is July 1, Animation Film Festival to announce and discuss plans to 1997. For further information con- (www.awn.com/haff) for Best launch a Fox Kids cable network tact Chris Robinson at Applied Animation Campaign, and aimed at rivaling existing networks, [email protected]. are making their US debut at the such as Nickelodeon and Cartoon Sundance Film Festival this week. Network. Loesch is currently work- Animation Celebration To Produced by Santa Monica, ing on a business plan for the ven- Include Business Conference. The California-based production com- ture, targeting a September 1998 World Animation Celebration to be pany, Troon, the site also features launch. Fox Kids Network is attempt- held in Pasadena, California March an animation history overview by ing to attract affiliate support in 24-30 recently announced details film historian William Moritz and a advance by offering to give them a for its 1st International Business Java-enabled page which allows 50% profit participation. Talks have Conference of Television Animation. users to create their own animation already taken place between the Twenty producers will be selected on-line. “Animation will be the art network’s parent News Corp. and to give 10 minute presentations to of the Internet” predicts Panushka, International Family Entertainment all conference attendees, while who believes the medium will bring about taking a partial stake in IFE’s another 10 producers will be cho- animator and audience together. The Family Channel, which is sen to present 5-minute videos at already available in 65 million the breakfast symposium. PBS Builds Home Video Arm and homes. Loesch also indicated that Submissions are being accepted Partners With WebTV. On the company is considering turning until February 15, 1997. For an February 25, PBS’ newly-formed their general entertainment cable application, contact Animation division, PBS for Kids, will release its channel, fX, into a children’s service. Celebration coordinators at ani- first home video product, a series of [email protected]. six tapes of The Adventures From FOX’s New Animated Show Is the Book of Virtues, an animated King. Last week’s Nielsen ratings Absolut Vodka Launches series produced last year by showed that the premiere of Mike Animation Web Site. Christine PorchLight Entertainment. Mean- Judge’s new animated series King Panushka, Associate Director of while, PBS announced last week of the Hill was watched by about California Institute of the Arts’ that they are partnering with 19.9 million viewers in the US, rank- Experimental Animation Depart- WebTV Networks, Inc. to create cus- ing it the top rated new show of ment is subject of and inspiration tomized on-line content for broad- the season and number 13 show for Absolut Panushka, a new on-line cast on WebTV’s proprietary deliv- of the week among total viewers. image advertising campaign for ery mechanism, which allows users Just in front of King was The Absolut Vodka. With Panushka’s to access the Internet from their tele- Simpsons which tallied in at num- designs as the doorway and cen- vision set. The material will serve to ber 12 with 20.4 million viewers, terpiece, the web site (www.abso- promote PBS’ TV shows, which can the shows’ highest rating in 2 years. lutvodka.com), officially launching be viewed simultaneously through

ANIMATION WORLD MAGAZINE February 1997 65 Cartoon Network’s Simensky Kids WB! series to its Friday night filed a lawsuit against Rocky & Promoted / Program News. Linda lineup: Steven Spielberg Presents Bullwinkle current rights holders Simensky has been promoted from Animaniacs, Superman, and Steven Ward Productions. Key claims that Director of Programming to Vice Spielberg Presents Pinky and the Ward did not honor his end of the President of Original Animation for Brain. This is just one of the many deal to share with him 25% of prof- Cartoon Network Worldwide. ways in which the merger of Time its generated from all sales of the Although the titles may not define Warner and Turner is bringing syn- Rocky & Bullwinkle show to TV, the significance of the change, ergy to animated programming. home video or licensing the char- Linda told AWM that her new role Cartoon Network president Betty acters for other media projects. will involve much more direct devel- Cohen commented that, “Now that Meanwhile, in a separate federal opment work as part of the restruc- we are a part of the Time Warner court trial, the ownership of rights turing of the merged Turner/Time family, we will take advantage of to the Rocky & Bullwinkle show is Warner company. Responsibilities every possible opportunity to pro- still under debate by MCA, Ward will include overseeing develop- mote the popularity of these classic and General Mills. ment of and production for shows and contemporary cartoon stars produced at Hanna Barbera from both Warner Bros. and Hanna Storyopolis Announces Productions, notably drawing on Barbera.” Animated Projects. Software bil- her nine years of experience at lionaire Paul Allen’s family enter- Nickelodeon. Curiously Animated Nick Logo. tainment company known as As president of ASIFA-East, as Curious Pictures recently complet- Storyopolis unveiled several new well as a frequent visitor to interna- ed production of a dozen 3 and 4 projects last week, including sev- tional animation festivals, Simensky second vignettes to serve as station eral animated TV shows and fea- has a strong knowledge of short- identifications on the Nickelodeon ture films. Projects in development form animation, which she has put cable network. Emmy-award win- are all based on illustrated chil- to good use in curating a new pro- ning director Mo Willems, known dren’s books. For television, they gram for Cartoon Network, O for his independent films and work plan to produce a series’ with Canada, a series of compilations of on Sesame Street, directed the spots Saban Entertainment and one animated shorts produced by the bringing to life the network’s new with DIC. The feature films in world-renowned National Film computer-generated spokesperson development are part of a first- Board of Canada. The weekly half Logobelly. look movie deal with Warner hour program will air at 9:30 p.m. Bros., and they include adapta- (ET) Wednesday evenings and Ovitz Rich, Eisner Richer! Michael tions of the books Nicholas repeat each Sunday at 10:30 p.m. Ovitz resigned from his post as pres- Cricket, as well as The Sorcerer’s (ET). Showcasing more than 50 films ident of Walt Disney Co. in Apprentice, with Geena Davis as in all, the series will include 1986 December, taking home a whop- lead voice and co-producer, and Academy Award nominee The Big ping $38.8 million in severance pay, Red Ranger Came Calling based Snit by Richard Condie and the plus stock options. This sum was on Pulitzer Prize-winning cartoon- 1953 Oscar-winning Neighbors by reached after Disney was sued by ist Berkely Breathed’s recently com- Norman McLaren. “This collection a group of its stockholders for pleted screenplay, and The Iguana was actually one of my program- “waste of corporate assets.” Brothers, a road movie starring ming goals when I started at Meanwhile, Walt Disney Co. iguanas for which modelmakers Cartoon Network,” notes Simensky. chairman Michael Eisner just signed Mackinnon & Saunders are slated She is also responsible for pro- a new 10-year contract to stay with to participate in production. gramming another unique short the company. Worth at least $300 film collection aired on the network: million, the deal assures that Eisner Resident EvilTo Become Feature a collection of the annual winners will be a billionaire by 2006. One Film. Capcom Co., the Japanese of the ASIFA-East animation festival has to wonder... what do these video game giant and creators of which happens in New York every guys earn per minute? the Sony Play Station game Resident spring. Evil, have announced plans to In other programming slots, Quibble Over Rocky & Bullwinkle develop the game into a live-action Cartoon Network is adding three Royalties. Animator Ted Key has feature film. The screenplay will be

ANIMATION WORLD MAGAZINE February 1997 66 written by Alan McElroy, writer of Animation Director Paul Berry, Art tion with Grand Design the Spawn comic book based film. Director Graham Maiden and Entertainment. This and other pro- Production Supervisor Kat Miller, best jects in development by Sweet Pea The following items are from known for their work on The will appeal to the virtually untapped AWN’s January 7, 1997 Email Nightmare Before Christmas and literary market of role-playing game News Flash: James and the Giant Peach. (Berry, fans, for which there is an estab- though, is perhaps best known for lished audience of over 12 million Saban Going Dutch? Saban his short, The Sandman, which players worldwide. Sweet Pea also Entertainment is negotiating an played on the festival circuit several owns rights to the popular agreement with Dutch media com- years ago.) Dungeons & Dragons role-playing pany Arcade NV to acquire a major- game. ity stake in the company’s cable Full Production Slate for channel TV 10. This will likely mean Dreamquest Images. The Walt WB and Turner Synergy Begins. an increase in animated program- Disney Company’s visual effects divi- The merger of Time-Warner and ming for the channel, which is sion, Dreamquest Images recently Turner is becoming a reality as we transmitted on 80% of Dutch cable announced that they are in pro- enter the new year, as we were systems. With Saban’s recent for- duction on seven feature films; reminded with the Warner Bros. mation of Fox Kids Worldwide with Mighty Joe Young, The Absent- Christmas card featuring a group Fox Children’s Network, pursuing Minded Professor, Con Air, George shot of characters from both libraries interest in overseas cable operations of the Jungle, Kundun, Jungle 2 (Fred Flintstone standing right next fits into their overall plan to distrib- Jungle and Deep Rising. Dream- to Bugs Bunny!). Over the holiday ute their product on a global scale. quest recently completed over 400 season, customers found for the first visual effects shots for the upcoming time Hanna-Barbera products for Scheimer in Deal With K-TEL. release Honey, We Shrunk Our- sale in the Warner Bros. Studio Lou Scheimer Productions has selves. Since being purchased by Stores nationwide. On the air, view- entered into an exclusive output Disney in May ‘96, the studio’s staff er are seeing Space Jam promotions deal with K-Tel to acquire family films has effectively doubled to well over and specials on Turner television for international home video distri- 200 employees, varying from pro- networks. In production, many bution. Lou Scheimer, long-time ani- ject to project. Hanna-Barbera staff are now work- mation industry player and founder ing on WB TV animation shows, and former CEO of Filmation, notes Disney Sets UK Video Sales while Jean MacCurdy heads up that he will be looking for new Record. The top-selling home video Hanna Barbera Productions (she properties at NATPE next week. in the UK this year has been Disney’s was formerly head of Warner Bros. 1961 re-release of the animated 101 TV Animation division). Turner Curious Pictures Creates Best Dalmatians. bringing the British Feature Animation’s second and Buy Campaign. Many of our US home video sales market to a record final product, Cats Don’t Dance will readers may have noticed the clever high this year. Meanwhile, Disney’s be released this spring by Warner puppet-animated commercials for animated feature Toy Story home Bros. the Best Buy Company which aired video sold more than 464,000 in over the holidays, and wondered the UK in November alone. AFI Offers Animation Classes. who created them. The three 30 The American Film Institute in Los second spots; Monsters, Wrestlers Role-Playing Games To Become Angeles will offer introductory work- and Three Little Pigs were created Features. Sweet Pea Entertain- shops throughout January, by Curious Pictures at their newly- ment, producers of Walt Disney February and March, focusing on opened San Francisco production Pictures’ upcoming comic-book fundamentals of 3D modeling, com- facility. Director/ designer Denis based feature, GEN 13, has puter animation for interactive Morella noted that the goal was to acquired all rights to the popular media and photo geometry. For create a “Tex Avery/ Warner Bros. futuristic sci-fi role-playing game information call (213) 856-7690. style animation, executed in 3D.” Traveler. The company is now Working with Morella on the spots developing the property into TV and --Compiled by Wendy Jackson were former Twitching Images staff, feature film concepts in collabora-

ANIMATION WORLD MAGAZINE February 1997 67 Desert Island Series . . . Animation Industry-ites

Compiled by Wendy Jackson

his month, we asked a few of our writers and people involved in the business of animation to list what films they would take with them if stranded on a desert island. Piet Kroon is a Dutch animator currently Tworking on The Quest for Camelot at Warner Bros. Feature Animation. Georges Lacroix is president of the Paris computer animation studio, Fantome. Pat Raine Webb is President of ASIFA UK. Jerry Hibbert is Director of Hibbert-Ralph Animation Ltd. in London and Chairman of the Guild of British Animation. And right here in Hollywood, Steve Hulett and Jeff Massie deal with the business of animation as representatives for the Motion Picture Screen Cartoonists’ Union, Local 839 IATSE.

Piet Kroon’s Top Ten picks…

1. My Life As A Dog by Lasse Halstrom, a beautiful swedish children’s film . . . bittersweet like life itself. 2. Manhattan by Woody Allen, because not everyone gets corrupted. 3. The Life of Brian (Monty Python) by Terry Jones—the “bright side of life”. 4. 101 Dalmatians (animated) by Wolfgang Reithermann, Hamilton Luske and Clyde Geronomi. because I love the design of this film. It has great cari- catured human characters for a change. Piet Kroon 5. The Big Snit by Richard Condie. Brilliant fun. “Okay teens! Begin to saw!” 6. Balance by the Lauenstein Brothers. A perfectly balanced film, a clear idea finds its singular expression. 7. Amarcord by Frederico Fellini. “Una Donna!” Great nostalgic tableaus of childhood, and very funny. 8. A Good Turn Daily by Gerrit van Dijk. Drop a quarter in the jukebox and watch the world spin. 9. Elbowing by Paul Driessen, because it is simple, efficient and eloquent. 10. Raiders of the Lost Ark by Steven Spielberg. What’s a desert island without a rollercoaster?

ANIMATION WORLD MAGAZINE February 1997 68 Georges Lacroix’s favorites…

“I need to see all of these films again, as I have so much to learn from them.”

1. Snow White and the Seven Dwarfts by David Hand. I first saw it when I was five years old, and I knew at that time that I wanted to be an animator. I must also mention the movie behind this movie, which is Disney’s Cinderella. If I had a big pocket, i would bring it too! 2. Toy Story by John Lasseter. I like this film so much because it is more about the emotion than the technology. Thank you Mr. John Lassetter, Mr. Ralph Guggenheim, and Pixar for prov- ing that we are in a new era of animation. All of the new students born with the computer will open up a new very wide magic world of this art form. We will have many great sur- prises in the next 10 years. I would like to take my retreat or retirement and step back to watch the new art develop! 3. Bad Luck Blackie by Tex Avery. I’d like to bring the whole Tex Avery collection! 4. Red Hot Riding Hood by Tex Avery 5. The Nightmare Before Christmas by Tim Burton & Henry Selick, one of my favorite American animated movies. 6. My Neighbor Totoro by Hayao Miyazaki, the master of classic animation in Japan. I like Totoro because it is so sensitive, but of his other films I also love La Puta, Porco Rosso, and Nausicaa. Miyazaki is a genius. I love the ways of this man, he is great person. 7. Flyer Tombs by Isao Takahata, a film about the Hiroshima bomb. The animation gives the abil- ity to pass emotion through the image with elegance. 8. Akira by Katsuhiro Otamo, the pioneer of new, avant garde animation in Japan. 9. AOS by Yoji Kuri. A very graphic film. I first saw it when I was a student. It shocked and inspired me. I like the generous ways of Kuri, who is serious yet not serious at the same time. 9. The Man Who Planted Trees by Frédéric Back. He is a great human being. There is much we can learn from him and his films. I had the honor and privelege to have the Fantôme exhibit accompany the exhibit of Frédéric Back at the Hiroshima Festival in 1996. 10. Le Petit Soldat (The Little Soldier) by Paul Grimault. 11. And for good luck!: Topor by Leopold Survage.

Pat Raine Webb’s picks…

“If I do actually get stranded on a desert island I would really need a minimum of 100 favorites but these will do as a starter. I don’t dare mention books or music, or I would need a whole issue of your magazine!”

Animation: 1. The Big Snit by Richard Condie, the funniest serious animated film to date. 2. The Tale of Tales by Yuri Norstein, a moving and beautiful Russian epic. 3. Once There Was A Dog by Edward Nazarov. This makes me laugh. 4. Snow White and the Seven Dwarfs by David Hand. This still makes me cry. 5.What’s Opera Doc? by Chuck Jones. How could I leave this out?

Live Action: 1. The Thief of Baghdad by Ludwig Berger, Tim Whelan & Michael Powell. My all-time favorite film. 2. Star Wars by George Lucas. Can I have the trilogy please! 3. E.T. by Steven Spielberg. How wonderful to have a lovable alien instead of a revolting one. 4. Stand by Me by Rob Reiner. The best ever “coming of age” film. 5. King Kong by Merian C. Cooper & Ernest B. Shoedsack, The best ever “monster” movie

ANIMATION WORLD MAGAZINE February 1997 69 Jerry Hibbert’s selections…

“Here they are in no particular order with a reason for choosing each—usually personal in some way.”

1. Yellow Submarine by George Dunning, because George gave me my first job. 2. Bambi by David Hand. I watched my children watching this wide-eyed and learning about the circle of life. 3. Gone in 60 Seconds by H.B. Halicki. Pure car chase fun. 4. Carry on Camping by Gerald Thomas. English lavatorial humor at its best. 5. The Girl Can’t Help It by Frank Tashlin—great music! 6. Bullitt by Peter Yates, because I always wanted a Dodge Charger and never got one. 7. American Graffiti by George Lucas, the perfect Saturday night out. 8. Ice Cold in Alex by J. Lee Thompson, because my father fought in the North African desert and took me to see this one as a boy. 9. Apocalypse Now by Francis Ford Coppola.

10. The Godfather by Francis Ford Coppola. Jerry Hibbert Jeff Massie’s…

1. Children of Paradise by Marcel Carne. 2. The General by Buster Keaton. 3. Great Expectations by David Lean. 4. The Invaders (49th Parallel) by Michael Powell Steve Hulett’s… 5. Jules and Jim by François Truffaut. 6. The Magnificent Ambersons by Orson 1. The Adventures of Robin Welles. Hood by Michael Curtiz. 7. The Man Who Shot Liberty Valance by 2. Aladdin by John Musker John Ford. & Ron Clements. 8. Rules of the Game by Jean Renoir. 3. City Lights by Charlie 9. The Third Man by Carol Reed. Chaplin. 10. Yojimbo by Akira Kurosawa. 4. Gone With The Wind by Victor Fleming. 5. His Girl Friday by Howard Hawks. 6. How Green Was My Valley by John Ford. 7. The Sea Hawk by Michael Curtiz. 8. Spartacus by Stanley Kubrick. 9. The Thief Of Baghdad by Raoul Walsh.

Caricature of Steve Hulett by Scott

ANIMATION WORLD MAGAZINE February 1997 70 AWN Comics

The Dirdy Birdy by John R. Dilworth

ANIMATION WORLD MAGAZINE February 1997 71 Animation World Magazine 1997 Calendar

March Issue Highlights

Focusing on the theme of Children and Animation, our next issue will address several related topics. Taking a look at children who create animation, we will publish a selective survey of chil- dren’s animation programs around the world, with special attention to the ASIFA International’s Children’s Animation Workshops. We’ll explore the ways children’s programs are sold around the world. We will learn all about the first animated musical for chil- dren on the Internet and who made it. Addressing social action in animation, we will have a story about the Trees for Life program, as well as an update of the UNICEF Animation Consortium, following the launch of UNICEF’s official site on AWN.

Children & Animation (March)

Music & Animation (April)

Commecials (May)

Education (June)

Comic Books/Strips & Animation (July)

Computer Animation (August)

Television (September)

Licensing & Merchandizing (October)

Home Video (November)

ANIMATION WORLD MAGAZINE February 1997 72