April 1996 Volume 1, No.1

Barry Purves' Rigoletto © Bare Boards Productions. WORLD MAGAZINE Volume 1, No.1 – April 1996

Editor's Notebook by Harvey Deneroff 3

Creating the Memories by 5 ANIMATION WORLD NETWORK One of Hollywood's leading directors and pioneer provides a personal history of computers in animation from the 6525 Sunset Blvd., days of to the present. In so doing, Kroyer discusses the problems and opportunities posed by the marriage of art and technology. Garden Suite 10 Hollywood, CA 90028 The Emperor's New Clothes by Barry Purves 10 Phone : 213.468.2554 After ace Barry Purves was displaced on Tim Burton's Mars Attacks ! by the folks at Industrial Light & Fax : 213.464.5914 Magic, we asked him to write something about his experience in Hollywood. The result is not what we expected, and instead he provides a wondrous soliloquy on the nature of animation, both of the traditional and computer kind. Email : [email protected] 3-D Animation in France by Olivier Cotte 15 Olivier Cotte, creator of Terra Incognita, provides a rundown on what's going on in 3-D computer animation in France. Fantôme : The First 10 Years by Harvey Deneroff 18 ANIMATION WORLD MAGAZINE A talk with Georges Lacroix, co-founder of Fantôme Animation, about his company and the popular Insektors TV series, [email protected] which is a reminder that there is life for computer animated shows beyond ReBoot. Technician of Suspended Disbelief : Rick Dyer, Shadoan and the Frontier of Animated PUBLISHER CD Entertainment by Eric La Brecque 21 Ron Diamond, President In the early 1980s, Rick Dyer engineered an interactive revolution when he married feature quality animation to video Dan Sarto, Chief Operating Officer games with titles such as Dragon's Lair. He is still, at this time with Shadoan and talks to Eric LeBrecque about it. EDITOR-IN-CHIEF Europe-A Storyboard Success by Iain Harvey 25 Harvey Deneroff Europe has traditionally been an also ran vis-à-vis the American film and TV industries. When it comes to animation, they also have to deal with Japan as well. For the past five years, the European Union has been trying to fight back ASSOCIATE EDITOR/PUBLICITY with CARTOON. A report from the trenches by CARTOON V.P. Iain Harvey. Frankie Kowalski Sinomation : Shanghai -Yesterday, Today and Tomorrow 28 CONTRIBUTORS : by Kenneth Hutman Giannalberto Bendazzi With many studios in East Asia eagerly trying to adopt to unfamiliar methods and styles in seeking work from Olivier Cotte producers, Shanghai Animation Studio, one of 's oldest, has a different idea. John H. Dilworth by Mark Langer 30 Iain Harvey Shamus Culhane's career spanned nearly the whole . Mark Langer pays tribute to Culhane as Kenneth Hutman both as a man and as an artist. Mark Langer Eric La Brecque 25 Years Already ! by Nicole Salomon 33 (English) 35 (français) Bill Kroyer The French resort town of Annecy is home of the premiere international animation festival ; but it also boasts of a no Barry Purves less illustrious animation workshop. Nicole Salomon recalls her experiences with the workshop, which has just celebrated Nicole Salomon its 25th anniversary. René Laloux. Drawings That Move By Giannalberto Bendazzi. 37 Le WEBMASTER René Laloux, best known for directing such animated sci-fi classics as Fantastic Planet, has now come out with a history Guillaume Calop of animation. Giannalberto Bendazzi reports. DESIGN/LAYOUT : On a Desert With... compiled by Frankie Kowalski 39 IMP Graphic Our peripatetic associate editor has asked the Oscar nominees for Best Animated Short Subject about their experiences e-mail : [email protected] and what films they would want to take with them if stranded on a desert island. The first of a series.

ADVERTISING SALES And the Envelope Please... by John H. Dilworth 41 North America : Wendy Jackson A space aged look at the whole Oscar experience from nominee John Dilworth's point of view. Europe : Vincent Ferri News 42 Asia : Bruce Teitelbaum Next Issue's Highlights 43

2 ANIMATION WORLD MAGAZINE April 1996

hen I was hired as the public, about how cartoons interactive animation who talks Editor of Animation are made. (How many drawings about his newest CD-ROM, Shadoan. W World Magazine, my does it take to make a A more general survey of what's assignment was relatively animated film has been a stock happening in Europe is provided by simple : question posed to producer Iain Harvey, who shows Produce a literate, independent almost from year one.) the role played by the European on-line journal about animation. Union's CARTOON initiative. More It was to include material While animation has focused on one particular studio, is of interest to a wide moved aggressively Kenneth Huttman's story of how one variety of readers over the last few Chinese studio is trying to keep its from around the years out of its traditions alive, while at the same time world, including professionals, ghetto-like existence and squarely trying to deal with the needs of aficionados and those whose into the mainstream, the public's (and Western producers. concerns about animation may be the industry's) curiosity with more “casual,” but nevertheless animation technology and technique A tribute to the late Shamus serious. Among other things, it was remains more intense than ever. It is Culhane by Mark Langer, to be a magazine which allowed also something that vitally concerns people in animation, especially filmmakers and producers alike, who Giannalberto Bendazzi's look at a animation artists, a venue in which now have to come to terms with the history of animation by filmmaker René they could express themselves and consequences and opportunities Laloux, and Nicole Salomon's com- communicate with one another. It presented by the digital revolution. memoration of the 25th anniversary was an assignment I gladly accepted. These issues which are addressed of the Annecy Animation Workshop rather strongly by Bill Kroyer and rounds up our first issue, along with Animation World Magazine is a Barry Purves, filmmakers of distinctly the first of Frankie Kowalski's first new venture in more ways than one. different pedigrees, but remarkably roundup of animators' “Desert Island” Attempting to publish a magazine on similar concerns. favorites (this time, focusing on the Internet is in itself something of Oscar-nominated filmmakers). an adventure. As such, we expect our Despite the impression that may magazine evolve and grow as time have been left by Toy Story, high goes on. In the meantime, we are quality 3-D computer animation is having a lot of fun doing it and hope being done all around the world. Thus, inally, I would like to personally that you will enjoy it as well. we asked computer animator Olivier thank Ron Diamond and Dan Cotte to provide an introductory FSarto, who were crazy enough survey of what's going on in France, to hire me as Editor. Not so crazy one of the leaders in digital animation, (although she may not agree) is my or most of its history, animation while Georges Lacroix elucidates on Associate Editor, Frankie Kowalski, has been considered a marginal in an interview I did about the whose enthusiasm and talent have part of the film and television delightful French TV series, Insektors, F kept both me and the magazine right industries, whose product was which is also done in 3-D. on target. mostly suitable only for children. It has also been a labor-intensive craft, that Our digital roundup also includes Harvey Deneroff has always evoked a wondrous sense an interview by Eric La Brecque with Editor-in-Chief of curiosity, by both journalists and Rick Dyer, one of the real pioneers of Animation World Magazine

3 ANIMATION WORLD MAGAZINE April 1996

4 ANIMATION WORLD MAGAZINE April 1996 Creating the Memories by Bill Kroyer

This article is adapted from the I Really Feel Sorry For You Kid… keynote address Bill Kroyer gave at I finally ended up at Disney in the Ojai Animation Conference, in 1977, which was an interesting Ojai, , on July 22, 1995.The place to be then. It was the link to Conference, designed as a retreat for the Golden Age. You are probably the animation industry, was hearing about how we are going sponsored by the International into the second Golden Age, which Animated Film Society, ASIFA- I think might be true. Yet, in those Hollywood, in association with the days everybody sat around and Ojai Film Society.When Kroyer gave moped, feeling bad about the fact the talk, he had recently started that they missed it. working as co-director on Warner We used to have guest artists Bros. Feature Animation's first film, come over who would say, “I really now entitled The Quest for feel sorry for you kid, you missed the Camelot, which is being co-produced Bill and Sue Kroyer Golden Age. Your life is worthless. by his wife, Sue Kroyer. Why bother ? You weren't there !” Some of the Nine Old Men were If you asked them still there in 1977, including Frank why they were not Thomas, Ollie Johnson, Willie oday, animation is exploding. innovating, they'd say, Reitherman and . But the And with billion dollar “Because we do studio was still stuck in a time warp, Tanimated films, direct-to-video what we do best,” technically and creatively. If you and CD-ROMs, there are big profi- which meant they just asked them why they were not ts to be made. That's OK, after all, didn't dare touch innovating, they'd say, “Because we it is an art-industry. People forget the formula that do what we do best,” which meant the hyphen, but you need money Walt had left behind. they just didn't dare touch the to do this art form. formula that Walt had left behind. What I would like to discuss, If you were an artist who had though, is not so much the I came out to L.A. in 1975 and been transported from Disney in business of animation, but what it immediately went to Disney to get 1941 to 1977, there wouldn't be a means to be an artist and a job. They wouldn't take me, whole heck of a lot of technology animation as an art form. I'm going because I didn't have an art school that you would not instantly know do this from my own perspective, portfolio. Instead, I got a job in a about. You knew about peg bars, looking back on my career and small commercial studio, where my reinforcements, pencil tests and the what I've experienced. first assignment was erasing the multiplane camera. You might Back in the 1960s, it was said stretch lines off of Mr. Clean's pants, discover Xerox machines and reel- that President Nixon was asked because he looked too virile. My to-reel pencil test machines ; but why he didn't think there was a second assignment was to put beyond that nothing had really recession. He said, “Well I have a pants on elves, because they only changed. job, and all my friends are work- had shirts on and somebody finally In the 1970s, the industry was ing.” Well, I'm happy to say that, realized they were naked. That is in a real slump. Disney was the all my friends are working now. It when I learned the two most only studio making realistic wasn't always like that ; but now important principles of animation : features, and even their films had they are and that's part of what's It will go by so fast that you'll never reached bottom. Then some great about the animation see it ; and if you can't make it milestones came up and things industry today. good, make it loud and fast. started to change.

5 ANIMATION WORLD MAGAZINE April 1996

And Along Came Tron Crusades. Suddenly, I realized we were Inner-Penetrating Objects and Many people see Who Framed seeing this little tiny tip of an iceberg Fractal Walls Roger Rabbit as the big milestone. of what had been going on for years. It was great. If we wanted to That's the one that made the Tron was the beginning. It was do an effect, we'd tell these guys, money. Yes, but there was another the moment when computer “Invent it.” They had no software that may have been even more graphics made its first contact with for it, so they would sit down and prophetic : Tron, made by Disney the animation industry — like the write it. back in 1982. sperm and the egg. Then they would say, “We wrote some software that does this. So, we would make up something in the story to use it. For instance, they were so ashamed when they showed us inner-penetrating objects. But we thought that was pretty cool and we actually made up a neat character composed of inner- penetrating objects. On the other hand, I once gave David Warner as the villainous Sark in Tron © 1982 Productions an assignment to do a scene where a ship flies out of a hanger. Every guy in the of America After waiting eight weeks, I asked, that was into computer graphics showed up to work on it. “Where's the scene ?” They said, It was like the Crusades. “Oh man, you're going to be so thrilled. We built a fractal wall.” I asked, “What's a fractal wall ?” I had left Disney earlier because I It was neat, because nobody had didn't want to work on The Black ever done it before. There were no The idea is to do things that Cauldron. I happened to land in the experts around. So, I inherited the are cheap lap of Steve Lisberger, who was position of Director of Animation. and look good, making . Mind you, this Luckily, I caught on to it pretty well. not things that are was not the world's greatest film, It is incredible when you look at expensive which although it was a feature film that the people who worked on Tron, nobody notices. was completely hand ink-and- who are now key players at places That's a cardinal painted by nine people in a ware- like , Rhythm & Hues, PDI and rule of filmmaking. house in Venice, which is pretty . All these young guys amazing. After Animalympics, we couldn't believe somebody was really developed Tron and took it to Disney. going to hire them to do this type Well, it was this thing that looked Tron became a revolutionary thing. of work. like a rock wall, the kind of thing a When we first starting working on it, background painter could have we didn't know how we would do it. done in about six hours. They It was just an idea about a guy and a worked eight weeks on it and only computer. But when we showed up they would know it's a fractal wall. at Disney, something started That's a problem you always happening ; it was almost like putting have. The idea is to do things that a blue light on the back porch and are cheap and look good, not having flies from all over the things that are expensive which neighborhood come to it. Every guy nobody notices. To me, that's a in the United States of America that cardinal rule of filmmaking. was into computer graphics showed Jeff Bridges is an electronic warrior in Tron. Tron was an unusual picture. It's up to work on it. It was like the © 1982 Walt Disney Productions where all this technology came

6 ANIMATION WORLD MAGAZINE April 1996

together and started to be utilized. such a high level of performance, underneath it, like the wrist and Looking back now, it was that it was actually designed to fingers, will follow. It sounds trivial somewhat primitive, but it was crash three or four times a day. now, yet back then people were weird mix of human effort and And the only people who could just starting write this type of technology. start it back up again were people software. If you watch the credits, you'll from Cray. So, when you bought The first time I animated a see a couple hundred Chinese a Cray, they sent people who human figure using this software, characters at the end : those are would live with it, called Crayons, I did a dancing cycle. Some people the names of the artists who in a trailer in the parking lot. looked at it and said, “Wow, how painted mattes in Taiwan. A year The Cray was so fast that none did you do that ?” But one of the later, that was totally obsolete. of us could actually “speak” to it. programmers said, “That's just key Computers could do all that. That's We first had to speak to VAX frame software.” They usually think how fast it changed. computers, which then built up that way. They hate to think that it The movie had story problems enough information until they felt takes a skill that can't be canned. and was not a big hit. In itself, Tron worthy to approach the Cray. They Then came Roger Rabbit, which did not revolutionize the animation would then shoot it over to the made big money and showed that industry, but it did give encoura- Cray, which would then compute it. animated cartoons could appeal gement to the computer industry. to adults and things started to The Cray was engineered change. Technology played an to such a high level important part in that film and of performance, allowed animation to be sophisti- that it was actually cated and hip again, and business designed to crash started booming. three or four times a day. Building a computer generated solar sailer in Tron.. Technological Threat © 1982 Walt Disney Productions My wife Sue and I started Kroyer At the time, we started doing Films in 1986 to combine AfterTron, I looked around and the first hierarchical animation of computer and hand animation. still didn't see anything great figures. This means that when you Although I enjoyed working with happening in animation. So, I move an elbow, everything computers, I always missed chose to stay in computers and worked at and Digital Productions.

Computers and Crayons I remember we had the only Cray supercomputer not dedicated to defense interests, which was used for the absolutely illogical purpose of making films. Actually, it wasn't totally illogical, because creating graphics was important. (We got the Cray because 's father, who had done the very first computer animated films using a World War II bombsight, was known in the defense industry.) The Cray was a cool computer, able to do six billion computations a second. It was engineered to Bill Kroyer's Technological Threat © Kroyer Films

7 ANIMATION WORLD MAGAZINE April 1996

drawing and the illusion of master is the vision and the servant reference, for instance, are OK as cartoons. I wanted to create is the technology. reference. But it's not OK if it starts something that would allow the There has been this battle ever taking away the animators' initial computer to blend easily with the since I've seen these two working vision of how to play a scene. An pencil, which I still believe is the together in Tron. It's natural, animator starts with a blank piece animator's greatest tool, as it gives because much of the work we do paper on which he can create one the most freedom to create an is technology based ; it's also anything, including somebody illusion. natural that the toolmakers with both eyes one side of his believe that they are the best ones head — which is perfectly OK. There was this heavy to use them, but it doesn't work Live-action reference has very philosophical depth that way. You go to hear limited uses. The same goes for to the movie, Rubinstein play, not the guy who , which is essentially which the French made the piano. the same thing. really appreciated. It's one of those things you have I prefer motion to be stylized, No one here did. to be sensitive about, because you because the essential part of the have to appreciate the skill of the art is movement. You've heard the person who knows how to use the saying that great animation is not We put together a software technology. But there has to be a drawings that move, but move- package that allowed a computer level of judgment about their ment that is drawn. What you are to draw out on punched ability to use it with artistic vision. doing is creating drawings that, animation paper using a plotter. It The computer world is a when looked at individually, may was unbelievably fast. Artists used Cartesian world which exists in an look bad or illogical. But when to look at it and you could see XYZ place, which seeks to create looked at all at once, they are them staring into the abyss of their an artificial three-dimensional magical. That's our art form. That's own careers disappearing. environment. It tries to reproduce what we do that nobody else can. The truth is that computer real dimensionality, physical space So, if you're going to work in people like to think that and artists and shape. computer animation, stylize it ; often fear that. So we made That's valid. Yet, in my opinion, bring exaggeration and caricature Technological Threat, which was much of the magic of our art to it. If you do that, then you are about just that. It showed organic comes from illusion. That's what taking it to a place that nobody cartoon characters being makes people's heads get else can. How many artists get to threatened by computer animated connected. What goes on the do that ? characters. We did the former by screen may make no logical sense, hand and the latter, of course, with but it conveys very clear emotional Learning to Cope computers. There was this heavy feelings which can be really funny, Technology leads artists to cope philosophical depth to the movie, poignant and beautiful. As a in many different ways. One is by which the French really matter of fact, the less sense it learning how to use the tools. But appreciated. No one here did. makes and the more emotional it it's interesting how other things Technological Threat spoke to the gets is one way to judge how happen. I'll give you a brief question of : What is this great it is. example from a project we worked technological revolution doing to Probably the most famous thing on and how our traditional the artist and to art ? Well, in animation is 's animation staff had to deal with a animation as we know it, is both ears. You can't do Mickey's ears in new medium. gaining and loosing, but it's losing 3-D. You look at those outfits at less than it's gaining. Disneyland and they're not right. When the story people Mickey's ears are supposed to started working on gags, The Servant-Master Relationship crawl around, that's why they are we discovered was that in Which brings me to what I call cool. It's the art of the cheat, which video games gags (as we servant-master relationship, which is essential to the greatness of think of them) are almost is my obsession about how the animation. meaningless. industry should work. That is, the and live-action

8 ANIMATION WORLD MAGAZINE April 1996

We did a video game called Pitfall : We also had to do something My basic approach is not to The Myan Adventure for Activision. called linking, where every bit of compromise these two worlds, but They wanted regular, Disney-style, animation had to link in and out to compliment them. Don't lower cartoony animation. None of our of all the other animation. It's kind your artistic vision by having a tool staff, though, had ever done that of weird. An animator usually gets user supply the vision. Don't in a video game and, in the a scene and thinks he can work minimize the technical wonder of process, found out some with from the start, but this had a the vision by having an artist who interesting things. strange extra layer of restrictions can't work the tool as well. We on it. need to be aware of the technol- Another thing we did for is that ogy. Learn about it, evaluate it, find we scanned all the drawings into out what you can do with it, how a computer, building up a library of it relates to you, and make good 1,300 individual drawings. So, we choices as how you will be could literally build our scripts out involved with it as an artist. And, of of those drawings in any order we course, we need to communicate wanted. We may have only done to the audience. 120 intentionally animated A few years ago, Sue and I Bill Kroyer's FernGully :The Last Rainforest © FAI motions, but you could build went to the Lawrence Livermore others by grabbing and stealing Laboratory, in Northern California, Usually, before starting to different things. where I spoke at a conference on animate, animators want to know : There were a lot of other things scientific visualization. While we What's the story ? What are the that make it really easy. Your color were there, we saw a lab where gags ? What's the point ? Who are models are all digital, so you don't they were working on memory. the characters ? We started to get have to sit there and mix paint. You They had a device called a tape into that and developed Pitfall can pick from a million colors and silo. It had hundreds of tapes on Harry's personality and his walk. instantly change them, which is a rack with a computerized arm ; Yet, when the story people started really great. And you don't have when you asked for a certain piece working on gags, we discovered to send things out to camera. of data, the computer would was that in video games gags (as When we did FernGully :The Last know which tape had it, the arm we think of them) are almost Rainforest, which we ink-and- would then take it out and find it. meaningless. The only thing painted using traditional methods, They had just put on-line some valuable to the game is game play we used 4 tons of paint and new optical storage disks, which — the thing the player makes produced 16Ω tons of finished art took up much less room, but were Harry do and how he reacts. That's just to make one film. Now it's on were also working on a couple of what sells the game. It's the a few tapes or disks. devices they hoped would expand coolness of how he leaps, or memory even more, something jumps, or kills, or fights or dies. Just a Glorified Pencil visualization needs lot of. That's what they consider what we With all these cool tools and Their job is to expand memory. used to call a gag. tricks coming along, the tendency Our job to create the memories. In animation, one of the first is to get mesmerized by them. That's what we do in our business. things you learn is to anticipate That started to happen on Tron. Remember, the vision is the and follow through. But, in a video People would get caught up in a master. Keep it in mind as we grow game you can't anticipate. The really cool tool and they think that, as an industry and let's hope we player doesn't want to wait around like the fractal wall, it would be can all say for years to come that — when he wants to get a punch, interesting, in itself, to the all of our friends are working. he want to get a punch. audience. The audience couldn't We had to figure out how to care less about that. You have to make the motion work quickly, remember that. The truth is that without some of the traditional technology is still just a glorified things we usually used, like power pencil, something to make a vi- and force. sion with.

9 ANIMATION WORLD MAGAZINE April 1996 The Emperor’s New Clothes by Barry J. C. Purves know I must be alone in this, and complex dance sequence with I know that there is nothing I can huge leaps and jumps, it does not I do about it except eventually impress as much as its live-action accept it and go with it, but I do equivalent when you know the feel that I am waving at a physical limitations and gravity the computer-generated Emperor and dance has to overcome, but which politely telling him that he is an animator is not troubled with wearing no clothes. Sadly, I feel I and can ignore. am deafened by the surrounding I am no longer impressed by crowd saying how lovely the Stallone, on film, hanging from an Emperor's clothes are, and how edge of a mountain, when I know his wardrobe will never be the that computers have erased thick same again. I am sure it won't, but steel hawsers supporting him, and I still remain to be convinced that the sheer drop does not exist and his wardrobe will be better. has been generated by a I have a basic psychological computer. The so-called reality of problem with computer-generated film is somewhat less than real. animation, in that as soon as I am Barry Purves aware of any involvement of © Bare Boards Productions One of the Great Fallacies computers, a huge barrier comes That the camera never lies has between me and the screen. I can the limitations of the stage itself, I proved to be one of the great sit there and be wonderfully know the boundaries of what is fallacies of the twentieth century. It impressed and dazzled by the possible, yet they have appeared now seems that the camera nearly technology, but I cannot get to go beyond these. I have been always lies and certainly cannot be beyond that. However spectacular happily tricked. trusted anymore, and sadly, I feel the images and effects are, there is But if the same illusion happens that I can no longer believe something nagging away in my on a piece of film, I am not im- anything I see. This is totally mind that says, “Oh, it's com- pressed as I subconsciously know disorienting. puters.” and I dismiss it. it has all been done with clever Knowing that publicity photos I realize this does an enormous editing, or computers have erased are nearly always retouched, can disservice to the skill and artistry any tell-tale part of the image that I believe that a certain model really behind the images, and says more would have given the game away, has such blue eyes, or that her about my own naiveté, my or it could have been filmed over waist is really so ludicrously small ? stubborn technical illiteracy and a period longer than suggested, Should I meet this model, how fear of things I do not understand, and various body doubles disappointed I would be in her dull but the more complex the “magic” replaced. grey eyes and spreading waistline. becomes, the less magical it feels. Knowing that politicians can I just accept these effects without However spectacular the be diplomatically removed from seeing any wonder in them. images and effects are, incriminating photographs at the If I sit in a theater, and I am pre- there is something nagging press of a few buttons, what can sented with the illusion of a away in my mind that says, we trust ? magician sawing his assistant in “Oh, it's computers.” I think what basically worries half, and placing the two halves and I dismiss it. me is that computer technology at either end of the stage, that and image manipulation has now impresses me. I know it is only a removed the boundaries of what trick, but with the performers Reversing the situation, if an is possible, and when anything is physically in front of me, and with animator was to animate a possible, I am no longer thrilled

10 ANIMATION WORLD MAGAZINE April 1996

and excited. Knowing there are no Of Toy Story, I am in total awe, limits, my brain is dulled and no What is unique to as it is such a well told story, its longer surprised, let alone Toy Story, and where gags so perfectly timed, and its involved. I personally am far more the computer technology characters so rich and true. That in awe of what George Méliés scores over it is all computer generated is achieved a hundred years ago, any other methods, almost incidental. The film is so with his enormous technical is its freedom of camera well directed and seamlessly restrictions than some of the spe- movement and constructed that it could work in cial effects laden epics of today. camera angles, any medium. There are a few This is probably my loss, as but again this is awkward moments with the hu- computers are now such a major all motivated by the story. mans who still look less credible and inevitable part of film than the toys, but that is production, and everyone says nitpicking. that they are just a tool for the I have to say that I feel Babe is What is unique to Toy Story, artist. But I can't help feeling that it an absolute masterpiece ; a film and where the computer leads to unimaginative shortcuts that is led by its story and technology scores over any other and a certain sloppiness. Location characters, and where the effects methods, is its freedom of managers no longer have to find serve the film and are almost camera movement and camera the absolutely right location when invisible. OfJumanji, I do not feel angles, but again this is all the modern railroad ruining their the same admiration at all. The motivated by the story. Too many pastoral landscape can be re- basic story seems flawed and in- films are showing off the moved in postproduction. So what cidental to me ; I cannot actually technology's capabilities, without if there were not the clouds in the work out just how the game is necessarily finding a justification sky that the director would have played or what the game for them — the incessant liked — press a button and there element is. But supposedly that morphing of the headgear in they are. This may, of course, make does not matter, just sit back and Stargate comes immediately to more financial sense than having enjoy the special effects. mind. a crew wait around for the right clouds, but some directors could Bridging the Gap have improvised with the clouds As part of that extinct race of they had and come up with dinosaurs known as model something better than expected. animators (and how ironic that a dinosaur is really making us Pushing the Limits extinct !), it is fascinating to But having said all that, of all actually study computer anima- the recent films that have used tion. Traditional animation computer animation, the one and have their

that impressed me the most is Babe own qualities, and now Babe. It pushes what could almost © 1995 Universal City Studios, Inc. computers are somewhere in be possible to its limits, but does between, bridging the gap. not go beyond. The mouth Again, I feel the animals that Drawn characters are full of movements of the animals are so work the best in the live-action stretch and squash, and their understated, and so well married settings are the ones that do not elastic anatomy works in their to the live-action, that you do not push the credibility over the edge. own stylized world. Against the question that they are talking. If The expressions of the monkeys drawn backgrounds, it is easy to the computer animators had are absurd and lose credibility very accept a character rushing away given them more exaggerated quickly ; the charging rhinos, with its legs taking a beating to Disneyesque expressions, it however, are all too credible, with catch up. Model characters work would not have fitted the live- some wonderfully detailed and less well when they try this, action element, and the whole quirky movement as they crash unless, like Nick Park's wonderful film would have fallen to pieces. into each other. characters, they are heavily styl-

11 ANIMATION WORLD MAGAZINE April 1996

ized to begin with. The and “realism” would not allow in the CGI creature in Species, and convention set by their accent- for this. so failed to be scared by it. The uated mouth shapes carries men-in-suits creature at the through to their bodies, but even Model characters have beginning of the film was far with they a stronger more credible and scary, but it could only stretch so far. A 10 ton psychological reality, clearly was there in the same weight that flattens a drawn because we can see that space as the actors. character cannot flatten a model they do exist physically, character without this convention especially when they relate Nine Months on Mars being clearly established. to their environment, Attacks ! Model characters have a and we expect them I have just spent nine months stronger psychological reality, to react within in Hollywood working as because we can see that they do certain physical boundaries. on the exist physically, especially when Warner Bros.' Mars Attacks! This they relate to their environment, has been an incredible education and we expect them to react Such humor as there is in the into the workings of a feature within certain physical bound- film comes from the character film, but a very disturbing ex- aries. When they cross these doing realistic things in an perience to see how things are boundaries, the effect is naturally environment that appears to be led by money and studio politics. humorous. realistic but proves to be very The contents of the film itself, I have tried, with my own elastic. Just where do all those seems such a small priority. I was work, which cannot really be props come from, and how does also surprised at how terrified described as humorous, to see he appear to be leaving the stage anyone was of that word how far I can push what is and coming on the other side at “Culture,” but that's another credible with . It clearly the same time ? What he does story. depends on how stylized the looks almost possible — if I had The live-action film, Mars puppets are, and how stylized made his actions totally Attacks!, is a War of the Worlds their environment is. With my impossible, the film would have story, with Martians invading film Next, I initially thought of the been a very different, less elegant America. Anything to do with film as interpreting each of film. Martians and their flying saucers Shakespeare's plays as a series of With Screen Play and Achilles, I was originally intended to be wild gags, often involving laid my cards on the table, and stop frame puppets, with the Shakespeare detaching a limb or said that this film is all going to whole film conceived as a his own head to be used as a happen within this confined area, homage to Ray Harryhausen and prop, and then miraculously but out of these boundaries will those wonderful, simple monster appearing complete in the next conjure up the illusion of different movies of the 50s and 60s. scene. This may have worked images. It's the “before your very with a drawn, or even a cari- eyes” thing again. It is this slight catured claymation Shakespeare, of hand that interests me, but I but as soon as our puppet was cannot see a way of combining it designed, I realized that his detail with computers. Computer characters have some of the characteristics of both drawn and model anima- tion (as shown in ), but I still have the feeling that, again, anything is possible, and that they don't actually exist in any tangible form ; and this for me,

Barry Purves' Next destroys their credibility. I certainly Barry Purves' Screen Play © Bare Boards Productions did not, for one second, believe © Bare Boards Productions 1992

12 ANIMATION WORLD MAGAZINE April 1996

what effect this will have on the Story and any of 's In a flash the whole film, I do think it was a mistaken films, that computer characters can model animation team, decision. The feeling of the film will act (mainly because John's staff are puppets, sets and facilities now be very different, and any actors/animators first, and were dispensed, idea of an homage has to be lost. technicians second), but I do feel to be replaced, eventually, The suited Martians on Earth will, that the sustained closeups by computer generated I agree, probably look more needed for these scenes would Martians. convincingly related to their have been perfect for model environment, but I shall be animation. interested to see how, perhaps, a The Martians were to be seen limb will have slightly stretch, in A Unique Edge both in heavy spacesuits reacting order to match a live-action actor's Model animation, by its very pro- with live-action characters on movements. cess, has a slight unpredictability and Earth, and in a near naked state The computer work will allow spontaneous feel to it — even the in their own totally animated for a lot of fitting in with the live- animators cannot exactly predict environment, in their spaceships. action, and for last minute where the puppet will go — and The animation tests of the naked decisions to be made (decisions this does give it a unique edge. With Martians were looking good and that really should have been made drawn and computer animation you suitably creepy. We had spent in preproduction), and the whole can feel the character moving from months working on bizarre little thing will look very slick. I shall be plotted key position to key position. Martian gestures and ways of mov- interested, too, to see if they resist Puppet animation evolves in a ing. The suited Martians were less throwing in every trick in the book, unique way, and this certainly would convincing as we were working in just because those tricks can be have helped the Martians. something of a vacuum, with no done. Because of the one-to-one rela- live-action action to play against, tionship between an animator and but this would have come with Model animation, puppet in the actual process of ani- more rehearsal. We were by its very process, mation, a lot of the character and animating puppets in an empty has a slight unpredictability the passion of the animator himself space, with takes lasting up to 20 and spontaneous feel to it goes straight into the puppet and seconds, when probably, in the and this does give it its performance. It is the most purely film the same Martians would only a unique edge. personal and honest form of have been glimpsed in a quickly animation (often revealing surprising edited sequence with a whole aspects of the animator's personality), load of other business going on. Of the scenes inside the and acting is the most undiluted, Little wonder that the puppets saucers, with the naked Martians, whereas with drawn and computer crumbled under such cruel this is where I am most concerned animation, it is, to some extent, exposure. that the computers will fail. All animation by committee. There are, However, the film ran into these scenes depended on the of necessity, so many more people serious script problems which sent acting abilities of the animators. involved, and something really does the whole production months Here the Martians really had to be get lost on the way. behind schedule and over convincing and have their own I also get the feeling that com- boarding, and with the live-action body language and peculiar little puter characters have to keep mov- having to be shot after most of the gestures, unlike anything we have ing — certainly on the evidence so animation. In a flash the whole seen. This is where I think the team far, perhaps, a held closeup would model animation team, puppets, of animators I had assembled for reveal too much. Puppets do not sets and facilities were dispensed, the film would have excelled. We need to be remodeled each frame, to be replaced, eventually, by ignored animators' reels where and can take long unsustained computer generated Martians. everything was all flashy images, shots. and instead concentrated on reels There is no doubt that computer Trying to Be Objective where characters were acting. characters do have some enormous Trying to be objective about There is no doubt, after Toy advantages over puppets — they

13 ANIMATION WORLD MAGAZINE April 1996

do not have to be secured to the Energy and Spontaneity Computers, sadly, come across as floor ; they do not have to be Up until about six years ago, too rehearsed, controlled and suspended on wires when they I would always animate without rather cold. jump ; wearing of clothes or a long any form of video recording Working on a test on Mars cloak do not get in the way of the playback or a monitor for Attacks!, marrying animation into animation process ; a move can be reference, and I probably feel that a live-action scene, all the erased in the animator is less than I did my best animation under technology involved made me happy (and an animator knowing those conditions. My concen- feel I was trying to recite a speech he can always do something again tration was more focused, and I from Hamlet whilst someone was makes him, unconsciously, work at made sure that I was certain of shouting telephone numbers less than a hundred percent, like an every movement, or believed in directly into my face. It was hard actor at a dress rehearsal) ; and so every gesture, before I animated work, impossible to concentrate, on ; but there is still something it, and I would do a shot in a and probably the performance missing. I still do not believe they are complete session without suffered. there. I do not feel I could reach out breaking and losing attention. I did find, on the film, ever- and touch them. The slickness and Now, with sophisticated yone had an absolute consuming sophistication of computers equipment, I have the chance to compassion for the new techno- somehow removes the characters look at a movement and wonder logy ; and too often it made from reality, and in my mind, destroys whether it is too large or too things so unnecessarily their credibility and thus my small, and analyze it endlessly complicated, with the original involvement in their story. and immediately all manner of intentions getting lost in the Comparing the new James and doubt and choices are planted in process. the Giant Peach (though I have only my head, and the original spirit In my own work, I am striving seen a rough cut) and Toy Story, I and instinct can be lost. I can to get back to what animation is really did so warm to the former's break a shot and go for a break, about — the acting of the characters — it is easy for me to play back the tape, and carry on, characters. Achilles was an believe in them and their world, but the impetus is lost. attempt to make a film where I because I can almost touch them. Wherever possible, I strive to could concentrate on the acting, The Toy Story characters, however make each take the equivalent of unhindered by any technology. brilliantly animated and designed, a live performance, and hope There probably always will be are still distanced, for me, by the that some of that energy and a small band of model animators slickness and feel of computers. spontaneity comes across. around, but we will now be regarded with quaint curiosity — in the same way that people look at writers who still write with pens. Today, it seems, the method of writing is of more in- terest than the words that are actually written.

Barry Purves is a Manchester-based filmmaker who is now developing a feature based on Benjamin Britten's opera, Noye's Fludde, for his company, Bare Boards Productions. Barry Purves' Achilles © Bare Boards Productions 1995

14 ANIMATION WORLD MAGAZINE April 1996 3-D animation in France by Olivier Cotte

Thomson, a French company specializing in computer and hi-fi equipment). And when these com- panies could not find the right software to create the images they wanted, they wrote one themselves.

Today's Hardware and Software As is customary elsewhere, a variety of software is used in France. A large percentage run on Silicon Graphic work stations, a platform that uses the old, but powerful Unix operating system. It is a very flexible platform, which allows each individual animator to customize his or her own setup with small, personalized programs. The amount of software that runs on UNIX is large and today even includes small applications written for personal Dino Island, produced by Ex Machina for Iwerks Entertainment. © Iwerks Entertainment computers. These work stations are t has been said that four countries largest company of its kind in Europe, often linked with PCs and have provided leadership in 3-D and is now known as Ex Machina. Macintoshes, where one can I computer animation : the United At the time, more than 15 years prepare the “maps” (the textures you States, Japan, Canada and France. ago, the computers being used can see on the shapes of the 3-D One could expand that list to include were big, expensive and slow. The objects). Frequently, several other countries, such as England ; pictures Sogitec/Ex Machina programs are used in making a but in any case, France is certainly generated were flat, ugly and single film : each one has its own one of the leaders. expensive. Very few classically trained niche, as an all-purpose software still were interested in this new way of doesn't exist. A Little Bit of History making films. The hardware and software used Three-D computer animation is In the early 1980s, the French today are the same around the not new in France. Its history goes government gave a lot of money to world. The main exception being back to the 1960s and the experi- spur the growth of this new industry the in-house software developed for mental works of Peter Foldes at and a film festival, Imagina, was set internal use at various companies. Service de recherche de l'ORTF, an up to showcase 3-D pictures from For instance, MacGuffline has experimental art/technology lab run all around the world. developed an excellent program to by Pierre Schaeffer. (Its beginning, of Production companies, and espe- do morphing ; Duran has a program course, actually dates back to the cially post-production companies, that quickly integrates several layers flight simulators used by the French began to buy equipment to produce of imagery, while Ex Machina has Army, which are much the same as 3-D pictures for TV commercials and one that one can handle muscle those that now run on personal advertising. They used, and still use distortion ; K.O.Kid was made at Buff computers.) Soon after, a firm called today, a very complete software with software that creates an Sogitec emerged from this prehistoric package called Explore, from Thoms- animation of a “3-D flat” character ; period and eventually became the on Digital Image (a division of etc., etc.

15 ANIMATION WORLD MAGAZINE April 1996

has been around for a few years. field or the object itself. A It's a kind of “rotoscoping” that computer then analyzes the involves shooting a real person in movement with absolute accuracy a special studio, with sensors and you can then change attached to key points on the body whatever you want. For instance, (with some on the clothes or even you can put a synthetic car in real the skin). The system provides a landscape (like in a film made for computer all a person's coordi- Renault, the French automobile nates while he or she is moving, company), or you can do the exact which can then be reproduced by opposite and create a 3-D land- Scenes from Olivier Cotte'sTerra Incognita, a film that includes a variety of animation the computer with great accuracy. scape for a real car (used for techniques, including CGI, The interesting thing, of course, is advertising Italy's Lancia). I worked as well as live action. © Olivier Cotte that you can change the character on these projects and I can assure while keeping the movements you that the system is very Who Works in 3-D ? intact ; for instance, a realistic impressive. Different kind of people work in dancer can be turned into a 3-D : There are those who model cartoon one, while continuing to It is to France and the UK the shape and volume of objects do the same dance. that European producers (an object can be anything you Another interesting develop- usually go to realize want — a character, an animal, ment, in the field of virtual reality, their projects. furniture, etc.), others paint is being done at MediaLab. Every textures, animate and do the day, in France, you can see lighting. puppets being animated in real So, What About the Pictures ? For complicated shapes (like time on the Canal + cable network. Companies specializing in 3-D animals), artists start by sculpting Two classical puppet animators each have their own unique the objects with plaster. Then, the wearing data gloves make the styles. If you want to generate a object “appears” in the computer character act : one handles body ride (dynamic cinema) the power by inputting coordinates from a movements, the other works on of Ex Machina is the best. If you series of points drawn on the the face. Of course, this sort of want to do special effects for shape with a special pen linked to technique needs a very powerful 35mm theatrical films, Duran has the computer. computer. More amazing, though, the most experience (they just is that the system is used with an won a prize at Imagina for their Companies specializing interactive TV game : the players, work on La cite des enfants perdus). in 3-D each have their sitting at home, call in to indicate The principal markets for these own unique styles. the route a pizza delivery man has companies, which include both to take through a city “built” just the domestic and international for the game, which is seen in 3- markets, are : advertising films Today, more and more tradi- D, in real time. (including TV commercials) done tionally trained animators are MediaLab, as its name implies, on videotape or 35mm film ; the coming into 3-D animation. An is a kind of laboratory that occasional industrial film ; special increasing number of artists who specializes in TV production. In the effects for feature films ; TV create textures come from a field of virtual reality and real time specials ; and films used for theme traditional painting background. In 3-D animation, they probably have park rides and exhibitions. Several other words, these two separate a two or three year lead over studios work on video games, worlds are now becoming one. The everybody else. with the most important company war between the two universes Another spectacular system was in this area being Cryo. (traditional/computer) is over. created by I.N.A. (Institute National In Europe, France's major com- de l'Audiovisuel). A background, a petitors are Great Britain, Italy, Ger- Latest Techniques car, or any other solid object is many and Switzerland ; other There is a new way to animate, photographed, with several European countries have 3-D known as motion capture, which graphic targets included on the computer animation industries, but

16 ANIMATION WORLD MAGAZINE April 1996

most highly developed are in the It's difficult to guess what the schools, such as the Ecole des UK or France. It is to these two future will be. The more Beaux Arts de Paris and the Ecole countries that European producers advertising agencies and film des Arts Decoratifs, have 3-D usually come to get to realize their producers use these techniques, computer animation departme- projects. the more it will generate new nts. Several general consumer talent and fuel its growth. With magazines, including some in The Future ? the proliferation of personal television, provide an increasing Things have changed considerably computers, more and more inde- amount of information to the since the first experiments came pendent animators are bound to public at large. The future is out of the labs in the 1960s. We explore this fascinating world. Art already here. The doors are wide are now in the industrial age of schools now include special open. We just have to make it computer animation. courses in this area ; prestigious live.

Terra Incognita © Olivier Cotte “One evening, a merchant is visited by a strange traveler who sells him an extraordinary parchment : a universal chart that had the ability to transform itself during it's journeys. “Captivated, the merchant sets out on an expedition, into the graphic universe of ancient charts, to discover it's country of origin.” Olivier Cotte on Terra Incognita.

Olivier Cotte is a Paris-based director and computer animation artist, whose credits include Terra Incognita.

17 ANIMATION WORLD MAGAZINE April 1996 Fantôme : The first 10 years by Harvey Deneroff jokingly points out, “it was only possible to animate a few spheres and cubes. Today, the way is very open.” Fantôme initially concentrated on what Lacroix calls the “reality market” — special effects, comm- ercials, corporate logos, etc. “Step- by-step, though, we started to do ” and started making its own films in 1987, with Sio Benbor, a parody of a Japanese movie ; this was followed by Sio Benbor II, which spoofed John Lasseter's computer animation classic, Luxo Jr.

…such dreams seemed far away, not only for Fantôme, but for other computer animation studios around the world, Georges Lacroix and Renato of Fântome with their International Emmy Award for Insektors. © Fântome, Ltd. who were hampered by an expensive and often antôme Animation, based in companies. One is Fantôme limited technology. Paris, has found considerable Animation, a production house F success of late with its 3-D which creates projects and raises computer animated TV series, the money ; the other is Fantôme, Geometric Fables Insektors, which went on the air a production facility, that also These led to Les Fables shortly after ReBoot started airing works for others on TV Geometriques (Geometric Fables), a in the U.S. and Canada. While ABC commercials. series of 50 two minute shorts network has canceled ReBoot, “From the very first,” Lacroix made for TV over a period of 3 Insektors continues to be shown on recalled, “we declared that years (1989-92). These shows, France's Canal + cable network Fantôme was a creative studio featuring songs and narration by and on France 3 ; it is also specializing in 3-D computer Pierre Perret, were freely adapted broadcast in 20 other countries animation. We also started it with from Jean De La Fontaine's and around the world, including the dream of eventually making a Aesop's Fables. Though not a full- Japan, Korea, Australia, Great full-length animated feature film, blown show, Les Fables Geometriques Britain and Italy. It also won an just like Toy Story.” lays claim to being the first 3-D International Emmy Award in At the time, such dreams computer animated TV series. 1994, in the “Children and Young seemed far away, not only for The show's geometry is People” category — the first for a Fantôme, but for other computer reflected in the familiar characters, French animated show. animation studios around the who are rendered in basic “Fantôme,” company co- world, who were hampered by an geometric forms of three- founder Georges Lacroix points expensive and often limited dimensional squares, spheres and out, actually consists of two technology. “Back then,” Lacroix triangles, enlivened with highly

18 ANIMATION WORLD MAGAZINE April 1996

years, Fantôme made 26 thirteen making Toy Story (plus $20 million minute episodes (essentially 13 half for marketing). We spent about $1 hour shows) and may start on million on development, while another 26 episodes next year. ReBoot spent $8 million, though I asked Lacroix if there was any their goal was to produce 26 particular reasons they selected minutes of animation a month.” insects for their characters. He “Computer animation noted that, “Four years ago, when technology,” he notes, “has Insektors © Fântome, Ltd. we started our planning, we had evolved greatly, as has the skills of to anticipate the probable our artists. Today's software is more saturated primary colors. In this, evolution of the technology viable, more interactive and more Fantôme made the best of a low available to us, in terms of both ergonomic. And today's computers budget and limited technology. hardware and software. At the are becoming both cheaper and The show also served as a time, we were not able to raise more powerful. shakedown cruise for more enough money to do very “Perhaps,” Lacroix feels, “we can ambitious projects to come. As sophisticated animation, say in the call our first 10 years a Lacroix points out, it was a learning style of Superman or , where developmental decade. And experience. “We were learning you had figures with muscles and perhaps we can say that the next how to animate, to use the other anatomical details. Nor could 10 years (knock wood) will be a software and the hardware ; and we do something like a time to tell stories and forget about most importantly, learning how to cartoon, because of the expense the time when computers were instill a sense of teamwork in our involved. cold, impersonal and expensive.” staff. In asking Lacroix about what he “Animation has a long history Animation has a long history liked about Insektors, he replies and,” he notes, “we didn't want and we didn't want that, “like Woody Allen might say, to reinvent the wheel, because a to reinvent the wheel. if you could imagine what I had lot of companies did [conventional] in my head, you would be very animation and we didn't want to disappointed by what you see. But do that. But our tools were new. It “One of the reasons we chose I am very proud of the many was like when the saxophone was insects is simply because they were talented people here at Fantôme. first introduced into the orchestra. easier to animate. For instance, I like, in particular, the rendering. When that happened, they didn't they did not require muscles and Some of the episodes also have throw away the pianos, violins and they made lip synch simpler ; it's good animation. the other instruments. But still, you easier just to have the mouth have to know how to play the move like a box, without having A Tool to Let Us Dream saxophone and it took us three to purse their lips to whistle or to “Don't forget, we need to stay years to learn it.” smile and show their teeth. Those very modest, because we have to are things we can handle when learn. We are at the very start of a Insektors we get bigger ! huge and powerful tool that can In 1991, as production of Les “Essentially, we decided not to let us dream. Fables Geometriques was winding ask to the computer to do more down, development began on than it could do. Instead, we Insektors, a considerably more concentrated on finding some ambitious project, which creates a good stories. We just wanted kids lively insect world in which the to laugh and feel comfortable with forces of light and color battle with those damned insects. That was a somber monochromatic one, in and is our main goal.” the guise of the happy-go-lucky Insektors cost “close to $10 Joyces and the gloomy Yuks.. million, including development Actual production did not really costs. But,” Lacroix points out, “that start until 1993. Over the next two compares to $37 million spent on Insektors © Fântome, Ltd.

19 ANIMATION WORLD MAGAZINE April 1996

“Quite modestly, we are at a Starewicz, whose early puppet which has the working title of point somewhat akin to where films, such as The Cameraman's Spaceship Earth. Lacroix classifies it Disney was when Revenge (Russia, 1912), also as an “edutainment” series, which came out — although Steamboat featured insects. will consist of 260 two-minute Willie is much better than Insektors. Lacroix was flattered by the episodes. “It's about the Earth's That's how I feel. comparison, “because I love his voyage around the sun, which will I'm proud of the people here. films. But the difference between provide the viewer with a window I'm proud of certain episodes. And Starewicz and us is that he was on our solar system.” They are also I'm proud when you see a kid much better and more realistic. getting set to do an Insektors laughing. When that happens, we After all, he was an entomologist. Christmas special. And perhaps, in win, because they don't care if it's We have been to his home, near the not too distant future, done by a computer. When you Paris, where you can see how Fantôme's dream of making a catch the soul of a character or passionate he was about insects. feature will be not too far off. background, you forget the “Frankly, although I love technique.” Starewicz and his films, he was not our original inspiration, as we took We are at the very start a very pragmatic approach to the of a huge and powerful tool world of the insect. But in a way, that can let us dream. you are right, because in one way we feel like we're doing puppet films. And in that area Starewicz is I mentioned to Lacroix that when a major figure.” I first saw Insektors, it reminded me Besides planning for a new of the pioneering efforts of the season of Insektors, Fantôme is Polish-French animator Ladislas now working on a new series, Insektors © Fântome, Ltd.

Harvey Deneroff, in addition to his duties as Editor of Animation World Magazine, edits and publishes The Animation Report, an industry newsletter, which has taken over operation of the annual Ojai Animation Conference.

20 ANIMATION WORLD MAGAZINE April 1996 Technician of suspended disbelief : Rick Dyer, Shadoan and the Frontier of Animated CD Entertainment Interview by Eric La Brecque

catch on, nothing more than a lavish dead end ? A hard-to-pinpoint something seems to animate Dyer's voice and manner. Not anxiety, despite the stakes involved. Sure, Shadoan is a big deal. But Dyer's feelings about his story seem to run to the deep and personal. He speaks tenderly of his Swords and Sorcery otherworld : What's at stake is the validation of a sizable chunk of his imagination. That might account for pride he takes in Shadoan's many little niceties — details that impart a high level of finish. There's the parental control option, for instance, that allows the deletion of Rick Dyer and the Hologram Time Traveler © Virtual Image Productions violent scenes. And then there's Dyer's use of famous Hollywood composers anta Monica, 6 p.m. Rick Dyer is Dyer has come to present his latest Martin Erskin, Doug and Brian one hour late. From somewhere creation, an interactive CD-ROM Besterman, and Andy Brick to create 30 Son a jammed and rainy freeway the adventure title called Shadoan. The completely original musical tracks President and CEO of Santa Ysabel, adventure genre is by now, of course, including a lush theme song, “Where Caliifornia-based Virtual Image well-canvassed territory. The quality and Do You Go From Here ?,” that just might Productions calls on his cell phone ; he's extent of animation Shadoan find its way to the radio — another turned around. Taking a nearby exit, he incorporates, however, is not. Slated for interactive first. describes what he passes and I confirm release this June on PlayStation, The game is up and running in a his location, all the way to our Saturn, Macintosh, CD-I and PC matter of seconds — and this on only a rendezvous. As an everyday example of platforms, the game has engaged a standard 8 megs of RAM. Gratifying. the interplay of technology and feature-sized-and-then some team of Dyer's background in coin-op art and improvisation, the situation is mildly 300 animators working steadily over a the crucial importance of the quick amusing. But at another level, this very 9 month period. Shadoan might just rank come-on haven't been wasted. A few interplay is what Dyer is all about. as a breakthrough project, which is why minutes later I'm shuttling pretty At 41, the game designer and Dyer is betting a $2 million bank on it. comfortably between Shadoan's various inventor has been developing The breakthrough is this : Shadoan has locales. I challenge a group of ruffians interactive video games for the CD- the richness of a high-quality animated in a tavern brawl, join a military cam- based and coin-operated markets for as feature. Its animation is smooth and paign and die several deaths, some long as just about anyone, and his compelling. Oh, and it boots up quickly, quite dramatic. Standard Swords and successes are now legend : Among and occupies only two CD's worth of Sorcery fare, perhaps, but newly them is Dragon's Lair, the world's first full- space. compelling in VIP's carefully crafted animation video game and one of only In other words, as far as adventure format. In all, Shadoan provides maybe two games on display at the games go, Shadoan's format is 20 hours of play before the scope of its Smithsonian Institute and Hologram Time something new. A milestone fantasy world begins to seem finite. Traveler, the world's first holographic comparable in its way, perhaps, to a Shadoan, Dyer informs me, was 17 video game. Snow White ? Or, if the public doesn't years in the making.

21 ANIMATION WORLD MAGAZINE April 1996

time, I read Tolkien's Lord of the Rings feature film. Right now, however, and said, “Wow ! Can you imagine that's not the focus. We spent creating an interactive world like years on the foundation — Lord of the Rings ?” designing the characters, the story, the plot, the game — before we So, let's just imagine the ever got into the animation. That's interactive rights to Tolkien what makes this thing so rich. Most were up for grabs and grown-ups say they don't play Dragon's Lair, the pioneering game that somebody said to you, “Here video games that much ; this one featured animation by Don Bluth. © Readysoft they are. They're yours.” Think they will. of it, the classic story ! What Shadoan is a family product. So you were trying to make would you do ? Set aside Family in the true sense of the this game, and the technology Shadoan ? word family. Not just something didn't exist ? No. The Lord of the Rings is an old the parents go out to buy for their That's why it's taken this long, story. It came out, what, 20 years kids, not just something that's yes. Only very recently have we ago. What we're creating now is parent-approved, but something acquired not only the technology just as rich — and it's fresh and the parents enjoy playing as much but a big enough base of new. as the kids. consumers to justify producing something like this. Up until then, So is Shadoan a story ? Or Is that an assumption, or do I was fighting an uphill battle, rather, is it a set of experiences. you have some kind of market trying to create a technology that I mean, does the storyline exist research to back you up ? wasn't there. We were trying to only as a set-up for the game ? Yes, that's based on focus create the hardware as well as the One of the things that's unique groups. What you'll see in virtually software to make it happen. about what we do is that we're every case is Mom and Dad and developing the story on two the kids all playing at the same It was during this period, levels. One is what I call the novel time. They're playing by wasn't it, that you introduced — it's a linear version of the consensus. You'll hear things like, Dragon's Lair ? narrative. The other is what I call “Should we go over here ?” “No, As a matter of fact, Dragon's Lair game design. Two separate groups they warned us about this and came out of Shadoan. It was a spin- work on these two versions of the this and this — so what do you off. We never imagined, in our story. This month, the novel that's think ?” A social process is taking wildest dreams, that it was going the sequel to Shadoan, Journey Into place as they move through the to be the popular hit that it was. the Primal Abyss, will be published. adventure. Up until 8 months ago, Dragon's It's been in development for two Lair was up in the top 10 selling years now, and it's a can't-put-it- A novelty ? The title du jour ? titles in the world. And it's a 13- down, riveting story unto itself. At I believe Shadoan has a shot at year-old game. the same time, the game design is the immortality factor, much like underway. The two groups Dragon's Lair. Ten years from now But in terms of Shadoan, communicate with each other the game interface or game what was it, 17 years ago, that very closely, but in the end they design might be considered compelled you to tell this story, work independently because the primitive, but until we reinvent to take on this project, in the goal is to have both a great novel television the animation is as first place ? and a great game. good as it can get, the music is It came from two things. First, Once that process is finished, as good as it can get, the back in the early Seventies there we weave them together like a entertainment value and the was this computer game called tapestry. That's when we go to the content are as good as they can Adventure. It used a kind of pseudo- third design phase, and a rewrite get. The same was true with artificial intelligence, and it was of both. However, at that point the Dragon's Lair. We started with cool. (It evolved into what came novel stands on its own. From hand-drawn cel animation, and to be known as Zork..) At the same there, it might be adapted into a you can't get any better than that.

22 ANIMATION WORLD MAGAZINE April 1996

Hand-drawn cel animation Is there any way to people in this industry, it's this : I've over computer animation ? characterize the resulting made more mistakes than anyone The best, the absolute best, experience you've created ? else. You're seeing people repeat the example of computer animation It's probably the first version of an same mistakes we'd already made that's being done today is Toy Story. interactive movie that works.. I know, years ago. I could even show you a It cost a fortune — a lot more than "interactive movie" is a buzz word — product that attempts to do what traditional cel animation. They no one knows what it means Johnny Mnemonic does. It's called pulled out all the stops, and yet it because no one has ever done it Secrets of the Lost Woods. It was a still can't measure up to the kinds right. There have been lots of failure. It didn't work with people. of expressions and feelings that attempts at an interactive movie. can be transmitted to the viewer That's the key, isn't it ? No through hand-drawn animation. matter how well the title works You're talking about a medium that technically, it doesn't matter if is 60 or 70 years old. people can't with it. It comes down to this : At this There are so many human point in time, computer animation interface considerations. Did you has its forte and 2-D animation has notice how things flowed for you ? its forte. Two-D is not going to go The interface is intuitive. That's not away. Don't think that for a sec- easy to accomplish. It requires an ond. It has survived the test of incredible understanding of all kinds time. Three-D will not replace 2- of little nuances. For you — the D ; it will simply augment person experiencing this — all you animation as a new form. know is that you had fun. You're not thinking about the nuances that If I remember correctly, you make the interface as transparent to do in fact use some 3-D you as possible, that preserve the The World of Kingdom from Shadoan animation in Shadoan as well. © Virtual Image Productions suspension of disbelief. We used 3-D animation for what it's best at : a virtual I agree, no one knows what it environment. The rest of Shadoan means. But not everyone would is done from a third-person per- say Shadoan defines the term, spective, but when you enter either. Take the live-action CD- Daelon the Wizard's chambers, ROM title Johnny Mnemonic, which is a 3-D environment, you which came out last year : It's switch to a first-person perspective told in real time, from a first-

and you're looking at a scene person point of view, with very The Plague Magician from Shadoan where there are no other little discernible interface — a © Virtual Image Productions characters. Showing characters is different set of criteria for inter- where 3-D animation comes up activity. Let's turn to the animation short. It's hard to create lifelike Yes. Actually, the term interactive itself. First, you had to find some figures that move in a realistic, movie now has something of a animators... believable manner — unless you're negative connotation. And certainly Before I started the animation, I going to go into “dummy dolls.” there are many variations. Some went to eight or nine companies But when you take 3-D animation would say the first was Dragon's Lair and showed them the game script, and put it into a first-person — it was certainly a form of interactive the design, what we wanted to do. perspective and create a fly- movie. And Shadoan is another. Or I toured their facilities, looked at their through environment — well, that maybe not. It's a little bit of work. The ones I liked were invited is where it shines. everything : a book, a game, an to submit a bid package. I went to So what we're doing is using adventure, a movie — elements that some excellent houses that do both mediums for their respective have evolved over the past 20 years. outstanding work, but I found their strengths. If I have one thing over other prices extravagant.

23 ANIMATION WORLD MAGAZINE April 1996

Was it hard to find technical quality. We use cel animators willing to buy in to animation, the highest level of what you were proposing ? animated film. Snow White is over Your Ad From the companies' point of 50 years old and is still just as good view, Shadoan must've as when it was first released. Our represented something of an game may not have that long a Could Be unknown. And we're talking shelf life, but it will definitely outlast about a really big project here. computer games using graphics Here! One you could lose your shirt that will be obsolete in months on, if you bid it wrong. rather than years. And unlike most I've essentially made my living Saturday morning cartoons, it's by operating on the frontier. richly detailed and the For rate cards and Because of my track record, I've backgrounds are lush. additional information been able to attract the level of about talent to keep operating there. For What lies ahead, in sequels the companies I called on, Shadoan to come ? various opportunities represented a change from the We are moving to a more for exposure at everyday, bread-and-butter work, ambitious style of animation Animation World which mostly turns out to be because we need to stay ahead of Network, advertising of some sort — a grind the pack. The budgets for these contact our for them. projects are just going to rise and rise. So, who won the assignment ? office at Sports & Entertainment (based in Are you concerned about Boulder, Colorado) is the firm we maintaining consistency ? 213.468.2554 ended up using. Their work was The consistency is in the story, in very good and they're a $2 billion how the characters and situations conglomerate. We liked that be- of one game are connected to the or e-mail cause we knew if they ran into cost next. No one is going to complain any of our sales overruns they'd be able to absorb if we take the game to a higher representatives: them. level.

The animation style seems North America: clean and competent but not really edgy. What were you Wendy Jackson looking for in terms of the [email protected] style, the sensibility of Shadoan ? Shadoan is a family game designed for all ages. To use an Europe: “edgy” style would exclude a large part of our audience and date the Vincent Ferri material. [email protected]

You've said, “The animation is as good as it can get.” What Asia: specifically do you mean by that ? Eric La Brecque Bruce Teitelbaum That it will keep its value. Most is a Los Angeles-based writer who [email protected] companies use computer graphics specializes that leapfrog every 6 months in in design and popular culture.

24 ANIMATION WORLD MAGAZINE April 1996 Europe – A storyboard success by Iain Harvey

single commission from British television, In the last year (1995), it had three separate premieres, two on ITV (The Story Store, a children's series, and The Wind in the Willows, a 90 minute TV movie, with a sequel scheduled for Christmas 1996), and one with the BBC (The Further Adventures of Peter Rabbit, part of a 9 x 30 minute series of high quality animation), as well as repeat screenings of three other of its productions : The Snowman, Father Christmas and Grandpa (all on Channel 4).

Elsewhere in Europe the growth of and interest in animation has seen dramatic increases throughout the last decade.

Total audience for these broadcasts — 20 million, in the UK alone. Total video sales, worldwide, of all these The Adventures of Tintin © Ltd productions (not all yet released) — nearly 10 million units and still uropean animation is on the emphasis on script and story telling rising ! move — though whether the is one element, but other factors In France, there were virtually E confidence of producers and also distinguish the differing ap- no animation studios of any studios is fully justified remains to proaches of studios on both sides of substance as recently as 5-7 years be seen. Iain Harvey, an inde- the ocean.” ago. Now many children's ani- pendent producer who has As Vice President of CARTOON, mated television series broadcast worked with such studios as TV Iain is very aware of the limited in Europe are either produced or Cartoons, Hibbert Ralph and resources within Europe, but co-produced with French studios Animation City, as well as his own believes that there are still grounds such as Praxinos (including The production company, The Illumi- for hope that recent progress can Animals of Farthing Wood, an nated Film Company, discusses the and will be sustained. European Broadcasting Union co- progress of European animation production), La Fabrique (best over the last decade. Though his Just over 12 years ago a leading known for titles such as Souri-Souri), article is written from a European British animation studio — world France Animation (Arsene Lupin), perspective, Harvey believes that, famous for its commercials and Ellipse Animation (Tintin, in co- “European animation producers still such feature films as The Yellow production with Nelvana of have a great deal to learn from Submarine — had never received, Toronto), etc. Distributors such as American producers. The American in its first 25 year's existence, a Saban and Gaumont are also

25 ANIMATION WORLD MAGAZINE April 1996

prominent. French policy has also Part of a Worldwide Boom been to place great emphasis on The development of and One body more responsible computerized methods of produ- interest in animation across than most for helping ction, with Insektors being the Europe is part of a worldwide animation break out of its recent winner of an International boom. To date, the strong ghetto-like existence Emmy Award. European growth has been in is the UK's Channel 4. Production of animation in television (although there have Germany is also booming, with been some lamentable attempts major studios centered in Berlin, at feature films). I do not think it For feature films, the main success Hamburg and elsewhere, often is too parochial to suggest that stories are American, with many working in association with one body more responsible than studios desperate to imitate the studios and support services in the most for helping animation break continuing achievements of former East Germany and other out of its ghetto-like existence is Disney. The dramatic returns Eastern European states. With the UK's Channel 4, which obtained by the high profile large investments from such major commissioned TVC's The Snowman animated features of recent years players as Bertlesmann, the Kirch — the production responsible for have not been experienced by Group and Ravensburger, German that studio's development as a European producers, except in producers are well positioned to major producer for television. For isolated examples. Werner, a play an increasingly dominant those not aware of the fact, uniquely German animated role. Elsewhere in Europe the though this broadcaster is feature, was a major box office hit growth of and interest in financed from advertising — and in its own country, but failed in the animation has seen dramatic in- therefore has to follow a rest of the world. A superficial creases throughout the last commercial policy to survive — conclusion therefore might be — decade. One to watch out for, its legal brief, on being set up, as in live action — that Europeans though only in its very early stages was to cater particularly for can hold their own with animated of development and unlikely to be “minority” audiences. production aimed at television, available before 1997-98, is Lupo That animation was selected whereas the real money and Alberto, an anarchic comedy as one such minority suggests dominance is retained by the featuring a wolf suffering from clearly the status with which it major American studios in features. being in love with a chicken. He is was regarded. But such has been Unfortunately, at least from a a major character featured daily Channel 4's achievement that European perspective, that in Italian newspapers. Its the BBC, over the last three conclusion is correct — for the development is a sign that, at long years, has also targeted anima- present. last, Italian broadcasters and tion as a key area — and is now especially RAI are beginning to basking in the success of Nick take animation seriously. Park's Wallace & Gromit series. These two channels, with some support from other progressive broadcasters ; such as Canal + (France) and Premier (Germany), provide showcases for new ani- mation talent in particular. Britain The Little Punk, a new film is also blessed with strong by Michael Schaak, the director of Werner. support from broadcasters for © 1996 Trikcompany Filmproduction children's programming (the BBC, again, and Carlton in CARTOON and Other Factors particular, leading the field), as A number of factors might just well as imaginative and often change the picture. First, there has Father Christmas visits Las Vegas well financed distributors (of been a growing recognition within in TV Cartoon's Father Christmas, its followup to The Snowman. which HIT is probably the best Europe that animation and the art © 1991 Blooming Productions known). of animation is very much a part of

26 ANIMATION WORLD MAGAZINE April 1996

the European heritage. A key body — of which one third were quicker pay-back period and, even that has helped this fact to be prospective financiers. Some of the more importantly, sufficient realized is the European Association rewards of CARTOON's investment marketing clout to launch their of Animated Film, better known as over the last 5 years are only now CARTOON. This body was created being realized, but if there is one under the original MEDIA program, fact connected with animation, it a pan-European initiative set up in is that returns do not come fast. As 1989 to try and add financial and Disney and other studios such as marketing weight to the highly Warner Bros. and MGM divided audiovisual media discovered, once they do flow, they industries scattered around Europe. can, if properly managed, prove

Within MEDIA there were many consistent and highly lucrative. Wallace and Gromit in hot pursuit in separate initiatives to cover the Within Europe therefore, animation Nick Park's The Wrong Trousers spectrum of the film and television is now seen as financially © CBS/Fox Home video worlds (from script development to respectable — a dramatic change new productions, a virtuous circle video distributors to docu- of perspective still not fully realized long desired by many studios. mentaries, etc.), but it has generally by all producers. Marketing power is only one of been accepted that CARTOON, This, alone, would not change the key requirements in developing administered from Brussels by a the picture, especially given the a successful feature film industry small team, has proved one of the extreme caution with which (and must also explain the tentative most successful. financiers regard the European film nature of my observations and con- industry. But another factor in the clusions, as the longest production For feature films, increasing confidence of European Aardman has yet been responsible the main success stories animation is the brilliance of some for is 28 minutes). No European are American, of its originators. That this is based film player can hope, at least with many studios recognized in America is evidenced in the foreseeable future, to desperate to imitate the by the increasingly large colony of develop — or afford — the long continuing achievements European talent working there. Of term strategy and dominating of Disney and have not yet course, there is also one name, not marketing power of the major been experienced by yet rumored to be departing from American studios, and in particular European producers. his Bristol base, that stands out — Disney. The simple fact is that that of Nick Park, creator of Wallace Disney took many to build & Gromit. His originality alone, up this position of strength and CARTOON isolated the key though, would not be sufficient to though it nearly let it go in the points in trying to develop a increase one's confidence in the seventies, it is understandably substantial European animation growing strength of European determined not to let this industry : development, transna- animation. dominance slip. Such is the way of tional cooperation and training, However, coupled with the capitalism. but it also highlighted the talent wonderful inventiveness of the Equally, however, capitalism working within Europe with such actual productions, involving of teaches us that following alternative headline grabbers as the Cartoon course a growing team of strategies can enable initially weaker D'Or, the “Oscar” of European motivated creatives, as well as competitors to move into a position animation. The success of its highly supportive commissioning of relative strength. And this hope, policies is visibly demonstrated in editors, is the astuteness of the is the long term strategy of a such initiatives as The Cartoon studio management at Aardman number of European based Forum, an exclusive meeting of , where he works. This animation groups. The results will animation buyers (from television has seemingly prevented over-hasty not be seen for up to another 5-7 and video) and financiers with exploitation of material and helped years, but it is just possible to predict European animation producers. At ensure an increasingly strong build- that, for once, the talk will not just the last Forum, held in Finland, up of demand for the output of the be about Toy Story III. there were over 500 participants studio. The result is, eventually, a © Iain Harvey 1996

27 ANIMATION WORLD MAGAZINE April 1996 Sinomation: Shanghaï Animation Studio Yesterday, today and tomorrow by Kenneth Hutman

soon turned to aversion. An econ- omy and culture that had focused inward created obstacles for China's producers to meet the realities of dealing with overseas markets. Chairman Mao meant more than Mickey Mouse ; work was allocated, not chosen. For over 30 years, Chinese produc- tion was driven by a central authority and focused on producing material primarily for the domestic market. Now, in dealing with foreign producers, they were faced with production schedules based mainly on economic demands. Studios in China failed to meet deadlines and the animation did not meet Happy Numbers (Shanghai Animation Studio, 1984) Western standards. n a visit to Shanghai, intellectuals and business tycoons. Julie Reinganum and Philip Jhin, China's enduring leader And with its movie studios, cofounders of Prrfect Animation, ODeng Xiaoping offered the Shanghai was also considered the experienced China hands with concept that, it doesn't matter if a Hollywood of China. over 15 years of creating business cat is black or white, the important In recent years, European on the ground in China, never- thing is that it can catch mice. No, animation studios were the first to theless saw the potential for Deng was not making a reference use the resources of the local producing animation in Shanghai. to Inspector Black Cat, one of the Chinese animation industry, with The question remained as to most popular cartoon characters the Americans lagging somewhat how best to utilize the talent and on Chinese television. Deng's cat behind. In dealing with Western economic advantages offered by was meant to symbolize the birth companies, though, apprehension doing animation in China, given of a new China, a China that the problems of differing artistic would once again allow trade and The city was cosmopolitan, styles, unreliable studios and an investment, and a limited flow of sophisticated – a gathering unpredictable political environment. ideas from the capitalist West. place for artists, Reinganum and Jhin's answer : Today, Shanghai is undergoing intellectuals and Communication. In 1992, San a rebirth. Back in the early 1920s, business tycoons. Francisco-based Prrtfect Animation, the salons, galleries and clubs of And with its movie studios, entered into a cooperative relation- Berlin, New York and Paris found Shanghai was also ship with Shanghai Animation their parallels in Shanghai. The city considered the Studio, China's oldest animation was cosmopolitan, sophisticated Hollywood of China. studio. (It dates back to 1949, be- — a gathering place for artists, fore Mao Tse-tung had taken control

28 ANIMATION WORLD MAGAZINE April 1996

The Little Pig The Fox and The Bear The Water Deer (Shanghai Animation Studio, 1981) (Shanghai Animation Studio, 1983) (Shanghai Animation Studio, 1985) of China.) For its part, Prrfect A Variety of Styles and striking brush strokes to depict provided the management and Techniques motion, Sino-mation also uses this artistic oversight of a Western staff The Shanghai Animation Studio, minimalist approach. Another form on the ground in Shanghai, over the years, has turned out a of Sinomation is paper cutout complemented by its headquarters considerable amount of original animation. As the name indicates staff in San Francisco. By blending animation, using a variety of styles animation is achieved by using Western management and artistic and techniques ranging from figures — some with movable direction with an existing Chinese cutout to traditional cel animation. joints — cut out of paper. Overall studio, Perfect was gradually able Content included Chinese folk Sino-mation content is low on to turn out animation that met the tales, moral stories and action violence and is focused on didac- demands of Western audiences and adventure stories. While many of tic themes. producers, while costs remained the titles have a Western feel, like The Studio which was only lower than in other parts of Asia. Inspector Black Cat, there are also producing for local broadcast is Given the studio's long history, titles that are particularly Chinese now busy working on projects Prrfect's approach differed from — what can be called Sino-mation. ranging from multi-episode TV other turnkey strategies involving series to animation for CD-ROMs establishing a new facility and then The question remained as and the Internet for clients around going after talent. to how best to utilize the world. The studio itself is located on a the talent and economic The cat must catch mice ; the three building lot near the center of advantages offered by studio produces high quality Shanghai. The buildings' architec- China, given the problems animation. The outside world, like ture tells the studio's history : The of differing artistic styles, Prrfect Animation, has much to main building is a two story art deco unreliable studios and offer China in ways of efficiency, structure more suited for South an unpredictable political dependability and quality control. Beach than Shanghai; two five story environment. But China, like Shanghai buildings, rectangular boxes using Animation, also has much to offer practical Communist cinder block the outside world in terms of new construction; and a new building, Grounded in traditional Chinese styles, ideas and talent. featuring mortar, bricks and glass painting, where empty space is Then again maybe Deng was which is still under construction, used to depict substance and the talking about Inspector Black Cat. echoing the construction boom possessing Shanghai. (A favorite rumor is that 25 % of the worlds Kenneth Hutman construction cranes are located in is Vice President of Shanghai.) Perfect Animation The talent was also already there. in San Francisco The Studio's animators were trained for the past 10 years ; in Shanghai's art schools, with the he has had a wide range directors and key animators having of international experience graduated from the Shanghai that blended both cultural The Straw Man School of Fine Arts. (Shanghai Animation Studio, 1983) and business activities.

29 ANIMATION WORLD MAGAZINE April 1996 Shamus Culhane by Mark Langer

Shamus Culhane, by . © Tom Sito son I phoned was Shamus oral history. Stiffly and awkwardly, I Culhane, who spoke to me read out my prepared questions as for hours. In many ways if I were interviewing the Pope. a private individual, he Shamus was completely relaxed, re- still had time for counting his years as an animator in everyone. Now, I can only an ironic, and occasionally ribald, imagine what he must have fashion. “Call me Shamus.” he in- found thought as he fielded my sisted. I thought, If this were Picasso, out about the death of Shamus youthfully fervent and generally would I say, “...uh, Pablo ?” I Culhane through a voice mail idiotic questions with grace and The turning point in my relation- message from Animation World Editor patience. Shortly afterwards, I ship with Shamus came during the Harvey Deneroff asking me to write organized a Fleischer retrospective terrible heat of a New York August an obituary. Two years had passed at the Columbia University Cinema- in 1990, when he and I drank the since Shamus had told me that he theque. Shamus was invited for a afternoon away in a nondescript was dying, but somehow I never question and answer session along bar. As the alcohol worked its magic took this news seriously. Despite his with a group of other former on me, I began to look at Shamus physical decline, his mental vitality Fleischer employees. (from my prone position beneath gave him an aura of permanence. the brass rail) in a wholly different I simply couldn't imagine a day light. Previously, I had seen him as when Shamus Culhane no longer Shamus was an historical figure -- as Shamus would be here. Since receiving completely relaxed, Culhane, animator of , the Harvey's call, I've had an recounting his years Dwarfs, , opportunity not only to assess as an animator in an ironic, , Popeye, the Ajax Elves, Shamus' contribution to the field of and occasionally and the Muriel Cigar. animation, but to review his ribald, fashion. presence in my life. “Call me Shamus.” From Punching Holes I first met Shamus Culhane over he insisted. in Paper twenty years ago while I was a film I thought, Here was a man whose student in New York. Researching If this were Picasso, experience touched every period animation history, it occurred to me would I say, “...uh, Pablo ? and aspect of animation. The man one day that I could just pick up the who began his profession phone and call some of the artists punching holes in paper cels at the who made these films. The first per- The evening was monopolized by Bray Studio ended his career as an the antics of an aging voice artist, advocate of computer animation. who sang and danced numbers The boy who left school at the age from forty year old cartoons as the of 16 became one of the best animators sat in the vain hope of educated figures in our field. The getting a turn to speak. While the man who was formed in the factory others did a slow burn, Shamus system of the animation industry ar- sat, wearing a beret and smoking gued for independent production, a cigarette, with a bemused smile creative commitment and the on his face as if he had expected recognition of animation as art. this little joke all along. And, I Born Janes Culhane in Ware, Animation drawing by Culhane for Chuck suppose he did. Massachussetts on 12 November Jones' Inki and the Minah Bird Some years later, I went over to (Warner Bros., 1943) 1908, Culhane moved to the Courtesy of Vintage Ink & Paint. © Warner Bros. the Culhane home to do a formal Yorkville area of Manhattan as a

30 ANIMATION WORLD MAGAZINE April 1996

early training at the , Culhane later told animation historian Greg Ford, “with this free-wheeling approach to mass and volume... it didn't really matter what you did with anything.... There was a much less restrictive approach than the one you'd get at Walt Disney's.” Culhane Gag drawing made by a co-worker at Studio when Shamus Culhane went became the head animator or a off to Yuma, Arizona to get married. major contributor to several Courtesy of Vintage Ink & Paint Fleischer classics, including The child. Having resolved to be an artist Herring Murder Case, Chess-Nuts and at an early age, Culhane studied Betty Boop's Bamboo Isle. commercial art at the Boy's High School in Harlem. One of his Going West schoolmates was Michael Lantz, In 1932, Culhane joined a west- brother of animator , ward migration of Fleischer employ- who was then producing cartoons ees to Ub Iwerks' Celebrity at the Bray Studio, Inc. Culhane was Productions, where he worked on

hired by Walter Lantz in the summer , Willie Whopper and Storyboard frames from Shamus Culhane's of 1924, eventually working his ComiColor Cartoons. This was fol- Fairweather Friends way up through a variety of jobs as lowed by a brief stint at the Van (Walter Lantz, 1946), courtesy of Mark Kausler. darkroom assistant, animation Beuren Studio in New York. cameraman, and then finally as an Dissatisfied with the artistic opaquer. During lunch hours, standards in these studios, Culhane Culhane tried his hand at animating accepted a dramatic pay cut and sequences. Before he was 17, his demotion to inbetweener in order animation had been used in a to work at Walt Disney Productions. cartoon. After a grueling apprenticeship with With the collapse of the Bray Bill Roberts and , Studio, Culhane was employed as and intensive study with Don an inker on Krazy Kat cartoons for Graham, Culhane was promoted Ben Harrison and Manny Gould. to animator. His most notable work When owner moved for Disney included the classic the studio to the west coast, sequence with Pluto and the crab Culhane remained behind and in and the dwarfs' found work at the Fleischer Studios “Heigh-Ho” number in Snow White on the “Out of the Inkwell” films as and the Seven Dwarfs. an inbetweener. The sudden While animating Honest John, departure of several senior Gideon and the Coachman in animators left only Ted Sears, Grim Pinocchio (a sequence which exhibits Natwick and Roland “Doc” Crandall the attention to lifelike gesture and animating in the studio. Along with expression that became a hallmark 57. Wolf speaks to Woody and tells him a group of other inbetweeners, of Culhane's work), he was which way they should go. Culhane was promoted to animator overtaken with ill health and left 58. They get to their feet fast - wave overnight. The first film by these Walt Disney Productions for the good – byes novices, Swing, You Sinners, Fleischer studio, which had 63. Woody holds wolf up by the tail and speaks demonstrated the experimental, relocated from New York to Miami. nightmarish quality of the studio's There, Culhane headed a unit that 64. They both open their mouths to take a bite output in this period. Recalling his animated sections of the feature ©

31 ANIMATION WORLD MAGAZINE April 1996

Gulliver's Travels as well as a number With operations on the East and promotion of animation as a fine of shorts including A Kick in Time and West Coasts, Culhane's company art. Although plagued with ill Popeye Meets William Tell. Culhane moved into the animation of health, Culhane continued to write remembered this period as educational films with the Bell and draw until his death at his frustrating because of the dif- Science series, produced by Frank home in New York. ferences in philosophy between the Capra, utilizing animation by such While writing this obituary about Fleischer and Disney studios. After talents as Bill Hurtz and Bill Baird. Shamus as an historical figure, I completing animation on the For Culhane, Hurtz and Saul Bass keep thinking of my afternoon in opening sequence of Mr.Bug Goes to devised the opening credits for the that New York bar in 1990 when I Town, Culhane left for Hollywood. feature film Around the World in Eighty began to know him, not for what Following a brief stint at Warner Days. he did, but for who he was. Bros., where the animator worked Shamus Culhane Productions Shamus had a marvelous appetite on ' Inki and the Minah collapsed along with virtually every for living. The purity of his pleasure Bird, Culhane joined the Walter other New York animation studio in talking about ideas was Lantz studio. There he directed sev- in the recession of 1959-60. infectious. Firmly convinced of the eral of Lantz's Swing Symphonies, Culhane turned to animating for imperfectibility of humankind, he including Jungle Jive, Boogie Woogie other companies, most notably on did not in the least exclude himself Man and The Greatest Man in Siam. the Out of the Inkwell and Milton the from that judgement. He equally Culhane was also responsible for Monster television series' for Hal was assured of the importance of some of the classic Woody Seeger or on the film The Hat for art, and was unshakable in his Woodpeckers, most notably in The John and Faith Hubley's Storyboard devotion to it. He was learned and Barber of Seville and . Productions. From 1966 to 1967, sophisticated, yet never lost his he headed 's animation Cagneyesque touch of Yorkville. His animation studio, guiding it through a period Today, it is far easier imagining of Honest John, Gideon of renewed creativity that resulted Shamus in some artists' Valhalla, and the Coachman in such films as My Daddy the drinking Johnny Walker Black with in Pinocchio exhibits Astronaut before studio bean- Honore Daumier and T.S. Sullivant, the attention to counters stopped animation than it is to sum up this extra- lifelike gesture production. Later, with Martin ordinary life in fifteen hundred and expression Grieve, Culhane created a series of words. What I can tell you is that that became a hallmark educational movies for children. As Shamus was a brilliant moment of Culhane's work. the filmmaker later recalled, “This within our time. He knew his own was one of the happiest mind and passionate heart and experiences of my life. I had the didn't give a damn if anyone Shamus Culhane Productions freedom to develop stories. I was disapproved. I, like many others, At the Lantz studio, Culhane be- the producer, director, writer, loved him for all of this and bid him gan to animate instructional films research person and did some of a fond final adieu. for the war effort. With the end of the layouts. I used every sort of hostilities, following a couple of talent I had in the process. This was abortive efforts to enter educational the beginning of my career as a filmmaking and children's television writer.” Mark Langer programming, he established his Toward the end of his life, teaches film at Carleton University in own company, Shamus Culhane Culhane completed two books — Ottawa Canada. Productions. Within a short period an autobiography Talking Animals and He is a frequent contributor to of time, it became a major force in Other People (1986) and the instruc- scholarly journals and a programmer the creation of animated commer- tional Animation :From Script to Screen of animation retrospectives. cials, and Culhane became known (1988). As a writer, lecturer and Langer is currently working on a as a pioneer of this new form. educator, Culhane hailed technical Culhane retrospective for the Ottawa Among Culhane's creations were advances in the medium and be- International the Ajax Elves and the Muriel “Come came a passionate proponent of Animation Festival. up and smoke me sometime” Cigar. independent production and the

32 ANIMATION WORLD MAGAZINE April 1996

ENGLISH 25 Years Already ! VERSION by Nicole Salomon his year, productions. animators be involved. The kids A.A.A. (Atelier However, masterpieces of should have contact with artists ; Tde cinéma animation art do exist and it has they should know that animation d'Animation always been an important part of is a profession ; that behind the d'Annecy et de our workshops at Annecy : moving images, there is someone Haute-Savoie), the showing youngsters films from who has something to say. It is pioneering ASIFA artists from around the world, always a great moment when one workshop, celebrates its 25th using every imaginable technique, of our guests shows and talks anniversary. To commemorate this, and making them aware of about one of his films. I would like to explore some of the contemporary art. Little by little, Our main activity are a week reasons that led its organizers to they become able to appreciate long workshops during the school what has become a quarter even serious works and even ask year, involving 24-30 children, century effort to educate to see them again. ranging in age from 5 to 18. The young people in the art of In addition to children take off from school and animation. “reading” animation, we come with their teachers and We live in a world of also deal with the interested parents. images — cartoon strips, “writing” part as well. Before they come, they have movies, television, video games, Animation is a wonderful already selected a script they want etc. — which both fascinate and medium for expression and to make. Their first step, as a inundate children and communication, using group, is doing a storyboard — an teenagers. However, very little has shape, rhythm, time and important first step in visualizing been done to prepare these movement all working together. what they want to say or express. “consumers” to judge what they Children find it easier to express Each kid then selects a segment to see, or to appreciate and master themselves in terms of movement animate. The choice of characters them. than with the spoken and written is done collectively. Each piece of At school, children are trained language of adults — a animation is shot and checked on in reading and writing. But they language they have not video line-testing equip- also should be taught how to read yet mastered. ment. After the instructor and write images. And if cartoons Animation can commu- checks the work, it is time are the images most familiar to nicate without using words : for coloring : the colors children, then animation should this is why we could are also chosen collectively. also be a part of their education. organize international The film is finally shot either on Both art and entertainment, projects among a host of video or 16mm film. The last day is animation gets so little recognition, ASIFA workshops, completing films reserved for recording the sounds that it has generally been classified done jointly by groups in 10 to 20 made by the kids, who also jointly as “just for kids.” This (and more) countries on the same select the music. has led to an theme, without any language For young kids, the techniques abundant supply barrier. This is why we invite of choice usually include clay, of low quality professional animation artists from pixilation, around the world to participate as cutouts and teachers : even when they do not objects. speak French, they are able to communicate their art to the chil- dren through drawings, move- (A Friendly Dragon) ment, pantomime, et al. Lucien l'Assommeur Four drawings from Rêve de Chat (Cat made by CM1 students. It is very important, in our Jumping) done by CP (Fans) students. © 1996 Atelier de cinema d'Animation d'Annecy © 1995 Atelier de cinema d'Animation d'Annecy et de Haute-Savoie - A.A.A. workshops, that professional et de Haute-Savoie - A.A.A.

33 ANIMATION WORLD MAGAZINE April 1996

appreciation they get from the how to make plasticine come audience. alive. And finally, we will have a During the last school year, tribute to Alexandre Alexeïeff and we had workshops with 26 Claire Parker, the creators of the classes — about 650 kids in all. pinscreen — who patronized our We can say that these 650 have workshops when it was founded. been prepared to become a This 2 day tribute will include passionate audience for screenings, a seminar featuring animation — which is our main 12 guests, including Bretislav Préhistoptique (Prehistoptic), made by 14 – 18 year old students. goal. After all, the art of animation Pojar, Jacques Droin, Nag © 1995 Atelier de cinema d'Animation d'Annecy et de Haute-Savoie - A.A.A. needs a public outside of festivals. Ansorge, Raoul Servais, Faith For our 25th anniversary Hubley, Juri Norstein and Edward These techniques, which use celebration, apart from the usual Nazare. Two days that will be everyday materials, make anima- workshops for children, we are dedicated to the art of animation. tion closer to them. organizing special screenings for Needless to say, during these both adults and schools alike — one week workshops, both with participating professionals. teachers and parents learn a lot To date, we have already had about animation. tributes to Polish Animation, with Every year, we have Piotr Dumala, who demonstrated screenings where all the films are his personal techniques of shown. What follows is a series of engraving on plaster ; a tribute to unforgettable moments, when Italian Animation with Guido the students see what they have Manuli ; a tribute to French made — no matter what Animation with Bernard Palacios, technique they have used — who presented the works of the come to life on the screen. There Studio La Fabrique. Following Secoue, Secoue, moi (Shake, Shake Me), made is just no comparison with their these, we will have a tribute to by three 9 – 13 year old children. normal homework assignments. featuring Peter © 1995 Atelier de cinema d'Animation d'Annecy And best of all is the applause and Lord giving a demonstration of et de Haute-Savoie - A.A.A.

Nicole Salomon is Co-Founder of the Annecy Workshop and has been an ASIFA Board Member for several years.

REGISTER with Animation World Network TODAY and

• Receive our bi-weekly animation News Flash via email • Get announcements of Animation World Network developments • Be a part of the global community of AWN. Interact with animation professionals, scholars and fans all over the world

Get all this and more FREE, when you register now!

34 ANIMATION WORLD MAGAZINE April 1996

VERSION Déjà 25 ans ! FRANÇAISE par Nicole Salomon L'Atelier de cinéma enfants”, permettant ainsi une même ceux qui ne connaissent pas d'Animation abondante production de très notre langue parviennent à d'Annecy et de basse qualité. transmettre leur art aux jeunes à Haute-Savoie Et cependant, il existe des films travers le dessin, le mouvement, (A.A.A.) — le d'animation qui sont de purs chefs- les gestes... pionnier des Ateliers d'oeuvre. D'où un volet important Dans notre Atelier, nous ASIFA — célèbre, en des activités de l'Atelier d'Annnecy : pensons qu'il est très important 1996, ses 25 ans d'activités. faire découvrir aux jeunes des films que des animateurs professionels Quelles motivations ont poussé d'auteurs des quatre coins du participent à nos activitiés. Il faut ses organisateurs à poursuivre, monde, en toutes techniques, et que les jeunes aient des contacts pendant un quart de siècle, leurs leur faire prendre conscience de avect les artistes ; il faut qu'il efforts pour initier enfants et l'existence de cet Art sachent que l'Animation est un adolescents à l'Art de contemporain. Progressivement, métier ; que derrière les images qui l'Animation dans le cadre nos jeunes membres bougent, il y a quelqu'un qui a du temps scolaire ? deviennent aptes à ap- quelque chose à exprimer et à Notre époque est celle de précier même les communiquer. C'est toujours un l'Image : bandes dessinées, oeuvres les plus difficiles grand moment lorsque l'un des cinéma, publicité, télévision, jeux et même demandent à réalisateurs que nous invitons à vidéo... submergent et fascinent les revoir. participer à nos activités présente la jeunesse. Toutefois, on a très Parallèlement à ce volet un de ses films aux jeunes, leur peu fait pour préparer ces jeunes “lecture”, nous entreprenons le montre des documents graphi- consommateurs d'images à les volet “écriture”. L'Animation est un ques et leur parle de son travail. juger, les apprécier, les sélectionner merveilleux moyen d'expression et Nos principales activités sont et les maîtriser. de communication qui utilise, tout des ateliers-stages d'une semaine L'apprentissage de la lecture et à la fois, forme, rythme, temps et avec des classes : 24 à 30 jeunes de l'écriture traditionnelles se fait mouvement. de 5 ans à 10 ans (selon la classe). à l'école ; il faut aussi y faire Et les enfants s'expri- Pendant la semaine l'apprentissage de la lecture et de ment avec plus d'aisance par d'atelier, les élèves viennent l'écriture des images. le mouvement visuel que par dans nos locaux avec leur Les images les plus familières le langage parlé et écrit des enseignant et quelques aux enfants sont celles des dessins adultes — un langage parents intéressés. Il n'y a animés — l'Animation doit donc qu'ils ne maîtrisent pas aucun cours scolaire cette semaine- faire partie de leur éducation. bien quand ils sont très là. A la fois Art et Divertissement, jeunes. Les élèves ont choisi leur sujet le Cinéma d'Animation est si De plus, l'Animation permet de et scénario... avant de venir à méconnu qu'on l'a communiquer sans mots : c'est l'Atelier. La première étape : décider classé, une fois pour pourquoi nous avons pu organiser ensemble du storyboard. Une toutes, comme des projets internationaux parmi étape importante puisqu'il s'agit “produit pour les Ateliers ASIFA et réaliser des films de visualiser en collaboration avec des ateliers ce qu'ils de 10, 20 pays et plus, ceci sur un veulent même thème sans se heurter aux raconter ou barrières des langues. C'est aussi pourquoi nous (Un gentil Dragon) invitons des animateurs profes- Lucien l'Assommeur Quatres dessins de Rêve de Chat (Cat réalisé par une classe de CM1. sionels de tous pays à venir Jumping) réalisés par une classe de CP. © 1996 Atelier de cinema d'Animation d'Annecy © 1995 Atelier de cinema d'Animation d'Annecy et de Haute-Savoie - A.A.A. encadrer nos semaines d'ateliers : et de Haute-Savoie - A.A.A.

35 ANIMATION WORLD MAGAZINE April 1996

stage-atelier, les enseignants et les ration de Guido Manuli. Bernard parents qui participent appren- Palacios a présenté le Studio La nent beaucoup sur le cinéma Fabrique lors de notre hommage d'animation. au cinéma d'animation français. Chaque année, nous orga- Prochainement, l'Animation en nisons de grandes projections de pâte à modeler sera à l'honneur toutes les réalisations nouvelles des avec la venue de Peter Lord qui jeunes. Moments inoubliables que montrera comment il fait vivre ce ceux où ils voient vivre sur le grand matériau. Préhistoptique (Prehistoptic), réalisé par des étudiants de 14 – 18 ans. écran ce qu'ils ont créé de toutes Enfin, nous clôturerons ces © 1995 Atelier de cinema d'Animation d'Annecy et de Haute-Savoie - A.A.A. pièces — quelle qu'en soit la hommages par une manifestation technique. Aucune commune en l'honneur d'Alexandre Alexeïeff exprimer. Chacun choisit un plan mesure avec le devoir le plus et Claire Parker, les créateurs de du storyboard à animer. Le choix parfait car ils reçoivent l'appré- l'Ecran d'épingles et les parrains des personnages est collectif, par ciation et les applaudissements des de notre Atelier à sa fondation. vote. L'animation de chaque plan spectateurs. Cette manifestation durera 2 jours est enregistrée et vérifiée sur équi- Au cours de la dernière année avec des projections et une Table pement vidéo pour line-tests. scolaire, nous avons organisé des Ronde qui rassemblera une Quand la vérification a été faite par stages-ateliers avec 26 classes – soit douzaine d'invités : parmi eux, l'animateur enseignant, les jeunes environ 650 jeunes. Nous Faith Hubley, Bretislav Pojar, peuvent commencer la mise en pouvons dire que nous avons Jacques Drouin, Nag Ansorge, couleurs. Les couleurs sont choisies préparé en eux un public Raoul Servais, Juri Norstein, collectivement aussi. Le tournage passionné de cinéma d'animation Edward Nazarov... final est fait par les jeunes sur – ce qui est notre but principal. Deux journées dédiées à l'Art U'Matic ou 16mm. La dernière L'Art de l'Animation a besoin d'un de l'Animation. journée du stage-atelier est public en dehors des festivals. consacrée à la sonorisation : Pour célébrer nos 25 ans enregistrement de bruitages faits d'existence, outre les ateliers de par les jeunes et de musique réalisation avec les jeunes, nous choisie par eux. organisons des projections — pour Lorsque nous accueillons des adultes et pour les scolaires — avec classes d'enfants très jeunes, nous la participation de professionels. les faisons travailler dans la Nous avons déjà rendu technique pâte à modeler, ou hommage au cinéma d'animation pixilation ou papier découpé — polonais avec la collaboration de des techniques qui utilisent des Piotr Dumala qui a fait des dé- matériaux familiers aux enfants et monstrations de sa technique rendent le cinéma d'animation si personnelle de gravure sur plâtre. Secoue, Secoue, moi (Shake, Shake Me), réalisé par des enfants de 9-13 ans. proche d'eux. Puis hommage au cinéma © 1995 Atelier de cinema d'Animation d'Annecy Pendant chaque semaine de d'animation italien avec la collabo- et de Haute-Savoie - A.A.A.

Nicole Salomon est Co-Fondatrice du festival d’Annecy et à été membre de l’ASIFA pendant quelques années.

36 ANIMATION WORLD MAGAZINE April 1996

René Laloux. Ces dessins qui bougent – Cent ans de cinéma d'animation [Drawings That Move—One Hundred Years of Animated Films]. Paris: Dreamland, 1996. 200 pp. illustrations. 248 F.

By Giannalberto Bendazzi

In his new book, René Laloux states that, “In animated cartoons, contrary to what one may think, the needs of graphics do not necessarily correspond to the needs of movement. Faced with this dichotomy, the artist must find a balance between these two ‘enemies,’ in order not to prejudice the rights of both: a difficult task easily prone to failure. The easiest way out then, obviously, is to favor one of the two contenders. Consequently, the American School ties drawings to animation; the European School (tied to its cultural heritage) generally tried to do the opposite, basing itself upon graphic imagery. What resulted is very interesting. The total freedom of movement (with its implied association with the Anglo-Saxon taste for nonsense) led Americans to an taste for curved lines, quick movement and comedy, as well as an emphasis on character. In Europe, the emphasis on graphics favored the straight line, slow movement, fantasy and a lesser emphasis on psychology of individual characters.” This is only one of the many © Dreamland éditeur, 1996 pointed, personal and contentious

37 ANIMATION WORLD MAGAZINE April 1996

remarks from a highly contentious, to write an original and well- personal and pointed book by constructed script, direct actors, René Laloux, recently published in edit the film with a good rhythm, France: Ces dessins qui bougent— compose the right music ... The Cent ans de cinéma d'animation low quality of many films should (Drawings That Move—One be blamed first of all on weak Hundred Years of Animated Films). scripts and dialogue.”) There are Laloux is a youthful 67, even paradoxes and provocations endlessly munching on his pipe (I (“Will we be forced to rediscover have never seen him smoking), silence, so we can really express smiling easily and very caustic. He ourselves again in this audiovisual has made some good shorts and world dominated by noise and three of the most successful void of words?”). And there is, of animated features ever made in course (as Laloux being a visual France: La planète sauvage (Fantastic artist who began his career as a Planet, 1973), Les maitres du temps painter), a very good selection of (The Masters of Time, 1981) and illustrations. Gandahar (1981)—all of which are Ces dessins qui bougent will sci-fi tales. Now he gives us this probably perplex young readers, book, which provides a rare or those who are not very opportunity to learn first hand knowledgeable about animation. what his views and opinions are. It is far from being objective, Animators have provided some of René Laloux © Dreamland éditeur, 1996 accurate or scholarly. It even has our century's richest and most its share of misspellings (for charming cinematic moments, but competition, like [France's] Jacques instance, Matt Kroening instead they have seldom written their Colombat and [Italy's] Pino Zac, to of Matt Groening). But it will cer- opinions down. So, although we mention only two of those friends, tainly stimulate the reflections of have their films, we are often left and we denounced with all those who are still among the wanting as to what their views are vengeance each and every film happy few. And his ultimate (or were). which had even the slightest message is very optimistic and Ces dessins qui bougent begins resemblance to animated cartoons simple: animation, he notes, “is and ends like a conventional or with entertainment aimed at an art that you conjugate to the “history of animation”: it starts with children. We could accept laughter future time.” a chronological rundown of films only if it was black comedy or and filmmakers, and ends with a based on ‘stupid and evil’ ideas long year-by-year filmography. The (i.e., films by Japan's Yoji Kuri), or rest, though, is a wonderfully anticlerical (i.e., films by Italy's Pino creative and disorderly discourse, Zac).” Giannalberto Bendazzi impelled by a pure need to What emerges from all this is is a Milan-based film historian and communicate. You feel like you are an intimate self-portrait of Laloux critic whose own reading a transcript of one of those himself. It is shaped by the things history of animation, Cartoons: endless arguments that festival- he loves, hates or decides to One Hundred Years of Cinema goers get into, when the theater ignore; by the things he sees in Animation, lights are off, but the passion is still himself, or things that are alien to was published in the US hot. him; anti-Disney idiosyncrasies by Indiana University Press Not by chance, Laloux explicitly (“The studio's recent films show and in the UK by John Libbey. His includes his memoirs of the an even more pronounced other books on animation include glorious Annecy Festival, in France, graphic weakness”) and an impas- Topoline e poi (1978), Due especially the early editions, when sioned defense of scriptwriting (“It voite l'oceana (1983) and Il “we were a bunch of young is difficult to be a real auteur, as movimento creato filmmakers with films in very few filmmakers are really able (1993, with Guido Michelone).

38 ANIMATION WORLD MAGAZINE April 1996

1996 Academy Award Nominees for Animated Short Subject compiled by Frankie Kowalski elcome to our Desert John Dilworth, director of Chris Bailey, director of Island; our first in a series The Chicken from Outer Space: : W and a unique part of our magazine. My monthly quest is “When I completed The Chicken “I think my excitement built slowly to find out how animation (and From Outer Space I sat alone with over the morning of the other arts) impacts and influences the film and thought I was done. nomination. My brother Jeff called internationally renown animators, I was satisfied. I had been making and woke me up with news that actors, directors, producers, films since 1985 and finally be- Runaway Brain had been nominated musicians, and so on. You get the lieved I understood how to make and I really didn't know how to drift. Animation World Magazine asked a short animated film. I did not react. I think I managed to say of them the following question; “If want to make another one. I that's great news, thanks for calling standed on a desert island, what 10 wanted to go on to the next big and hung up. My wife Denise, films would you want to have with thing, whether that was the asked who had called so early in you?” Internet or features. Then out of the morning and when I gave her Since we were scheduled to go nowhere the film began taking the news, she flipped! Everyone on-line right after Oscar Mania time, over my life and got itself nomi- around me was excited, but I was we thought it would be fitting to ask nated for an Academy Award for kinda numb. all the Animated Short Subject Best Animated Short Subject. It nominees. These are their responses screwed up all my plans.” I stayed that way for much of the along with something a little extra morning, but after a couple of — their reaction to getting Top 10 cartoons if stranded on a desert hours of congratulatory phone nominated. Regrettably, Nick Park, island... calls from friends, the numbness who won the Oscar for wore off and I was able to enjoy could not be reached for comment. 1. Hot Riding Hood, the honor like a normal human.” We at Animation World Magazine Tex Avery wish to congratulate all of the 2. King-Size Canary, nominees! Tex Avery Top 10 cartoons if stranded on a desert 3. Bad Luck Blackie, island... Tex Avery 4. The Great Piggy Bank Robbery, 1. Drip-Along Daffy 2. The Beedeviled Bruin 5. Coal Black and De Sebben 3. From A to Zzzzz Dwarfs, Bob Clampett 4. What Opera Doc, 6. Little Rural Riding Hood, by Chuck Jones Tex Avery 5. Duck Amuck, 7. The Dover Boys, by Chuck Jones Chuck Jones 6. Stimpy's Invention, 8. Corny Concerto, by John K. Bob Clampett 7. Stimpy's Cartoon Show, 9. How the Grinch Stole Christmas, by John K. Chuck Jones 8. Bad Luck Blackie 10. Stimpy's Big Day, 9. Wild and Woolfy And the winner is...Nick Park... John K. 10. The Wrong Trousers, for A Close Shave © Aardman Animations by Nick Park

39 ANIMATION WORLD MAGAZINE April 1996

Chris Landreth and Robin Robin Alexei Kharitidi, Bargar, directors of The End: Bargar: director of Gagarin :

“I was totally taken by surprise. The "It's hard to be radical when the "When I heard about it, I couldn't End is a pretty experimental and establishment nominates you for believe it. Then I talked with my unconventional piece, both in its something. So we invent psuedo- producer and was still very sur- imagery and in its narrative radical and take the credit and prised. It is difficult to express my structure. It is cool that the publiciity with a wink and no emotions because this film is close Academy is open to weird stuff like apologies. Case in point." to my heart." this. Yowz!”

Top 10 picks if stranded on a desert Top 5 picks if stranded on a desert Top 6 picks if stranded on a desert island... island... island...

1. Most of the books 1. Fantastic Planet, 1. Sati-Mania by Gasparovich by Robert Anton Wilson by René Laloux 2. The Tale of Tales by Norstein 2. The entire compilation of the 2. Ballet Mechanique, 3. The Jungle Book, by Walt Disney graphic novel Watchman a film by Ferdinand Leger 4. Feature films by Roman Polanski by Alan Moore and David 3. What's Opera Doc (Chinatown) Gibbons by Chuck Jones 5. Feature films by Francis Ford 3. The Illusion of Life 4. Edward Muybridge, Coppala (The Godfather I, II, II) by and Ollie Xoopractographer, 6. Russian Literature by Chekov, Johnston a film by Thom Anderson Nabokov, Tolstoy and Bunin 4. All animation from Pixar 5. Unreachable Homeless, 5. Any book with the works of a film by Klaus Wyborny John Hartfield 6. and The Sinking of the Lusitania by Winsor McKay 7. All animation by Fréderic Back (The Mighty River,The Man Who Planted Trees) 8. The book The Chalice and the Blade by Riane Eisler 9. Pinocchio , by Walt Disney 10. EVERYTHING that Robert Crumb has ever touched.

The stars of A Close Shave, Drawn during Alexei Kharitidi's Wallace and Gromit. quick visit to the AWN offices. © 1995 Aardman Animations

40 ANIMATION WORLD MAGAZINE April 1996 And the envelope please… by John R. Dilworth

I was strapped tight in the 20 Through a submarine telescope. Five seconds. I’m going to blast ton silver rocket ship named To Thirty seconds. I begin to want out. off. Four seconds. Go! Go! Go! Go! Infinity And Beyond with Somebody get me out of this thing. Go! Three seconds. I do not rec- countdown within minutes. I How did I get into this in the first ognize my physical self. Two. reminded myself to “breathe” place. Ha ha. I laugh from how Suddenly the worst possible event according to basic manual training. ridiculous I feel. Who am I kidding? occurs. “Body Functions” read high couldn’t drag me ABORT! ABORT! ABORT! ABORT! normal. Don't want to get too out of here. The flight is terminated. The rocket high, it distorts the mind’s reaction shuts down. An incredible release time and I’ll probably go in my suit. Who am I kidding? of energy escapes from my body So much prep goes into sending Mighty Mouse and from the ship. I am completely “off planet” pioneers into new couldn’t drag me wet. places. The training period alone out of here. Every “off planet” pioneer takes years. Some trainees never knows there is an 80 percent get assigned a flight. Some just get chance your flight will be termi- lucky. Like me. But, I love to travel I have thoughts of every timid nated at the very last second. And “off planet.” What else would I do? event I ever experienced. I cannot for whatever the reason you Two minutes to “Take Off.” No remember the actual events only accept that as part of the training. matter how hard I concentrate I the feeling of embarrassment and I exit the rocket and wipe down. begin to release water from every helplessness. And the wish for it to I need to eat. Food becomes pore. I could feel the ship contract- end. Twenty seconds. My heart instant gratification. I am exhau- ing with compressed energy like a beat accelerates. It forces the blood sted. Hollow in fact. I was looking Cobra ready to strike. There’s noise to expand the veins in my temples. towards the stars and imagined coming from all directions. It More noise from Control. “Stay the force of ascent pressing becomes muddled. Ground Con- cool, starting countdown...” Ten against my face, till I looked like trol is speaking to me over the seconds. This is a reality. All I want The Joker. transmitter. I cannot understand a to do is curse. Every obscene word The next scheduled flight is word they're saying. It could be a in the world gushes out of my undetermined. laundry list. mouth like flushing a clogged toilet

Comic strip by John R. Dilworth exclusively for Animation World Magazine © John H. Dilworth

41 ANIMATION WORLD MAGAZINE April 1996

Chromacolour Digital Palette To Be Used Entertainment Announces Launch Brøderbund's Logical Journey Of The By USAnimation of U.S. Theatrical Division With Release Zoombinis—The big bad Bloats have taken Hollywood-based USAnimation, Inc., a leading of Cybertech Thriller Ghost In the Shell over the Zoombinis' island home! Rescue them supplier of digital ink-and-paint software, has The film, from the producers of Akira, is based from impending disaster and lead them on now made available the popular Chromacolour on the cyberpunk manga (comic books) by an adventurous journey to a new homeland. palette on its systems. Chromacolour Interna- Masamune Shiro (Appleseed and Dominion), At least so goes the pitch for Logical Journey of tional, based in , is the world’s largest directed by Mamoru Oshii (Patlabor). It was co- the Zoombinis, Brøderbund’s newest CD-ROM supplier of supplies, inclu- produced by Kodansha, and adventure for children ages 8–12, which is ding paints. It had been expected that Microsoft Manga, Inc. Ghost in the Shell explores one of designed to develop critical math skills. Part Softimage would be first to gain use of the the perennial themes of science fiction, i.e., of Brøderbund’s Active Mind Series, Logical Chromacolour palette for its Toonz software, but the potential implications of artificial Journey of Zoombinis is available at retail outlets apparently negotiations stalled and USAnimation intelligence. No release date has yet been set. for about $40. was able to take advantage of the situation.

Nickelodeon, MTV Networks and Macross Plus Volume 4 to be Released Stormfront Studios Announces Tony La Forms Alliance With April 16, 1996 by Manga Entertainment Russa Baseball 3: 1996 Edition MTV Networks, a division of Viacom, Inc., Directed by Shoji Kawamori, the final chapter of This update to the award-winning CD-ROM and parent of , has formed a Macross Plus, which claims to be the most simulation game is said to feature an improved strategic alliance for television and feature expensive piece of video animation to come out interface, along with the latest rosters and film development and production with Klasky of Japan, combines both traditional and com- stats. It will In addition, Tony La Russa Baseball Csupo, Inc., the Hollywood-based studio puter animation. The first two volumes of Macross 3:1996 Edition will be the first PC will be known for such shows as and Aaahh!!! Plus were recently nominated by ASIFA-Holly- available at all major retail software outlets at Real Monsters. The multiyear deal expands wood for for Outstanding Achie- a suggested retail price of $39.95. the company's affiliation with Nickelodeon to vement in an Animated Home Video Production. include MTV, Music Television, VH1 and other Viacom divi- Hearst Entertainment Producing Klasky Csupo Commercials names Barbey/ sions, including 26 Episode Series Based on The Lassoff as exclusive New York Reps Paramount Hunchback of Notre Dame The commercial production arm of Klasky Csupo Television, Hearst Entertainment, based has signed Geoff Barbey and Eric Lassoff as Paramount in Santa Monica, has anno- exclusive East Coast representatives. Their task will Pictures and unced that it will be producing be to build upon the foundation the year-old Showtime. The Magical Adventures of Quasimodo division has built in the New York market. Klasky Csupo had with Astral Programming Enterprises, According to Barbey, whose company also previously been Ares-Films and France 3. The animated represents live-action spot director Ron Travisano, scheduled to produ- series is scheduled for delivery this fall “Klasky Csupo Commercials stands out in a very ce a animated fea- and is represented for distribution in the crowded field. They hold to a tight standard ture based on its US by Hearst Entertainment and in when it comes to quality and concept, something popular Rugrats series Canada by Astral Distribution. that is immediately apparent when you see their for , reel. No one can argue with the quality of their for release by Paramount work, and we intend to target every creative shop Pictures. on the East Coast, large or small.”

Disney Closes Colossal Development Deal The British Short Film Festival First International Children Animation and Walt Disney Television Following the huge success of the last festival, Festival to be held in Russia—The festival Animation have entered into a multiyear which had over 3,000 entries, The 1996 British will take place in Nizhny Novgorod (a city 400 development and production pact. San Short Film Festival will take place September kilometers east of Moscow) from September Francisco-based Colossal, known for such 19–26 at UCI Plaza 2, off Piccadilly Circus, right 22–29, 1996. Supported by the Russian shows as Liquid Television and Aeon Flux, will be in the heart of London's West End. In addition Cinematographists' Association, the Russian exclusive to Disney for the creation and to such regular programs as “The Best of British: Animators' Association and the Russian production of original televisions shows. The Atlantic Crossing” and “British and International Producers' Association, the festival is taking agreement covers a wide range of projects, Short Films,” the festival will include a place during a special celebration for the both animated and live action, including “Retrospective of Work from Australia,” “Black 100th anniversary of Russian Cinema and the television movies, series, mixed media, special and Asian Films From New York” and the latest All-Russia Industrial Fair. effects and direct-to-video. Colossal President “Experimental Work from France.” For further Drew Takahashi said, “We're extremely excited details on the program and submission forms, about working with the Disney family. Our please contact Sophie in the festival office at: companies share a passion for animation, both 0181.743.8000 ext. 62222/62052. for its tradition and its unlimited potential.”

42 ANIMATION WORLD MAGAZINE April 1996 Animation World Magazine 1996 - 1997 Calendar

The May issue of Animation World Magazine will put the spotlight on Women In Animation.

The issue will features articles by and about women, including pioneer experimental animators Claire Parker and Mary Ellen Butte, interviews with Stephanie Graziano, head of production for DreamWorks Television Animation, and Britain's irreverent Candy Guard. The work of UNICEF's groundbreaking Meena and Sara projects will be highlighted, along with that of Women in Animation.

The Independent Spirit (June)

The Spirit of the Olympics (July)

Anime, , Anime—A Worldwide Phenomenon (August)

International Television (September)

Politics & Propaganda (October)

Theme Park Animation (November)

Interactive Animation (December)

Animation Festivals (January ‘97)

International Animation Industry (February '97)

Children & Animation (March '97)

43