Visual Effects & Experimental Animation

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Vol. 3 Issue 2 May 1998 Visual Effects & Experimental Animation Monsters of Grace: High Art Meets High Tech

Rotoscoping on Titanic New York’s Indy Scene Animating Under the Camera Plus: MIP,Stuttgart and Zagreb Table of Contents May1998 Vol. 3 No. 2 4 Editor’s Notebook Varying degrees of separation: visual effects and experimental animation.

5 Dig This! Take a jaunt into the innovative and remarkable: this month animation meets performance...

7 Letters: [email protected]

VISUAL EFFECTS 8 How to be Furrific! Bill Fleming takes us back in time and traces the history of computer generated fur and hair creation techniques through to today’s sophisticated plug-ins and tools.

11 Rotoscoping in the Modern Age: Titanic How did they create Jack and Rose’s frosty breath? Marian Rudnyk describes the rotoscoping process that was used to bring the Titanic experience to life.

15 In Peril: France’s 3-D Industry Georges Lacroix’s open letter to the French Minister of Economy, Finances and Industry and to the French Minister of Culture and Communication alerts us all to the peril that France’s successful 3-D industry is currently facing, especially Lacroix’s Fantôme which is in danger of closing. Available in English and French.

EXPERIMENTAL ANIMATION

21 Declaration Of Independents Melissa Chimovitz discovers that independent animation is alive and well in New York when she profiles: George Griffin, John Canemaker, Kathy Rose, Debra Solomon, Steve Dovas, Lewis Klahr and Janie Geiser.

30 Eight Point Star:A Mind Experience in Animation Brazilian director Marcos Magalhães relates his experiences teaching the animation process to renowned artist Fer- nando Diniz, creator of Eight Point Star and a patient in a Rio de Janeiro mental hospital. Includes Quicktime movies. In English and Portugese.

36 Animated Films In Psychiatry Nag Ansorge discusses his teaching experiences at The Psychiatric Clinic of the University of Lausanne and describes the patients’ animation production process as well as the films that they created. In English and French.

THE STUDENT CORNER

42 Animating Under the Camera Animating under the camera with sand or paint on glass is a tricky feat. Here a host of experts offer their tried and true methods.

FESTIVALS, EVENTS:

47 The RealFlash Festival Winners May 1998 The RealFlash Festival Winners are in!

48 Inside Zagreb:The Preselection Process Independent animator John R. Dilworth describes his experiences as a preselection committee member for the 1998 Zagreb Festival of Animated Films.

52 MIP-TV:Animation in Crisis? Julien Dubois reports on the 1998 MIP-TV in Cannes, revealing a troubled international marketplace for animation. Available in English and French.

57 Stuttgart:A Splendid Festival William Moritz reviews the ninth Stuttgart Animation Festival which took place from April 3 through April 8, 1998 in Stuttgart, Germany.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE May 1998 2 Table of Contents May1998 Vol. 3 No. 2 FILMS:

61 General Chaos: Uncensored Animation Mark Segall reviews Manga Entertainment’s first collection of shorts and reveals that they are going for something a little more than sick and twisted.

BOOKS:

64 The Entertainment/Marketing/Exploitation Relationship:Two Takes Buzz Potamkin takes a look at two new books on the kids’ biz: What Kids Buy and Why: The Psychology of Market- ing to Kids, by Dan S. Acuff and The Business of Children’s Entertainment, by Norma Odom Pecora.

66 The Anime! Movie Guide: Different But Equal Brian Camp reviews the 1998 book The Anime! Movie Guide by Helen McCarthy, former editor of Anime UK and author of Anime! A Beginner’s Guide to Japanese Animation.

68 Anima Animus Animation Wendy Jackson reviews the 1998 book Anima Animus Animation , a collection of creative works by the Czech surrealist filmmaker Jan Svankmajer and painter Eva Svankmajerová.

HIDDEN TREASURES

70 The Association of Moving Image Archivists Gregory Lukow introduces The Association of Moving Image Archivists (AMIA), the world’s largest professional association for film, television and video archivists and a tremendous resource.

NEWS

72 Animation World News Simpsons Voices Settle, TV Summit Supports Co-Production, NATPE Cancels ANIFX, and more.

IN PASSING...

87 Pierre Ayma: Educator Annick Teninge introduces a collection of tributes and remembrances by friends and students of this dynamic French educator. Available in both English and French.

DESERT ISLAND

98 On A Desert Island With....Visionary Experimenters and Effects-Makers Phil Tippett, Richard Reeves and Daina Krumins reveal their favorite animated films.

AWN COMICS

May 1998 100 Dirdy Birdy by John Dilworth

101 Next Issue’s Highlights

16 This Month’s Contributors

Cover: Kleiser-Walczak Construction Company (KWCC) created stereoscopic 3-D computer animation for Philip Glass’ and Robert Wilson’s new multimedia performance, Monsters of Grace, featured in this issue’s “Dig This!” This specially-rendered image is courtesy of IPA.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation ANIMATION WORLD MAGAZINE May 1998 3 by Heather Kenyon Varying degrees of separation: edge visual effect or a uncharted waters. visual effects and experimental new animated visual, One way we, at Ani- animation. emotional experience, mation World Maga- o once again another month the artist understands zine, would like to see goes by and it looks as if we the final impact they visual effects and Sare putting two very different wish to depart to the experimental anima- areas or types of animation togeth- audience but they are tion come together er. However, this month proved to never quite sure, in the more often however, be another interesting month as we beginning, just how to is in creative and sto- explored from visual effects to exper- create the phenome- rytelling ways. It imental animation. One thing that non. However, would be great to see we clearly found was that both visu- through tests, trial and artists working with al effects supervisors and experi- error, spontaneity, computer generated mental animation directors begin “Mickey Mousing” and experimen- imagery delving more into the their process only knowing the end tation, they end up creating what world of experimental animation. result that they wish to achieve. they had intended. Whether it is We would like to see the stories that Whether it is an incredible cutting Bärbel Neubauer using homemade this new technology could unleash rubber in less traditional forums. As John stamps, or R. Dilworth pointed out after being Digital a member of the preselection com- Domain’s mittee at Zagreb, many student newest pro- films using computer animation are prietary soft- still tests of technology, rather com- ware, success- puter aided storytelling. As our ful, innovative cover shows...the merging of these artists have a two worlds offers an entire new way of fash- realm of possibilities. ioning what And exactly what is that works. Two image on the cover? Find out in a completely new monthly section called, Dig separate are- This! Every month we will feature nas, using dif- the coolest thing that comes into ferent tech- our office. Be it a toy, a person, an niques and idea, a new invention, an interest- tools toward ing animation technique...Whatev- very different er comes through our door and means, still rises to the top. With this new fea- have the ture we will be able to shine a same creative monthly spotlight on something process and new, fresh and interesting. determination toward the Until Next Time, end result, Heather while plying

ANIMATION WORLD MAGAZINE May 1998 4 Dig This! Monsters of Grace : High Tech Meets High Art by Wendy Jackson ere at Animation World Mag- Beta Testing azine, during our daily con- Monsters Htact with the world anima- of Grace 1.0 tion community, we see countless held its world videos, books, games, toys, tools premiere on and products as well as films, per- Wednesday, formances and themed events April 15, 1998 at employing animation. Every so UCLA’s Royce often, among the volumes of mate- Hall in Los Ange- rial we see, something or someone les. Playing on that truly stands out as innovative the metaphor of or remarkable. With this new software releas- monthly feature, “Dig This!,” Ani- es, the opening mation World Magazine’s editors will show is dubbed filter the volumes of material to pro- the “Beta 1.0” file for our readers what we think is version because the latest and greatest “new thing” the production is related to animation. a work in progress which will change as it The production, described as tours to audi- Organizers of Monsters of Grace’s premiere at UCLA’s newly ren- “a digital opera in three ences around ovated performance space, Royce Hall, staged this photograph of dimensions,” includes live the audience outfitted in polarized lens 3-D glasses used for the world. The music, stage actors and a viewing the stereoscopic 3-D animation. Photo courtesy of IPA. opening perfor- 70mm computer-animated motion-capture technology for one mance which we saw featured film, viewed stereoscopically of the as yet uncompleted scenes eight animation scenes (about 35 through custom-designed featuring multiple characters. minutes of film) which have been polarized glasses. completed for the 13-scene show. High Tech Meets High Art As more animation is completed, “We usually deal with com- We start this series with Mon- film will replace live stage scenes. mercial projects which are very short sters Of Grace, a new, experimental The animation was and is being cre- in length and high in cost,” said film production combining the theatri- ated on Silicon Graphics O2 work- co-director Jeff Kleiser, whose com- cal direction of Robert Wilson, the stations using Alias/Wavefront’s pany, Kleiser-Walczak Construction music of composer Philip Glass and Maya as well as Alias, TAV, Explore, Company (KWCC), specializes in the 3-D stereoscopic animation of Dynamation, Kinemation and Com- high-end computer animation for Kleiser-Walczak Construction Com- poser software. The film’s charac- film, educational projects, television pany (KWCC). The production, ters, or “Synthespians” (a term trade- and theme park attractions. “We are described as “a digital opera in three marked by KWCC to describe virtu- using the same technology used dimensions,” includes live music, al actors), were created by adding currently in feature films and in stage actors and a 70mm comput- 3-D scans of live actors’ heads to theme park rides to create the visu- er-animated film, viewed stereo- key frame-animated bodies. Motion- al aspects of this opera.” But don’t scopically through custom-designed capture has not yet been used, but expect to see flashy, loud graphics. polarized glasses. co-director Diana Walczak says they “Instead of inundating the viewer are “entertaining the idea” of using

ANIMATION WORLD MAGAZINE May 1998 5 with sensational infor- who may not be mation, Monsters of familiar with the Grace gives the viewer work of Glass or Wil- the opportunity to son, but who will be explore and reflect excited by the digi- through sight and tal process.” With sound per Diana Wal- this in mind, Mon- czak. KWCC, which has sters of Grace is been working on the being brought not animation for Monsters only to the cos- of Grace since Septem- mopolitan cities ber 1997 (and in devel- where Glass and opment with Wilson Wilson’s work is well- and Glass since Octo- known (London, ber 1996), is aiming to Munich), but also to complete all 13 scenes areas which do not (about 70 minutes of often see experi- film) by September, in mental theater One of the computer animated scenes in Monsters of Grace 1.0. time for a scheduled per- Photo courtesy of IPA. works, such as Columbus, formance near Washing- sliced by a floating blade. A Japan- Ohio; Madison, Wisconsin; ton, D.C. The studio is also current- ese tea tray floats in mid-air and Minneapolis, Minnesota; Iowa City, ly in production on a 3-D stereo- turns into television static. A sleeping Iowa; Lubbock, Texas and Tempe, scopic ridefilm for Universal’s new polar bear is caressed by a child’s Arizona. Ultimately, after all film pro- theme park in Orlando, Florida. hand. A helicopter and a bird fly duction is complete, plans call for over the Great Wall of China. And in Monsters of Grace to exist in pure- a dramatically different scene, mul- ly digital form as a CD-Rom, DVD The production is a work in ticolored lines move gracefully piece, 3-D enhanced web site or VR progress which will change as it across the screen like a motion installation. Currently, Monsters of tours to audiences around the painting by Oskar Fischinger. What Grace information and show dates world. does it all mean? This, according to are available on the web site, creators, is open to the viewer’s www.extremetaste.com. interpretation. “The visuals are sim- Meditation at 24 Frames Per ply to help us listen to the music,” “I consider Monsters of Grace Minute said Robert Wilson, “Hopefully with to be 21st century theater,” In a lecture preceding the this parallelism, the two elements said Jedediah Wheeler, the opening performance, the creators can reinforce one another without show’s producer. described the show as a kind of having to decorate or illustrate.” meditation. The animation itself is Philip Glass, who incorporated Eng- in extreme slow motion, so slow lish translations of Sufi poetry into What else should we dig? Every that one wonders if it is really mov- the music, said that any apparent month, Animation World Magazine ing at all. It’s more like 24 frames per cooperation of the images and the will highlight the most interesting, minute than the film speed of 24 lyrics are purely coincidental. He exciting happenings in animation, frames per second. But as time pro- said, “The words don’t illustrate. If in “Dig This!” Send us your ideas, gresses, scenes change and new they do it’s by accident.” suggestions, videos, products or views become apparent. The works-in-progress today. You dig? imagery is abstract in meaning, Art for the People seemingly random in placement, “I consider Monsters of yet hyper-realistic in its portrayal of Grace to be 21st century theater,” real objects. A little boy rides a bicy- said Jedediah Wheeler, the show’s Wendy Jackson is associate editor cle past glowing houses at dusk. A producer, “[it] will appeal to a new of Animation World Magazine. severed hand opens its fist and is generation of theater audiences

ANIMATION WORLD MAGAZINE May 1998 6 [email protected]

3.1). It is apparent that she is pas- D’Oh! Thanks, sionate about this subject and I can I just wanted to say that at A Simpsons Fan appreciate this sort of passion. the beginning of the page about Although Helen has some strong the Virtual Springfield game (Tole- feelings with regard to the current do 2.7), it says, “If you remember More About Paper state of paper manufacturing in truckzilla...” Actually, it’s truckasaurus. I want to thank Helen North America, it is the only viable I just wanted to let you Driscoll for sharing her views and option available to large users, know. Otherwise, the article is great. insights on paper ([email protected] including animation studios, who require a consistently high quality product. The need for this consistent quality control in the finished product makes it absolutely essential CAREER that the raw materials and the man- CAREER ufacturing process itself be as ‘con- trollable’ as possible. This is a loose CONNECTIONSCONNECTIONS statement at best since paper manufacturing is not an ‘exact science’ and variation in the final product is Animation World Network’s inevitable. They may have their recruiting section offers free postings shortcomings, but pulp-based papers do offer the ability to con- and access to artist resumes trol the characteristics of the finished as well as recruitment advertisements product moreso, that is, than the more traditional papers and paper “The recruiting site making methods Helen spoke of in her letter to the editor. reaches thousands of artists I did enjoy her letter, how- from all disciplines, quickly ever, and gleaned new insights into the fascinating world of paper mak- and efficiently. AWN ing.

certainly lives up to its Stephen Hagel, name world-wide.” Manager, Sales & Marketing Chromacolour International Limited -Machi Tantillo

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ANIMATION WORLD MAGAZINE May 1998 7 HOW TO BE FURRIFIC! by Bill Fleming s your 3-D character having a bad hair look for your characters? Well, hair day? There seems to be an let’s take a look at the growth of 3- Iepidemic of bad hair on 3-D char- D hair over the years and the many acters. Of course, it’s not the fault techniques that have evolved along of the artists as much as it’s the tech- the way. nology. While 3-D programs have come a long way, they have yet to The Evolution of 3-D Hair really perfect hair effects. Hair is the Ten years ago 3-D hair was defining element of many creatures. nothing more than a plastic shell. Unfortunately, for the 3-D artist, this This is the original 3-D hair, which presents a real challenge since hair was rather stylized and cartoony. and fur in reality are comprised of The hair was created with simple tens of thousands of tiny fibers. geometry that formed the volume of the hair as shown in Figure 1.1. Figure 1.1: Stylized hair. Image created by Ten years ago 3-D hair was Typically, bump maps were and © Bill Fleming. nothing more than a plastic used to simulate strands of hair but areas of the clip map represent the shell. they were often no more than part of the model that will be straight lines, which left the hair clipped, or cut off. Figure 1.2 shows Therefore, to make hair looking plastic and plain. This, of a clip map and the accompanying appear realistic, you literally need course, is a nice look for cartoon color map for hair. to have the same number of fibers characters but there are times when Using clip maps, we could on your 3-D character. This can be a more natural effect is needed, simulate hair strands by clipping fine a real challenge, particularly if you such as in those high budget Hol- lines in a hair mesh. This, coupled plan to model the hair by hand. lywood effects films. Another prob- with a nice hair image map, made Another complication of hair is the lem was that the hair couldn’t be it possible to create relatively realis- fact that it tends to vary in length, animated. It just sat there, solid as a tic hair in still images, like the one density, color and thickness. It can rock and lifeless. The good news shown in Figure 1.3. be curly, kinky, straight, wavy or about this style though was that even braided. Plus, there’s the hair- every 3-D program was capable of Ten thousand hair strands can style to consider. Not too many char- creating it. There were some very really rack up the polygons. acters look appealing with a “bowl” innovative artists who styled the cut. As you can see, there are many mesh to create simulated hair styles factors to consider in creating hair such as the popular Japanese anime Several programs are capa- for your 3-D character. So, how do look, which was definitely a good ble of creating clip map hair such you go about creating the natural look, but still wasn’t animatable. This as Hash’s Animation Master, Light- primitive hairstyle was the only Wave, 3D Studio MAX, Image, Sof- option for many years until timage, and several others. Clip 1989 when we made the next map hair looked much better than leap in technology by develop- the classic stylized hair but the hair ing the Clip Map. was flat, lacking any depth. It also presented the same problems in Clip Map Hair regard to animation. The hair still A clip map is a black and hung lifeless. Well, the animation Figure 1.2:A clip map and its color map. Image white image that’s used to clip problem was temporarily solved by created by and © Bill Fleming. portions of a model. The white the introduction of bones in 1990.

ANIMATION WORLD MAGAZINE May 1998 8 a ball of spikes. Many programs trol hairs were created, which affect support geometry hair such as the movement of many other hairs LightWave, 3D Studio MAX, Soft- through the use of instancing. image and Alias PowerAnimator. Instancing allows one to make ref- This technique evolved to the erence copies of objects. One has a point where these replicated single object that controls the move- strands could be styled with ran- ment of several others. With this dom effects such as jitter, contour, technique, one could have a group Figure 1.3:The effects of clip map hair. Image curl and kink. Contour was the of hairs on the top of the head con- ©1998 Virtual Personalities, Inc most significant addition since it trolled by a reference object and Bones allowed us manually allowed us to mold the hair strands another group on the side of the to move the hair mesh to produce to the shape of the head. These head controlled by yet another ref- movement. Of course, the only new tools were provided in the erence object. This is a bit of a shortcoming was that the hair form of plug-ins such as Metro- tedious way to animate but the moved in large clumps rather than Grafx’s Fiber Factory for LightWave, result is more controlled than dis- strands waving in the breeze. Basi- AFX’s Furrific for RayDream Studio placement mapping. cally, we could make a polygon and Peter Watje’s Scatter for 3D Stu- Another solution to animat- ponytail wiggle in the wind but it dio MAX. Of course, we still had lit- ing geometry hair is the use of soft had to move as a single unit, rather tle control over the actual hairstyle body dynamics, which allows one than as many hair strands whipping so a salon cut was out of the ques- to move the hair naturally with col- around. The next step in hair evo- tion but we could achieve some lision detection to prevent the hair lution was the introduction of great effects as seen in Figure 1.5. from penetrating the head and geometry replication. body. Both Maya and 3D Studio The best solution for creating MAX have soft-body dynamics sys- Geometry Hair animated hair is the use of par- tems. The Maya soft-body system is Geometry replication utilities ticle systems. available as an FX upgrade while made it possible to build a single the MAX soft-body system is a plug- strand of hair and replicate it over Soon technology advanced in called Hypermatter, developed the surface of the mesh. This was a and we were able to perform styling by Second Nature Systems. The only significant improvement in 3-D hair on the hair strands, but then we shortcoming of both the soft-body styling but the hair tended to ran into the problem of exceeding- and “control object” techniques is appear rigid and moved without ly high polygon counts. Ten thou- that they tend to affect groups of the implications of physics as we sand hair strands can really rack up hairs rather than individual strands. can see in Figure 1.4. the polygons. There was also the Of course, the effect is certainly bet- Generally, it looked artificial problem of animating these hairs. ter than the hair being motionless. because the hair was typically stick- While morph targets enabled us to One of the main drawbacks ing straight out from the head like move the hair, it was all moved in one big motion rather than randomly shifting like hair does in reality. One solution to this problem was to use a small, animated fractal dis- placement map to randomly shift the hair. This actually worked very well to simulate the effects of wind on the hair but offered no solution for simulating the movement of hair when the body of the character moved. To solve this problem, animators used “control” objects to ani- Figure 1.4: Basic geometry hair. Image Figure 1.5:Advanced geometry hair. created by and © Bill Fleming. mate the hair. Basically, several con- Image created by and © Bill Fleming.

ANIMATION WORLD MAGAZINE May 1998 9 these parameters are animatable, soft edges. Compuhair allows one so subtle motion, growing and to control the hair bounce through color changes are all possible. Of the use of control spheres. There course, Shag: Fur does not do are several particle hair systems in dynamics or any type of auto- development for other products matic movement but it does cre- such as Nordisk Film’s Fur Designer ate some very convincing hair for Softimage, which renders hair effects as shown in Figure 1.6. on a separate pass and then com- The environmental hair solu- posites it back on the scene. Figure 1.6: Fur created with the Shag: Fur tion for Softimage is included in plug-in for 3D Studio MAX. Image created by Mental Ray. Mental Ray is similar to Try Experimenting and © Bill Fleming. Shag: Fur but it has one short- As you can see, there are a of geometry hair is the hit on render coming in that it doesn’t calculate number of options for creating hair times. Since the hair is made of actu- the strands on the back of the on your characters. It really depends al geometry, it can really impact the object. Therefore, when your char- on the volume of hair and the ani- render time, particularly if one is ani- acter/creature turns, the strands on mation you’ll be doing. Oh yes, and mating the hair. To resolve this prob- the front of the body will disappear. how deep your pockets are. Com- lem environmental hair effects were The best solution for creat- puter graphics hair effects have created. ing animated hair is the use of par- come a long way in a short time. ticle systems. Within a year the now unattainable particle hair systems will be avail- Within a year the now unat- Particle Hair able on many of the mid-range 3-D tainable particle hair systems Particle hair is the most com- programs. Until then, try experi- will be available on many of the monly used method for creating the menting with the many options that mid-range 3-D programs. Hollywood hair effects like the ones are currently available, you’ll be sur- seen on the lion’s mane in Jumanji prised at the effects you can and the werewolf in American achieve. Environmental Hair Werewolf in Paris. Unfortunately, Environmental hair is con- particle-based hair systems are typ- siderably faster to animate since ically custom developed for specif- actual geometry isn’t created. Both ic film and broadcast projects. Softimage and 3D Studio MAX intro- Particle hair systems work by Bill Fleming is president of Komo- duced environmental hair options emitting particles from the skin until do Studio, a 3-D studio specializ- in 1997. they reach a death point which is ing in photorealism. He is the Environmental hair is avail- the desired length. Then, using col- author of many 3-D books, able in 3D Studio MAX through the lision detection and physics the sys- including the 3D Photorealism Shag: Fur plug-in created by Digi- tem controls the hair so it behaves Toolkit, published by John Wiley mation. Shag: Fur uses image maps naturally by moving and reacting & Sons. He also serves as editor in to determine exactly where the fur with the character. For example, in chief of Serious 3D magazine, a is applied, the density, color, thick- the scene in American Werewolf in 3-D magazine featuring nothing ness, direction, leaning and bend Paris where the werewolf exits the but intermediate/advanced tutori- of the hairs. What’s more, separate fountain and shakes the water off, als for artists interested in taking texture maps can be used for most the particle hair is reacting to the their 3-D graphics to the next of these options to provide com- physics of the werewolf’s move- level. To find out more about Seri- plete control. For example, a tex- ment. ous 3D, visit ture map of a tiger skin can be used There is one commercial par- www.serious3d.com. for fur color so that the fur hairs ticle hair system currently available derive their color from the map from Alias/Wavefront called Com- Note: Readers may contact any image, while a separate map can puhair. Compuhair calculates hair Animation World Magazine con- be used to control where the hairs as soft volumetric tubes with a fuzzy tributor by sending an e-mail to are thick and thin. Almost all of volume, something like a cloud with [email protected].

ANIMATION WORLD MAGAZINE May 1998 10 Rotoscoping in the Modern Age

by Marian Rudnyk

Editor’s Note: Due to legal restric- what is assuredly some of the tions at Paramount, this article con- most elaborate model work ever tains a limited selection of images done for a movie to the extensive from the film, Titanic. work in digital 3-D CGI (computer generated imaging), Titanic is isual effects, these days, can replete with cutting edge visual take on many varied forms. effects. Among its CG effects are VFar beyond the classic effects the first ever truly realistic “digital model work of legends such as Ray ocean” or “digital water,” virtual Harryhausen, today’s effects can stunt extras created in CG, and involve anything from complex scale state-of-the-art use of motion track- and sub-scale model work to digital ing. This is not to mention all of 3-D modeling, 2-D compositing and the breathtaking work done sur- digital rotoscopic animation. Quite rounding the actual ship itself. often the simplest visual element in Some of the most subtle visuals, a movie, discounted as real, can however, were also CG-based and actually be the product of extensive involved extensive use of tech- visual effects work. This is especial- niques based in traditional ani- ly true in the visual effects-driven mation. movie world where rotoscoping makes the animation literally come can play an important role. Rotoscoping Then and Now to life. The danger, however, in Rotoscoping is a process using this technique, is that often which involves tracing stages of scenes that are rotoed stand out Some of the most subtle visu- movement from live-action film, to from others that are developed “by als, however, were also CG attain a realistic motion in anima- hand.” based and involved extensive tion or visual effects. Unlike the roto- In the 2-D digital, or CG use of techniques based in tra- scoping done in traditional cel ani- world, the idea of movement is still ditional animation. mation (most recently evident in critically important. Compositing is Twentieth Century Fox’s Anastasia), the process by which separate film the roto work in Titanic served a elements, like footage of a land- In big-budget Hollywood related but different purpose. Tra- scape and footage of a spaceship, films, visual effects are de rigueur. ditional animation rotoscoping is are combined to form the final From the splashy effects in the Star used to heighten or accentuate seamless image of the spaceship fly- Wars saga re-issues or Jurassic Park movement by imbuing it with a ing over the landscape. Rotoscop- and The Lost World to the story-serv- more life-like quality. Usually this is ing has become an integral part of ing and subtle yet stunning effects accomplished by first filming scene the compositing process. Though of James Cameron’s Titanic, we not elements in live-action form, that digital artists still need to worry only wonder at what’s real and mimic the intended movement about animating, they are now not what’s not, but now expect to see within the animated film to be pro- so involved in character work as new and innovative visual effects. duced. Once filmed, say a scene they are in a process called matting. A Twentieth Century Fox/ Para- with a couple dancing, animators In its simplest form a matte can be mount film of massive proportions, trace off each frame, often in sil- nothing more than a blocked part Titanic is the stand-out example of houette, and then “apply” this to of a film frame; a protected area that the future of effects work. From their animated characters. The effect is later filled with an element not in

ANIMATION WORLD MAGAZINE May 1998 11 basic types D each shot had to be individually of shots for evaluated for placement. Would the Titanic: breath, for example, come out of a those person’s mouth, but be in front of depicting one person yet in back of another? the ship’s Complicating things further was the immense fact that as a given person’s head engine turned, the breath’s 3-D placement room, star would also need to change. Criti- fields, and cal as well, was the selection of the puffs of correct breath. Was it affected by human wind, as in the shots of the sailors in breath the Titanic’s crow’s nest? Additional- which were ly, James Cameron wanted “breaths critical in that act.” In other words, breaths The sinking Titanic. © 1997 Paramount Pictures and Twentieth Cen- conveying that would accentuate the dialogue tury Fox.All rights reserved. the cold tem- or action. This meant extra special the originally shot footage or from peratures on attention was required to fulfill this whatever effects work will be done the night of the ship’s sinking. unique vision. It was such unparal- to the rest of the image. Mattes are Despite their realistic subtlety, Titan- leled attention to detail that would an integral part of compositing. The ic’s breath sequences posed many become Titanic’s hallmark. With the exceptions are computer “click-and- technical challenges. Among them shot evaluated and the breath(s) fills,” where the computer can be were the sheer number of puffs of selected, the meticulous job of dig- simply told to fill in any area of a breath that needed to be created ital rotoscoping could begin. given color, or value, with a given and integrated into a staggering element. For example, “Fill in all number of shots, all with a consis- white areas with water.’ In digital tent quality that maintained the James Cameron wanted rotoscoping, one is doing much integrity of a given sequence while “breaths that act.” more than a simple green or blue conforming to an over-all whole: screen type effect, which in and of the movie itself. itself is actually nothing more than Filmed near the relatively a basic compositing effect. warm waters of the Pacific, many The Process Digital rotoscoping uses 2-D of Titanic’s shots lacked the frosty If, for example, the given information in order to create or breaths that were surely present breath needed to go in front of support a 3-D effect. An animated when the liner went down in the someone or something, that was matte is created and used to block, ice-chilled waters of the North relatively easy because the breath or protect, a specific film element Atlantic in 1912. The challenge was could simply be “slapped” over the so that a 3-D composite can be to add these breaths using 2-D given area. Usually, though, that achieved using a 2-D technique. compositing, yet still have them same breath would have to also fall The effects teams involved in James appear “3-D”. To accomplish this a behind, say, someone’s moving Cameron’s Titanic, made incredible variety of digital technical teams shoulder. The compositor, or the use of this technique to create some were assembled, among them a digital rotoscope artist, would have very subtle effects. group of digital rotoscope artists. to create an animated matte that The first task at hand was to exactly followed the movement of acquire breath elements. These this shoulder, covering it to its pre- Creating Breath were shot using “breath actors”. cise edge. If the head turned then Some of Titanic’s most deli- These breaths were then scanned perhaps still more mattes would cate effects were created by visual by computer and assembled into a have to be created. Each matte, a effects and digital animation pow- breath library. With the actual film tracing of the image element it was erhouse Blue Sky|VIFX, a division of shots in hand, the work of marry- protecting, would then be roto- Twentieth Century Fox. Blue ing the two into one could begin. scoped to move exactly as did that Sky|VIFX was charged with three To create the effect or illusion of 3- image element, i.e. the shoulder. To

ANIMATION WORLD MAGAZINE May 1998 12 even a Titanic illustrates this best. Yes, one slight roto can have incredibly stunning, error hauntingly beautiful, or even explo- would eas- sive visual effects, but if one doesn’t ily become serve the story with these effects, evident. use them to bring the story to life This was without overpowering it, then all also true one has is effects. When the effects of some of stand behind the story and serve it, the deck then one has a film that stands as a scenes, milestone in the effects industry. where Venture back to the Novem- many ber 1996 issue of Animation World The giant set of Titanic. © 1997 Paramount Pictures and Twentieth rotoed Magazine to read an interview with Century Fox.All rights reserved. mattes had James Cameron about his work on accomplish this type of roto matte a to move the Terminator 2-3D stereoscopic 3- digital artist typically sets up a series not only correctly, but allow for D ride for Universal Studios. of key frames, much as a tradition- placement of both breaths as well as al animator does. The computer can a night sky filled with stars. Once then, by calculation, interpolate the fully rotoed, breaths placed, and necessary inbetweens. Unfortu- mattes removed, compositors could Marian Rudnyk is a former NASA nately, this interpolation was not then proceed to adjust any number astronomer and planetary photo- always completely “on.” This would of parameters including breath geologist who worked at the Jet Propulsion Laboratory in Pasade- require a digital artist to go manu- speed, density/opacity, as well as na, California. He was part of ally through and key every frame. any necessary color-corrections. NASA’s PCAS (Planet Crossing Not precisely locking down an ani- Asteroid Survey) Program where mated or rotoscoped matte could In digital rotoscoping, one is he was an asteroid hunter. He lead to a jittery element or effect, doing much more than a sim- also participated as a member of such as a breath, that would appear ple green or blue screen type NASA’s Achievement Award win- incorrectly placed among the shot’s effect... ning multi-mission imaging team digital layers. on the Voyager at Neptune mis- In Titanic, some of the most sion, as well Magellan at Venus challenging rotoed scenes were the Perhaps this epic effects- and many others. Making a transi- close-ups of Jack and Rose, where laden movie’s greatest effects lega- cy is not all the tion into the animation industry, compositing, he began as a traditional anima- or rotoscoping, tor freelancing on such projects or 3-D model- as a Levis commercial for Acme ing, etc. that Filmworks. He currently works as was done. It is a digital artist, science consultant not the effects and freelance writer. He has writ- themselves that ten for the World Book Encyclo- are what’s pedia and David Wallechinski’s important. People’s Almanac of the 20th Cen- What is most tury. His current film credits important is include Titanic, Home Alone 3, the story. and Armageddon. Effects are there to serve Actors spent much of the filming time wet and probably chilly, but Note: Readers may contact any simulated cold breaths still had to be added to the final footage. © story. More Animation World Magazine con- 1997 Paramount Pictures and Twentieth Century Fox.All rights than any other tributor by sending an e-mail to reserved. movie before it, [email protected].

ANIMATION WORLD MAGAZINE May 1998 13 ANIMATION WORLD MAGAZINE May 1998 14 InIn Peril:Peril: France'sFrance's 3-D3-D IndustryIndustry by Georges Lacroix Editor's Note: As we reported last productions. tor is expanding on an month, Fantôme, one of France's There is a cre- international level and premiere producers of 3-D anima- ative world evolving that means French tion, is facing the possibility of clos- that deserves your jobs, cultural heritage ing its doors. Georges Lacroix, Pres- attention, one where and exports. ident and Founder of Fantôme, the animation and In the last years, the alerts Mr. Dominique Strauss-Kahn, special effects of government's lack of Minister of the Economy, Finance French companies has awareness of this sec- and Industry, and Mrs. Catherine great potential. Insektors © Fantome tor's potential has lead Trautmann, Minister of Culture and So, what's the use of this to the demise of several firms and Communication, to a national prob- struggle over AMI if these compa- to more entrepreneurial foreigners lem in his open letter to them. nies are deprived of the means to taking over innovative projects that develop and make their mark in an were first started in France. An Open Letter environment unfavorable to their The 3-D animation software To Mr. Dominique Strauss- growth? Explore, developed by INA and Kahn, Minister of the Economy, “In the future, all animated Thomson, has been sold to Ameri- Finance and Industry and to Mrs. films will be made in 3-D and we'll ca's Wavefront. The 2-D animation Catherine Trautmann, Minister of only use 2-D for aesthetic or artistic software Tic-Tac-Toon, has gone to Culture and Communication: reasons.” This prophetic statement Toon Boom of Canada. Numerous by Bran (sic) Ferren (Walt Disney films using these new technologies Imagineering) was not meant to have had difficulties finding financ- Today’s pioneers and inventors repudiate traditional animation, ing and some have had to be aban- express themselves thanks to which is still widely enjoyed, but to doned. the mastery of new digital confirm the importance of emerg- Today, let's discuss the fate of processes. ing imaging technologies in the Fantôme. Started in 1985, Fantôme information age, and in the areas of was a pioneer in animated television communication, entertainment, series composed entirely of 3-D France, during the debate education, training, virtual reality, imagery, even before Pixar's and over AMI [The Multilateral Accord on etc. Walt Disney's Toy Story broke box Investment, which has been in France, the pioneer in the office records. negotiation since 1995, will consti- invention of cinema thanks to the tute a framework for international Lumière brothers, of special effects investments and will include high thanks to Georges Méliès, and of I believe France has an enor- standards of liberalization and pro- animation thanks to Emile Reynaud mous potential for creative tection of an investment, as well as and Emile Cohl, can't ignore this production. a mechanism to solve controversies. prophesy. It will be applicable to all forms of Today's pioneers and inven- investments made worldwide by tors express themselves thanks to the Besides an Emmy, Fantôme investors from any party or country. mastery of new digital processes. has garnered more than 40 inter- The complete AMI text is available There needs to be a rap- national prizes. Programs based in on-line at www.monde-diploma- prochement of the spheres of cul- 3-D imagery have been made for tique.fr/md/dossiers/ami/plan.html], ture, communication, industry, varying audiences: Geometric Fables became one of the countries fight- telecommunications and, of course, (50 3-minute segments) with Pierre ing to protect its cultural identity and finance and economy to ensure the Perret; Insektors (26 13-minute seg- its ability to express itself freely growth of enterprises specializing in ments) which has sold in 160 coun- through creative and independent new imaging technologies. This sec- tries; and Everyone in Orbit with ANIMATION WORLD MAGAZINE May 1998 15 Nicolas Gessner (260 2-minute seg- Industry professionals and ments). Our production partners the Union of Film and Animation have included France 3, Canal+, la Producers have undertaken a study Cinquième and Disney Channel about the contribution of new tech- France. nology on animation and special Currently, financed and soon effects, both on the level of content to be financed 3-D series total 60 and form. A slate of propositions will million French Francs [roughly $10 soon be presented to the appropri- ANIMATION WORLD NETWORK million U.S.]. Sales of our library to ate ministers. 6525 Sunset Blvd., product derivatives such as VHS Professionals in Europe have Garden Suite 10 Hollywood, CA 90028 video and DVD are being pursued gotten the attention of Programme Phone : 213.468.2554 aggressively. With so much activity, Média 2, which has in turn asked its Fax : 213.464.5914 Fantôme should be prosperous. animation division, Cartoon, to draft Email : [email protected] In spite of these creative and a report on the measures needed to productive capabilities, in spite of its accompany the development of EEC project slate, its international repu- firms. tation, prestige and enormous [email protected] PUBLISHER potential, Fantôme could disappear, I call on France to use all avail- Ron Diamond, President along with other firms who can't able means to participate in Dan Sarto, Chief Operating Officer EDITOR-IN-CHIEF find the necessary ingredients for the formidable mosaic of pro- growth in France: Heather Kenyon grams going on internationally. ASSOCIATE EDITOR Wendy Jackson • Risk capital and specialized CONTRIBUTORS : development with industry exper- French firms have what it Nag Ansorge tise and the means to invest in lead- takes. The last Imagina Festival in Brian Camp ing-edge firms; Monte Carlo showed a cavalcade of Melissa Chimovitz digital images and special effects as John R. Dilworth • Bullish banks that should be well as spectacular student films. Julien Dubois better informed about our jobs; These French enterprises seek to Bill Fleming Wendy Jackson develop and create original content Heather Kenyon • An opening in the Ministries for television series, feature films, and Georges Lacroix of Culture and Industry is needed to interactive programs in new media. Gregory Lukow take up the financing of programs They must be allowed to Marcos Magalhães and the growth of enterprises; enhance the national patrimony and William Moritz Marian Rudnyk must not be simply service providers Buzz Potamkin • A National Center of Film for television commercials and pres- Mark Segall with a large enough budget to sup- tigious American films. Annick Teninge port content creators working in They have the potential to TRANSLATION : new imaging technologies; create ambitious programs capable Portugese: Alejandro Gedeon of reaching international audiences. French: William Moritz,Andy Hadel and Nacy Gilmour • Broadcasters encouraged to They could take advantage of French Language Editor: Annick invest in innovative programs; improved French education in imag- Teninge ing technology. Centers of educa- OPERATIONS • An Institute for tion such as Arts Annick Teninge, General Manager the Financing of Film Décoratifs, Université WEBMASTER Ged Bauer and Culture ever mind- de Paris VIII, CFT DESIGN/LAYOUT : ful of its cultural mission Gobelins, Adac, Ged Bauer and with the power to SupInfoCom of Dave Buxton Jeff Williams support banks seeking Valenciennes, the ADVERTISING SALES to invest in progressive CNBDI of North America :Dan Sarto firms and projects. Angoulême, Poitiers Germany :Thomas Basgier UK: Alan Smith Insektors © Fantome and Réunion are of

ANIMATION WORLD MAGAZINE May 1998 16 note. Also worth noting would be mous potential for creative produc- Translated from French by Andy the dynamism in regions that sup- tion. Rather than turning away from Hadel. port animation firms, like in Arles, opportunities, it should structure this Montpellier, Valence and Réunion. nascent industry, relying on the sup- If you would like to contact the Minis- To keep developing, these schools port of Europe, so as to collaborate ters, you may reach them at:The Prime and regions need to rely on stable with the rest of the world on inter- Minister: http://www.premier- industry support. national projects. ministre.gouv.fr In the meantime, is there a Being international today is Mr. Dominique Strauss-Kahn, Minister of place in France for leading-edge essential for business, but it does not the Economy, Finance and Industry: firms seeking to produce original have to mean losing one's cultural http://www.finances.gouv.fr/courrier.htm and ambitious projects in new imag- identity. Mrs. Catherine Trautmann, Minister of ing technologies or will they have In the Internet age, nothing Culture and Communication: to go to other lands like the others would be worse than cultural homo- http://www.culture.gouv.fr/culture/min/se before them? geneity. Everyone benefits from the rvices.htm I believe there is a place for opportunity of self-expression. Amer- For more information about Fantôme, them. The government will hear us. icans know this well; they are always visit their website, hosted on AWN or e- Measures announced for the looking for new talent and new mail Georges Lacroix at lacroix@fan- advancement of France in the infor- artists to thrill us. I have a lot of admi- tome.worldnet.fr mation and communication age ration for what the Americans and promises growth. I only hope it's not the Japanese accomplish. Howev- too late. er, we must be aware that these technologies are commonly Georges Lacroix is President and Sincerely, employed in other countries such as Founder of Fantôme. Georges Lacroix India, Korea, Taiwan, as well as Presidentand many others. Georges Lacroix Founder o f France must not forget this and I call Fantôme on it to use all available means to Note: Readers may contact any Georges Lacroix participate in the formidable mosa- Animation World Magazine con- My Closing Thoughts: A Need for ic of programs going on interna- tributor by sending an e-mail to International Cooperation tionally. [email protected]. I believe France has an enor-

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ANIMATION WORLD MAGAZINE May 1998 17 L'industrieL'industrie francaisefrancaise dede l'animationl'animation 3D3D enen dangerdanger par Georges Lacroix Note de la rédaction : Comme nous et de protection de l'in- La France ne l'avions signalé le mois dernier, Fan- vestissement ainsi qu'un peut pas ignorer tome, société leader dans l'anima- méchanisme de règle- cette prophétie, tion 3D, est menacée de disparition. ment des différends. Il elle qui a joué un Dans une Lettre Ouverte, Georges sera applicable à toutes rôle de pionnier Lacroix, President et Fondateur de les formes d'investisse- dans l'invention du Fantôme, alerte Monsieur ments effectués par les Cinéma grâce aux Dominique Strauss-Kahn, Ministre investisseurs des pays Frères Lumière, des Insektors ©Fantome de l'Economie, des Finance et de parties. Le texte integral Effets Spéciaux l'Industrie, et Madame Catherine de l'AMI est disponible sur Internet grâce à Georges Méliès et de l'Ani- Trautmann, Ministre de la Culture à l'adresse suivante: www.monde- mation grâce à Emile Reynaud et et de la Communication, sur un diplomatique.fr/md/dossiers/ami/ Emile Cohl. problème national. plan.html] Les magiciens et les illusion- Il est un monde créatif et en nistes d'aujourd'hui s'expriment Lettre ouverte pleine évolution qui mérite votre grâce à la maîtrise des nouveaux à Monsieur Dominique attention, celui du cinéma d'ani- procédés numériques. Strauss-Kahn, Ministre de l'Eco- mation et des effets spéciaux Il faut un rapprochement nomie, des Finances et de l'Indus- numériques où les sociétés françai- transversal des sphères Culture, trie, et à Madame Catherine Traut- ses ont un potentiel formidable. A Communication, Industrie, Télé- mann, Ministre de la Culture et de quoi sert cette bataille contre l'AMI communication et bien sûr Finance la Communication si ces sociétés n'ont pas les moyens et Economie pour assurer la crois- de se développer et d'affirmer leur sance des entreprises spécialisées identité par manque d'un environ- dans les nouvelles technologies de Les magiciens et les illusion- nement favorable à leur croissance. l'image. Ce secteur est en pleine nistes d’aujourd’hui “Demain tous les films d'ani- expansion au plan mondial et cela s’expriment grâce à la mation se feront en 3D et nous ne signifie pour la France, emplois, pa- maîtrise des nouveaux choisirons la 2D que pour des trimoine culturel, exportation. procédés numériques. raisons esthétiques ou artistiques.” Cette phrase prophétique de Je crois que la France a un Bran Ferren (Walt Disney Imagi- énorme potentiel de création. La France, au travers de la neering) n'a pas pour but bien bataille de l'AMI fait partie des pays entendu de renier l'animation tra- qui luttent pour leurs spécificités cul- ditionnelle qui nous émerveille tou- Ces dernières années, l'igno- turelles et pour pouvoir s'exprimer jours, mais elle veut confirmer l'im- rance par les pouvoirs publics du dans le pluralisme de la création et portance que prendront demain les potentiel de ce secteur a conduit à de la production indépendante. nouvelles technologies de l'image la disparition de plusieurs entrepri- [L'accord multilateral sur l'in- dans la société de l'information et ses et à la reprise par d'autres pays vestissement, en négociation depuis dans les mondes de la communi- plus entreprenants, de projets inno- 1995, constituera un cadre complet cation, du divertissement, de l'édu- vants développés en France. pour l'investissement et comportera cation, de la simulation, de la réa- Le logiciel d'animation 3D des normes élevées de libéralisation lité virtuelle etc.... Explore développé à l'Ina et Thom-

ANIMATION WORLD MAGAZINE May 1998 18 son a été revendu à Wavefront aux disparaître, comme d'autres sociétés Cartoon (le pôle animation) de Etats Unis, le logiciel d'animation vont disparaître faute de trouver en remettre un rapport sur les mesures 2D Tic-Tac-Toon a été cédé à Toon France l'accompagnement néces- nécessaires pour accompagner le Boom au Canada, de nombreux saire à leur croissance: développement des entreprises de films imaginés à base de ces nou- • un capital risque et la Communauté. velles technologies connaissent de développement spécialisé, ayant la Les entreprises françaises ont véritables difficultés de financement connaissance du secteur et les du talent. Le dernier Festival et certains projets ont du être aban- moyens d'investir dans ces sociétés d'Imagina à Monte Carlo l'a démon- donnés. innovantes, tré en proposant une féerie d'ima- Aujourd'hui c'est Fantôme • des banques mieux infor- ges numériques et d'effets spéciaux qui risque de disparaître. Société mées de nos métiers et moins spectaculaires, des films d'étudiants pionnière créée en 1985, elle est frileuses, époustouflants! Ces entreprises veu- une des premières et parmi les rares • un décloisonnement Culture lent développer et créer des con- sociétés au monde à avoir réalisé /Industrie indispensable pour pren- tenus originaux, des séries pour les des séries animées entièrement en dre en compte le financement des télévisions, des films de long images de synthèse 3D pour les programmes autant que celui de la métrage, des programmes interac- télévisions, avant même que le croissance des entreprises, tifs pour les nouveaux médias.... superbe film Toy Story de Pixar et • un Centre National du Ciné- Il est essentiel qu'elles puis- Walt Disney ne batte tous les ma nanti d'un budget conséquent sent enrichir le patrimoine national records au box office. pour soutenir les entreprises qui et qu'elles ne soient pas seulement Fantôme a été couronnée créent du contenu en utilisant les des prestataires pour la publicité ou par plus de 40 prix internationaux, nouvelles technologies de l'image, pour de prestigieux films américains. dont un Emmy Award. Elle a pro- des diffuseurs encouragés à investir Elles ont le potentiel pour duit, avec France 3, Canal+, la dans ces programmes novateurs, créer des programmes ambitieux à Cinquième et le Disney Channel • un Institut pour le Finance- vocation internationale. Elles peu- France, des programmes en images ment du Cinéma et des Industries vent profiter en France du meilleur de synthèse pour tout public : Les Culturelles qui ne doit pas oublier enseignement pour les images de Fables Géométriques avec Pierre sa mission culturelle et doit pouvoir synthèse. Les centres de formation Perret, 50 x 3 minutes, Insektors une garantir de façon marquée les ban- comme les Arts Décoratifs, l'Univer- série de 26 x 13 minutes vendue ques qui veulent accompagner les sité Paris VIII, le CFT Gobelins, l'Adac, dans 160 pays, et entreprises inno- SupInfoCom à Valenciennes, le Tous sur Orbite avec vantes et leurs pro- CNBDI à Angoulême, Poitiers, La Nicolas Gessner, série jets. Réunion sont remarquables. Il faut de 260 x 2 minutes. souligner aussi le dynamisme des Elle a actuelle- Les profes- Régions qui soutiennent les entre- ment des projets de sionnels et le Syndi- prises de l'animation à Angoulême, séries en 3D déjà cat des Producteurs Valenciennes, Arles, Montpellier, financées ou en cours de Film d'Animation Valence, La Réunion.... Pour leur Insektors © Fantome de financement pour ont entrepris une développement, ces écoles et ces un total de 60 MF et poursuit l'ex- réflexion sur l'apport des Nouvelles régions ont besoin de pouvoir ploitation de son catalogue sous Technologies dans l'Animation et les compter sur un milieu industriel sta- forme de produits dérivés, cassettes Effets Spéciaux tant au niveau du ble. vidéo, DVD... Fantôme devrait être contenu que du contenant. Une En attendant, y-a-t-il en une société heureuse. plate-forme de propositions sera France la place pour des sociétés Et pourtant malgré un bientôt présentée aux ministères innovantes qui veulent réaliser des potentiel de création et de produc- concernés. projets originaux et ambitieux grâce tion important, malgré ses projets, En Europe, les professionnels aux nouvelles technologies de l'im- sa réputation internationale, ses ont également l'attention du Pro- age ou faut-il s'expatrier comme consécrations, Fantôme risque de gramme Média 2. Celui-ci a chargé beaucoup l'ont déjà fait ? ANIMATION WORLD MAGAZINE May 1998 19 Pour ma part, je veux y savoir que ces technologies sont croire. Les pouvoirs publics vont finir parfaitement maîtrisées aujourd'hui par nous entendre. Les mesures par des pays comme l'Inde, la YYourour AdAd annoncées par le Gouvernement Corée, Taiwan et bien d'autres. pour faire avancer la France dans La France ne devrait pas CouldCould BeBe la société de l'Information et de la l'oublier et je plaide pour qu'elle se Communication devraient être por- donne les moyens de participer à HerHere!e! teuses de croissance. Je souhaite la formidable mosaïque des pro- seulement qu'il ne soit pas trop tard. grammes à vocation internationale.

Georges Lacroix est President et For rate cards and additional information Je plaide pour que la France se Fondateur de Fantôme. donne les moyens de participer about various opportunities à la formidable mosaïque des Si vous souhaitez vous exprimer, programmes à vocation for exposure at vous pouvez envoyer un courrier internationale. Animation World électronique aux Ministres, à Network, l'adresse suivante: contact our Je vous prie d'agréer, - Monsieur le Premier Ministre: Los Angeles Madame et Monsieur les Ministres, http://www.premier- office at l'expression de ma sincère et ministre.gouv.fr/ respectueuse considération. - Monsieur Dominique Strauss-Kahn, 213.468.2554 Ministre de l'Economie, Georges Lacroix des Finances et de l'Industrie: or e-mail Président et Fondateur de Fantôme http://www.finances.gouv.fr/cour- any of our sales rier.htm representatives: Pour conclure, une volonté inter- - Madame Catherine Trautmann, nationale: Ministre de la Culture et de la Je crois que la France a un Communication: North America: énorme potentiel de création. Plutôt http://www.culture.gouv.fr/cul- Dan Sarto que de se replier sur elle-même il lui ture/min/services.htm faudrait structurer cette industrie [email protected] naissante en s'appuyant sur l'Europe Pour plus d'informations sur Fan- de sorte que nous puissions coopé- tôme, visitez son site Internet. Pour rer avec le reste du monde dans des envoyer un courrier électronique à Europe: projets à vocation internationale. Georges Lacroix: Thomas Basgier Il apparaît essentiel aujour- [email protected] d'hui d'être international et cela ne [email protected] veut pas dire pour autant perdre son identité. A l'heure d'Internet, il n'y U.K. aurait rien de pire que la monocul- Alan Smith ture. Chacun doit pouvoir exprimer [email protected] sa personnalité pour enrichir l'autre. Note: Les lecteurs peuvent Les américains le savent bien, eux contacter les collaborateurs qui sont en constante recherche de d'Animation World Magazine en talents nouveaux et de personna- envoyant un e-mail à Other Locations: lités, pour notre plus grand plaisir. Je [email protected]. [email protected] suis très admiratif de ce qui est fait aux Etats-Unis et au Japon et il faut ANIMATION WORLD MAGAZINE May 1998 20 by Melissa Chimovitz new method of mak- more unified monthly in each other’s ing animated films has than at the end apartments to screen “A surfaced in the last of the ‘70s. With films, discuss work-in- decade, and with it a new genera- Griffin as the dri- progress, organize tion of artists who use the medium ving force, ani- events, and socialize. primarily for self-expression. The mators like Jane The hard-core group new animators assume direct Aaron, Al consisted of about a responsibility for nearly every aspect Jarnow, Kathy dozen people, but often of the filmmaking process: concept, Rose, John artists invited out-of- drawing, shooting, even camera- Canemaker, town guests, and some- stand construction. This reclamation Suzan Pitt, James times as many as 30 or of creative authority contrasts Whitney, and 40 people would arrive sharply with the impersonal assem- Victor Faccinto, at the meetings. “It was bly-line production system of the stu- among count- like a party,” explains George Griffin has been a zealous dio cartoon industry and returns ani- less others, rede- force in the New York indepen- Griffin, “at which people mation to its original experimental fined animation dent scene, supporting other ani- would talk out loud to impulse as embodied in the work with their mators by sharing his studio facili- the assembled group. ties. of Winsor McCay, Emile Cohl, Hans unique personal And then, after a while, Richter and Oskar Fischinger.” approaches to filmmaking. Aligning when the discussion became tire- These words, published in themselves more with the art world some, it just sort of degenerated the preface to Kit Laybourne’s The than with the traditional animation into a regular party.” Animation Book, were written exact- establishments of the time, these Besides a strong sense of ly 20 years ago by George Griffin, filmmakers were decidedly anti-com- community, many serious projects the figurehead widely recognized mercial, often irreverent, sometimes were also generated as a result of as being responsible for mobilizing even superior, but always expres- these salon-esque meetings. At one this new generation into a move- sive. point, the wife of a successful nov- ment in the late 1970s. In those days, the New York elist became inspired by the group, Although the independent chapter of ASIFA was much more and opened a gallery dedicated to movement had satellite members in focused on studio-oriented anima- experimental animation in New all points of the country, nowhere tion and was not open to experi- York’s art district, Soho. For about was the sense of community mental, personal work. As a two years, the gallery hosted screen- stronger than in New York City, and response, the group became Down- ings, open discussions, drawing at no time was that community town’s answer to ASIFA, meeting exhibitions and art happenings.

ANIMATION WORLD MAGAZINE May 1998 21 Another notable result of the screening was proof that New York fashioned, curmudgeonly, rene- group’s activities was the 1978 pub- animators support one another. gade spirits who just will do it, even lication of Frames, a collection of Accepting her award for Grand if there’s no commercial room for it, drawings and statements from 69 Prize, Debra Solomon said grateful- and despite all the odds.” independent American animators. ly, “This is the best place to win an Unfortunately, time and Assembled by Griffin, the book acts award.” space only allowed for me to speak as a visual manifesto of the inde- Perhaps the most significant to seven of the many animators liv- pendent movement. Each page changes though, are in the various ing and working independently in reflects the poetics and style unique new applications of independent the Big Apple, but the following pro- to each artist, and together, the col- animation, most notably, television. files represent a diverse cross-sec- lection clearly illustrates the wide Venues like MTV, Nickelodeon, and tion of old-school, new-school, diversity within the movement. The Children’s Television Workshop experimental, and traditional film- While there are some common have helped to bring fresh, innov- makers. qualities that often link the work ative animation to a mainstream The following artists are pro- (i.e.: the use of a loose, expressive audience, and owe much of their filed: George Griffin, John Cane- line drawn on paper rather than success to the talents of the inde- maker, Kathy Rose, Debra Solomon, cels, or the frequently autobio- pendent animators they employ. Steve Dovas, Lewis Klahr and Janie graphical content), overall, the only With the emergence of the Internet Geiser. thing that defines the group as a and web sites like the Absolut Vodka whole is the resolute individualism Experimental Animation Festival, George Griffin: The American within each artist and the general small audiences at underground Independent tendency to defy definition. screenings and salon-style discus- George Griffin, called the sion groups have been replaced by “paradigm of the independent ani- a worldwide, virtual audience. mator” by Giannalberto Bendazzi, Naturally, students learn and This new enthusiasm and has never abandoned the principles apply the fundamental techni- emphasis on independent anima- that motivated him when he began cal aspects of animation, how- tion is a controversial issue, of making animated films 20 years ever, Canemaker encourages course. Many feel that the loss of ago. His work alone reflects two of his students to explore their the community generated from a the major characteristics of the inde- individual voice. common resistance to the main- pendent movement: a responsibili- stream is a sad statement of the ty to himself as an artist and to his The influence of the inde- effects of commercialization. Others own style, and the freedom to pendent movement is still reflected feel that these new venues repre- experiment and change that style in the work of many of today’s film- sent a new respect for animation as as often as he wishes. Few artists makers, though the animation an art-form, and new opportunities have been as dedicated to the pro- world has changed dramatically for talented, innovative artists who motion of animation as an art-form since the ‘70s. One important have long lacked the recognition as Griffin. change that might have brought they deserve. Griffin’s interest in animation about the dissipation of the move- Wherever the truth lies, one started with his exposure to avant- ment was a new openness and thing is certain: Twenty years later, garde cinema just after college. acceptance of personal and exper- independent animation is alive and Drawn to the radical aspirations of imental animation by the New York well and living in New York City. filmmakers like Stan Brakhage, chapter of ASIFA. Currently, ASIFA is Although most animators must Robert Breer, and Stan van der Beek, extremely involved in promoting the make a living doing commercial Griffin found that the anarchistic ele- independent animation community, work, finding grants, or teaching, ment of experimental film - “Forget and the executive board consists of the ever-stubborn New Yorker will all the rules, start from scratch, make many members of the original inde- find a way to continue making inde- mistakes, goof off, that’s art!” - pendent movement. The turnout at pendent films. Says Griffin, “There’s appealed to him. He began by last month’s ASIFA-East Awards a kind of individualism... I mean old- emulating these pioneers, but was

ANIMATION WORLD MAGAZINE May 1998 22 daily routine a father and daughter share before saying goodnight. This and many of his other, earlier works are now available on a video compilation called “Griffitti.” Finally, Griffin is currently developing a new film that he actually conceived 20 years ago, at the height of his independent activism, proving that what comes around truly goes around.

John Canemaker: Thoroughly Devoted Just as George Griffin push- es and pulls against the mainstream animation world, discovering and rediscovering his relationship with John Canemaker’s new film, Bridgehampton, will be included in an upcoming retrospec- that tradition, perhaps even more tive of his work at MoMA. © John Canemaker. so does John Canemaker. His diver- dissatisfied with what he was cre- a loathing of authority and an inabil- sity, represented by his dedication ating. When he began working in ity to draw like a Disney master to his work as a historian of early various commercial cartoon studios were largely responsible for his American animation (particularly Dis- in New York, he not only had the growing distaste), so did his deter- ney), and his concurrent work as a opportunity to learn the rules he mination to go his own way. Once creator of personal, independent had been so eager to break, but he relieved of his job, he began mak- films, proves Canemaker to be one also recognized the growing need ing brilliantly innovative films that of the most thoroughly devoted fig- for rule-breaking within the anima- challenged the conventions of film- ures in animation today - not to tion world. making. In films like Head and Lin- mention the busiest. Somehow, Thus began a symbiotic rela- eage, Griffin mixes trick photogra- between heading the animation tionship between Griffin and tradi- phy, animation and live-action to department at New York University, tional animation that would con- create a “film-within-a-film” kind of lecturing around the world on early tinue over the next twenty years. self-awareness. This self-reflexive American animation, teaching, and He began by extracting the basic approach, though he later aban- writing countless books, essays and elements of traditional cartooning - doned it, was rife with the kind of articles, Canemaker has found the a pen, paper, a simple line and irreverence that fueled his campaign energy and time to continue to cre- some basic movement techniques for independent animation. ate the very meaningful personal - and applying his own sensibility. Although in recent years he films that he began making in the He scaled animation down to its has yielded to the reality of com- late ‘70s. barest form, creating several flip- mercialism, peppering his personal Canemaker started his career books and performing experiments work in with freelance commercial as an actor, but returned to his true when shooting them. He felt deter- jobs for larger studios, Griffin’s inde- love, animation, while studying mined to create films that were writ- pendent spirit is as stubborn as ever. communications in college. He ten, drawn, and animated by only His most recent film, A Little Rou- made his first film as an under- himself, thus eliminating the need tine, may lack the irreverent bite of graduate, and by the time he had for an “assembly line” production his previous work, but preserves the finished his Master’s in film in 1976 team. element of personal exploration that at New York University, he was As his dissatisfaction with the has always been there. It is an already working with animators studio system grew (he admits that endearing slice-of-life look at the such as Derek Lamb on commercial

ANIMATION WORLD MAGAZINE May 1998 23 projects. He continued to make personal work however, and in 1978 his film, Confession of a Stardream- er, gained attention, and he began to establish a commercial career. Many of Canemaker’s commissioned works were very topical in nature, and were often the most satisfying for him. Films that dealt with serious issues such as child abuse, war, teen suicide, and children with cancer presented Cane- maker with the challenge of finding visual solutions to very complex thematic problems. His acute sense of animation’s ability to venture into the feelings of a young child in Kathy Rose performs with her own animated images on screen. Photo © Kathy Rose. chemotherapy in a way that live- vibrant visual poem that incorpo- working on several new books, action cannot is what won him the rates all the colors and moods of including one on the storyboard Academy Award for You Don’t Have each season. The style, derived from artists from early Disney history, one to Die, a film he made for HBO. paintings Canemaker made of his on Disney’s “Nine Old Men,” and a Canemaker began teaching garden, is fresh, loose, and fluid, children’s book that he illustrated with Richard Protovin at NYU in representing his preference towards about his cat. In fall of 1998, the 1980, and in 1988 he took over the a more expressive kind of anima- Museum of Modern Art will hold a Animation Department. Naturally, tion. “I like to see process. In ani- retrospective of 20 years worth of students learn and apply the fun- mation, to see on paper something Canemaker’s work, from the com- damental technical aspects of ani- change a little bit, flicker and bub- mercially sponsored to the very per- mation, however, Canemaker ble, that’s what makes the drawing sonal, and including, of course, lec- encourages his students to explore come to life- that is the magic. The tures by the artist. their individual voice. “They only great thing about the illusion of ani- While Griffin, Canemaker, have 4 precious years [in school] mation is that you don’t have to do and many of the other original when they can make films, so they very much for people to come into members of that groundbreaking might as well find who they are. the world. group of independents are still Then often times, the commercial “That is totally the opposite actively working in animation, for projects will come to us because of of Disney’s philosophy, which is if Kathy Rose, animation has become who we are,” says Canemaker. you embellish the design and make just one of many tools she employs This has certainly been the it as real and believable as possible, to break still more experimental case with Canemaker, though the people will weep when Bambi’s ground. By combining her many commercial projects have never mother dies. And they’re right, too.” talents and passions, Rose has cre- been a means to an end for him; Therein lies the Canemaker dichoto- ated a new genre of performance he continues to make a personal my. He admits, laughing, “I’m a lit- that mixes animation, live-action, film every one or two years. Most tle difficult to pin down. I did try music, and dance. recently, he finished Bridgehamp- character animation, but found that ton, a radiant 6 1/2-minute film as I simplified things, it became Kathy Rose: Combining Dance inspired by the changing seasons more me. Bridgehampton is an and Animation in the garden outside his Long attempt to move towards a more As the daughter of a suc- Island summer home. Collaborat- abstract filmmaking, and I may go cessful photographer in Queens, ing with jazz pianist, Fred Hersch, totally in that direction in the future.” Rose’s interest in art was cultivated Canemaker creates a wonderfully In the meantime, he is busy at a very early age. “I was an artist

ANIMATION WORLD MAGAZINE May 1998 24 from the age of three,” she says. “I she must first become one, she fol- a dancer could change color and was just totally involved in creativi- lows the advice and transforms into pattern, fill up with water then drain ty and drawing.” She and her broth- one of her own characters. The itself, all to a pulsating African er (filmmaker Pete Rose) were work to follow seems to be a natural rhythm. Her hybrid performance encouraged by their father to exper- extension of that merger of artist style was well-received in Europe, iment with film; Kathy was 16 when and art. where she often toured, as well as she started making surreal, experi- back at home, where she per- mental films. While in college at formed to a full house at New York’s Rose’s work has developed Philadelphia College of Art as a film Museum of Modern Art in their into its own complex and major, she became interested in Cineprobe series. sophisticated genre, almost dance and performance, and per- defying definition. Although Rose feels that her formed with a multi-media dance new direction was a natural exten- troupe. Upon graduating, she sion of the often irreverent, rule- became interested in the animated After the death of her father, breaking animation movement she films of Yoji Kuri and Karel Zeman, Rose no longer found animation ful- was a part of in the ‘70s, she some- and set out to teach herself how to filling. While watching a double bill times feels as though her work is animate. Working in drawing pads, of Marilyn Monroe at the Bleeker perceived as a “wild tangent.” Says she shot storyboards that became Street Cinema, she realized that she Rose, “Occasionally, I get people more and more complex, and even- wanted to perform again, and was who are very steadily ensconced in tually began to move. encouraged by her then-employer, animation saying, ‘Don’t you think Having found the outlet for Bob [R.O.] Blechman, to mix ani- you should go back to doing ani- her love of film and her passion for mation and dance. When she mation?’ And I think, ‘Why would I drawing, Rose attended California received a NEA grant to produce a want to do that now that I’ve Institute of the Arts in the early ‘70s, media project, she came up with opened up to this whole wonderful where she found a tight-knit com- Primitive Movers, a short perfor- holographic world?’” munity of artists doing experimental mance that involved a row of ani- Instead, Rose’s work has animation with the help of pioneer mated figures, all her height, pro- developed into its own complex filmmaker, Jules Engel. After three jected on a screen and dancing and sophisticated genre, almost years in California, Rose eventually alongside her. The effect was a defying definition. She is currently returned to New York, and won first hypnotic, abstract and highly ener- working on a one-hour piece enti- prize for her film, The Doodlers, at getic piece of performance unlike tled Kleopat’Ra, which is rich with the ASIFA festival. At the awards ban- anything else being done at the influences ranging from Japanese quet, she met George Griffin and time. “I knew that (the piece) had Noh theater and Butoh dance to Mary Beams, and became involved to be something that would fulfill Egyptian mythology and the in the Independent Movement that this personal craving I had to do Tibetan Book of the Dead. The piece had just begun to take shape. performance, but I wasn’t interested is the first time Rose will incorporate Self-portraiture has always in just getting up on stage with a both animation and live-action into played a strong role in Rose’s ani- black leotard. I needed the color, I her performance. mated films. In Pencil Booklings needed the visual input because I’m While all of these sundry cul- (1978), she appears in the film, at a visual artist. So, to have something tural and aesthetic influences and first in rotoscope form as the creator that was part of my past and part of the myriad of techniques Rose of her characters. She interacts with my imagination up there with me employs could easily cancel each the little doodle-esque figures, rep- was very important.” other out, they are instead woven rimanding them when they behave Soon, Rose began project- together beautifully in Kleopat’Ra, badly, and even walking out of the ing her animation upon herself and making the performance much frame when they completely frus- her dancers on stage, and the mix- more than the sum of its parts. A trate her. Finally, when one of the ture of animation and dance pro- collaborator of Rose’s says, “I’m cer- characters tells her that if she wants vided a new freedom of imagina- tainly conscious of the piece being to create good animated cartoons, tion and possibility. A dress worn by about a personal journey that’s

ANIMATION WORLD MAGAZINE May 1998 25 meant to lead the audience on a Duga’s animation class, and during man to animate the film while she journey as well.... It’s definitely a trip to the Matisse exhibit at the worked as his assistant. In this way, meant to create a whole other Museum of Modern Art, she found she was able to learn how to in- dimension, a whole other world.” inspiration. “You’re at the exhibit, between and make her drawings Rose has been performing you’re looking at pictures of Matisse’s move fluidly. The result is a witty, if excerpts from Kleopat’Ra at various wife in a robe, his wife on the Quay, somewhat bitter, tale of heartbreak venues around the East Coast, most his wife reading a book, making din- told by a cartoon Mrs. Matisse to a recently at New York’s historical ner, doing this, doing that, and then rap beat. avant-garde performance Mrs. Matisse took two years space, The Kitchen. The to finish, and in the mean- piece, which Rose started cre- time, Solomon was still illus- ating in 1993, will be com- trating and producing humor plete in December of this books to keep her income year. steady. When that project was over, she animated a few Debra Solomon:The Best commercials (most recogniz- Medicine able, perhaps, is the ad for After studying illustra- Solo fabric softener: “Oops! tion at Pratt University in New Forgot to add the fabric soft- York, Solomon spent several ener!”), and began develop- years working as a freelance ing an idea for a new film. illustrator. She soon noticed She and her husband had that her work was decidedly been trying to have a baby funny and would lend itself without success, and some- well to animation. “I had the how, though she calls the sense that I wanted the char- experience “among the worst acters I was drawing to move things that ever happened to around and tell stories,” she me,” she was still able to find says, “But because I didn’t enough humor in her situa- really have any salable skills tion to make a film about to get a job in a studio, and infertility. because I was so driven to do Everybody’s Pregnant by Debra Solomon. © D. my own work (rather than some- halfway through the exhibit, there’s one else’s in a studio-setting), I con- this little sign that says, ‘Matisse All of a sudden, in the middle tinued working as an illustrator for moved to the South of France by of making this film, I thought, seven years.” Her freelance experi- himself.’ And I said, ‘What hap- ‘This really is my voice.’ - Debra Solomon ence not only furnished her with a pened to his wife?’ She was about lifetime supply of amusing anec- in her 50s, and I thought, ‘Well, dotes (a job cartooning for a porno- that’s about the time for gravity to “It is the situations in life that graphic magazine once provided have shifted everything down- break your heart or are so over- her with the unexpected bonus of wards.... I know what happened to whelming that are the ripest for a loyal obscene phone-caller; he this woman!’“ humor, and are the places where called her incessantly for three years With much encouragement you need to laugh the most,” until she patiently advised him on from her husband and support from Solomon says. “At some point in a where to get some help), but it also her “animation goddess,” Yvette doctor’s office, I had this very strong enabled her to save up enough Kaplan, Solomon went to work sto- image of being on a meat-hook, money that she was finally able to ryboarding and writing a song for hanging upside-down, going finance an independent film. her first animated film, Mrs. Matisse. through his office on one of those Solomon enrolled in Don She hired her friend Ken Kimmel- motorized racks that they take meat

ANIMATION WORLD MAGAZINE May 1998 26 comic strips” (“vicious, evil, and combination of an incredible level post-adolescent in every possi- of self-criticism and practical financial ble way,”), the response was considerations, I went a lot of years clear and direct: “You will ani- without making an independent mate!” The encouragement film of my own,” says Dovas. “I had Dovas received from Cane- aspirations to pay my rent and con- maker and fellow NYU profes- tinue buying groceries.” sor, Richard Protovin, was enough to launch a successful career as a freelance animator. When Steve Dovas showed Call Me Fishmael by Steve Dovas. © Steve Over the past 15 years, John Canemaker ... some Dovas. “patently offensive comic around with, and I thought, ‘I have Dovas has worked with some strips,” the response was clear to make a film about this.’“ Every- of New York’s most important ani- and direct:“You will animate!” body’s Pregnant spares no detail in mators. Before graduating from illustrating the nightmarish steps NYU, he worked with John Cane- some couples must take to conceive maker on his 1983 film, Bottom’s Finally, an opportunity arose a child. All to a peppy synchronized Dream. By the time Dovas left last year to produce his own per- beat, viewers hear about the gru- school, Canemaker had introduced sonal project when the Sundance eling side effects of a particular test, him to Michael Sporn, whom he Channel approached Dovas to cre- a hysterosalpingogram. Another worked closely with on projects ate a short as a promotion. Though chorus blithely repeats, “My hus- ranging from counting films for Chil- the promotion never ended up hap- band is a sperm machine...” In one dren’s Television Workshop (most pening, Dovas followed through sardonic swoop, Solomon has notably, a counting film in which with his idea for a short, and with- made a deeply personal but won- lemmings count off cheerfully as in a month, had finished Call Me derfully humorous film that allows they hurl themselves from a cliff) to Fishmael, his first totally indepen- us to sympathize and relate to her animated spots for HBO and MTV. dent film. experience, even if we’ve never The life of a freelance ani- “It was something that I had- experienced anything like it. mator in New York does not always n’t seen anybody do before. It The film has been a success prove to be conducive to realizing seemed like a subject that was just in more ways than one: it won the personal projects. “Because of a begging to be chewed up,” recalls Grand Prize at last month’s Dovas of his concept for ASIFA-East awards, but more Fishmael, which is essen- importantly, it marked a sig- tially an animated “pitch.” nificant point in Solomon’s artis- In five minutes or less, a tic career. She says, “In all the highly animated stick-figure work I ever did, all I wanted to (played by Dovas himself) do was find my own voice. enthusiastically pitches an That was always the most idea for a high-seas adven- important thing... All of a sud- ture film involving a giant den, in the middle of making fish who sings like Mel this film, I thought, ‘This really Torme. At the end of the is my voice.’” film, a short live-action video sequence shows the Steve Dovas: A New Inde- fruits of the stick-figure’s pendent labors: the giant fish is When Steve Dovas played by a well-disguised showed John Canemaker, his oven-mitt-puppet swim- professor at NYU at the time, ming in a pool of Gatorade some “patently offensive Lewis Klahr’s Altair. © Lewis Klahr. in Dovas’ bathtub.

ANIMATION WORLD MAGAZINE May 1998 27 “I wanted to do the most wanted to try it...it was something magazine advertisements from the expressive physical character ani- I had been planning for a long time. ‘50s, The Pharaoh’s Belt deals with mation that I could possibly do with I had this feeling that I was going to issues of childhood, gender, and as minimal a figure as I could think do rich work in animation, but that identity - common themes that reap- of, “ Dovas says. “This guy is minimal it was not something I wanted to pear in many of Klahr’s films. He as a person - he has no sense of self- waste in this early period.” attempts to create what he calls a perspective at all. It seemed appro- Instead, Klahr’s first films were “cultural autobiography,” an explo- priate that his ideas would be fully shot using live-action, and were ration of the parts of his identity he rendered, but that he’s this really exploratory and diaristic in nature. has culturally inherited. crudely drawn crayon stick-figure.” He was drawn to the singularity of The appropriation of nostal- Call Me Fishmael has vision that this kind of work pro- gic and often idealized imagery received acclaim at festivals across moted. Klahr delved into this “first- helps to illustrate this notion. “What’s the country. It was well-received at person” approach to filmmaking, as interesting to me about appropria- the World Animation Celebration in he calls it, and over a 6-year peri- tion is that you are dealing with Los Angeles, and received an award od, he developed a complex visual something that is received, but you (as well as a very hearty round of language that incorporated col- are also shaping it in a way that applause from peers in the audi- might bring out latent meanings ence) at April’s ASIFA-East Festival. that are not immediately clear,” explains Klahr. “I’m curious about Lewis Klahr: Master of Collage the way an individual consciousness Many New York artists found changes the trajectory of meaning.” their inspiration in a generation of Often, Klahr’s films begin West Coast experimental filmmak- with hardly any preparation, and ers that preceded them. Pioneers with only an indistinct idea of what like Harry Smith and Larry Jordan will transpire under the camera. The were highly influential to Lewis action evolves naturally during Janie Geiser’s The Red Book.. © Janie Klahr, whose work can be seen Geiser. shooting, and as Klahr sifts through more as a natural extension of the his vast collection of images kept in experimental film tradition than of laged found-footage. The use of various shoe boxes, flat files, and fil- conventional animation. Like the appropriated film imagery no doubt ing cabinets in his Lower East Side members of the West Coast experi- allowed for a natural transition into studio. The effect is a surreal juxta- mental movement, Klahr prefers not cut-out animation, and in 1987, position of images, often haunting to delineate between live-action and Klahr focused his full attention to and dreamlike. “The way I compose animation. Instead, he refers to his this area. is very intuitive. It’s one of the most work as collage filmmaking, which, satisfying parts of the process when taking into account the arc because I’m in this kind of reverie.... I’m curious about the way an of his productive career, is a very I’m able to project myself into these individual consciousness accurate description. images and create a whole world.” changes the trajectory of Klahr became interested in meaning. - Lewis Klahr animation after a Whitney Museum Janie Geiser: Experimental screening of the work of Larry Jor- Puppetry dan, whose use of nostalgic Klahr’s entry into animation Multi-media artist, Janie Geis- imagery, surrealistic collaged cut- was anything but timid. On the con- er shares this interest in evoking illu- outs and dream-like free-association trary, over the past eleven years, sory, dreamlike worlds, and her left a lasting impression on him. At Klahr has produced a large quanti- unique visceral style translates beau- that point, however, Klahr felt he ty of animation. One of his most tifully from her illustration work to was not ready to begin making ani- ambitious projects is a 45-minute her experimental puppetry to her mated films. “When I saw cut-out animated film entitled The Pharaoh’s very personal stop-motion animated animation, I had this sense that I Belt. Using cut-out images from old films.

ANIMATION WORLD MAGAZINE May 1998 28 After graduating as a paint- be able to take on film at the same peutic. ing major from the University of time. Geiser continues to explore Georgia, Geiser saw a performance Ten years later, after learning various media. In the works are a at the Center for Puppetry Arts in the basics of filmmaking in a course live-action collaborative film project Atlanta that introduced her to the at New York’s School of Visual Arts, with performance artist, Sally May, idea that puppetry could act as a Geiser began incorporating film into two new puppet pieces, and an on- means of personal expression, not her work in innovative ways. In going puppetry workshop for local just entertainment for children. addition to making several live pup- New York artists, funded by a grant Intrigued, she took a part-time job pet films that were later projected from the St. Ann’s Arts Foundation. at the Center that summer, and within her live performances, she spent hours organizing and study- began to experiment with stop- Note: The on-line version of this ing their collection, thereby learn- motion animation. article features Quicktime movies ing about puppets from all over the In all of Geiser’s work, it is of animated films by New York world. clear that she is motivated both visu- independent animators Debra ally and emotionally. In The Secret Solomon, Janie Geiser and Lewis Story (1996), beautifully weathered Klahr. In all of Geiser’s work, it is antique toys and paper dolls act as http://www.awn.com/mag/issue clear that she is motivated ghosts of childhood memories, 3.2/3.2pages/3.2chimovitznyc.ht both visually and emotionally. evoking the imaginative inner world ml of a girl. Throughout are reminders of motherhood and girlhood: a yel- Until then, the puppets, dio- lowing dressmaker’s pattern acts as ramas, and art objects Geiser had a shadow play screen, as a silhou- Melissa Chimovitz is a freelance made were never intended for per- etted woman hangs paper doll writer with a predilection towards formance. When the head of the dresses on a line. Although the film’s run-on-sentences. Armed with a Center encouraged her to take on narrative is non-linear and uncom- degree in photography from a theatrical project, Geiser says she promisingly personal, the poetic Rhode Island School of Design, a became hooked. Her first foray into nature of its imagery makes it uni- portfolio of handmade puppets, a puppet performance was a piece versally meaningful. short animated film (Eat’m Up: A based on a dream she’d had using Geiser’s most recent animat- Very Short Film About Love traditional hand-and-rod puppets, ed film, Immer Zu (1998), is wildly [1997]), and a determination to and from there, Geiser continued different in genre, but is equally per- become a great animator, she to experiment with different styles sonal and emotionally engaging. will enter Cal Arts’ Masters Pro- and techniques of puppetry. Influ- Inspired by images of espionage gram for Experimental Animation enced by everything from Japanese paraphernalia and the classic noir in September 1998. In the mean- Bunraku style puppetry to Indone- films of old Hollywood, Immer Zu time, she lives happily in Brook- sian shadow plays, Geiser devel- is filmed in black and white, and fol- lyn, New York, where she is par- oped a visual vocabulary combin- lows the clandestine exchange of ticipating in Janie Geiser’s soon- ing her stylized handmade puppets coded messages between a man to-be-named puppetry lab and and her highly intuitive storytelling and a woman while a third man lies working on a new film. technique. Her Obie award-win- ill in a hospital bed. Geiser’s initial ning work is widely recognized as idea to make a film noir evolved into having helped to promote puppetry a complex reflection on dying when as a respected theatrical art. the death of her father became a During the time that Geiser strong emotional force motivating Note: Readers may contact any was developing her work in pup- the project. Since animation, unlike Animation World Magazine con- petry, she had also become inter- theater, allows Geiser to work in tributor by sending an e-mail to ested in animation, but felt that she meditative seclusion, the process of [email protected]. was too ensconced in puppetry to making Immer Zu was very thera-

ANIMATION WORLD MAGAZINE May 1998 29 Eight Point Star: A Mind Experience in Animation by Marcos Magalhães hat is the real boundary ters of time and space woman of his between reality and experienced by Fer- dreams was Wimagination? As anima- nando. engaged to anoth- tors we frequently explore this mys- Contrary to er man, who was terious territory, by submerging our- my expectations, I white and wealthy. selves in universes totally alienated met a fully dedicated Disillusioned, Fer- from the material world. This going artist, concentrated in nando abandoned back and forth between fantasy and his work, and very his studies and iso- reality sometimes provokes effects conscious of his lated himself from similar to those of drugs or mental objectives. This could the world. Sad and disorders; which is why we keep sound “off the wall,” This drawing of an elaborate 16- lonely, he found them under control during an artis- but his unconditional point compass is part of Fernando relief in the waters tic production. But for certain peo- love for researching Diniz’s film, Eight Point Star. © Fer- of Copacabana ple, these boundaries have van- and experimenting nando Diniz. beach, until one ished altogether, and are no longer with art, reminded me of master sunny Sunday when he forgot that meaningful or important, as they artist Norman McLaren, whom I met being in the nude was socially unac- are for most of us. while interning at the National Film ceptable... When the police arrived, Board of Canada. The film struc- he resisted arrest and was taken to Reinventing Animation Instruc- tured as a “show reel,” presents a mental hospital where he was iso- tion some of the main ideas explored by lated from his family and treated For six years, I helped Fer- Fernando and opens a window with drugs and electroshock thera- nando Diniz, who is now 79, make into his universe. It was very grati- py, a common practice at the time. Eight Point Star, his first animated fying to prove that animation can film. In 1996 this film won three be an alternative language for peo- What has made Fernando’s prizes in Brazil’s most important film ple with a perception of reality story different from those of festival, Gramado’s Film Festival, and beyond the normal standards. many other mental patients, was also awarded the first prize for was his encounter with a very best animated short in the Havana His Past and a New Beginning special woman, Dr. Nise da Sil- Film Festival. Fernando grew up in a very veira. For the past 50 years, Fer- poor and modest neighborhood, nando has been living in a mental but as a child his mother would fre- What has made Fernando’s hospital in Rio de Janeiro. There he quently take him to wealthy homes, story different from those of many learned how to draw, paint, and where she worked mending Haute other mental patients, was his sculpt, soon becoming one of the Couture clothing. During this peri- encounter with a very special most distinctive fine artists in the city. od, he developed a taste for luxury woman, Dr. Nise da Silveira. An Working and shar- and savoir-faire, and admirer of Jung’s ideas and con- ing moments with became enamored with vinced that conventional treatments this artist was a a rich, white girl named for mental patients were inhumane profound and Violeta. The young Fer- and inefficient, Dr. Nise revolution- touching experi- nando was convinced ized a traditional public hospital ence. I had to rein- he had to conquer Vio- when she introduced fine art stu- vent many of the leta’s heart, and so he dios inside the building. In 1952, concepts I had as began to study for she founded the Museum of Images an animator, in many years to become of the Unconscious, where the order to under- a rich engineer. patients would materialize their stand the totally Fernando Diniz. Photo by Clau- One day, as an adult, impressions and feelings in canvas, different parame- dia Bolshaw. he discovered that the drawings and sculptures. The muse-

ANIMATION WORLD MAGAZINE May 1998 30 um’s program different drawings next punch holes. I also gathered some flourished as a to each other similar to a raw stock and borrowed a 16mm new phenome- storyboard, and on sev- camera from the animation studios non for the arts eral occasions he would at the National Foundation for the and science. The paint with oils making dif- Arts (Funarte). results of the ferent layers on the same Fernando handed me his workshops canvas, hiding one pic- first scenes a few weeks later. He allowed Dr. Nise ture under the next one, had filled the thousand sheets I had to interpret with The dark, compressed style of creating a film that only given him with colored drawings. surprising clarity this drawing of a person on a he could follow. When I Although he knew how the light horse illustrates Fernando’s ten- the mental dency towards geometric images first met Fernando in table and the animation pegs process of indi- in order to reorganize his emo- 1988, he was working worked, he didn’t use them at all. viduals with very tional state when he suffers with on such a series of draw- However, when I flipped the ani- little or no verbal depression. © Fernando Diniz. ings. The Museum’s team mation I was surprised to find that expression at all. When she met the wanted to document it on film, so it certainly worked. He relied on his quiet and absent Fernando, Dr. Nise they approached me to explore the visual memory to follow on to the invited him to join the workshops. possibilities of producing a film with next drawing, using the edge of the Fernando rediscovered his an animation camera. paper as a reference. Despite my passion for studying and soon When I first saw Fernando’s insistence, he rarely used pegs or devoted himself to art in both body designs I had the sensation of being transparencies until the end of the and soul. Years later he said, “I have in front of an animator’s work; beau- process. moved to the world of images.” tiful animation “layouts.” Some were Every Wednesday, I would Even though Dr. Nise’s purpose abstract and geometrical, others meet Fernando to revise his new never meant to evaluate the artistic were figures, but all had a high aes- scenes (500 drawings per week) quality of the patient’s work, art crit- thetic quality and displayed exquis- and prepare them for the shoot. ics soon considered Fernando and ite colors and shapes. These scenes usually had very some of his colleges as brilliant I was enchanted with Fer- defined themes, and I encouraged artists. nando not only for his work, but him to create titles for each one. also for his personality. It was very Some were very easy to under- difficult to understand his speech stand, a series of animals or people He learned how to draw, paint, because he has no teeth, but he playing sports; others were incom- and sculpt, soon becoming one was always very curious and always prehensible geometric scribbles, of the most distinctive fine had a great sense of humor when which sometimes darkened the artists in the city. trying to explain his work or learn paper completely. new things. According to Dr. Nise, these Despite the communication variations revealed his psychologi- The Birth of a Filmmaker difficulties we had, my experience as cal condition. When he suffered The museum’s reputation, a teacher showed me I was in front with depression, he would resort to after decades of great success, of a very special student. Fernando geometric images in order to reor- attracted the attention of filmmaker convinced me of his capacity to ganize his emotional state. When Leon Hirzman, who shot a feature direct his own creative process. he felt secure and surrounded by length documentary called Images From that day on I decided to help affection, Fernando would draw of the Unconscious. The life and him carry out his animation onto more organic figures. We proved work of Fernando Diniz was cap- film: a project that lasted for six years this several times, particularly in the tured in the film, and his contact until Eight Point Star was complet- last sequence of the film which with the film crew immediately pro- ed. depicts a character riding a horse voked an obsession in him for cre- past a long stretch of scenery. This ating cinema. Our Production Process scene was completely done on an Fernando didn’t have access The first step was to give him animation table at the Funarte stu- to a camera or film, so he made a light table, and explain to him that dios, and during his working hours, drawings frame by frame, one after from now on he had to draw on Fernando would avidly talk to the the other. Sometimes he would do separate sheets of paper with people around him. It was the only

ANIMATION WORLD MAGAZINE May 1998 31 under the screen than the picture pital only because he doesn’t have itself. I also noticed he had a any family, or someone who can strong myopia, but he would take care of him on a daily basis. refuse to wear glasses. It was as if Eight Point Star’s success in he had already seen enough Brazil has renewed interest in Fer- while creating the drawings. He nando’s’ work, and posed questions could care less if he couldn’t clear- regarding the rights of people with ly see the animation. However, he mental conditions to participate in A horse of a different color:When he feels loved to comment and discuss the our society. Fernando continues to secure and surrounded by affection, Fernan- do draws more organic figures, such as this meaning of everything he had live in a hospital, painting and looser image of a person riding a running produced. Above all, he enjoyed preparing scenes for other animat- horse. © Fernando Diniz the applause of the audience and ed films. He also plays music on the time he decided to use the anima- the positive response to his work. piano and harmonica, and some of tion pegs and light table. This The film, Eight Point Star, his compositions were incorporat- sequence has biographical ele- was named after Fernando Diniz’ ed into the soundtrack of the film. ments, with scenarios and charac- most preferred subject. Claudia Bol- Eight Point Star’s sales on video con- ters from his early paintings. shaw, a graphic designer who stud- tribute to his personal expenditures ied Fernando’s work, took over the for a more comfortable life inside Fernando’s Language production of the film during the the hospital. We used to talk for hours last two years. She wrote her mas- about his drawings. He created a ter’s thesis on the film in which she Translated from Portugese by Ale- proper system of classifying the geo- deciphers the meaning of Eight jandro Gedeon. metric figures, and he would Point Star. Fernando conceived the explain this to me in his confused “star” as a graphic system that orga- Note: The on-line version language. It took me a while to nizes space and from which all of of this article features Quicktime understand that when he talked his other figures are born. The “eight movies of the animated film Eight about “pineapple,” “fish,” “bread,” point star” is represented by a cross Point Star by Fernando Diniz. “watermelon,” etc., he was refer- and two diagonals, like the British http://www.awn.com/mag/issue ring to the form of these objects, flag. Almost every time Fernando 3.2/3.2pages/3.2diniz_eng.html and not their real meaning. starts drawing, he begins with these One day, he showed me a basic lines. They are his guidelines to Eight Point Star is being dis- scene he insisted on calling “The maintain the proportion and to reg- tributed by Funarte (National Foun- Bottle.” When I took a close look at ister the movements and shapes dation of Arts) at the price of 25 each drawing, I came to the con- that emerge from his animation. In reais (around $20 U.S.). Inquiries clusion that he was mistaken. I almost every scene of the film, we may be sent by e-mail to couldn’t identify any object that can see the lines of the star defining [email protected] looked like a bottle. After he had the space. The star is Fernando’s sal- insisted so much in the title, I decid- vation, the system that provides him Written inquiries may also be sent ed to shoot the scene. When we with control and security. by mail: projected the print, I was totally sur- CTAv - Funarte prised when I perceived the silhou- When we projected the print I Av. Brazil, 2482 ette of a bottle vibrating within the was totally surprised when I 20.930-040 Rio de Janeiro Brazil scribbles. From that day, it became perceived the silhouette of a clear to me that Fernando had an bottle vibrating within the Marcos Magalhães is an anima- objective in mind and that he was scribbles. tion filmmaker and teacher, and able to control his technique to get also one of the directors of Anima the results he wanted. Thanks to his devotion to art, Mundi International Festival in Fernando never showed too Fernando hasn’t been treated with Brazil. much enthusiasm when looking at any psychiatric medicine for Note: Readers may contact any the rushes. Always seated in the first decades. He has a very productive Animation World Magazine con- row, he would rather study the fast life, and he’s integrated well into the tributor by sending an e-mail to flashing numbers in the counter community. He still lives in the hos- [email protected].

ANIMATION WORLD MAGAZINE May 1998 32 Estrela De Oito Pontas: Uma experiência mental em animação por Marcos Magalhães ual a real fronteira entre conceituados artistas determinada de realidade e imaginação? plásticos do Rio de conquistar Viole- QNós animadores explo- Janeiro. Trabalhar e ta. Para isto mer- ramos freqüentemente este miste- conviver com este gulhou nos estu- rioso território, mergulhando em artista foi uma exper- dos por longos universos totalmente alienados do iência profunda e mar- anos, tentando mundo material aqui fora. Este ir e cante. Precisei refor- tornar-se um rico vir da fantasia para o cotidiano mular muitos de meus engenheiro. provoca às vezes efeitos semel- conceitos como ani- Um dia, já hantes aos de drogas ou distúrbios mador, para poder homem feito, Fer- mentais, porém nos acostumamos entender os padrões Esta rosa-dos-ventos de 16 pontas nando descobriu a mantê-los sob o controle da real- totalmente diferentes é uma das “estrelas” ilustradas que sua amada por Fernando Diniz em seu filme. ização artística. Mas existem pessoas de tempo e espaço vivi- © Fernando Diniz. estava compro- para as quais estas linhas fronteir- dos intensamente por metida com iças se desvaneceram, perdendo o Fernando. Ao contrário do que outro rapaz, branco e rico. A sentido e importância que têm para poderia esperar, conheci um artista desilusão o fez abandonar os estu- a maioria. totalmente dedicado, concentrado dos e se trancar incomunicável. Seu Durante seis anos ajudei Fer- e consciente de seus objetivos. Pode alívio eram os banhos de mar que nando Diniz, 79, a realizar Estrela parecer estranho, mas seu incondi- tomava, solitário, na praia de De Oito Pontas, seu primeiro filme cional amor à pesquisa e à experi- Copacabana. Até que, num domin- de animação, que em 1996 gan- mentação me fizeram recordar o go de sol, Fernando não percebeu hou três prêmios no Festival de mestre Norman McLaren, que con- as outras pessoas na praia escan- Gramado, o principal festival de cin- heci em 1981 quando estagiei no dalizando-se por ele estar comple- ema do Brasil, e também o prêmio National Film Board of Canada. tamente... nu! A polícia foi chama- de melhor animação no Festival de O filme, construído à da e Fernando reagiu quando o Havana. Fernando vive há mais de maneira de um “show-reel”, traz à quiseram levar preso. Foi levado cinqüenta anos internado em um tela algumas das principais idéias então para um manicômio, e sua hospital psiquiátrico, e foi lá dentro exploradas por Fernando, abrindo vida fora dos muros terminou aí. que aprendeu a desenhar, pintar e uma janela para o seu universo. Foi Classificado como louco, foi isolado modelar, tornando-se um dos mais muito gratificante comprovar que a de sua família e tratado com dro- animação pode ser um meio de gas e eletrochoques, como usual comunicação eficiente para pessoas na época. com uma percepção tão fora do O que tornou a história de normal. Fernando diferente da de tantos Fernando é de origem outros doentes mentais crônicos foi pobre e humilde, mas quando o encontro com uma pessoa muito menino freqüentava casas da alta especial: Dra. Nise da Silveira. Admi- sociedade levado por sua mãe, cos- radora das idéias de Jung, e con- tureira especializada em consertos vencida de que os tratamentos con- de vestidos de alta-costura. Deste vencionais para doentes mentais período herdou o gosto pelo luxo e eram desumanos e ineficientes, a sofisticação, e também o amor não Dra. Nise revolucionou um tradi- correspondido por Violeta, uma cional hospital público ao criar ate- menina branca e rica. O jovem Fer- liers de artes plásticas. Em 1952, Fernando Diniz. Foto by Claudia Bolshaw. nando pôs em sua cabeça a idéia fundou o Museu de Imagens do

ANIMATION WORLD MAGAZINE May 1998 33 nando passou a desenhar filme e o empréstimo da câmera de fotogramas, um após o outro. Às animação 16mm do estúdio de ani- vezes eram feitos separadamente mação da Funarte. num mesmo desenho, à maneira Fernando me entregou suas de um “storyboard”. Outras vezes primeiras cenas após poucas sem- ele pintava a óleo ou pastel em anas. Ele preenchera totalmente, inúmeras camadas, criando um com desenhos cheios de cor, as mil “fotograma” escondido sob o folhas que lhe entregara. Apesar de outro, num “filme” que só ele entender a função da mesa de luz assistia. e dos registros, Fernando não usara Quando encontrei Fernan- nem um, nem outro. Mas ao “flipar” do pela primeira vez, em 1988, a animação vi que ela funcionava Neste desenho de um cavaleiro pode-se ele trabalhava nestas séries de muito bem. Ele preferia usar ape- notar a tendência geométrica a que Fernan- desenhos. A equipe do Museu nas sua memória visual como meio do recorre para reorganizar o seu estado emocional quando se sente deprimido.© Fer- queria registrá-los em filme e fui de registro, tomando as margens nando Diniz. convidado a avaliar a possibili- do papel como referência. Apesar Inconsciente, em cujas oficinas os dade de documentar este trabal- da minha insistência, raramente uti- internos materializavam suas ho com uma câmera de animação. lizou pinos ou transparências até o impressões e sentimentos em telas, Ao ver os desenhos de Fer- final do processo. desenhos e esculturas. O Museu flo- nando Diniz, percebi estar diante Toda quarta-feira encontra- resceu como um fenômeno para a do trabalho de um animador. Belos va-me com Fernando para exami- arte e a ciência. Os resultados das “lay-outs” de animações, uns nar suas novas cenas (500 desen- oficinas permitiam à equipe da Dra. abstratos e geométricos, outros com hos por semana) e prepará-las para Nise desvendar com clareza sur- motivos figurativos, todos com alta a filmagem. As cenas costumavam preendente os processos mentais qualidade plástica e excelente ter temas bem definidos, e eu incen- de pessoas com pouca ou nenhu- domínio de cores e formas. tivava Fernando a criar títulos para ma expressão verbal. Ao encontrar Fernando me encantou tam- elas. o calado e retraído Fernando, a bém por sua atitude: foi muito difí- Algumas eram bem fáceis de Dra. Nise convidou-o a freqüentar cil entender o que dizia, pois ele entender, como uma série de ani- os ateliers. Fernando reencontrou não tinha nem um dente na boca, mais ou pessoas praticando lá a sua escola e nela mergulhou mas mantinha um olhar curioso e esportes. Outras eram riscos de corpo e alma. Anos mais tarde, um permanente bom-humor, sem- geométricos incompreensíveis, às ele diria: “mudei para o mundo das pre tentando explicar seu trabalho vezes escurecendo completamente imagens”. e aprender coisas novas. o papel. Embora não fosse propósito Minha experiência como Segundo a observação da da doutora avaliar a qualidade artís- professor de animação indicava um Dra. Nise, estas variações traduzi- tica dos trabalhos, os críticos de arte “aluno” muito especial, apesar das am o seu estado psíquico: em perío- conferiram a Fernando e alguns de dificuldades de comunicação. Fer- dos de depressão, ele recorreria a seus colegas o status de artistas nando me convenceu da sua imagens geométricas como uma geniais. A reputação do Museu, capacidade em dirigir ele mesmo forma de reorganizar seu estado após décadas de bem sucedidas seu processo de criação. Naquele emocional. Sentindo-se seguro e experiências, atraiu a atenção do mesmo dia decidi me empenhar em cercado de afeto, Fernando faria cineasta Leon Hirzman, que reali- ajudá-lo a realizar suas animações desenhos mais orgânicos. Compro- zou em 1986 um documentário de em filme, iniciando um projeto que vamos isto várias vezes, principal- longa-metragem chamado “Ima- duraria cerca de seis anos até com- mente na última seqüência do filme: gens do Inconsciente”. A vida e a pletar Estrela de Oito Pontas. a cavalgada de um personagem obra de Fernando Diniz foram O primeiro passo foi dar a por um longo cenário. retratadas, e seu contato com a ele uma mesa de luz, e explicar-lhe Esta cena foi toda feita em equipe de filmagem despertou nele que a partir de então teria que fazer uma mesa de animação dos estú- uma obsessão: fazer cinema. Como os desenhos em folhas separadas e dios da Funarte, e durante o tra- não possuía câmera nem filme, Fer- furadas. Arranjei também pontas de balho Fernando estava sempre

ANIMATION WORLD MAGAZINE May 1998 34 técnica para exprimi-las. cisa tomar nenhuma medicação Fernando não psíquica há décadas. Ele tem uma demonstrava muita sur- vida produtiva e integrada à comu- presa ao ver os copiões. nidade, e só continua vivendo den- Sentado sempre na tro do hospital por não ter mais primeira fila, às vezes família ou alguém que possa cuidar ficava mais interessado de sua vida cotidiana. em estudar o rápido pis- O sucesso de Estrela de Oito car dos números lumi- Pontas no Brasil trouxe uma reno- nosos de um contador vação do interesse pela obra de Fer- de pés sob a tela. Perce- nando Diniz e pela questão do dire- bi que ele tinha uma ito de pessoas de diferentes estados forte miopia, mas se mentais a participar de nossa recusava a usar óculos. sociedade. Fernando continua Era como se já tivesse vivendo em um hospital, pintando Um cavalo de cor diferente. Quando ele se sente seguro e rodeado por pessoas queridas, Fernando desenha com visto o suficiente ao fazer quadros e preparando cenas para um estilo mais figurativo, como por exemplo, esta os desenhos, não se outros filmes de animação. Fer- imagem de uma pessoa montada em um cavalo que importando por não nando também toca música, no corre. © Fernando Diniz. poder rever suas ani- piano e na gaita harmônica, e algu- acompanhado e conversando ani- mações com nitidez. Mas ele ado- mas composições suas foram incor- madamente enquanto desenhava. rava comentar e discutir o signifi- poradas à trilha musical do filme. A Foi a única cena em que ele usou cado de tudo o que havia produzi- venda de cópias em vídeo de os pinos profissionais de registro e a do, e sobretudo receber palmas e Estrela de Oito Pontas contribui para mesa de luz, e a cena tem elemen- elogios por seu trabalho. as suas despesas pessoais de tos autobiográficos, com paisagens O título do filme vem do manutenção no hospital. e personagens presentes em fases tema preferido de Fernando Diniz. anteriores de sua pintura. Claudia Bolshaw, designer que estu- Distrib: Costumávamos conversar dava o trabalho de Fernando e CTAv - Funarte longamente sobre os desenhos. Ele assumiu a produção do curta nos Av. Brasil, 2482 criara um sistema próprio de classi- últimos dois anos, escreveu uma 20.930-040 Rio de Janeiro Brazil ficar as formas geométricas, e expli- tese de mestrado na qual decifra o E-mail: [email protected] cava isto em sua linguagem con- significado da Estrela de Oito Pon- (Funarte) fusa. Custei a perceber que quan- tas. A Estrela, para Fernando, é um do ele falava de abacaxi, peixe, pão, sistema gráfico que organiza o melancia, etc. estava se referindo à espaço, e de onde nascem todas as forma destes objetos e não ao seu suas figuras. A estrela de oito pon- significado real. tas é representada por uma cruz e Marcos Magalhães é cineasta e Um dia ele me trouxe uma duas diagonais, como a bandeira cena que insistia em chamar de “a professor de animação, e tam- da Inglaterra. Quase sempre Fer- bém um dos diretores do Festival garrafa”. Olhando os desenhos um nando começa a desenhar traçan- por um achei que ele havia se Internacional Anima Mundi, no do estas linhas básicas. São elas que Brasil. enganado, pois não conseguia o guiam para manter a proporção identificar garrafa nenhuma. Como e o registro dos movimentos e for- ele insistia no título, filmei a cena mas que brotam de sua animação. assim mesmo. Quando projetamos Em quase todas as cenas do filme o copião fiquei surpreso ao perce- podem-se ver as linhas da “estrela” ber finalmente, vibrando por entre definindo o espaço. A Estrela é a Nota: Os leitores podem contac- vários rabiscos, a silhueta de uma salvação de Fernando, o sistema tar qualquer contribuidor da Ani- garrafa. Desde este dia ficou claro que lhe proporciona domínio e mation World Magazine envian- que Fernando tinha intenções segurança. Graças às suas explo- do e-mail ao [email protected]. definidas e conseguia dominar a rações pela arte, Fernando não pre-

ANIMATION WORLD MAGAZINE May 1998 35 AnimatedAnimated FilmsFilms InIn PsychiatryPsychiatry by Nag Ansorge

The Psychiatric Clinic of the Uni- • shot the animation beneath the versity of Lausanne camera frame by frame Cery Hospital, 1962-1981 • lit the set to be shot with the camera frame by frame n 1962, I had just finished filming • edited the film and prepared the a documentary about the new soundtrack Ibuildings of the Cery Psychiatric • eventually wrote a text and Hospital near Lausanne, Switzerland recorded it when I suggested to Professor Muller the idea of acquiring a Producing Independently 16mm camera for his patients. In order for the films to yield “What could you do with a authentic results, it is necessary for camera and some patients?” he the group to work in a perfectly asked me. A little infatuated with independent fashion. They should- the idea, I said, “I’m going to try to n’t feel that they are being observed, do something... The experiment Nag Ansorge that is to say, that they are being interests me. How will I introduce had been a carpenter. The preferred the subjects of an experiment or a myself to a group of patients that I animation technique was paper cut- test for the doctors. In fact, we don’t know at all?” However, I have outs. The technique allowed them established from the beginning that to say that after the first 30 seconds, to share the work as a group. The any time a doctor or a nurse was my infatuation was satisfied. I asked close collaboration among the par- present at one of the sessions, the the first group of patients, “Do you ticipants gave each one a feeling of patients showed a stagnation and have anything to say or show by responsibility about the finished an absence of spontaneity in their means of a camera?” There was work. Each was driven to establish work. As a result, Professor Muller hardly a moment of silence. They tight rapport with the others. It was- decided to let the group work in a all suddenly said, “Yes, there’s some- n’t possible to do something alone completely autonomous manner. thing to say.” My experiment lasted or isolated within the framework of Consequently anything could be 19 years. Thirteen films were made, the group, nor could anyone keep said among the filmmaking group from 10 to 20 minutes in length, aloof. without the doctors or caretakers eight of which were animated. From the very first film it was being informed. proven that filmmaking was an Creating a Team excellent therapeutic means to "What could you do with a In the beginning, one encourage patients who had diffi- camera and some patients?" he thought they would have filmed culty relating to others to come out asked me. flowers, family scenes, memories, of their shells and collaborate. The but they didn’t go in that direction group: Obviously, my presence also at all. Rather they wanted to pro- • discussed the script risked being resented as a disturbing duce an expressive film in live- • chose a script that could be foreign body, but the fact that I action. Above all, they wanted to made by the group belonged neither to the medical nor create in animation. An animation • made character drawings, the caretaking staff made things eas- stand was built by a patient who details and backgrounds ier for me. The patients had to feel • cut out the drawings ANIMATION WORLD MAGAZINE May 1998 36 at ease around me. I had to be pre- is the story of sent and available at the same time a poet who that I was invisible. I could give all wants to be the technical advice they wanted, free of his but I was strictly forbidden to get dreams. The involved with or offer criticism about script was writ- the form or content of the film. The ten by one of members of the group filmed and the members critiqued the results themselves. If of the group, they weren’t satisfied, they started who also working all over again. played a character. The other mem- Hundreds of pages from illus- bers of the trated magazines were select- group made ed and cut out in order to sketches to make the collages for the develop the backgrounds. The four images below are from the group’s first film, The Poet And main charac- The Unicorn (1963). Images courtesy of Nag Film. ter. Hundreds would be done over again if nec- This was the only way that of pages from illustrated magazines essary. The critical discussion rein- these films could give an authentic were selected and cut out in order forced the feelings of interdepen- reflection of the experiences that to make the collages for the back- dence and homogeneity of the the patients had lived through. It grounds. The patients used this col- group. Everyone could participate was also a means of maintaining lage technique because of its sim- in the discussion and speak his per- enthusiasm over the long time peri- plicity and the good results that it sonal opinion, but in the end all od required to complete a film. The gave in projection. accepted the majority decision. production of an animation film The members of the group The soundtrack, recorded by required about a year, with a group realized very quickly that every per- the group, was mixed in my studio, of seven or eight patients working son is able to make a valuable con- quite according to their instructions. one morning a week. Of course the tribution, without necessarily pos- This film, finished in 1963, was duration of participation by various sessing any particular artistic gifts. shown in hospitals to doctors and patients varied, and new patients Therefore, everyone drew, painted, students, and in 1965 it received would soon take up where some- cut out or glued. Then they would the “Minerva” award at the Inter- one else had left off. The participa- move the figures in minute incre- national Medical-Scientific Film Fes- tion of the patients was completely ments beneath the animation cam- tival. This success was a happy voluntary. They came to work era, filming one frame after anoth- encouragement to everyone. The because they liked it, I think, and if er, revealing a certain patience for film ran 17 minutes. they left, it was because something the work. If the weather permitted, bothered them. Maybe it was a cer- the group could also shoot footage Further Work tain opposition, be it to the group or outdoors. Sometimes members of Good Day My Eye was a film to the mode of working, or to the the hospital personnel might play made up of sketches that were each script... That’s normal and that’s how bit parts. A horse was loaned to one told by a different patient. Most of it goes! production by a neighboring the members of the first group had farmer, and once a group of mes- left the hospital, so it took some time The First Film senger pigeons were released for a for the new arrivals to agree on a Using a few live-action shots, particular shot. Everyone watched theme for the script. Finally they The Poet And The Unicorn (1963) the rushes and carefully judged the decided to present the daily life of a was the first animation film done. It quality of each scene, and some fictional patient, hospitalized and

ANIMATION WORLD MAGAZINE May 1998 37 cut off from the outside world. The preoccupations of each person, including their issues with the hospital and its staff, would find a place to be expressed here: the importance of food, relationships with vis- itors, experiences of isolation, delirious interpretations of the surroundings, feelings of ambivalence for the care giving personnel, etc. On a technical level, animation was mixed with live-action. The film runs 16 minutes. The Seven Nights Of Siberia (1967) is also a film made up of sketches. While searching for an idea for the Alchemia, the last film that Nag and Gisèle Ansorge made together. © Nag Film. next film’s script, the group in this manner up until 1981. This which is hard to imagine. started telling jokes they knew experience might be compared to a These films should not about “crazy people,” just to pass rather similar work done at the arouse compassion, but rather an the time. Suddenly a patient told a same time by Rene Laloux (France) interest and a sense of active con- very funny story about a “nut case.” for a film titled The Teeth Of The science in the face of the mystery Everyone laughed, but the man Monkey (1960), but there, the of mental illness. The discovery of who told the joke cried, “You’re drawings of mental patients were this thrilling milieu has certainly laughing, but the person you’re animated by professional animators greatly influenced the themes treat- laughing about is me!” without any participation by the ed in the films Gisèle, my wife, and patients. In 1997 Robert Studio in I made. These films should not arouse Brussels produced the film A Christ- compassion, but rather an mas Like Any Other, written, per- Translated from French by William interest and a sense of active formed, animated and synchro- Moritz. conscience in the face of the nized with music by mentally hand- mystery of mental illness. icapped artists. A showcase of Nag and Gisèle Ansorge’s work will soon be fea- A Life Altering Experience tured in AWN’s Gallery. Please read The others said, “O.K., we’ve On a personal level, this the The Animation Flash Email found the idea. We’re going to tell activity was a revelation for me. Newsletter for a premiere date. all the jokes like this about crazies, Since I didn’t represent any medical so the public will realize that behind Nag Ansorge is a prestigious, authority, my relationship with the each of these jokes is something ground breaking live-action and patients gradually became very true, something that really hap- animation filmmaker from Switzer- direct and friendly. The way in pened, and that we are the people land. which the patients analyzed things that they’re about!” This 13 minute and made judgments allowed me film is not at all funny, it’s very mov- Note: Readers may contact any to learn to know myself better. I dis- ing, because the emphasis isn’t on Animation World Magazine con- covered a world profoundly the gag but on the real content. tributor by sending an e-mail to human, which had to work with Ten other films were made [email protected]. very great suffering, the intensity of

ANIMATION WORLD MAGAZINE May 1998 38 LeLe FilmFilm dÕAnimationdÕAnimation enen PsychiatriePsychiatrie

par Nag Ansorge Hôpital de Cery (Lausanne) - 1962 à 1981. • discussion en groupe des scé- narios n 1962, le tournage d’un film • choix d’un scénario qui puisse documentaire sur les nou- étre réalisé en groupe Eveaux bâtiments de la clinique • réalisation des dessins, person- psychiatrique Universitaire de Lau- nages, détails et fonds sanne-Hôpital de Cery, que je venais • découpages des dessins de terminer, a donné l’idée au Pro- • animation sous la caméra image fesseur Müller d’acquérir une par image caméra 16mm à l’intention de ses • éclairage et déclenchement de malades. “Que peut-on faire avec la caméra image par image une caméra et des patients?” m’a-t- • montage du film et sonorisation il demandé. Un peu affolé, je lui ai • éventuellement, écriture d’un dit : “Je vais essayer de faire quelque texte et son enregistrement chose...l’expérience m’intéresse. Mais comment vais-je me présenter Nag Ansorge Une production indépendante devant un groupe de patients que famille et de souvenir. Ce n’est pas Pour que de tels films puissent don- je ne connais pas du tout?” Je dois du tout parti dans cette direction-là ner des résultats authentiques il faut dire qu’après les trente premières mais dans la direction d’un désir de que le groupe puisse travailler d’une secondes, mon affolement s’est produire un film d’expression, en manière parfaitement indépen- apaisé. J’ai demandé au premier prises de vue réelles et surtout en dante, qu’il ne se sente pas observé, groupe de quatre patients : “Avez- animation. Une table d’animation c’est-à dire qu’il ne constitue pas un vous quelque chose à dire ou à (banc-titre) fut construite par un objet d’expériences ou de tests pour montrer au moyen d’une caméra?” patient menuisier. La technique les médecins. En effet on a pu con- Il n’y a pas eu un grand silence, ils d’animation privilégiée fut les stater dès le début qu’une stagna- ont tout de suite dit : “Oui, on a papiers découpés. Cette technique tion et une absence de spontanéité quelque chose à dire.” permettait de répartir le travail dans dans le travail se produisaient toutes le groupe. Cette coopération étroite les fois que les médecins ou des infir- entre les participants confère à cha- miers assistaient à des séances. C’est “Que peut-on faire avec une cun un sentiment de reponsabilité pourquoi le professeur Müller a caméra et des patients?” vis-à-vis du travail accompli. Chacun décidé de laisser le groupe travailler m’a-t-il demandé. est poussé à établir des rapports de manière complètement étroits avec les autres. Il n’est pas autonome. En conséquence, tout possible d’agir isolément dans le peut être dit au sein du groupe ciné- L’expérience a duré 19 ans, 13 films cadre du groupe, ni de se tenir à matographique sans que les d’une durée de l0 à 20 minutes ont l’écart. Dès le premier film, il s’est médecins ou le personnel soignant été réalisés, dont 8 films d’anima- avéré que cette occupation était un en soient informés. tion. excellent moyen thérapeutique pour inciter les patients, qui ont des Evidemment, ma présence risquait Lancer une équipe difficultés de contact avec autrui à aussi d’être ressentie comme un Au départ, on avait pensé qu’on sortir d’eux-mêmes et à collaborer corps étranger perturbateur. Le fait filmerait des fleurs, des scènes de avec les autres: que je n’appartenais ni à l’équipe

ANIMATION WORLD MAGAZINE May 1998 39 soignante, ni au personnel non médical de la clinique du site, des pigeons facilitait bien les choses. Il voyageurs sont lachés. fallait que les patients se sentent libres à mon Le visionnement des égard. Je devais étre séquences permet de présent et disponible tout juger de leur qualité et en me faisant oublier. Don- sont refaites le cas ner tous les conseils tech- échéant. La discussion niques voulus mais, en ce critique renforce le sen- qui concernait la forme et timent d’interdépen- le fond, m’interdire toute dance et par là l’ho- intervention ou toute mogénéité du groupe: remarque critique. Les chacun peut participer membres du groupe fil- au débat et donner son ment et critiquent eux- avis personnel pour se mêmes les résultats. S’ils rallier finalement à la ne sont pas satisfaits, ils Images du Poète et la Licorne, premier film réalisé par le groupe de décision prise par la recommencent leur travail. patients en 1963. © Nag Ansorge. majorité. La sonorisation Ainsi seulement ces films peuvent scénario est écrit par un des mem- au moyen d’enregis- trements réal- donner un reflet authentique d’ex- bres du goupe, qui joue également isés par le groupe a été effectuée périénces vécues. C’est également son personnage; les autres mem- dans mon studio, mais selon des un moyen de maintenir l’enthousi- bres font des esquisses pour trou- indications proposées. asme, en dépit des longs travaux ver le personnage principal. Des qu’exigent la réalisation d’un film centaines de pages de journaux Terminé en 1963, ce film est diffusé complet. illustrés sont triées, découpées afin dans les milieux spécialisés médi- de servir de matériel pour les col- caux et estudiantins et recoit en La production d’un film d’animation lages prévus comme arrière-plans 1965 la “Minerve” au Festival inter- se répartit sur une année à raison du dessin animé (les fonds). Cette national du film médico-scientique d’une matinée par semaine avec un technique de collage obtient les suf- à Turin. Ce succès fut un encoura- groupe de 7 à 8 patients. Bien frages des patients en raison de sa gement réjouissant pour tous. entendu, la durée de participation simplicité et des bons résultats qu’ils des patients peut varier et de nou- donnent à la projection. Les mem- Des centaines de pages de veaux patients reprennent la réali- bres du goupe s’aperçoivent très journaux illustrés sont triées, sation en cours. La participation des rapidement que chacun est capa- découpées afin de servir de patients est libre: s’ils viennent, je ble de fournir une participation va- matériel pour les collages pense que c’est parce qu’ils s’y lable, sans qu’il soit nécessaire de prévus comme arrière-plans plaisent, s’ils partent, c’est parce que posséder des dons artistiques parti- du dessin animé. quelque chose les gêne. Il peut y culiers. Ainsi tout le monde dessine, avoir une certaine opposition, soit peint, découpe ou colle, puis on au groupe, soit à la facon de tra- déplace minutieusement les figu- D’autres créations vailler, ou au scénario. C’est normal, rines sous la caméra d’animation en Bonjour Mon Oeil (1965) (16 min) ça, c’est la vie! filmant image après image, en se est un film où tous les sketches sont relayant pour ce travail de patience. racontés par des patients differents. Le premier film Si les conditions météorologiques La plupart des membres du premier Dans Le Poète et la Licorne (1963) s’y prétent, le goupe opère paral- groupe ayant quitté l’hopital il faut (17 minutes), premier film, l’anima- lèlement les prises de vue du temps aux nouveaux arrivants tion est mélangée aux prise de vues extérieures. Des rôles accessoires pour tomber d’accord sur un thème directes. C’est l’histoire d’un poète sont tenus parfois par des membres de scénario. Pour finir, on décide qui veut se libérer de ses rêves. Le du personnel de l’hopital. Un cheval de représenter la vie quotidienne est mis à disposition par le fermier

ANIMATION WORLD MAGAZINE May 1998 40 d’une patiente fictive, hos- pitalisée et coupée du monde extérieur. Les préoc- cupations de chacun, y compris ses revendications vont y trouver leur expression: importance de la nourriture, relation avec les visiteurs, expérience de l’isolement, interprétation délirante de l’entourage, sentiments pleins d’ambivalence éprou- vés à l’égard du personnel soignant. Sur le plan technique l’animation se mèle aux prises de vue réelles.

Les Sept Nuits De Siberie (1967) (13 min) est aussi un film à sketches. En cherchant l’idée d’un scénario pour le Alchemia, le dernier film de Nag and Gisèle Ansorge. © Nag Ansorge. film suivant, les participants se mettent à raconter des blagues En 1997 le studio Robert de Brux- sur les “fous,” simplement pour elles vient de sortir le film Un Noël Ces films ne doivent pas susciter de passer le temps. Tout à coup un Pas Comme Les Autres écrit, inter- la compassion, mais un intérêt et patient raconte une histoire de prété, animé mis en musique par une prise de conscience active face “fous” très drôle. Tout le monde ri des artistes handicapés mentaux. au mystère de la maladie mentale. et il s’écrie : “Vous riez, mais le per- La découverte de ce milieu pas- sonnage dont vous riez, c’est moi!” sionnant a certainement beaucoup Les autres alors ont déclaré : “Voilà Ces films ne doivent pas influencé les thèmes traités dans nos susciter de la compassion, mais on a trouvé l’idée : on va raconter films réalisés avec Gisèle. un intérêt et une prise de des histoires de ce genre de telle conscience active face au facon que le public se rende mystère de la maladie compte que derrière ces histoires L’oeuvre de Nag et Gisèle Ansorge mentale. de moquerie il y a quelque chose sera prochainement présentée dans de vrai, de vécu et que c’est nous!” la Gallerie virtuelle d’Animation Ce film n’est pas du tout drôle, il est Une révélation World Network. La date d’ouver- émouvant, car l’accent n’est pas Sur le plan personnel, cette activité ture sera annoncée dans notre porté sur le gag mais sur le contenu a été une révélation pour moi. Ne Flash Newsletter hebdomadaire. vrai. Dix autres films ont été réalisés représentant aucune autorité médi- Nag Ansorge est un réalisateur de cette manière jusqu’en 1981. cale, les relations se créent peu à peu d’une manière très directe, ami- suisse de films en vue reelle et en animation. Nag a été un pionnier Cette expérience peut être com- cale. La facon dont les patients dans l’utilisation du sable dans parée à un travail assez proche s’analysent, jugent et analysent aussi des films d’animation. mené à la même époque par René les autres m’a permis d’apprendre Laloux (France) pour un film intitulé à me connaitre moi-méme. J’ai pu découvrir un monde profondément Les Dents Du Singe (1960), mais les Note: Les lecteurs peuvent con- humain qui doit faire face à de très dessins des patients étaient animés tacter les collaborateurs d’Anima- grandes souffrances, dont on a cer- par des animateurs professionnels tion World Magazine en envoyant tainement beaucoup de peine à sans l’intervention de leurs auteurs. un e-mail à [email protected]. imaginer l’intensité. ANIMATION WORLD MAGAZINE May 1998 41 AnimatingAnimating UnderUnder thethe CameraCamera

compiled by Heather Kenyon e asked leading artists Tilby, Eleanor “Ellen” Ramos who work with two of and Lyudmila Koshkina. Wthe most popular and striking under the camera animat- Sand ing techniques, sand, and other loose materials, and paint on glass, Caroline Leaf to reveal different tips and tricks that I worked with white they have learned through trial and beach sand poured out onto error. We hope that they will an underlit piece of glass in a encourage you to experiment in darkened room. The only light these areas as well as other under in the room came from the the camera animation techniques. lights under the sand anima- All of these artists attest that what tion, letting the sand become This sketch by Caroline Leaf illustrates her makes these techniques so difficult a black silhouette against a recommended set-up for sand animation. © is what makes them so appealing white ground. Even though Caroline Leaf. — that fleeting sense of spontane- it was very fine sand, I needed a setting up for sand animation, I ity of creating an image, only to large field size to make detailed sand always look for glass, not plexiglass, replace it with the next, destroying images. The field was approximately on which to work. With friction and while creating. 24 x 18 inches. The best way to rubbing, plexiglass builds up static light such a large surface evenly electricity, which makes the grains of turned out to be with a light on sand jump around in a frustrating- Go for the weakest light possi- either side of the table pointing ly independent way, particularly in ble behind your artwork when- down to the floor and bouncing dry climates like Montreal in the win- ever working with underlit back up to the underside of my ter. The best glass I have found, images. - Caroline Leaf working surface from a large curved though rare and expensive, is called piece of white cardboard lying flashed opal or milk glass. It is win- directly below on the floor. An dow thickness clear glass with one On the subject of sand, we important side benefit of this indi- side of very thin white glass. It is hear from Caroline Leaf, Maria rect lighting is that you are not look- often sold by large glass manufac- Procházková, Eli Noyes and Gerald ing directly into a light bulb while turers supplying photography Conn, and for paint on glass, we you work. This can strain your eyes, stores. Choose a piece of glass with- hear from Alexander Petrov, Wendy not only because of the brightness, out bubbles in the white flashing but because the and have the white side up when eye struggles to you work to avoid problems with accommodate the reflections within the glass. big contrast between light and MariaProcházková dark. Go for the Stopáé/Footprints weakest light pos- When I decided to realize an sible behind your animated film on such a simple, Caroline Leaf, often referred to matter-of-fact subject as traces, foot- as a pioneer of sand animation, is artwork whenever shown here working on her first working with prints, human touches and their sand film,The Owl Who Married a underlit images. passing character, I became per- Goose. Photos courtesy of Caro- fectly aware of the fact that this film line Leaf When I am ANIMATION WORLD MAGAZINE May 1998 42 could not be a drawn one, and that the same way, was disappearing in the jar. The other only went in an the chosen animation technique subsequent shots, in order to give inch or so and had a sort of filter should express the basic idea that I way to the creation of something taped over it made from lens tissue. was trying to share – a passing, tran- new. Sucking on the short one would sitory feeling, the feeling of the allow me to use the longer one as impossibility to preserve something. Eli Noyes a vacuum cleaner to pick up pieces Within the small scale of this film, I The sand animation I did of sand that couldn’t be brushed hesitated between sugar and flour, was back in the mid ‘70’s when I away. That helped a lot when I but finally opted for sand, due to its made a short film from experiments wanted to make clean lines, or put beautiful color. Also, it does not imi- I did under the animation stand I white holes in dark shapes. tate soil. On the contrary, it may be kept in my loft in New York. The The most important thing for fixed for some period of time with experiments turned into a short film me was and still is to let the mater- water. For me, the sand was a very called Sandman. Then I convinced ial I am working in speak to me and good material with which to work. the Children’s Television Workshop help me derive an aesthetic partic- I used a layer of about six centime- to let me make the entire alphabet, ular to it. The sand naturally makes ters thick in which I imprinted with upper case turning into lower case certain shapes when you push it small molds (printers). I sprayed the letters, using sand animation and around. It tends to leave trails which sand in short intervals with water the little characters I invented when can be of use if you don’t try to fight so that its quality of looseness did I did Sandman. them. I would say that a big dose of not change, and simultaneously, in this philosophy would be a very use- order to prevent the sand from turn- ful cheat and tip for anyone wanti- I prefer manipulating materials ing more pale. I was careful not to ng to work in sand. Experiment, directly underneath the cam- get it darker due to excessive water- and experiment to find your design. era as I find this working ing. The sand turned dry very quick- method leaves room for ly under the powerful film lights. I Gerald Conn greater spontaneity. - Gerald sometimes had to pour in water I have been using sand in Conn even during the individual shots, my animated films for about ten which constituted a big risk of mov- years. I prefer manipulating materi- ing the footprints already marked. I Tricks and tips? First I got my als directly underneath the camera used a dense sieve for the sand sand from an aquarium supply as I find this working method leaves used in close-ups so that this sand store. It came only in white so I room for greater spontaneity. To me did not seem courser than the sand sprayed it black so it would show the process seems similar to mod- in the whole-shots. The aspect that up. Then I made a little sandbox out eling forms in clay, where you are I enjoyed most in this project was of strips of wood on a big piece of constantly adjusting and thereby that everything was appearing glass underlit with a light box. I improving on the image as you go directly under the camera and in experimented with all kinds of along. I storyboard my films quite brushes, little squeegees, carefully and usually bar-chart the tools to manipulate clay animation to music as this gives me with, etc. I found a medi- a structure with which to work. um stiff paintbrush the For me sand animation best tool for pushing the seems particularly suited to certain sand around to make my subject matter. I don’t use many fig- characters. The most use- ures in my films but I like dealing ful tool was a simple with topics that involve animals and invention made from a natural phenomena. I also like to mayonnaise jar and include tracking and zooming shots some tubing from the in my films for dramatic effect. These fish store. One tube shots have a particular quality in this pierced the cover of the technique because you are creat- mayonnaise jar and ing the imagery as you animate Sandman. © Eli Noyes. went to the bottom of rather than it being a purely ANIMATION WORLD MAGAZINE May 1998 43 mechanical camera- Man, the hero was move. I often use inks my camera man on a second layer of Sergei Rechetnikov glass in order to com- and in The Mermaid, bine color with the I used some people sand animation. It’s from my neighbor- difficult to do any- hood and again, my thing detailed in this son Dimitri. It’s essen- way but I find that it tial to work with ref- gives the animation erences because my an extra dimension. work is realistic and I I would say try to keep the real the most important tip personalities in my when working with characters. It is won- sand is to use a thin derful to paint people layer of the material that I love. on the glass. This When I’m doing an enables you to control Gerald Conn at work in his studio. Courtesy of and © Gerald Conn animation film, just the tonal quality of the details of the subject, and making like painting a picture, image, which in turn will give the transformations during the filming I let out my energy and my feelings animation a greater sense of form. process. in the colors. With the animation, I personally prefer to work with a I stick to a very strict art direc- I’m searching to express ideas, but fairly course grade of beach sand. tion, and with my storyboard, I I also try to find the harmony of life. This gives the animation a grainy know where I need to arrive, but This harmony I can find during the look that I like. how can I get there? What will be filming process with mistakes and the next scene? Every time, it’s a sur- successes. Step by step, I try to pro- prise, good or bad. For example, in ject the beauty, the force and emo- This animation technique gives the film, Dream of a Ridiculous Man, tions within the animated image. me wonderful opportunities there is, at the end of the film, this for variations on a subject. - episode with the hero observing Wendy Tilby Alexander Petrov Hell. He looks down and sees a lit- Here are my “paint on glass tle man in his hands. When I was tips ‘n’ tricks” (which I have not nec- filming this scene, I didn’t like the essarily followed): Paint On Glass final, and the skin color of the little man bothered me. So, I decided to 1. Preserve your health and well- Alexander Petrov change the color of the skin for a being by using non-toxic, non- In animation film, painting white sculpture skin. With this smelly water-based paint such as on glass is like painting on a can- changing, the little man, made of Pelikan gouache mixed with glyc- vas. My work deals with subjects like sand, could kill himself. The clay was erin. portraits, landscapes, and historical falling through the hands of the 2. Limit your palette. Too many col- events in a realistic style. Painting hero, and leaving a sense of on canvas is creating an idea with destruction. I found this symbol at one subject. Animated films allow the end of the film! That’s what I like the possibility of finding multiple with this technique of painting on ideas; therefore, the themes grow glass — I can improvise with the larger, more detailed, and are more subject. dynamic than paintings on canvas. I also prefer working with This animation technique gives me real people. In the film The Cow, I wonderful opportunities for varia- chose my son Dimitri for the role of tions on a subject. I prefer working the child. For Dream of a Ridiculous with living ideas, changing the The Mermaid. © Alexander Petrov. ANIMATION WORLD MAGAZINE May 1998 44 ors quickly turn to mud! Street. I was completely intrigued 3. Top or bottom? Top lighting will and immediately decided that I had give your colors more brilliance to try it. It was only after I’d finished while bottom lighting will mute my piece that I had the opportuni- them. Ask yourself if you would pre- ty to see one of her films, or any fer to spend countless hours in a paint-on-glass animation for that dark room under hot lights or matter. When I started working on countless hours in a dark room star- my film, all I knew was how ing at a light table. If you choose painstaking it would be and that I bottom light, I would recommend would need a lot of self-discipline, color-balanced, non-flickering fluo- endurance and concentration, as Wendy Tilby used paint on glass for this rescent tubes. Incandescent bulbs well as an assistant who would tell Acme Filmworks commercial. are too hot. me if I’d forgotten to click the cam- fluorescent lights for bottom light- 4. Use milky plexi-glass or opal glass. era. ing with a minus green correction 5. Add and subtract paint with First priority for me, was filter. A wonderful side effect was brushes, fingers, Q-tips (cotton physical comfort. Aside from having that it made the room temperature buds), small sticks, strong tissue. Tex- a bed close by, I designed my own quite bearable as well, since I could- tures can be created with sponges, animation table so that my assistant n’t afford an air conditioned room. lace or rubber gloves with pat- Annabel and I could work face to Except for short coffee breaks, I had terned grips. face, comfortably sitting down, and to work continuously to finish a 6. Small field sizes (i.e. 5 to 7) are with the trigger of the second-hand scene or get to a point where I more manageable than big ones Bolex camera not too high for our could make a quick transition. Oth- unless you are moving only parts of fingers to reach. I decided to use a erwise, the paint dried and the a larger tableau. 10mm lens so that I could work scene would become dirty as I 7. Paint on glass is very forgiving. with a 7 x 9 field in two levels. I had reworked it. I would really appreci- In other words, if where you start to content myself with only 6 inch- ate it if someone could share with and where you are going is clear, es to separate the two levels of me their secret of keeping the paint you can get away with a lot of fudg- glass, which sadly did not give me wet as long as possible because ing in between. a chance to play with illusions of scraping off dry oil paint takes a lot 8. Don’t treat each frame as though depth. I could also slide the upper of energy! it’s your last. glass to the side if I wanted to work Although I made a story- 9. Never destroy your last frame on the lower glass. board, how the next scene would until you’ve sketched in the next. work was decided along the way. 10. Paint on glass is ideal for meta- Sometimes, one second of transi- Paint on glass is ideal for tion would take me one entire day morphosing, animated scene tran- metamorphosing, animated sitions, dream sequences and fish. to accomplish. If I was hungry or scene transitions, dream not in the best of moods, the tran- sequences and f ish. - Wendy sitions became awkward and less Eleanor “Ellen” Ramos Tilby The Other Side of the Vol- imaginative. cano is my very first attempt to ani- My fingers, and the pointed mate by painting on glass. I cringe I did some tests with inks, edge of a nail file for scratching in every time it is shown on the big water-based paints and oil paint lines, were the only tools I used. screen. I cannot stop seeing every mixed with linseed oil. The tropical Sometimes, I used cardboard sten- single frame and every single mis- heat of the Philippines, however, is cils for keeping the shapes and sizes take I made. It was a totally risky just so strong that aside from mak- of the figures consistent as they adventure for me, one full of dis- ing me easily tired, almost every moved within the frame. I loved the coveries achieved through much paint I tried dried much too quick- texture of the oil paint made by my pain and frustration. ly, except for the oil paint. Along the fingers and how the colors piled up I only stumbled upon the way, it became much easier for me and glowed with the brilliance that idea of using this technique when to use it pure. To keep the paint wet can only be achieved when light- I read about Caroline Leaf’s The as long as possible, I decided to use ing from below. ANIMATION WORLD MAGAZINE May 1998 45 My producer Avic, Annabel toon film made using such a the characters is different. and I labored over the film for more method. The art-director-painter has This technique is very good than seven months. Those who to be an actor, because how the for close ups, which are very rarely have seen The Other Side of the characters mimic emotions is a very used in animation. It is possible to Volcano in international animation important aspect and depends on make some elements less mobile. festivals say that it reminds them of the ingenuity of the painting, i.e. to Assume that fairy or historical cos- “batik” art. I’m happy that even with be real psychological acting. tumes with decorations, which are its crudeness and imperfections, it In addition to painting under limited in movement but pleasant somehow came out with an innate the camera I use previously pre- to look at, don’t decrease the his- Asian look and feel. In making this pared in-betweens on cels and flat- torical veracity of a simple scheme film, I somehow felt a strong affini- figures (cut-outs). Plus, I also use the by using this technique. It also ty with the Tibetan monks — labor- cel as glass. ensures that they do not contradict ing over intricate colorful patterns It is very convenient to use the flat coloring of other elements. in the sand, only to cast them away previously prepared layouts when The time crunch of film pro- to the wind. a character actively moves the shot, duction does not allow for an on pans or when wonderful or opportunity to achieve the quality Lyudmila Koshkina unique scenery (backgrounds) can- of a finished oil-painted painting in I work in the paint animation not be repainted with each char- each shot, but the painter strives for technique. The technique has a acter move. The prepared layouts perfection in his own style. Every conventional name but every artist (in-betweens) can also be used shot is more deep because of tex- animates his painting and paints when a shot is to be used two or ture and the great variety of hues right in front of the camera in his more times. Such in-betweens dif- and colors. However, it leads to cer- own way. That is why I’d like to put fer from regular in-betweens of a tain peculiar features of rhythm aside the particularities of my own cartoon film because the paint is put because it is necessary to let the creativity and tell you about the on the face (obverse) side of the cel audience study each picture. This technology created as a result of and is worked over there - i.e. the allows us to shoot three frames for such painting. I use various meth- cel is used as a canvas, on which each image. Eyes accept such fre- ods, which are sometimes called the artist draws a picture and works quency even in shots with a large mixed techniques, however, my pic- with it in the same way as a painter range of movement. torial stylistics unite all of these meth- works with a fragment of his paint- By all means, such work itself ods. ing. can be regarded as a process, Paints will dry quickly and be Work with flat-figures (cut- where one has to solve current cre- opaque (non-transparent), so I usu- outs) has its own peculiarities. Flat- ative and technical tasks on each ally work with natural tempera or figures can be cut-outs in the form shot. I have really described only synthetic paints with analogical of phases of full movement cut out the main characteristics and features qualities. from the cel, such as a walk or a of this animation technique. It is The general method of this dance. If a character walks through impossible to speak about all the technique is to work directly under the frame, but not on the pan, then niceties and secrets in such a short the camera: one layout, or in- they can be used. The flat-figure can survey, besides, plot can dictate cer- between, is overlaid by a layer of also work as it usually does, but the tain particularities when developing paint, depicting the following lay- painter-animator can draw on the a film concept. out. As I overlay paints, I sometimes cel under the camera the necessary pass on using a cel and work, for details, like a facial expression, pleats Heather Kenyon is Editor-in-Chief example, on cardboard. However, or folds of cloth or a hand move- of Animation World Magazine experience shows that using cels ment. sometimes not only helps to save Certainly, we can only one pains, but also encourages the dream about a script which is espe- Note: Readers may contact any artist to feel more free in his creative cially written for this technique, but Animation World Magazine con- work. the general approach can be tributor by sending an e-mail to Actually, one person bears defined as psychological and lyri- [email protected]. all difficulties in the creation of a car- cal. The scale of the relationships of ANIMATION WORLD MAGAZINE May 1998 46 The RealFlash Festival Winners

he RealFlash Animation Festival launched on December 10, 1997. More than 150 entries were received and 93 were accepted into the showcase. Of those, 15 professional and 15 non-professional made it Tinto the finalist round, and were voted on by an international panel of judges which viewed the 30 different works on their computers, using the RealFlash plug-in. In addition, to the first and second place cate- gorical awards voted on by the jury, the public was given an opportunity to vote, and their favorites were awarded RealChoice Awards.

The winners are as follows. Visit the RealFlash web site to view the winning clips and learn more about the artists and technology behind them.

Professional Category

First Place: Momm! by Julia Martin. Second Place: Reeling Around by Robin Debreuil. RealChoice: RATS:The Beginning by Jason Wood.

Non-Professional Category

First Place: Crash by Chris Lanier. Second Place: Devolution by Karl Thulin. RealChoice: 2B3D by David Fedorko.

ANIMATION WORLD MAGAZINE May 1998 47 Inside Zagreb: The Preselection Process by John R. Dilworth t is a tremendous thrill to have festival to “push young people to your film invited to a film festival be creative, so that in 25 years they Iand seen by a large audience. are not waiters.” Another important After the struggle to complete your issue is funding, as arts money con- film, the struggle continues to get it tinues to erode even in Zagreb, a into festivals. When I was invited to town rich in it’s historical artistic sig- be part of the preselection commit- nificance to animation. One way tee for the 1998 Zagreb Interna- the festival finances itself is by includ- tional Animation Film Festival, I ing commercials and television eagerly accepted, anxious to uncov- series categories. This insures adver- er the mysteries behind the process tising dollars from the submitting of invitation. studios while avoiding becoming a market like Annecy. For the next ten days the Quality and artistic expression jurists will sit in a large dark room are top priorities. with three separate tables lit by small lamps. Twenty feet away is a large I was very honored to be video projection screen and a large John Dilworth, left, with Niko Meulemans invited to participate in the selec- television set. The TV is for more at Zagreb ‘96. Photo by Maureen Furniss. tion of this year’s program and I took accurate color. All entries are viewed factor is individual taste. A film that the responsibility very seriously. on video. Each jurist is given sever- is well done overall is indisputable. Zagreb had a three person, multi- al thick books containing specific Andrej Khrjanovsky’s The Long Jour- cultural jury consisting of myself, an details about each entry. At the bot- ney is an example of a film well American filmmaker, whose film, tom of each page are several boxes. done. Many others are not. The The Dirdy Birdy, won the Audience One box is for comments and the jurists may share similar likes and Prize at Zagreb in 1996, a distribu- other boxes are for voting. A ‘+’ vote dislikes, but they will not like or dis- tor from Germany via Hungary, indicates the entry is in. A ‘-’ means like something for the same reasons. Detelina Grigorova-Kreck, and a it’s out and a ‘?’ means it isn’t bad, Thus, a three-person jury. An entry Croatian studio executive, Vedran but it isn’t good either. The jurist can- can only be approved if a majority Misletic. The hosting country of a not decide. After 14 hours of watch- agrees. If there is still a dispute the festival will always have a native rep- ing films, all the ‘?’ votes will be revis- final decision rests with the orga- resentative on the jury. The trio and ited and who knows which way it nizing director, who has a strong a senior festival director will decide will go. The worst vote is the ‘?’ with opinion as well. which of the 800 plus films will be a big ‘-’ next to it. It is as one jurist Films that are well done presented in this year’s festival. put it, “the kiss of death.” have a strong narrative, interesting characters and an overall arresting The Basics presentation. So many submissions The process begins with a A film that is well done overall do not pay enough attention to all first night dinner hosted by the fes- is indisputable. the elements that go into making a tival. Here the ground rules are laid film. For example, one entry might out and the festival philosophy is have a strong design but no story. expressed. Quality and artistic Individual Influences Although each jurist favored tradi- expression are top priorities. It is Many factors go into the vot- tional filmmaking as a standard, important for the directors of the ing process. The most inalienable when an abstract or experimental

ANIMATION WORLD MAGAZINE May 1998 48 entry screened, the vote speak anything else. It is tough became even more of a enough to communicate in personal decision. Yet, even one’s own native tongue, but to in this category, a well envi- do so in another language is sioned and executed film asking for compassion. stands out, like Richard Reeves’ Linear Dreams. Parring Them Down Besides the jury Not all films are viewed members’ personal points entirely. If a film is long the jury of view, there are many dis- will watch a few minutes and advantages filmmakers give have an immediate impression. themselves. For instance, Sometimes one jurist will cast a there were many more negative vote soon after the film applications submitted but begins and leave the room, or if the films never arrived. a film inspires someone to call Some films were submitted out, “I’ve seen enough”, and the in rough cut and some oth- other jurists agree, the film will ers without a track. It is truly stop and we move on to the impossible to judge sub- In the abstract or experimental category, a well envi- next entry. To keep everyone missions like these. Unfor- sioned and executed film stands out, like Richard Reeves’ happy each jurist and the orga- tunately, because of the Linear Dreams. Image courtesy of Richard Reeves. nizing director is permitted one amount of films and the limited which film is acceptable and which unchallenged favorite. time, one does not have much of is not. It is part of the discipline to At the end of each day the a chance getting in with a half com- select as a group. Everyone must jury gathers and reviews their choic- pleted work unless the work is very deal with the certain presumed es. An eye is kept on such topics as: good, as was the case with an entry imbalances of fellow jurists, like a the number of entries from each by Paul Bush. Another disadvantage lack of experience, limited contex- country, whether or not the popu- is not having subtitles or a transla- tual film knowledge, and inade- lar films by name filmmakers are in, tion. Only when a film is accepted quate exposure to less typical or and which films go to competition does the festival provide subtitles. A common film vocabulary. Even at versus which go to the panorama film with unique pacing that relies advanced levels of expertise, these or noncompetitive screenings. The heavily on dialogue or narration, issues exist, but to a much greater organizing directors work extreme- but does not provide subtitles, will extent because no one likes to show ly hard. The details and considera- most likely be passed over. off their warts. tions that go into molding the final It is a true struggle to remain festival form are numerous. Curat- objective and address the film itself ing the programs is a last minute Besides the jury members’ without deferring to one’s own level affair without knowing for certain personal points of view, there of subjectivity. It is very easy to which directors will attend. The fes- are many disadvantages film- become passionate about a film. If tival doesn’t want to have one pro- makers give themselves. something is pleasing to you, con- gram with all the visiting directors gratulations, but now could you tell taking a bow, leaving the other pro- us why? Here is where all the fun is. grams without anyone to introduce. The jury must explain their choices Explain Yourself! and defend their selections with The Student Category The issue of taste is a mighty something more influential than, The student films are judged stone and pushing it up a moun- ‘Because I like it.’ So we then as professionals. No special consid- tain is what the voting process is become ever so genteel and polite eration is given to their young tal- like, only with the chance that the and debate in English; the lan- ents. The jury was hard on the stu- stone could roll back down and guage of choice, because there are dent entries. There were over 250 crush you. It is nearly impossible to many more non-Americans who submissions from schools around exclude one’s ego when deciding speak English than Americans who the world. The best came from Eng-

ANIMATION WORLD MAGAZINE May 1998 49 pieces from a specific campaign. Is this an act of repressed lack of con- fidence to submit everything? Ego- centricism? Or a deficient ability to judge one’s own work for quality? It is difficult for a jury to select one episode from among so many in a series. Interestingly enough, a serious debate waged over a J.J. Sedel- maier production featuring a gas- passing Humphrey Bogart from a re-created Casablanca scene. Some believed the entry should be in competition, only so that the audience could see what non-traditional projects are coming out of Amer- ica. The argument concluded with the piece relegated to panorama. It is insulting to artists who have J.J. Sedelmaier’s Casablanca , from his “TV Funhouse” segments for Saturday Night worked so hard at their art to be Live, caused “a serious debate” among preselection committee members. Image cour- included in a festival like Zagreb, tesy of J.J. Sedelmaier Productions. only to share a category with a film land, a country determined to con- Commercial Categories about farting. Another curious must- quer the world through animation. Two other difficult groups to see production is Shikato by Uruma The Royal College of Art is doing a judge were TV series and commer- Delvi Productions, Japan. This film is very good job yielding young tal- cials. The blur of watching so many guaranteed to have an audience ent like John Colin’s The Hapless TV series, mostly from Europe, as singing its contagious chant for Child. However, not all is encour- the bigger budgeted programming days. aging. A large percentage of the went to Annecy, was saddening. student work failed miserably with They were all so similar, as if the storytelling, especially those using world TV community was collabo- the computer in the creative pro- rating to ruin the minds of children, It is a true struggle to remain duction process. Most computer selling a quality that will leave indeli- objective and address the film entries focused on what appeared ble psychological trauma for years itself without deferring to one’s to be exercises in fabric studies, light- to come. The jury watched over 30 own level of subjectivity. ing, texture mapping and model- hours of material in 2 hours. The ing. I should think these young stars of most of these productions artists would do well to reconsider had their personalities texture The Croatian Entries the art of storytelling, before trying mapped on, so that when you There were only three entries to impress the world with the abili- peeled their skin back they were hol- from Croatia: a student film, one ties of technology’s latest software. low. Among the best of the bunch series and a rather disappointing Professors should take better care was Ted Sieger’s Wild Life, produced short professional film, titled The with guiding their impressionable by Hahn Film Berlin. Cake. The student film was already pupils. Most East European schools The commercials were bet- accepted into panorama by virtue of do not have computers on which ter only because they were shorter, having no competition and the students can experiment. The work but I cannot remember a single series was only a promising begin- coming from these areas was more product. What the jury found ning, therefore a lot of weight was interesting than from the high-tech tedious was when a studio submit- put on The Cake. The film tells a west, despite the higher tuitions! ted it’s entire production slate for the story about a group of people sit- year, or worse, submitted nearly all ting around a table cutting a cake.

ANIMATION WORLD MAGAZINE May 1998 50 The style is black and white and the ships and politics play a role in figures are only representational, deciding which selections are made. View John R. Dilworth’s there are no details. When the slices I believe that the artist must always comic strip, Dirdy Birdy every are distributed it is discovered no drive from the spirit and continue month in Animation World Maga- two slices are equal. The people at to explore the mystery of creativity. zine. the table begin to fight, cheat and It is a very personal endeavor. Being find innumerable ways of getting a on the pre-selection committee has bigger slice until they war and noth- alerted me to my many personal ing remains of the cake except challenges, and I have come away John R. Dilworth is a New York- crumbs. Then they repeat the same humbled from the lessons that hit based animator whose award- behavior and fight over the crumbs. me in the head like a brick when I winning films have been seen all Without the film’s acceptance the wasn’t looking. over the world. Since his return host, Zagreb, a bastion of anima- from Zagreb, John has vowed to tion, wouldn’t have any represen- converse only in Croatian, so I have come away humbled tative entry. Therefore, politically, it please keep this in mind when from the lessons that hit me in would not be good to exclude the contacting him. the head like a brick when I film from the festival. It’s a tough wasn’t looking. position to be in. The Zagreb Festival is going to be a wonderful experience. If you The 1998 Zagreb Festival of Note: Readers may contact any are able to attend I highly recom- Animated Films will take place June Animation World Magazine con- mend it. In the end, it still remains 17-21, 1998 in Zagreb, Croatia. For tributor by sending an e-mail to a mystery how to win approval of information, visit the Zagreb web [email protected]. your art. Sometimes national site, accessible from Animation encouragement, personal relation- World Network’s Animation Village.

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ANIMATION WORLD MAGAZINE May 1998 51 MIP-TV: Animation in Crisis?

by Julien Dubois he 35th MIP-TV, held in Cannes demands priority. Without a from April 3 to April 8, 1998, doubt this year’s MIP-TV allowed Twas marked by a slight lower- one to take note of the “new ing of attendance. The absence of world order” which now reigns South-East Asian countries, because in the audiovisual program of grave financial difficulties, partly industry, that of the advent and explains this decrease. None of this multiplication of channels hindered China, however, from broadcast by cable and satellite, making its intentions known to play whose direction and buyers are an important role in the world tele- presently clearly identified by vision market. Central and Eastern the sellers. Europe made a remarkable entrance into the market, especial- Just Try to Get Some Air ly the Russians, whose financial Time Cartoon Network’s inflatable character float means are in full growth. “The principal difficulty livened up the bay and set the scene for the market in Cannes. Photo by and © Scott Ingalls. “The market for animated at present consists of managing programs in Germany is very diffi- and trying to procure the broadcast grouping) for The Rooties (26 26- cult, as well as in England, where windows between general and the- minute episodes), an “animated car- many shows are stockpiled,” matic channels,” detailed Peter toon fantasy” destined for the four stressed Peter Worsley, Director of Worsley. This new order is evident- to eight year-old audience. Sales and Operations at Europe ly not without consequences in the “The opportunities for co- Images, one of the largest distribu- production sector, which includes production between the two con- tion companies in France. “The animated programs and series. tinents have multiplied, while the same in the United States, where “We’re leaving a period in which cultural gap that separates them is there seems to be less money in the animation production enjoyed a less important,” adds Christian syndication market, and in Japan, spectacular growth,” explains Chris- Davin. “The artists have traveled a where local productions remain tian Davin of the French production lot during the past five years. The quite dominant. On the other hand, company Alphanim. “Growth and Americans are less reticent than they there are opportunities where the the merging of companies have used to be regarding artistic collab- market is growing, like in South gone hand in hand in Europe and oration, and it’s no longer rare that America, Italy, and also in Spain for in the U.S.. However, independent a series conceived in Europe finds the regional broadcasts.” American producers have suffered a partners and markets across the lot from this phenomenon of verti- Atlantic. The world is getting small- cal integration. European producer.” You’re no longer there for tion, very successful thanks to the show, but to do business. boom that took place in the old world, is currently very much in This year’s MIP-TV allowed one demand by the American market, to take note of the “new world In this general context, a which is looking to Europe for 20% order” which now reigns in the remark by one of the participants to 30% of the financing for its pro- audiovisual program industry... perfectly sums up the ambiance of grams.” As an example of this point, this MIP-TV: “You’re no longer there one could cite the co-development for show, but to do business.” MIP and co-production agreement Shrinking Financing was calm, professional and very signed during MIP-TV between And so is the market, it dynamic. The market is now at a Porchlight Entertainment (U.S.) and seems. Financing is becoming more stage where a company’s library Millimages (a European studio difficult, due to the joint effect of

ANIMATION WORLD MAGAZINE May 1998 52 General of Ellipse at the opening writing. In a market where the audi- ceremonies of MIP-TV. His depart- ence is more and more fragment- ment, Ellipsanime, the youth and ed, the targeted audience evolves family wing of Ellipse (a partner over time as a result. “We’ve left the in audiovisual production with Disney era,” explains Christian Canal+), announced shortly Davin. “Animation today reaches a before this 35th MIP-TV its inten- larger and larger public, a family tion to expand its production con- public. There are a lot of projects in siderably by going from 3 to 8 development, but still few venues series a year and from 200 to 400 for distribution of this type of pro- million francs [roughly $33 million gram. One can expect that the Photo by and © Scott Ingalls. U.S. to $67 million U.S.] of busi- venues will follow.” the fragmentation of the audience ness volume. It is also a goal to dou- Gaumont MultiMedia and the fall of advertising revenues ble the size of the catalogue exploit- announced during MIP-TV an from commercial broadcast chan- ed by Ellipse and Canal+DA, which agreement with TPS, a digital plat- nels, which have always been the is currently 600 half-hours, within form rivaling that of Canal+ in the only ones able to finance animation the next three years. French marketplace, involving the programs. Even if the new cable pre-purchase of the series Oggy and and satellite channels multiply pre- the Cockroaches (78 7-minute sales, as one saw at the MIP-TV, a “We’re entering a period of episodes), which will be broadcast recession is on the way. “We’re crisis,” stressed Marc du Pon- every week in prime-time before a entering a period of crisis,” stressed tavice, director of Gaumont program on the cinema channel Marc du Pontavice, director of Multimedia. Cinestar. “The broadcasters need a Gaumont Multimedia. “A lot was programming leader, an engine,” produced during the last five years. For the independents, who added Marc du Pontavice from his The stockpile of programs is at the work in Europe or across the viewpoint. “There are niches to highest level. There is a very impor- Atlantic, the chances of survival exploit with a very high-scale car- tant multiplication of possibilities to undoubtedly rest in lowering costs. toon series. The positioning in broadcast programs, but at the “Soon you won’t be able to market prime-time is one of these niches. same time there is a certain shrink- a 2-D series for more than 35 mil- There will be many called but few ing of the opportunities for financ- lion francs [roughly $5.8 million chosen. The financing, which ing.” U.S.], when the production is sub- should be on a comparable level to Two trends will probably pre- contracted in Asia,” Marc du Pon- live-action stories, is there. You have vail over the market in the upcom- tavice estimates. “With the new to be in the position to develop a ing years: one, an increased con- technologies — whole computers series in which the writing is of centration of production in fewer can be carried in the excellent quality in order to con- hands, and two, palm of your hand! vince the programmers that the large studios will — we’re going to audiences will follow.” gather necessary cap- have to produce ital by considerably series of 26 episodes Translated from French by William augmenting their of 26-minute shows Moritz. part of the market, for less than 30 mil- which is on par with lion francs [roughly Julien Dubois is a journalist who stressing the impor- $5 million U.S.].” lives in Paris, France. For 10 tance of a library and years, he has been exploring the the management of Quality and Niche wings of this gigantic dream rights to receipts. Audiences industry, the television industry. “When a market is on Cheaper the verge of reces- series, if they want Note: Readers may contact any sion, you have to to sell, will have to Animation World Magazine con- increase your part of Fred Flintstone in front of the Warner Bros. booth at MIP TV prove their excel- tributor by sending an e-mail to the market,” declared ‘98. Photo by and © Scott lence on the level of [email protected]. Robert Rea, Director Ingalls. ANIMATION WORLD MAGAZINE May 1998 53

MIP-TV 98 : l'animation en crise ?

par Julien Dubois a 35ème édition du MIP-TV qui du business”. Pacifié, profes- s'est tenue à Cannes du 3 au 8 sionnel, ce marché où prime Lavril dernier a été marquée par désormais la logique de cata- une légère baisse de la fréquenta- logue a été très dynamique. tion. L'absence des pays du sud-est Sans nulle doute cette édition asiatique, en proie à de graves dif- du MIP-TV a-t-elle permis de ficultés financières, explique en par- prendre acte du “nouvel ordre tie cette légère décrue. Ce qui n'a mondial” qui règne désormais pas empêché la Chine de faire con- dans l'industrie des pro- naître son intention de jouer désor- grammes audiovisuels, celui de mais un rôle de premier plan sur le l'avènement et de la multiplica- marché mondial de la télévision. tion des chaînes diffusées par L'Europe centrale et l'Europe de l'Est le câble et le satellite, dont les Le personnage gonflable de Cartoon Network, ont, quant à elles, fait une entrée enseignes et les acheteurs sont à flot dans la baie de Cannes, a donné le ton. remarquée sur le marché, les russes à présent clairement identifiés Photo et © Scott Ingalls. notamment dont les moyens par les vendeurs. grammes”. On peut citer à ce titre financiers sont en nette croissance. l'accord de co-développement et de “Le marché des programmes d'ani- Des fenêtres de diffusion réduites coproduction signé lors du MIP-TV mation est très dur en Allemagne “La principale difficulté con- entre Porshlight Entertainment et et en Angleterre où les stocks sont siste à présent à gérer et essayer de Millimages pour The Rooties très importants” souligne Peter concilier les fenêtres de diffusion (26x26'), un “animated cartoon fan- Worsley, Director of Sales and Ope- entre chaînes hertziennes et chaînes tasy” destiné au 4/8 ans. ration chez Europe Images, l'une thématiques” renchérit Peter Wors- des plus grandes sociétés de distri- ley. Cette nouvelle donne n'est Pacifié, professionnel, ce bution française. “De même aux évidemment pas sans conséquence marché où prime désormais la États-Unis où il y a, semble-t-il, moins sur le secteur de la production, y logique de catalogue a été très d'argent sur le marché de la syndi- compris celui des programmes et dynamique. cation, et au Japon où la produc- des séries d'animation. “On sort tion domestique reste très domi- d'une période durant laquelle le “Les opportunités de copro- nante. Il y a en revanche des oppor- secteur de l'animation a connu une duction entre les deux continents tunités en Amérique Latine, dont le croissance spectaculaire” explique se sont multipliées tandis que le marché se trouve en pleine crois- Christian Davin, Pdg de la société fossé culturel qui les séparait est sance, en Italie mais aussi en de production française Alphanim. moins important” ajoute Christian Espagne auprès des chaînes “Croissance et concentration sont Davin. “Les artistes ont beaucoup régionales”. allées de pair en Europe comme aux voyagé ces cinq dernières années. États-Unis. Les producteurs indépen- Les américains sont moins réticents dants américains ont beaucoup que par le passé en matière de col- On est plus là pour frimer mais souffert de ce phénomène de con- laboration artistique et il n'est plus pour faire du business centration verticale. La production rare qu'une série conçue en Europe européenne, très dynamique grâce trouve des partenaires et des Dans ce contexte général, au boom qui a eu lieu sur le vieux débouchés outre-Atlantique. Le une remarque de l'un des partici- continent, est à présent très solli- monde a rétréci”. pants résume à merveille ce que fût cité par le marché américain qui l'ambiance de ce MIP-TV : “On est vient chercher en Europe 20 à 30% Chute des financements plus là pour frimer mais pour faire du financement de ses pro- Le marché aussi, semble-t-il,

ANIMATION WORLD MAGAZINE May 1998 55 menter sa part de marché” ence se fragmente de plus en plus déclarait Robert Réa, directeur en effet, les cibles évoluent. “On est général d'Ellipse à l'ouverture du sorti de l'ère Disney” explique quant MIP-TV. Son département, Ellip- à lui Christian Davin. “L'animation sanime, le pôle jeunesse & famille touche à présent un public de plus du groupe Ellipse (filiale de pro- en plus large, un public familial. Il y duction audiovisuelle de Canal +), a beaucoup de projets en a annoncé peu avant cette développement mais encore peu 35ème édition son intention de de cases de diffusion pour ce type développer considérablement sa de programmes. On peut penser Photo et © Scott Ingalls. production en passant de 3 à 8 que les cases vont suivre”. séries par an et de 200 à 400 M.F. Gaumont Multimédia a ainsi sous l'effet conjugué de la frag- de volume d'affaires. Et ce dans l'ob- annoncé lors du MIP-TV un accord mentation de l'audience et de la jectif de doubler, d'ici 3 ans, la taille avec TPS, la plate-forme numérique chute des revenus publicitaires des du catalogue exploité par Ellipse et concurrente de celle de Canal + sur chaînes hertziennes, qui sont tou- Canal + DA (600 demi-heure à le marché français, portant sur le jours les seules capables de financer l'heure actuelle). pré-achat de la série Oggy et les les programmes d'animation. Et ce cafards (78x7') qui sera diffusé même si les chaînes du câble et du “Nous entrons dans une chaque semaine en prime-time en satellite multiplient les pré-achats période de crise” souligne avant programme sur la chaîne comme on l'a vu lors du MIP-TV. pour sa part Marc du Pon- cinéma Cinestar. “Les diffuseurs ont “Nous entrons dans une période de tavice, directeur de Gaumont besoin de tête de programmation, crise” souligne pour sa part Marc du Multimédia. de locomotives” ajoute pour sa part Pontavice, directeur de Gaumont Marc du Pontavice. “Il y a des ni- Multimédia. “On a beaucoup pro- Pour les indépendants, qu'ils ches à exploiter avec des séries de duit ces cinq dernières années. Les oeuvrent en Europe ou Outre-Atlan- cartoon très haut de gamme. Le stocks de programmes sont au plus tique, les chances de survie résident positionnement en prime-time est haut niveau. Il y a une multiplica- sans doute dans la baisse des coûts. l'une de ces niches. Il y aura beau- tion très importante des possibilités “Il ne va bientôt plus y avoir de coup d'appelés et peu d'élus. Les de diffuser des programmes en marché pour des séries en 2D de financements, dont les niveaux sont même temps qu'un rétrécissement plus de 35 M.F. dont la fabrication comparables à ceux des fictions, certain des opportunités de finance- est sous-traitée en Asie” analyse sont là. Il faut être en mesure de ment”. Marc du Pontavice. “Avec les nou- développer des séries dont l'écri- Ainsi, deux logiques vont velles technologies - le tout infor- ture est d'excellente qualité pour probablement prévaloir sur le matique est maintenant à portée de convaincre les programmateurs que marché ces prochaines années. main - il va nous fal- les audiences suivront”. Celle d'une concen- loir produire des tration accrue de la séries de 26x26' à production, de moins de 30 M.F.”. Julien Dubois est journaliste. Il vit grands groupes étant à Paris, France. Depuis 10 ans, il tenté de ramasser la Des niches pour explore les coulisses de cette mise en augmentant des programmes gigantesque machine à rêves considérablement de qualité qu'est la télévision. leur part de marché, Des séries qui va de pair avec moins chères mais une logique de cata- qui devront, si elles logue et de gestion veulent se vendre, Note: Les lecteurs peuvent con- de droits à recettes. faire preuve d'excel- tacter les collaborateurs d'Anima- “Quand un marché lence sur le plan de tion World Magazine en envoyant est au bord de la Fred Flintstone devant le stand l'écriture. Sur un un e-mail à [email protected]. récession, il faut aug- Warner Bros. au MIP TV ‘98. marché où l'audi- Photo et © Scott Ingalls. ANIMATION WORLD MAGAZINE May 1998 56 Stuttgart:Stuttgart: AA SplendidSplendid FestivalFestival

by William Moritz he ninth Stuttgart Animation and a convenient meet- Festival took place from April ing or resting place for T3 through April 8, 1998. I flew the festival goers. The in on Swissair, and I thought the fes- second main screening tival had begun early since the area was a concert hall videos on passenger safety were all less than a block away computer animations, with svelte which also contained a passengers who could really bend bar and restaurant, as double and curl up to get the life well as exhibition rooms vests from under the seats. Stuttgart (with a display of Yoji is a fine old city, with elegant Kuri’s artworks), a special palaces and gardens that were animation book shop, home to the princes of the Swabian and a computer area state of Baden-Wurtemburg, and where people could imposing modern skyscrapers from browse the Absolut its more recent hosting of major Panushka animation industry, like the Mercedes-Benz web site. Three other company. It rests on the Neckar river screening places were a which flows from Heidelberg in the few blocks farther away north to the Danube and the Black in the lively downtown Forest in the south, one of Ger- business district. Plus, a many’s finest vineyard stretches. few special events, Stuttgart also boasts a superb Art including demonstra- Museum that seemed to have two tion workshops with the addition to the regular competition good examples of everything, as jury members (I overheard one fes- screenings, a special Young Anima- well as a wonderful temporary tival-goer say that the highlight of tion competition gave a $20,000 exhibit of more than 100 photos the festival for her was being able to prize to one of the student films and objects by Man Ray. touch Barry Purves’ puppets...) and from 39 different schools world- an exposition of Ladislas Starevitch wide. Another competition screen- puppets and designs, took place at ing, “Tricks for Kids,” provided an The programs offered at the the more distant Film Academy in international selection of films for festival were rich and diverse. Ludwigsburg, which was easily children every afternoon. A “Best of accessible by subway (as was every- Animation” series concentrated on thing else...). The festival was well- the 20 years from Norstein’s 1975 A Well-Oiled Machine publicized not only in local media, Heron And The Crane to David The festival centered around but also in Germany’s major news- Anderson’s 1994 In The Time Of the huge Maritim Hotel, where magazine Spiegel. Some of the Angels. A series of feature anima- many of the festival participants screenings were attended by at least tions included Raoul Servais’ Taxan- stayed. The main screening room, 40,000 people. dria, Pierre Hebert’s The Human the Old Riding Hall, was in this Plant, and Svankmajer’s Conspira- hotel, as was the festival informa- The Programs and Events tors Of Pleasure. Other programs tion center. A portable tent just out- The programs offered at the screened films by the jury members; side provided drinks, light snacks, festival were rich and diverse. In ANIMATION WORLD MAGAZINE May 1998 57 — a giant screen with clear focus in all the various formats — the competition programs seemed unique to me, a veteran of dozens of festivals, in that obviously someone had looked at all the films carefully and put them together sensi- tively into programs of a certain common style, mood, and subject- The Yoji Kuri exhibit was a rare treat. The main screening room, the Old Riding matter, which made for smooth Photo by and © Bill Moritz. Hall, in the Maritim Hotel, was the center of Stuttgart festival activity. Photo by and viewing and a heightened, com- mation, excellent Normand Roger © Bill Moritz. parative critical discrimination. The sound. a survey of Japanese art animation program booklet also listed filmo- Jury comment: “For its brilliant as well as an anime retrospective; graphies for most of the filmmak- draughstmanship and the density programs of commercials, MTV ers, so one could see the difference of the icy, nightmarish atmosphere videos, special effects and comput- between someone like Daniel it creates.” er graphics; retrospectives for Yoji Szczechura who has made some 25 State Capital Stuttgart Kuri, Magnus Carlsson, Marjut Rim- films since 1960, and others who Award: The equivalent of U.S. minen, Jiri Brdecka and Marv New- just began a few years ago, or who $7,500 (15,000 DM) went to Pink land; and midnight shows of classic have made only a few films. The Doll by Valentin Olschwang of American cartoons, from Disney’s Jury consisted of Russian Garri Swerdlowsk Film Studios in Russia Alice in the ‘20s through Betty Boop Bardin, Dutch (Canadian) Paul — tale, drawn on paper almost in and George Pal’s Jasper, Tashlin and Driessen, German Thomas Meyer- a children’s style, of a little girl whose Avery, to UPA’s Mr. Magoo. If you’d Hermann, French Florence Miaihle, mother has a lover and so, gives already seen these, you could go and English Barry Purves. The choic- her a doll as a present to distract to the usual midnight parties... es could not have been easy, her, which doesn’t quite work...Jury Some 60 films in competition because there were many fine and comment: “For its sensitive depic- screened in six programs, which diverse films among those selected tion of childhood anguishes.” were repeated a second time for for competition. Since Stuttgart is International ProSieben the convenience of the audience. held every-other year, films made in Award for Animated Film (to pro- Aside from the excellent projection late 1996 were eligible for compe- mote the acceptance of animation tition, which meant that a number as an art form): $10,000 (20,000 of the films had been seen and won DM) to The Great Migration by Yuri prizes at other festivals, an increas- Cherenkov, produced by Folimage ing problem with the proliferation in France — a charming story of of festivals... The unfortunate results, migrating birds who get lost in a I suspect, is that those “deja vu” films storm. Jury comment: “For a film really have a harder chance at the flawless in every element.” prizes, even if they are obviously the Outstanding Children’s Film: best. $2,500 (5,000 DM) to Charlie’s Christmas by Jacques-Remy Girerd The Prize Winners: of Folimage — very much in mod- The grand prize of $7,500 ern children’s book illustration style, (15,000 DM ) went to How Wings and nearly half-an-hour long. Jury Are Attached To The Backs Of comment: “This complex story is full Angels by Craig Welch, National of humor, humanity and touching Film Board of Canada — a chilling observations.” surrealist guignol in the tradition of Three Public Prizes were Jan Lenica, finely detailed cel ani- The Saint Inspector. © bolexbrothers. awarded by viewers of the region-

ANIMATION WORLD MAGAZINE May 1998 58 al television network (SÜDWEST 3), independent production in which broadcast a selection of films conjunction with a one-year over a three-day period and tallied scholarship at the Fil- viewer response: makademie Baden-Württem- berg. Jury comment: “For a film that dealt with a bizarre A number of the films had idea in a matter-of-fact way. been seen and won prizes at We look forward to the next other festivals, an increasing problem with the proliferation film.” of festivals... Landeskreditbank Baden-Württemberg Award for the most innovative film: • $7,500 (15,000 DM) First Prize: $3,000 (6,000 DM) to Früh- Death And The Mother by Ruth ling (Spring ) by Silke Parzich

Lingford of the British company from the Film Academy of Craig Welch’s How Wings are Attached to the Ownbrand Animation Ltd. — a Baden-Wurttemberg — an Backs of Angels. Image courtesy of the national 2-D computer graphic which object animation synchronized Film Board of Canada. looked much like Masereel to Vivaldi’s music, in which chairs, films were very good, but I would wood-cuts, telling the tale of a a table and forks cavort. Jury com- have given some of the prizes to mother who pursues Death ment: “Surprising images choreo- other films. Alexander Petrov’s The when he takes her child. graphed to its soundtrack make a Mermaid is an astonishingly beau- • $5,000 (10,000 DM) Second unique film.” tiful tour-de-force of painting skill, Prize: The Devil Went Down To and lovely in its romanticism. Georgia by Mike Johnson, listed Stuttgart is a fine old city, with Though, it is two years old and has as a puppet film (though PDI got elegant palaces and gardens ... been seen at other festivals before a credit) - charming visualization and imposing modern I would have given it a prize of the Charlie Daniels country skyscrapers... nonetheless. Similarly, Hans Nassen- music classic. stein’s haunting evocation of war • $2,500 (5,000 DM) Third Prize: Stiftung Landesgirokasse and its aftermath Fugue, with its Wheel of Life by the British artist Award for the best student film: surreal settings for puppet anima- Vera Neubauer — a very $2,500 (5,000 DM) to Willy, The tion seems to me a great film, even demanding 16-minute mixture Voice Of Europe by Marion Thibau if two years old. Solveig von Kleist’s of live-action and object anima- from the Royal Academy of Fine Arts The Story Of My Soul also explored tion on biblical and mythological in Gent, Belgium. Jury comment: adult emotions with a striking motifs, with feminist and eco- “Even after several viewings by the graphic style and definitely deserved logical overtones. jury, the film had lost none of its recognition with astonishing touch- intelligent lightness. [The film] con- es, like the birds settling on the tele- International Mercedes-Benz vinced the jury on the strength of its phone wires to form musical notes. Sponsorship Prize for Animated Film charming protagonist, its delicate In addition, Richard Reeves’ seven- $20,000 (40,000 DM) scholarship- irony and contemporary subject minute Linear Dreams, with both grant to Un Jour (One Day ) by matter.” abstract images and music drawn Marie Paccou of the French com- $1,500 for the funniest film directly on the film, was obviously in pany 2001 — a sharp and moving to Bill Plympton’s Sex And Violence. the great Canadian tradition of Nor- 2-D computer animation, in a sim- Jury comment: “The joke about the man McLaren. However, this inde- ple black-and-white graphic style key was more than enough to win pendent, west-coast production again reminiscent of wood-cuts, this award.” had a vitality and beauty all its own, depicting a woman’s reminiscence quite unlike McLaren, Sistiaga or about her husbands or lovers. This My Analysis... other practitioners in the field, and prize includes the realization of an Most of these prize-winning deserved some recognition. The winners of some cate- ANIMATION WORLD MAGAZINE May 1998 59 gories seemed problematic to me. itive. To me, the funniest film was such a formula product win the Silke Parzich’s Spring is a delightful Igor Kovalyov’s Bird In The Window prize. But I guess that’s a small grum- film, but closely related to object ani- (another 1966 veteran), which may ble against what was overall a mation pioneered by the Quay show that I’m sick and twisted, but splendid animation festival. brothers and others (and hence, not Igor manages to make fresh social Save up to visit Stuttgart X in all that innovative). Other competi- criticism at the same time he engen- April 2000. tion films showed much more ders real belly-laughs. I also pre- unique, adventurous techniques ferred the quirky humor of Sylvain Visit the Stuttgart web site in Ani- and ideas, such as Clive Walley’s Chomet’s Old Lady And The mation World Network’s Animation combination of live-action, anima- Pigeons, another subtle combina- village. tion and disembodied brush strokes tion of fresh social satire with out- Stuttgart is a fine old city, with ele- of paint in Light Of Uncertainty, rageous spoof. Mike Booth’s pup- gant palaces and gardens ... and which fittingly evoked Heisenberg’s pet animation The Saint Inspector imposing modern skyscrapers... “Uncertainty principle,” and ulti- (from England’s bolexbrothers) also mately did it some justice. Aleksan- combined truly quirky images with William Moritz teaches film and dra Korejwo’s Carmen Torero, with biting satire into very funny scenes. animation history at the California its sinuous animation (using a feath- In addition Mark Gustafson’s droll Institute of the Arts. er) of tinted salt was quite fresh. “puppet” animation Bride Of Resis- Most problematic for me was “fun- tor (from Will Vinton) broke new ter- niest film.” I’m no fan of sick and ritory in social whimsy. It was a very twisted, and Bill Plympton seems rich festival for humor —The Great Note: Readers may contact any very much of that school. I find his Migration and Devil Went Down To Animation World Magazine con- gags mostly tasteless, vulgar, and Georgia were plenty funny, as well tributor by sending an e-mail to [email protected]. (even worse) predictable and repet- — so it was disappointing to see

ANIMATION WORLD MAGAZINE May 1998 60 General Chaos: Uncensored Animation by Mark Segall anga Entertainment,an Another one-joke wonder: Ameri- draftsmanship. (Perhaps Sex and Island International Com- can Flatulators. The title’s enough. Violence -- the seven minute Plymp- Mpany and distributor of Why make the film? The clay- ani- ton short commissioned for this col- anime, enters the scant market of mated pseudo-trailer No More Mr. lection should have been shown in touring theatrical animation releas- Nice Guy doesn’t have one-quarter one piece just in order to not show es with General Chaos: of the wit found in up any of the other contributors.) Uncensored Animation. action-movie parodies My favorite Plympton gag: a man It’s about time another regularly tossed off by stops mid-orgasm to floss. player steps into the ring, The Simpsons’ writers. In but unfortunately, for this the just plain mystifying The Bright Side first bid, the program is category is Sunny Outside of Plympton’s tour uneven in quality and © Manga Havens (A.K.A. Meat!!!). de force, and the wonderfully obvi- inconsistent in tone. However, is the In Kathryn Travers’ 1:16 minute cel ous punning of Beat The Meatles, intent of Manga’s first adult shorts animation a truck full of Francis Uncensored Animation has its best compilation to compete with Spike Baconesque sides of beef pulls up to moments when it doesn’t try to and Mike’s Sick & Twisted Festival a trailer park. A toothless man gets compete with Sick & Twisted. “There of Animation or to expand the cat- out, hollers, “Meat!” over and over, are many films in my show that egory to include more mature, then drops dead. Spike would pass up,” Cox points thought-provoking fare? Those are the shorts I would out. Example: Mike Booth’s The Saint have ditched completely if I were Inspector, a wordless story in which the compiler. I’d also lose the “wacky a buddahlike figure meditating on Uncensored Animation has its cast of characters” created by Bardel a high platform is fussily scrutinized best moments when it doesn’t Animation in Canada to introduce by a whirring, clicking, mechanical try to compete with Sick & the show. This on screen audience bureaucrat. The Inspector, created Twisted. of uninspired stereotypes (a granny, by Lee Wilton and Natalie Clark, is a beauty queen, the tough-talking an inspired assemblage of bits and General Chaos himself) pieces. The Down Side fairly shout out, “Look Cox’s collec- Series creator Jan Cox at us! We’re filler!” The tion also diverges helped Spike produce Sick & Twist- sexy, bloody, funny from Spike’s by intro- ed for five years, and she’s taken vignettes from Bill ducing two strange some artists along with her. One Plympton interspersed and sexy films by holdover I can do without: Tony Nit- throughout already women: Frances toli. His one-joke film about a crack- provide a framing Lea’s Oh Julie!, and er-addicted parrot fails to develop device, or through line, Emily Skinner’s The the idea in any interesting way and if one is needed. They Perfect Man. quickly becomes tedious. (The pup- also provide a visible Oh Julie! pet animator made a slightly better reminder that few cel chronicles a night of film for Spike a few years back fea- animators come close Sex and Violence. © Bill Plymp- passion aided by turing a depraved Santa Claus.) to Plympton’s level of ton. augmented body

ANIMATION WORLD MAGAZINE May 1998 61 As he switches the music looking damsel. She captures him to change the mood, and ties him down, for what he she puts on larger thinks will be a kinky little tryst, but breasts. Julie’s not the turns out to be a bit of unasked-for only one worried about surgery. The golden-tressed beauty superficial inadequacies. is building the perfect man and she The man is ashamed of wants his contribution. his pot-belly and he fussily relocates unsightly tufts of body hair. When Cox’s collection also diverges Julie is less than from Spike’s by introducing impressed by his sexual two strange and sexy films by equipment, he straps on women... a giant flashing glow-in- the-dark dick, and is pleased to see it inspire Good Lookin’ Stuff her operatic apprecia- I found some of the films tion. There is also an notable for their looks, like the com- unexpectedly happy puter tweaked Victoriana of Lau- ending: they wake the rence Arcadia’s The Donor Party. Flat next morning, their cutouts are assembled into hallways apparatus cast aside, using “2.5D software” from Apple. The Saint Inspector. © olexbrothers. and find they have gen- Through his opera glass, our parts and other accouterments. Julie uine affection for each hero/spy observes a corseted belle, won’t be seen naked before she has other. a dog-faced man, and some exper- tucked her excess fat out of sight Emily Skinner strikes a more imental surgery eagerly watched by with alligator clips and put on a big macabre note in her puppet film, a roomful of the surgeon’s past mis- blonde wig, and a special pair of The Perfect Man. A mustachioed takes. I’m partial to Eric Fogel’s Mad- “oral sex lips”. She greets her lover dandy gallops up and scales a high Max-like student film Mutilator. I under a blue light, a là Flashdance. tower to “rescue” a sweet, innocent- always liked the weird look, atmos-

ANIMATION WORLD MAGAZINE May 1998 62 in front of General Chaos is Quest, the Academy Award winning short from Tyron Montgomery and Thomas Stell- mach, which will be showcased in a later all ages show entitled Art Gallery. Bringing a more diverse selection of films into the mainstream American marketplace is surely something we should all support. The Donor Party. © Laurence Arcadia However, my phere and pace of his MTV series Nixon baseball bat” is a hell of a lot overall verdict of this show? Not bad The Head. In Espresso Depresso, funnier than the story as pictured. for a first outing. Spike has had some handsomely stylized beanery twenty years to get his act togeth- stereotypes meet a bad end at the For Manga’s collections, Cox er (and even it’s still pretty uneven!). hands of a distracted valley-girl wait- envisions an audience that’s So, good luck, Manga Entertain- ress. The splatteriffic Performance less exclusively male, rather ment. I’m looking forward to a Art by Chainsaw Bob is surprisingly containing more women and stronger selection next time around. well-designed and pleasant to couples. watch. I also enjoyed Beat The Mea- General Chaos: Uncensored tles’ misshapen “Head” Sullivan, and Animation is now touring theaters the gloriously ugly “Meatlemaniacs” Long Term Plans around the country. For more infor- who say things like, “I wanna touch If Manga’s collection is going mation call 1-888-4MANGA1. Gen- one afore I die!” Joel Brinkerhoff’s for fewer gross-outs and more eral Chaos will be released on video Zerox & Mylar has an interesting female points of view, it will achieve in September 1998 by Manga Enter- half-drawn, half-sculpted look, but an identity distinct from Spike and tainment. it’s Tom and Jerry derivative humor Mike’s. Cox is aiming for a more failed to amuse me. international flavor and a wider I’ve got mixed feelings about release that will make her festival Mark Segall has won awards for the Manga-commissioned Hungry “less of a cult thing” than that of her labor journalism and public ser- Hungry Nipples, a deliberately former boss. She sees the theatrical vice copywriting. He co-authored crude and under-animated piece market as big enough for the both How To Make Love To Your carried by music and wall-to-wall of them, plus several others. Money (Delacorte, 1982) with his narration. The fake French accent “Wouldn’t it be wonderful to have a wife, Margaret Tobin. He is also is funny, especially saying things like, couple of compilations a year to editor of ASIFA-East’s aNYmator “He killed their happy motherfuck- choose from?” she said. For her, newsletter. ing asses”. It bothers me, however, “adult” doesn’t just equal “shocking that the “Nipples” rap song which and perverse.” For Manga’s collec- Note: Readers may contact any retells the character-crammed tale tions, Cox envisions an audience Animation World Magazine con- of Jean-Jean, his nasty Mom, the that’s less exclusively male, and more tributor by sending an e-mail to bow-tied, two-legged Nipples, the equally composed of women and [email protected]. Evil Cat and “the flying Richard couples. In fact, acting as a “teaser”

ANIMATION WORLD MAGAZINE May 1998 63 The Entertainment/Marketing/Exploitation Relationship:Two Takes book reviews by Buzz Potamkin f you’re a regular reader of AWM H. Reiner), (Free Press); and colleague) have and/or a ceaseless toiler in the The Business of Children’s studied the emo- Ibowels of our beloved industry, Entertainment, by Norma tional, intellectual and you’ve taken the time to read Odom Pecora, (Guilford). Still and physical growth this review, then most likely you’re awake? patterns of children, already aware that the sine qua non What do these books and their knowledge of animation these days is filthy have in common, other than shows. They take lucre. And most of that comes from, a predilection to use colons what all too many passes through, or is caused by in their titles? Well, two of people judge to be what J. M. Barrie called the cruelest them are by academics, and a simple monolithic creatures - in other words, kids, another is by two Ph.D.s, so market (Kids) and those loving little tykes who hold in I guess we should be proud that break it down into five component their hands the future of civilization. we’ve come to attract such atten- parts: birth through 2, 3 through 7, tion. Plus, they all sell for between 8 through 12, 13 through 15, and I’ve read two of them (Acuff U.S. $25 and $30, considerably 16 through 19. To anyone who has and Pecora), and it’s the more than most of the toys, etc., wondered why certain types of differences that make them that they lovingly explore. I’ve read humor, adventure and character interesting. two of them (Acuff and Pecora), seem to “work” for one age but not and it’s the differences that make another, their insight into age and While not news to us, this them interesting. gender delineate the differences in Entertainment/Marketing/Exploita- a clear and concise manner, even tion relationship is viewed as a A Down-To-Earth Text if the accompanying lists do run recently evolved predicament by the What Kids Buy is a fascinat- mind-numbingly long in a few wider society - the civilians who ing book. Acuff details in a very places. Furthermore, unlike many wind up paying for it. The result has informative and breezy style his apologists for the toy business, they been a rash of books on what to us explicit approach to creating for and acknowledge that all of us do have seems to be the obvious: the sym- selling to kids. Anybody who can a societal responsibility to kids; they biotic bonding of entertaining kids write this sort of marketing treatise pull no punches in criticizing prop- with marketing to them. These and quote sources as disparate as erties that do not serve the best books have such catchy titles as Kids’ Piaget, Erikson, Santayana, Keats, interests of kids (disempowering vs. Stuff: Toys and the Changing World James Baldwin, and Stephen Vin- empowering), mainly for glorifying of American Childhood, by Gary cent Benet deserves our thanks - violence. Cross, (Harvard University Press); Toy and our attention. Unlike most Wars: The Epic Struggle Between books from “inside the kid biz,” this Here’s Another Story... G.I. Joe, Barbie and the Companies one does not presume the reader The Business of Children’s That Make Them, by G. Wayne is incapable of understanding com- Entertainment is a different story. I Miller, (Times Books/Random plex realities, nor does it treat a very approached reading this book with House); What Kids Buy and Why: serious subject in the “rah-rah” style great expectations: it’s “a masterful The Psychology of Marketing to of so many marketing books. work” (Prof. Henry Giroux quoted Kids, by Dan S. Acuff (with Robert Both Acuff and Reiner (his on the dust jacket), and “a sharply

ANIMATION WORLD MAGAZINE May 1998 64 site, the book “[s]erves as a supple- industry. Nor is there any reference mentary text in courses on mass to direct contact with Nielsen Media media and society, media manage- Research - surely the major source of ment, media economics, and in raw data when it comes to viewing education courses that look at pop- patterns and ratings, and especial- ular culture.”) In that case, we got ly important when one considers major problems. the impact on the kids numbers (in the late 1980s) of the change in rat- We should all be concerned ings methodology. that this pastiche will serve as We should all be concerned the “standard work” for under- that this pastiche will serve as the standing the Kids business. “standard work” for understanding the Kids business. I can already hear Anyone in our industry who politicians looking for an easy “hit” reads this book will be struck by its quoting chapter and verse from Pec- off-hand use of mis-information. ora, not to mention media critics, When I read it, I filled seven pages editorial writers, and journalists. focused road map” (David W. Klee- with notes of incorrect or incom- Surely we deserve better. man, also from the dust jacket). I plete facts and assertions, which really wanted to like it. Don’t you range from the ridiculous to the sub- What Kids Buy and Why: The Psy- want people to understand your lime, and my notes are far from chology of Marketing to Kids, by industry, in the same way you complete. (One brief example: “...in Dan S. Acuff (with Robert H. Reiner), understand other industries from the early 1980s, ... cable was avail- New York, NY: Free Press, 1997. 206 afar? I was sadly disappointed. Not able to less than 8% of the televi- pages. ISBN: 0684834480 (U.S. $28 surprisingly, this “serious” book takes sion households....” [pg. 161] hardcover). us to task in a denunciation that is According to figures from the filled with righteous indignation and research mavens at the National The Business of Children’s Enter- concern for the exploitation of chil- Cable Television Museum, by 1981 tainment, by Norma Odom Peco- dren. For that, I was prepared. Dis- cable subscribers were at least 20% ra, Guilford Press, 1997. 190 pages. dain for our work and criticism of of all TV households, and cable was ISBN:1572302801 (U.S. $30 hard- industry methods is old news in aca- available to at least 35%. The dif- cover). demic circles, combining to form an ference between 8% and 35% is immense monomyth that is nearly significant.) And, at a time when many of the major participants in this Buzz Potamkin is an award-win- Anybody who can ... quote industry are more than willing to ning independent producer, best sources as disparate as Piaget, discuss their work with anyone who known for The Berenstain Bears Erikson, Santayana, Keats, shows an honest interest, the major- and Dr. Seuss. Before he escaped James Baldwin, and Stephen ity of Pecora’s sources (and there is L.A. for New York, he had been Vincent Benet deserves our a 15 page list of References) are thanks - and our attention. president of Southern Star Prods either the “trades,” mass media and then executive vice president magazines and newspapers, or impossible to dislodge. of Hanna-Barbera Cartoons. So while I was prepared for advertising hand-outs - not exactly the content, I was not prepared for the best sources for factual information in an industry well known the form. This book is a volume of Note: Readers may contact any for hyperbole. As far as I can tell, The Guilford Communications Animation World Magazine con- there is only one primary source Series, and is therefore presumably tributor by sending an e-mail to interview, and no cited correspon- intended for the text book market. [email protected]. (According to the publisher’s web dence with anyone else inside the

ANIMATION WORLD MAGAZINE May 1998 65 The Anime! Movie Guide: Different But Equal book review by Brian Camp elen McCarthy, former edi- all anime titles released tor of Anime UK and author in the U.S., McCarthy’s Hof Anime! A Beginner’s book adopts a chrono- Guide to Japanese Animation (Titan logical structure divided Books, London, 1993), is England’s into chapters devoted to preeminent proponent of Japanese each year from 1983 to animation. Her most recent book 1995 inclusive, with The Anime! Movie Guide serves as a each chapter split into useful companion volume to last alphabetical listings of year’s The Complete Anime Guide: theatrical and original Japanese Animation Film Directory animation video (OAV) and Resource Guide (reviewed in releases. Such a struc- AWM, July 1997) co-authored by ture requires readers to Trish Ledoux, editor of the maga- look up titles they’re zine, Animerica and an equally tire- seeking in a (small-print) less advocate of anime in the U.S. index. To locate all the McCarthy’s book includes titles in a particular long- information, primarily plot synopses, running series (e.g. Dirty on dozens of titles not yet officially Pair or Ranma 1/2) one released in the west, including, must make frequent where possible, always hard-to-find trips to the index. Peo- credit information. As such the book ple looking for a partic- gives the diligent reader a more ular genre or style of accurate picture of the scope of anime will have no Japanese animation than do most choice but to read everything. There four Space Cruiser Yamato features, English-language sources. McCarthy is no genre index and the genre Galaxy Express 999, Adieu Galaxy includes numerous soap operas, abbreviations used in the individual Express 999, Phoenix 2772, Toward teen romances and sports dramas entries are confusing. the Terra, Arcadia of My Youth, Cas- (tennis, softball, soccer) that are I normally favor a chrono- tle Cagliostro, Cyborg 009, the unlikely to surface in the west. How- logical approach but only when the Mobile Suit Gundam features and ever, the book’s structure is particu- goal is a broad historical overview to the first Japanese animated feature larly unwieldy for newcomers to chart changes, improvements, and released in the U.S., Alakazam the anime. growth in the field. The encyclope- Great. Also, by leaving out televi- dic approach makes it hard to detect sion series (more and more of which McCarthy’s book includes patterns over the years. Ledoux’s are being released on video in the information...on dozens of book at least makes it easy to find U.S.), we don’t get entries for the titles not yet officially released individual titles and conveniently television versions of Ranma 1/2, in the west... places all entries in a particular series Mobile Suit Gundam, Patlabor, in one place. By starting in 1983, Sailor Moon, Dragonball Z, Captain the first year of OAV releases, Harlock, Dancougar, and the three An Awkward Structure McCarthy leaves out several key series that made up the American Unlike Ledoux’s book, which animated features from the 1970s series, Robotech. compiled entries alphabetically for and early ‘80s, including the first

ANIMATION WORLD MAGAZINE May 1998 66 Reviewing the Reviews (Nausicäa, Laputa: Castle in the Sky, that haven’t yet been released in the While Ledoux had a staff of My Neighbor Totoro, Kiki’s Delivery U.S. 15 contributors assisting in the Service, Porco Rosso). She gives reviews, McCarthy has taken on the informative critiques on a number of McCarthy’s writing style, while Herculean task of reviewing nearly other significant titles including The informal and chatty at times a thousand titles all by her lone- Dagger of Kamui, Mobile Suit Gun- and highly opinionated at oth- some. Predictably, the quality of the dam: Char’s Counterattack, Project ers, should prove very comfort- reviews varies wildly. The majority A-Ko, The Tale of Genji, Legend of able to hard-core anime fans. of her entries are primarily synopses. the Overfiend, Record of Lodoss While synopses are helpful, and at War, The Weathering Continent, Still, The Anime! Movie Guide times necessary, they need to be The Cockpit, Legend of Galactic contains a lot of information not accompanied by critique. Unfortu- Heroes, and Kishin Corps. She also available elsewhere, including syn- nately, McCarthy has the fan writer’s provides intriguing write-ups on a opses of titles that some of us may crippling predilection for emphasiz- number of titles I was previously have in untranslated versions on ing plot over stylistic description. I unfamiliar with, including KO Cen- video, and detailed credit info on generally want to know what a film tury Beast Warriors, The Sensualist, other titles. McCarthy’s writing style, looks like, what it’s similar to, and Mosaica, Run Melos!, Armour while informal and chatty at times what its stylistic trademarks are; only Hunter Mellowlink, Ramayana, Coo and highly opinionated at others, occasionally does McCarthy convey of the Far Seas and Oz. should prove very comfortable to this. She also includes Studio Ghi- hard-core anime fans. She is clearly bli productions not directed by passionate about the medium and Miyazaki like, Only Yesterday, I Can shares many of her readers’ biases. Unlike Ledoux’s book, which Hear the Ocean, Pom Poko, and Her views on many of the sexually compiled entries alphabetically Whisper of the Heart, making this explicit titles are particularly sensible for all anime titles released in the first western book to review in light of some of the hysterical the U.S., McCarthy’s book these wonderful films. However, the reactions that occasionally erupt. adopts a chronological struc- reviews of these titles are too short, Overall, despite its flaws, the book ture... as are those for a number of other is a necessary addition to one’s significant titles, including Final growing anime library. To her credit, McCarthy Yamato, Harmageddon, Macross: makes clear which titles she hasn’t Do You Remember Love?, Mobile The Anime! Movie Guide, by Helen seen by including a question mark Suit Gundam F91, Wicked City, Mid- McCarthy, Woodstock, NY: The after the star rating or by not includ- night Eye Goku, Ninja Scroll, Overlook Press, 1997. 285 pages, ing a rating at all. Her admitted lack Demon City Shinjuku, Cyber City illustrated. ISBN: 0-87951-781-6 of knowledge of many of the titles Oedo, Peacock King, Memories, (U.S. $17.95 paper). is particularly frustrating. Some and Big Wars. entries are simply one or two lines Brian Camp is Program Manager long. In some, she simply says, “I Creative Credits at CUNY-TV, the City University of have no information about this title,” McCarthy doesn’t duplicate New York cable TV station. He or she invokes hearsay by declar- Ledoux’s effort to connect works by has written about Japanese ani- ing, “I haven’t seen it but I hear it’s identifying key personnel and their mation for Outre Magazine and the same mixture as before.” Also other creative credits. McCarthy, in The Motion Picture Guide and frustrating are cases where I have fact, offers no personnel index. I has also written for Film Com- seen the tapes in question, and noted certain names, including writ- ment, Film Library Quarterly, need information on them, but she ers Yoshiki Tanaka and Noboru Sightlines, The New York Daily hasn’t and includes no information. Aikawa, popping up repeatedly but News and Asian Cult Cinema. That said, some of her would have had to go back over reviews are quite good. She evi- the whole book to compile their Note: Readers may contact any dently put a lot of thought into credits. I turned to Ledoux’s book Animation World Magazine con- those films she particularly likes, for a list of their credits, but her tributor by sending an e-mail to most notably Hayao Miyazaki’s films index doesn’t include the many titles [email protected].

ANIMATION WORLD MAGAZINE May 1998 67 Anima Animus Animation

by Wendy Jackson lexander Alex- selections from the Svankmajers’ eieff & Claire extensive body of work. Prints of AParker. John & paintings, machines, tactile objects, Faith Hubley. John films, pottery, puppets and collages Halas & Joy Batchelor. are mixed with poems, interviews, Nag & Gisèle Ansorge. screenplays, games, diaries, texts Jan & Eva Svankmajer. and dreams. The book is divided In the history of ani- into ten loosely-interpreted “chap- mation as a fine art, ters,” each beginning with a brief there are a handful of statement on the themes commonly couples who have explored in their work: Anima, Ani- achieved the marriage mus, Animation; The Structures of of their lives, love and the Beginning; Eros and Thanatos; art. Historia Naturae; Touch and Ges- One of the ture; Manipulation and the Puppet; most prolific and artis- Alchemy and Magic; Games and tically experimental of Dreams; the Arcimboldo Principle these partnerships is and The Increased Difficulty of Com- that of Czech filmmak- munication. The back of the book er Jan Svankmajer and contains 12 pages of biographies, a painter/sculptor Eva joint filmography, and bibliogra- Svankmajerová. Inde- phies of exhibitions, catalogs and pendently and togeth- texts written on both artists. er, the two artists have accompanies current exhibitions of worked in nearly every medium the Svankmajers’ work throughout ...animation is magic and the imaginable: animation and live- their country, including the Czech animator is the shaman and in action film, sculpture, collage, print- Gallery of Modern Art, the Region- this, just as in matters of love, making, painting and poetry. al Gallery of Vysocina, and the East there is no right of appeal. - Jan “Although they choose different Bohemian Gallery, Pardubice. Itself Svankmajer approaches, both Jan and Eva an exhibition within a book, the pic- Svankmajer seem to have been fol- torially rich Anima Animus Anima- lowing the same goal on various tion is an excellent visual compan- levels and planes of expression,” ion to Dark Alchemy: The Films of Highlights observes Frantisek Dryje in his essay Jan Svankmajer, a collection of ana- Chapter I (Anima, Animus, in the new book about the lytical texts edited by Peter Hames Animation) contains prints of ani- Svankmajers’ creative work, Anima and published by Greenwood Press mated objects and collages; Animus Animation: Between Film in 1995. sequentially arranged pieces of art and Free Expression from Prague- which are not filmed, but which based Slovart Publishers. This stur- A Gallery in a Book illustrate small progressive or repeat- dy volume is the closest thing to a More than 100 luscious, full ed movements. Five ceramic vases “coffee table book” ever published color prints and close to 200 more give birth to a cup in “Birth,” a metal about either artist. The publication black and white illustrations depict spoon feeds lumps of clay to itself in

ANIMATION WORLD MAGAZINE May 1998 68 “Autocannibalism,” and abstract fig- text of the artists’ writings is fasci- There, one can see and purchase ures alternate body parts in “Excuse nating and seems to be translated all of the catalogs, books and orig- me, but you have valuable tubes well, “Formative Meetings,” the six- inal art, including sculptures, prints inside you.” page text about their work, and the and paintings, by Jan Svankmajer, only form of introduction, written Eva Svankmajerová and other artists Playing with puppets is one of by Frantisek Dryje, is at once redun- in the Czech Surrealist Group. the most wonderful forms of dant and baroque. Too many con- communication there is, as we trived words strive to classify the How to Obtain a Copy all know from time immemori- artists’ work, using terms such as Anima Animus Animation, by al. - Eva Svankmajerová “neo-cubist,” “negativist,” and “pseu- Jan Svankmajer and Eva Svankma- do-naive iconography.” This use of jerová, Prague, Czech Republic: Slo- In Chapter VII (Alchemy and language may be a necessary step vart Publishers, Ltd. and Arbor Vitae Magic), a selection of diary entries to gain acceptance of the artists’ Foundation for Literature and Visu- written by Jan Svankmajer in 1993, work in the international world of al Arts, 1998. 184 pages, illustrat- describe the ominous ill fortune that “high art.” However, the very ed. befell the cast and crew of the film approach used seems an attempt Faust during and after its produc- at elevating the art unnecessarily Anima Animus Animation is avail- tion (the film’s star, Petr Cepek, mys- and perhaps even against the nat- able by mail order from Galerie teriously died shortly afterwards). uralist, unassuming philosophies GAMBRA. After being asked by a journalist inherent in the Svankmajers’ work. Prices (postage included): what he thought of the re-release Perhaps the inclusion of this mate- 1800 Kc (approx. U.S. $55) by sur- of Disney’s Snow White and the rial and the use of English is an face mail Seven Dwarves, Svankmajer also effort to produce evidence to the 2100 Kc (approx. U.S. $65) by air writes, “Walt Disney is one of the Western world of the Svankmajers’ mail leading destroyers of European cul- rightful place in the fine art world. Send VISA, Diners Club or JCB cred- ture. Perhaps most significant, If this is what it would take for a full it card information (number and because he destroys it in utero-in scale touring exhibition of their work expiration date) to: children’s minds.” to be mounted outside of Eastern Galerie GAMBRA In Chapter IX (The Arcimbol- Europe, then it is a reasonable Cerninska 5 do Principle), we see a collection of expense. Besides, the text lends con- 118 00 Praha 1 work inspired by the 16th century text to a book that would otherwise Czech Republic Mannerist artist, Giuseppe Arcim- be a mere collection of art. boldo, whose composite-head Read an interview with Jan paintings inspired 2-D works and Animation manages to revive Svankmajer in the June 1997 issue films such as Dimensions of Dia- the imaginary world of child- of Animation World Magazine. logue, which won Svankmajer the hood and to give it back its grand prize at Annecy in 1982. original trustworthiness. - Jan Visit Animation Heaven and Hell for In Chapter X (The Increased Svankmajer a look at the animated films of Jan Difficulty of Communication), we Svankmajer. see iconographic studies, such as Overall, the book, like the rebus paintings by Eva Svankma- Svankmajers’ work, is an essential Wendy Jackson is associate editor jerová which use images and hands volume in any study of fine art ani- of Animation World Magazine. In in sign language poses to depict mation, and should be included in August, she will give a presenta- visual riddles for the viewer to deci- any library on the subject. tion on Czech animation at the pher. For those natives and trav- tenth annual Society for Anima- elers lucky enough to be in Prague tion Studies Conference. Words on Paper in the near future, a trip to GAM- Although the book is pub- BRA, the Czech Surrealist Group’s Note: Readers may contact any lished in Prague, with support from gallery, located on the Svankmajers’ Animation World Magazine con- Czech organizations, the text is pub- property at 5 Cerninska Street in tributor by sending an e-mail to lished solely in English. While the Prague, is highly recommended. [email protected].

ANIMATION WORLD MAGAZINE May 1998 69 The Association of Moving Image Artists by Gregory Lukow he Association of Moving 1991, the group voted to establish excerpts from films and television Image Archivists (AMIA) is the AMIA and formalize itself as an indi- programs recently-acquired or T world’s largest professional vidual-based professional associa- newly-restored by a broad range of association for film, television and tion, the only one of its kind in the archives and producers. Over the video archivists. More than that, moving image archival field. years, many rare and rediscovered however, the association brings Currently, AMIA represents animation treasures have been together archivists, producers, his- over 400 individuals from the Unit- shown in these screenings, some torians, film and television docu- ed States and Canada. In recent for the first time in decades. mentarians, scholars, and students years, AMIA has taken on an inter- to create a unique and vital com- national dimension as many munity dedicated to preserving our archivists from around the world Currently,AMIA represents moving image heritage. For those have joined the association. AMIA over 400 individuals from the interested in animated film, it pro- members are drawn from a broad United States and Canada. vides a network for dialogue and cross-section of film, television, video information exchange with the and interactive media, including many North American archivists, in classic and contemporary Holly- AMIA-L,The Organization’s On- both the public and private sectors, wood productions, newsreels and line Listserv who are responsible for safeguard- documentaries, and national and AMIA’s listserv (AMIA-L) is one ing and providing access to the ani- local television productions, includ- of the archival communities most mated image in all its forms. These ing news, public affairs and enter- dynamic and valuable resources. images span the history of anima- tainment programming. There are Using this electronic forum, anyone tion, from the earliest years of pre- also a number of significant spe- interested in film and video preser- cinema to the classic output of the cialized collections, including inde- vation can post messages and com- Hollywood studios, from the pio- pendently produced film and video municate on a daily basis with neers of avant garde film and video art, amateur footage, and films and experts in the field. Every week, a animation to the latest work in dig- television programs reflecting eth- broad range of questions are asked ital, interactive and special effects nic and minority experiences. and answered on AMIA-L about technologies, from paper prints to such topics as: the rediscovery of Disney and DreamWorks. AMIA Annual Conference lost films, archival holdings, the loca- Every fall, AMIA’s annual con- tion of specific collections and ference holds a premiere place on footage, new preservation tech- In 1991, the group voted to the calendar of international archival nologies, the life expectancy of dig- establish AMIA and formalize events. The conferences are open ital video formats, case studies in itself as an individual-based to all, regardless of membership in copyright law, the availability of professional association, the the association. In 1998, AMIA’s equipment and services, job open- only one of its kind in the mov- eighth annual conference will be ings, upcoming conferences and ing image archival field. held in the Fontainebleu Hilton on meetings and new publications. Miami Beach from December 7-12. To subscribe to AMIA-L, send The full range of issues involved in the following message to list- History collecting, preserving and using [email protected]: SUBSCRIBE AMIA- Since the late 1960s, repre- archival moving images will be dis- L Your Name. You will be automat- sentatives from moving image cussed in an ambitious schedule of ically added to the list and will archives have recognized the value panels, presentations, workshops, receive a “welcome” message and of regular meetings to exchange technical symposia, and vendor further instructions. All mail mes- information and experiences. In the exhibits. Other events will include sages intended for the list members 1970s and 1980s, this group of the association’s annual member- should then be sent to amia- archivists expanded from a handful ship meeting; the fifth annual AMIA [email protected]. of participants to several hundred awards luncheon; and the archivists from scores of national, immensely popular “AMIA Evening Activities regional and local institutions. In of Archival Screenings,” featuring AMIA exists to advance the

ANIMATION WORLD MAGAZINE May 1998 70 field and foster cooperation among preservation that have been pub- al Archives,” and “Digital Archiving.” individuals concerned with the col- lished in both the United States and The latter group will be of special lection, preservation, exhibition and Canada in recent years. AMIA deliv- interest to animation and special use of moving image materials. The ered testimony before the U.S. Con- effects professionals interested in the organization promotes standards gress in support of the National Film rapidly developing area of “media and practices, stimulates research, Preservation Act of 1996, and now asset management.” and encourages public awareness holds a seat on the National Film of moving image preservation. It Preservation Board. The association publishes the quarterly AMIA is also a member of the Alliance for AMIA’s listserv (AMIA-L) is Newsletter, maintains the AMIA web Canada’s Audio-Visual Heritage. one of the archival communi- site, and is developing a journal that In 1997 AMIA’s Board of ties most dynamic and valu- will combine scholarly and technical Directors created a new AMIA Com- able resources. approaches to moving image mittee on U.S. National Moving preservation. AMIA also honors the Image Preservation Plans. The com- work of film and television archivists mittee’s mandate is to review, prior- AMIA Membership through its awards program. Each itize and develop strategies for Membership in AMIA is avail- year AMIA bestows its Silver Light implementing the many recom- able on a calendar year basis to any Award in recognition of career mendations included in the two interested individual or organiza- achievements, and the Leab Award U.S. moving image plans published tion. Members receive the AMIA for important contributions to the by the Library of Congress: Redefin- Newsletter; invitations to all AMIA field. ing Film Preservation (1994) and meetings and events; discounted Television and Video Preservation registration fees for AMIA annual (1998). The strategies will identify conferences; and the benefits of AMIA’s listserv (AMIA-L) is what needs to be done, who affiliation with the world’s leading one of the archival communi- should do it, and how much will it professional association of moving ties most dynamic and valuable cost. They will be forwarded to the image archivists. Annual member- resources. Library of Congress, after which ship dues are U.S. $50 for individu- AMIA will work with the Library and als, $150 for non-profit institutions, other organizations to carry out and $300 for commercial institu- Education and Training their implementation. tions. Subscriptions to the AMIA One of AMIA’s most impor- Newsletter are available to students tant goals is to establish scholarship Committees and Interest and libraries at a cost of $35 per and internship programs to help Groups year. educate and train the next genera- AMIA’s three membership For more information about tion of moving image archivists. committees, “Preservation,” “Cata- AMIA, contact the association’s office With support from the Mary Pick- loging & Documentation,” and in Beverly Hills, California at (310) ford Foundation and Sony Pictures, “Access,” are standing committees 550-1300 or e-mail amia@ix.net- AMIA offers the only scholarship pro- established by the membership to com.com. Membership and annual gram in North America that sup- develop, promote and facilitate conference information can be ports students pursuing graduate- archival related activities. They meet found on AMIA’s web site at level studies in moving image at least once a year during the www.amianet.org. preservation and archiving. In addi- annual AMIA conference, and are Gregory Lukow is director of the tion, AMIA conducts an annual Basic open to all members who agree to Training Workshop and presents participate actively in the work of American Film Institute’s National special workshops, forums, and the committees. AMIA’s Interest Center for Film and Video Preser- advanced technical symposia, Groups are affiliation groups creat- vation. He has served as AMIA’s including the “Reel Thing Labora- ed by individual members who founding secretary and member tory Technical Symposium,” which share common interests and work of its Board of Directors since discusses recent preservation work. together for mutual benefit. They 1991. are open to all who wish to partic- Note: Readers may contact any National Plans ipate. Current AMIA Interest Groups Animation World Magazine con- AMIA is heavily involved in are devoted to “News & Docu- the crucial work of developing the mentary Collections,” “Inédits” (ama- tributor by sending an e-mail to national plans for moving image teur footage), “Copyright,” “Region- [email protected].

ANIMATION WORLD MAGAZINE May 1998 71 by Wendy Jackson Business Moe and others), Dan Castellaneta (Homer, Krusty, Barney and others), MSH Comes Of AGE. MSH Enter- Harry Shearer (Mr. Burns, Ned Flan- tainment Corporation, a TV pro- ders and others) and Yeardley Smith duction, music and software devel- (Lisa)— requesting salaries upwards opment company, has agreed to of $100,000 per episode and pro- acquire a majority interest stake in ducers poised to re-cast new voices Abrams-Gentile Entertainment for the animated series. Nancy (AGE), a New York-based indepen- Cartwright (Bart) and Julie Kavner dent producer of children’s pro- (Marge and her sisters) had reached gramming, toys and merchandising prior agreements with Fox. Pro- properties. The two companies have duction, which had been put on been working together for two hold during negotiations, began years on the production of the com- immediately with a script reading puter-animated TV series, Van-Pires, on April 2 attended by all of the Nancy Cartwright. which is now in production on its actors and a recording session on second season. AGE, which has out- April 6 for the 1998 Halloween this added gag, and that it was put more than 150 hours of family episode. Daily Variety (4/3/98) most likely planted by one of the programming in the past four years, reported that the cast members’ producers at Gracie Films who has is most known for its successful toy salaries will double to $50,000 per final approval of the show in post- line and animated series, Sky episode next season (season 10), production. Dancers. MSH, a public company jump to $60,000 in season 11 and currently listed on the OTC Bulletin to $70,000 in season 12, and that Musical Chairs. Harvey Enter- Board, is positioning itself to make each actor will receive a $1 million tainment has not renewed its con- a formal application for NASDAQ bonus in the year 2005, though it’s tracts with two of its top executives: listing. Although the terms of the sources for this information were chief executive officer (CEO) Jeffrey deal are not being disclosed, the unnamed. Making light of the situ- Montgomery and chief financial offi- transaction, scheduled to be com- ation, the most recent episode of cer (CFO) Greg Yulish. Instead, the pleted in June, is being referred to The Simpsons which aired on Sun- company has hired former All Amer- as a “merger.” day, April 5, opened with an inside ican Communications CEO To n y joke that may have gotten a laugh Scotti and former MGM chief finan- People from people involved in the show’s cial officer Mike Hope to oversee production, but probably stumped operations for an interim six month Simpsons Voices Settle. All of the most viewers. In the opening period. It has been reported that major voice actors on The Simpsons sequence, Bart wrote as his ever- Harvey’s major shareholders on the have renewed their contracts with changing “chalkboard gag” phrase, board of directors prompted the Twentieth Century Fox to continue “I will not demand what I’m worth.” change of management, for finan- their work on the series. The last of Was this a comment on the con- cial reasons. Concurrently, Harvey the agreements were reached last tract negotiations? Fox declined Entertainment has named Don week, after several weeks of con- comment. But people involved in Gold senior vice president of its tract negotiations which had four the show’s pre-production at Film new Harvey Home Video division, of the actors—Hank Azaria (Apu, Roman said they knew nothing of which will release two animated

ANIMATION WORLD MAGAZINE May 1998 72 his brother Rand Miller, to launch a a live-action feature spin-off of his film development company called independently animated short, Land of Point. . . . Ridefilm produc- Office Space for Fox. Previously he er Ellen Coss (Race to Atlantis, Star directed the series and animated Trek: The Experience), has left feature versions of the property he Rhythm & Hues to form her own created, Beavis and Butt-Head for company with director Mario Kam- MTV. . . . New York-based visual berg (The Fantastic World of effects/post-production company Mike Judge. Hanna-Barbera, Seafari, Star Trek: Manhattan Transfer has hired titles this year and three in 1999. The Experience). The new compa- David Isyomin as visual effects Gold was previously senior vice pres- ny, Escape Artists, Inc. will focus supervisor. Isyomin previously held ident of sales and marketing at Tri- on ridefilms as well as mainstream the same position at Digital Domain mark Pictures. . . . Palo Alto, Cali- theme park work such as attraction in Venice, California and also fornia-based Pacific Data Images development, but will not be a worked at R/Greenberg & Associ- (PDI) has hired John Batter to the closed production entity. “I would ates. . . . Chris Robinson, director newly created position of Chief love to give work to Rhythm & of the Ottawa International Anima- Financial Officer. He previously held Hues,” said Coss, who worked at tion Festival (OIAF) has recently the same post at DreamWorks Inter- R&H for over five years and main- added an editorial role to his slate. active where he was part of the tains a working relationship with the He will be the editor of FPS, a Cana- start-up management team. Prior to company. . . . Producer Kristina dian print magazine about anima- DreamWorks, Batter was CFO for Reed also recently exited Rhythm tion which was previously edited by game developer Xatrix Entertain- & Hues to join Disney-owned effects Emru Townsend. Kelly Neall, a ment. Batter’s appointment will free studio Dreamquest Images. She past co-director of OIAF, will be asso- up time for PDI founder and presi- is now working as a digital producer ciate editor. FPS expects to print dent Carl Rosendahl to move into on the live-action feature film, quarterly issues starting in fall 1998. a chairman’s position. The company Inspector Gadget. . . . King of the . . . NELVANA Enterprises in is also searching to fill an addition- Hill writers Alan Cohen and Alan Toronto has named Sean Murch al executive CEO or COO post to Freedland, along with the show’s director of Canadian Sales & Distri- assist Rosendahl. In addition, PDI co-creator, Mike Judge have sold a bution. He was previously director recently promoted Patty Wooton pitch to Twentieth Century Fox for of development at Natterjack Ani- to senior vice president of produc- a live-action feature film called Lost mation in Vancouver, and his back- tion. . . . . Visual effects director Ric in Duncanville. Mike Judge, who ground includes stints with Radical Ostiguy, animation director Gun- has a first look film and TV deal with Entertainment and Red Rover Film nar Hansen, animator Alexandre Fox, will supervise development of, Company. . . . New York and San Lafortune and executive producer produce and may direct Dun- Francisco-based commercial studio Mario Doucet have formed canville. Judge is currently directing Curious Pictures has added five Voodoo Arts, a new digital production studio in Mon- treal, Canada. All previously worked for Santa Monica, California- based Buzz Image Group (now part of POP). . . . Robyn Miller, co-creator of the CD-ROM game Myst and its sequel, Riven, is leaving Cyan, the company he founded with The Voodoo Arts creative team. © Voodoo Arts.

ANIMATION WORLD MAGAZINE May 1998 73 new designer/directors to it’s roster: Sylvain Chomet is best known for his award-winning and Oscar-nominated animated short film, The Old Lady and the Pigeons and his career to date includes animating at U.K studios Richard Purdum Productions and Tandem Films; Andy Knight and Linzi Knight co-founded Toronto-based Red Rover Studios (Andy recently directed Beauty and the Beast: The Enchanted Christmas for Disney, and is also the creator of the Fox/NELVANA animated series, Ned’s Newt); Joan Raspo has worked for VH1 and Two Headed Monster; and Susan Smith is creative director at WIG, the graphics It’s Tough to be a Bug at Animal Kingdom. © 1998 The Walt Disney Company. arm of Western Images in San Fran- ter. Rose Duignan, who will join Data Wranglers, whose clients cisco. She will remain in this posi- Tippett as marketing director, was include The Disney Channel, Mira- tion while directing commercials for most recently development/man- max and HBO. . . . San Francisco- Curious. . . . New York-based broad- agement/marketing consultant for based studio, Radium has hired cast design firm Lee Hunt Associ- Rhythm & Hues in Los Angeles. Her CGI artists Agata Bolska, formerly ates (LHA) has added two new background also includes work at of Xaos, and recent Academy of Arts executive producers to it’s staff. Kate ILM and Danger Productions (Bump graduate Debra Santosa to work Cestar, formerly a producer at Fox in the Night). Joining Tippet as visu- on 3-D computer animation for Broadcasting, f/X Networks and al effects supervisor is Bruce commercials and feature films. Comedy Central, will be executive Nicholson, whose background producer of Promos and Caarin includes visual effects directing and Places Fleischmann, formerly of Cross- supervising on Star Wars Trilogy roads Communications, will be Special Edition, Special Effects Disney Animates Animals. Dis- executive producer of Long Form (IMAX), and more than 30 other ney’s new theme park, Animal King- for LHA. . . . San Francisco-based films and commercials. . . . dom, opened in Orlando, Florida effects and animation house, Tip- Klasky Csupo has named Vicki on April 22. The 500-acre park fea- pett Studio has hired two new Ariyasu director of development. tures live animals, rides, and a few people to expand it’s feature film ros- In this position she will attractions which utilize animation. oversee the development It’s Tough to be a Bug, a show that of all new television and takes place in a 430-seat theater feature film projects. inside a giant tree, combines 3-D Ariyasu was most recent- computer animation with anima- ly executive vice president tronic characters. Viewers wear of Bagdasarian Produc- “bug-eye” polarized glasses to view tions, and previously the animation, which was pro- worked at Caravan Pic- duced by Disney and Rhythm & tures and Amblin Televi- Hues in association with Pixar, sion. She also owns and which is currently in production on CGI artists Agata Bolska and Debra Santosa joined operates an independent the CGI animated feature, A Bug’s San Francisco-based studio, Radium. Photos courtesy consulting firm called Life. An adventure ride called Count- of Radium. ANIMATION WORLD MAGAZINE May 1998 74 “Institute Benjamenta” will be Theatre in Vancouver (April 17-May available in May, via mail 10) and the Roxy Theatre in Victoria order from Koninck, 19-20 (May 15-21). Rheidol Mews, Rheidol Ter- race, London N18NU, U.K. Prince Of Egypt Making Religious Rounds. When you make a film Spike & Mike Fest. No, it’s based on the bible, the public’s per- not “sick and twisted.” It’s ception of it’s content cannot be Spike & Mike’s 1998 Classic taken lightly. That’s why Dream- The mysterious Quay Brothers. Festival of Animation, which Works co-founder Jeffrey Katzen- down to Extinction features ani- opened on April 10 at the berg is screening the film to religious mated visual effects and animatronic Castro Theatre in San Francisco, Cal- leaders around the world. On a dinosaurs. The park also features ifornia. The program includes Pixar’s recent trip to Europe, Katzenberg stage shows based on Disney’s ani- Oscar-winning short, Geri’s Game, presented the film to 68 cardinals mated features: Festival of the Lion Piet Kroon’s T.R.A.N.S.I.T., Aardman’s and officials at the Vatican, and to King, Colors of the Wind, Friends Stage Fright, Lasse Persson’s Hand in Moslem clerics, Jewish rabbis and From the Animal Forest, and Jour- Hand, Ben Gluck’s Man’s Best the Anglican Archbishop of Lam- ney Into Jungle Book. Friend, Berad Beyreuther, Daniel beth, sources inside the company Animation World Magazine Binder and Robert A. Zwirner’s say. Although the Pope himself was will feature an inside look at Animal Güten Appetit, Don Hertzfeldt’s Lily unable to attend the Vatican screen- Kingdom in an upcoming issue. and Jim, Blair Thornley’s Underwear ing, he is expected to see the film in Stay tuned to the Animation Flash Stories, Rob Breyne, Nico Meule- May. Sources say the trip was a for details. mans and Lef Goosen’s Museum, “great success,” but DreamWorks Silke Parzich’s Spring, Zlatin Radev’s declined further comment. Prince Films Shock and Alexei Karaev’s Welcome. of Egypt is expected to wrap pro- The show is also booked at San duction in July, and will open in U.S. Quays New Film In The Works. Francisco’s Palace of Fine Arts (April theaters on December 18, 1998. The Brothers Quay, the London- 24-May 9), and elsewhere in Cali- based twin brother directing duo fornia, in Spike and Mike’s home Disney, DIC Extend Live-Action known for their dark, bizarre puppet town of La Jolla (April 3-June 13), Deal. Animated characters such as animated films (Street of Crocodiles, Landmark’s UC Theater in Berkeley Sailor Moon, Inspector Gadget and Epic of Gilgamesh ), are developing (April 17-26), the Towne Theater in Carmen Sandiego are making a feature length film with producer San Jose (April 24-May 14), The Lark moves into live-action features, Keith Griffiths and his company, Theater in Larkspur (May 15-28), through a recently renewed first- Koninck. Tentatively titled The Stanford University in Palo Alto (May look deal between Walt Disney Pic- Mechanical Infantata, the film has 14-23), Lakeside Cinemas in Santa tures and DIC Entertainment’s DIC been developed for Film 4. Koninck Rosa (May 29-June 4) and theaters Films division. Inspector Gadget, a is currently seeking co-production in Sonoma (June 26-July 2), and in live-action feature based on the partners and hopes the film will go Los Angeles (July 3-9) and Orange 1980s animated series about a into production in Europe during County (July 17-23). Additional con- bumbling detective, is slated for the Spring of 1999. Polish compos- firmed showings are slated for release in summer 1999. Projects in er Lech Jankowski is set to score the Austin, Texas (June 26-July 16), development include: Sailor Moon, film and preliminary casting in Louisville, Kentucky (June 26-July 9), based on the Japanese animated underway. The Brothers Quay Kansas City, Missouri (July 3-9), Lex- series/merchandising property and made a departure from animated ington, Kentucky (July 17-30), set to star actress Geena Davis, and shorts with their first live-action fea- Atlanta, Georgia (August 7-13), Where in the World is Carmen ture, Institute Benjamenta in 1995. Charleston, South Carolina (August Sandiego?, produced in association Lech Jankowski’s film score from 21-27), and in Canada at the Ridge with Sandra Bullock and her com-

ANIMATION WORLD MAGAZINE May 1998 75 pany, Fortis Films. DIC years old when Toon Dis- Films’ first live-action fea- ney launched on April 18. ture with Disney, Meet the Deedles opened in UPN To Air Disney Block. April in U.S. theaters. In Viacom-owned cable net- late March, DIC work UPN has reached an announced the forma- agreement with Buena tion of a direct-to-video Vista Television to broadcast animation division, Disney animated children’s which will produce an programming. Starting in animated Inspector fall 1999, UPN will air a Gadget video. two-hour block of syndicated, Disney-branded Television shows which is most likely to include programs from Toon Disney Launch. the “Disney’s One Saturday Disney/ABC Networks’ Morning” block which cur- new U.S. cable net- rently airs on ABC: Disney’s work, Toon Disney, Recess, Disney’s Doug, Dis- launched on April 18 to ney’s Pepper Ann and Dis- at 3:00 p.m. ET/12:00 p.m. PT with an audience of nearly five million ney’s Hercules. Kellogg’s, which The Sorcerer’s Apprentice (1940) basic cable subscribers nationwide sponsored the “Disney Afternoon” and other classic Mickey Mouse who have digital service from syndicated program block, will shorts. At 7:00 p.m. ET the chan- DirecTV, Marcus Cable and direct retain it’s primary sponsorship role nel’s nightly prime time block, “The broadcast satellite service EchoStar. as the programming moves to UPN. Magical World of Toons,” will debut. In the coming months, Toon Disney Buena Vista will sell the block in ter- “Magical World” showcases shorts will be added to expanded basic ritories which are not reached by and series themed around Disney cable line-ups being offered by Cen- UPN affiliates. Advertising time will characters such as Mickey and Min- tury Communications, Rivkin & Asso- be split between the two compa- nie Mouse, Donald Duck, Goofy ciates, Galaxy Cable, Classic Cable, nies. This deal closes over two and Pluto. On Friday nights, the Coaxial Communications and Amer- months of negotiations in which show features animated features, icast, expanding the audience to UPN was also talking to Nick- many of which were produced for about six million. Initially the net- elodeon about a similar kids pro- the home video market, such as The work will not be supported by gramming deal. “Children’s pro- Return of Jafar, as well as theatrical advertising, but by Disney, who will gramming has long been a signifi- releases such as A Goofy Movie, actually pay cable operators to carry cant priority for me,” said UPN CEO Alice in Wonderland and The Brave the channel on basic service to Dean Valentine, “This exemplifies Little Toaster. The majority of the reach more subscribers. As the sub- our plan to aggressively attract the daytime and late night slots are pro- scriber base increases, this will be mainstream television audience to grammed with blocks of series balanced out by license fees which watch UPN and it’s a giant step in owned by Disney/ABC, such as will be paid to Disney by the cable our growth as a broadcast net- Gummi Bears, Bump in the Night, operators. The 24-hour, all-anima- work.” Valentine was actually Jungle Cubs, Bonkers, The Littles, tion channel will showcase anima- involved in the development of sev- Gadget Boy, Marsupilami, Made- tion from the Disney library of more eral of these Disney shows when line, Quack Attack, Goof Troop, than 2,000 series episodes as well he was president of Walt Disney TaleSpin, and Darkwing Duck. as shorts, specials and features pro- Television and Television Animation Roughly half of these series are duced in the past seven decades. before being hired away as CEO of shared with sister network, The Dis- Programming started on a Saturday UPN in September 1997. ney Channel, which turned 15

ANIMATION WORLD MAGAZINE May 1998 76 Groening Going To Futurama. Fox Broadcasting Co. has ordered 13 episodes of Futurama, a new, prime time animated series developed by Matt Groening, creator of The Simp- sons. The comedy series is slated to debut on the Fox TV network some time in 1999. It will be produced by Twentieth Century Fox in association with Groening’s Curiosity Com- pany. Groening will be executive producer and the show runner will be David Cohen, who has been a writer on The Simpsons. for five years. Rough Draft Animation, a studio based in Los Angeles and Korea, which does production work on The Simpsons, has been tentatively selected as the sole production com- The animated series, Recess will be included in a Disney-branded program block on pany. Employees of Film Roman, UPN. © Disney. the U.S. animation studio which cur- such battles as “Hillary Clinton vs. slots, following the advertisers’ buy- rently does The Simpsons. and King Monica Lewinsky” and “Letterman ing spree induced by the of the Hill for Fox, were informed vs. Leno.” The show is filmed in announcement of network pro- last week that they would not be MTV’s New York studio with a digi- gramming line-ups for the 1998/99 working on Futurama. tal camera system, which enables season. But this year, the ad buying animators to work and edit quickly, period referred to in the industry as Celebrity Death Match, one of the without waiting for film processing. the “kids upfront” advertising mar- animated properties which This digital camera system, which ket, was postponed until the end launched as an animated short on uses Macintosh computers, was of April. The networks have MTV’s “Cartoon Sushi,” will be the developed by supervising animator announced their programming, but first to debut as a weekly series on Greg Pair, of AMPnyc Animation. the advertisers aren’t buying yet. May 14. Created by Eric Fogel, an Creator/director Eric Fogel said this One of the reasons for this is that NYU Animation graduate who also technique allows for the fast turn- the upcoming August 1998 launch created the MTV series, The Head, around needed to be able to proof Saban/News Corp.’s new cable Celebrity Death Match is a clay-ani- duce a show that pokes fun at cur- network, The Fox Family Channel, mated sketch show which parodies rent events. Fogel also plans to will give advertisers (and kids) an celebrities and public figures by pit- make a stop-motion animated fea- additional seven days a week of kids ting them against each other in ture film of his thesis film, Mutilator, programming to choose from, on WWF wrestling-style fights. Coin- which is currently featured in Gen- top of what’s already being offered ciding with the final episode of the eral Chaos, Manga Entertainment’s by Nickelodeon, Cartoon Network, NBC sitcom, Seinfeld, the premiere theatrical compilation of animated Kids WB!, Fox Children’s Network, episode of Celebrity Death Match shorts. ABC, The Disney Channel and now will include caricatures of Seinfeld the new, commercial-free animation battling with Home Improvement Kids Upfront Moved Ahead. Usu- network Toon Disney. The increase star Tim Allen. A total of thirteen half- ally by this time of the year, U.S. TV in kids programming outlets as well hour episodes have been commis- and cable networks have sold most as other distractions such as com- sioned by MTV, and will include of their advance advertising time puters, sports and video games, is

ANIMATION WORLD MAGAZINE May 1998 77 spreading kid audiences thin, and add at least two more networks in block called “Freddy’s Firehouse,” lowering ratings, thereby delivering Europe by the end of the year. . . . which will air for three hours on Sat- fewer viewers for each advertising The French network FRANCE 3 has urday and two hours on Sunday. In slot. Plus, more kids’ fare is being signed a deal with Nickelodeon to addition to airing on Pax Net, “Fred- introduced later this year with the air the entire library of Rugrats dy’s Firehouse” will also be sold inter- launch of Pax Net in August and episodes. . . . U.K.-based Polygram nationally as an independent for- CBS’ return to Saturday morning in Visual Programming has made a matted package. Distribution is the fall. The future also holds the deal with Walker Books to produce being handled by Disney arm, possibility of new family-oriented 13 half hours of an animated series Buena Vista International. channels from HBO and The Jim based on the “Maisy” books by Lucy Henson Company. Nickelodeon Cousins. The series has been pre- TV Summit Supports Co-Pro- beat other broadcasters to the sold to Nickelodeon in the U.S. and duction. At the second World Sum- punch in 1995 and 1997 by pre- ITV in the U.K. . . . VARGA tvc has mit on Television for Children, held selling advertising for two-year signed a co-production deal with recently in London, broadcasters, blocks, so many of the biggest kids’ Link Entertainment for Preston producers and educators from 81 advertisers—such as cereal, toy and Pig, based on a book by Colin countries gathered to exchange fast food companies—already have McNaughton. Link will handle ideas. A common concern was that half of their 98/99 ad budgets com- worldwide licensing and distribu- children worldwide are experienc- mitted. Meanwhile, other networks tion for the series. . . . Ellipseanime, ing a globalization of culture and will have to wait for the kids upfront a subsidiary of French broadcaster an erosion of cultural diversity. The market to get started as buyers wait CANAL +, announced plans to pro- World Summit is now overseeing to see what this season’s going duce one animated feature film what is believed to be the largest prices are. The buying frenzy usu- every two years and to double it’s co-production in the world: a tele- ally lasts only a day or two after a TV production output to eight series vision series called Animated Tales major buyer sets a deal with one or by the year 2000. The first features of the World. Co-producers from 26 more of the networks. will be Babar (with NELVANA and different countries will each produce For further reading on this Trickompany) in 1999 and Bécas- a story from their culture and ani- subject, delve into AWN’s Septem- sine in 2000. Ellipseanime’s upcom- mate it in a style consistent with that ber 1997 issue and read Buzz ing new TV series include Fan- culture. The result will be 26 short Potamkin’s article, “The Cost of Eye- tomette, Ixcalibur, Pirate Family, animated films, or 13 half-hour balls: Advertising Dollars & TV.” Cairo Cops, Agrippine, The Busters episodes in all, by April 2000. It is and Frog. hoped that an additional block of News From MIP. The MIP TV mar- 13 episodes will be created each ket took place April 3-8, 1998 in DIC Pacts With PAX. Disney- year. Co-producers in 20 countries Cannes, France. Animation World owned DIC Entertainment will pro- have confirmed their participation Magazine also has a full review in vide five hours of animation pro- thus far and 17 additional countries this issue, but here we’ll report the gramming a week to Paxson Com- are expected to commit for the first latest deals and breaking news. munications’ new U.S. family enter- and second seasons. The total bud- Saban/News corp. co-venture Fox tainment network, Pax Net. An get for the first 26 films is U.K. £5.2 Kids Worldwide announced the exclusive, two year agreement million. Financing for individual films expansion of Fox Kids Europe with reached between the two compa- will be on a sliding scale factoring the launch this month of three new nies names DIC as the sole provider market share and value; industrial- programming blocks in Spain, Scan- of children’s programming for the ized countries will pay more than dinavia and Poland. Fox Kids television network group, which will developing countries. All equity, dis- Europe managing director Ynon launch on August 31, 1998. Much tribution advances and future rev- Kreiz said the company aims to of the programming will be from enue will be held by and used to launch Fox Kids programming in DIC’s existing animation library, pack- fund The World Summit on Televi- every country in Europe, and will aged as an educational program sion for Children. Combined, broad-

ANIMATION WORLD MAGAZINE May 1998 78 cast territories and satellite partners sales. “We created a second feed to ducers of The Simpsons. If green lit will air the series in 80 countries and satisfy this demand.” Station groups for production, Oakley and Wein- 27 languages. The project will pro- which have already signed for a stein will be the series’ executive provide work for more than 2,000 peo- BKN II affiliation include Sinclair, Tri- ducers. The show revolves around ple over three years. Chris Grace, bune, Clear Channel and Acme. “All and is aimed at the young adult director of animation at S4C in BKN I stations will still receive Syn- demographic, and features a pair Wales, initiated the project in fall dex protection as the shows will be of brothers living in New York City. 1997 while preparing a session on totally different,” added research Glenn Padnick, president of Castle co-production for the World Sum- manager Marci Cohen. The BKN II Rock’s Television unit, said this is the mit. The concept is consistent with lineup will include Bohbot’s library first animated series to be developed S4C, BBC and Channel 4’s previous series, “Mighty Max,” “Highlander- by the company, whose live-action animation co-productions such as The Animated Series,” “The Mask- credits include Seinfeld. Shakespeare-The Animated Tales, The Animated Series,” and “Adven- Operavox, Testament-The Bible in tures of Sonic the Hedgehog.” Dexter Plot by Devoted Tot. A Animation and Animated World story idea submitted to Hanna-Bar- Faiths. CN Surveys Euro Kids. Cartoon bera by a young viewer was adapt- Confirmed production part- Network U.K. and Continental ed as a seven-minute episode of ners for Animated Tales of the World Research recently conducted a sur- Dexter’s Laboratory and aired on are: CBC/TFO (Canada), HBO vey of 2,250 European kids aged 5- Cartoon Network on April 29, 1998. (U.S.A.), Discovery Kids (Latin Amer- 11, that comprise their viewing Seven-year-old Tyler Samuel Lee of ica), Channel II (Mexico), SABC audiences in the U.K., Netherlands, Long Island, New York sent in an (South Africa), TVB (Burkina Faso, Sweden, Spain, Hungary and audio tape of his original story idea Africa), TVP (Poland), KRO (Holland), Poland. An average of 39% of kids (complete with believable Dexter La Cinquiéme (France), Channel 4 surveyed have a television in their voice impersonations!) at the (England), S4C (Wales and Russia), bedroom (60% in England!). Polish encouragement of his mother, T na G/RTE (Ireland), PTV (Pakistan), kids have the highest readership of whose voice is also featured on the S4C (China), TCS (Singapore and magazines, comics and newspa- tape. Series creator/director Gen- Malaysia), NRTV (Nauru), SBS (Aus- pers. Spanish kids read the least, but ndy Tartakovsky liked it so much, he tralia), NZTV (New Zealand) and watch the most home videos (aver- is using the unedited tape as the ART (Gulf States, Middle East). Addi- aging 2-3 per week). Personal com- actual narration and voice over for tional countries which are expect- puters at home are highest among the 50th episode of Dexter’s Labo- ed to commit include Brazil, Israel, kids in Holland (69%), but Sweden ratory. The episode, titled “Dexter Korea, Japan, Latvia, Slovakia and has the highest percentage of Inter- and Computress Get Mandark” is others. net-using kids (34%). Asked which animated in the style of a second- parental traits they were most grader, with crayon-colored back- Bohbot Syndicating Second Kids annoyed by, the kids gave top votes grounds and crudely-drawn char- Net. Bohbot Entertainment & to smoking and nagging. acters. Lee was compensated for his Media is launching a second syndi- contribution, but fans need not rush cation network in September 1998. Castle May Rock In Prime Time. in with their story ideas. The show’s BKN Kids II will offer programming Castle Rock Entertainment has sold producers say the cooperation with to stations not granted an affiliation an animated series pitch to Warner Lee was a one in a million fluke. “We to The BKN Kids Network, Bohbot’s Bros.’ television network, The WB, get lots of letters and comments first syndication network launched and is currently developing the from fans, but Tyler’s tape just in September 1997. “In certain top property for possible debut in a floored us,” said Tartakovsky. “His 50 markets, we had several offers prime time slot on the U.S. network story demonstrated a great under- from stations to become our affili- in late 1998 or early 1999. The unti- standing of the show and genuinely ate,” said John Hess, Bohbot’s senior tled series was created by Bill Oak- captured the imaginative kid per- vice president of affiliate station ley and Josh Weinstein, former pro- spective we’re always striving for.”

ANIMATION WORLD MAGAZINE May 1998 79 er created a bumper campaign the U.S. by Curious Pictures, cre- for Cartoon Network. Titled ated a seven and four second Mouse Hole, Hospital, Taxi, Night bumper for Nickelodeon’s Toons City, Factory and Circus, the six From Planet Orange, a program ten-second network ids and five showcasing animation from around five-second bumpers blend the world. The director was John 1950s-influenced graphic art Robertson and computer animation direction combined with com- was handled by Giant in Auckland. puter-enhanced choreography The bumper spots aired as promos and digital compositing. Post-pro- on April 15 but the show will pre- duction was handled by Virtual miere on Nickelodeon this summer Magic . . . . Acme Filmworks . . . . New York-based Curious Pic- also produced a commercial for tures also produced a series of com- Tenet Health System, directed by mercials for the Ad Council and the Barrie Nelson. The 30-second spot Coordinated Campaign for Learn- utilizes 2-D, cel-style animation. ing Disabilities, through the agency Seven year-old Tyler Samuel Lee devised the concept and voice track of the 50th episode Virtual Magic handled digital ink DDB Needham. The two 30-second of Dexter’s Laboratory. Photo courtesy of Car- and paint and compositing. The and two 15-second spots combine toon Network. agency was Big Imagination live-action with 3-D computer ani- Dexter’s Laboratory debuted on Car- Group in Los Angeles. . . New York- mation by David Kelley and Liz De toon Network in 1996 and was the based The Ink Tank created it’s third Luna . . . . Curious Pictures’ direc- network’s highest-rated series in and fourth 30-second commercials tor Steve Oakes created three 15- 1996 and 1997. for Phoenix Insurance Investments, second spots for TCG Communica- through Emmerling Post Advertis- tions which combine live-action and Commercials ing. Basketball and Varsity, direct- animation. Balloon, Sand Castle and ed by Tissa David, depict animated Butterfly use stop-motion and Spotlight.Acme Filmworks direc- letters of the company’s logo, Fiscal replacement animation as well as tor Bill Plympton created two ani- Fitness. Digital ink and paint was 2-D computer animation and mor- mated PSAs as part of a literacy done on an Animo system by Tape- phing. The stop-motion animator campaign sponsored by 7-Eleven. house Ink and Paint in New York. . was Ellen Goldstein. . . . Manhattan The two 15-second spots will air as . . Minneapolis, Minnesota-based Transfer also created 2-D and 3-D bumpers on the PBS series Wish- Lamb & Company created a vir- visual effects for two 15-second bone. The agency was The Richards tual version of actor Alan Alda, to commercials for the agency Weiss, Group in Dallas, Texas, and the pro- appear on the documentary series, Whitten, Stagliano and their client ducer was Diana Lawless. . . . Scientific American Frontiers. Another Acme director, Bill Kroy- The character was created by scanning the actor’s head at Viewpoint Datalabs. Animators at Lamb & Company then used Smirk facial animation technology to create 45 seconds of animation which was blended with live-action using Flame. . . . New Zealand-based Flea Flea Circus’ opener for Toons From Planet Circus, represented in Orange. © Nickelodeon. Most Wanted. © Manhattan Transfer.

ANIMATION WORLD MAGAZINE May 1998 80 Don Bluth and Gary Goldman’s first independent animated film, Banjo the Woodpile Cat. Images courtesy of Twentieth Century Fox Home Entertainment. Barnes & Noble’s Internet Bookstore. Maryland, U.S.A. The campaign, Goldman’s first independent ani- 3-D animator Keith Stichweh utilized titled “Venom-Striking Beauties,” was mated film, Banjo the Woodpile Cat, Softimage to create an animated created by director Jonathan Hodg- available for U.S.$9.98 (Canadian globe and text for the spots, titled son, who filmed watercolor paint- $11.98) starting May 5, 1998. The Orbit and Asteroids.. . . . Boston- ings on white paper, then used the 29-minute film, depicting the story based Olive Jar Studios created film negative rather than the print, of a young cat who runs away to stop motion animation and New to achieve a dark, atmospheric look. the big city in search of adventure, York-based Manhattan Transfer . . . . Santa Fe, New Mexico-based was created in the late 1970s, just created visual effects for a 30-sec- Flamdoodle Animation created a before the directing duo left Disney ond spot for Saatchi & Saatchi and 30-second spot for the Nevada to create their own animated fea- their client Pepperidge Farm, pro- Office of Traffic Safety. Director Jeff tures (The Secret of NIMH, An Amer- moting Flavor Blasted Goldfish. The LaFlamme used Animo, Photoshop ican Tail, et al.). Bluth and Goldman stop-motion commercial, titled Most and Painter software to create the are now on staff at Fox Animation Wanted, was brought to life in clay animation. . . . Flamdoodle also Studios in Phoenix, where they by animation director Richard Zim- created a five-second bumper for directed Anastasia, which was merman and animator Jeff Sias. . . Eye Care of New Mexico, using released on video April 28. . Los Angeles-based Click 3X cre- Animo and Lightwave software, ated four computer animated com- and a six-second bumper for Ohkay For background information on mercials for Stone & Ward Advertis- Casino, using Animo and Photo- Don Bluth, visit Jerry Beck’s article, ing’s client, Terminix. The 30-second shop. . . . “Don Bluth Goes Independent” in spots were created in five weeks. the June 1996 issue of Animation Credits include director of anima- Home Video World Magazine. tion Jamee Houk, director of CG Steve Martino and Flame artist Darin Fox Will Play Goldman & Bluth’s South Park’s On Warner Video. Fong. . . . London-based Sherbet Banjo. Twentieth Century Fox The first official, commercially pro- created two ten-second spots for Home Entertainment will make a duced videos of the animated the National Aquarium in Baltimore, video release of Don Bluth and Gary series, South Park will be released ANIMATION WORLD MAGAZINE May 1998 81 zine. Electric Image, Inc. The two pri- vately-owned companies have Fox Kids Delivers Cheap “known each other for more than a Vids. Twentieth Century Fox decade,” said Electric Image co- Home Entertainment is flood- founder Jay Roth. Under the name ing the kids home video mar- Electric Image, the expanded com- ket with eight new releases pany intends to create “a new breed priced at U.S. $5.98 (Cana- of graphics and video products with dian $7.98) each. The titles unparalleled capabilities.”. . . . being released on April 7 are Alias/Wavefront unveiled the Win- re-releases of the TV series dows NT version of their new, next South Park, created by Trey Parker and Matt Stone. episodes and vault films: The generation animation software, © Comedy Central. Adventures of Raggedy Ann Maya. While the IRIX/Silicon Graph- on May 5, by Warner Home Video, & Andy: The Mabbit Adventure, ics-compatible version debuted in through a licensing arrangement Bobby’s World: Roger ‘n Me, Cin- January, the Windows NT version with Rhino Home Video. The three derella, Life With Louie: For Pete’s is slated for a June release. Read a tapes will contain the series’ first six Sake, Life With Louie: The Masked review of Maya in the February episodes, complete with close-cap- Chess Boy, Snow White and The 1998 issue of Animation World tioning: “Cartman Gets an Anal Tick: The Tick vs. Arthur. In July, Fox Magazine . . . . MEDIALAB Studio Probe,” “Volcano,” “Weight Gain Kids will debut a line of pre-packed, LA is using Softimage’s Toon Shad- 4000,” “Big Gay Al’s Big Gay Boat in-store standing displays with addi- er software to get a traditional 2-D Ride,” “An Elephant Makes Love to tional short animated videos rang- look from their real-time motion cap- a Pig” and “Death.” Also included ing in price from $5.98 to $9.98 ture system, CLOVIS. The use of are exclusive “fireside chat” interview each, like: Dr. Seuss sing-along titles Toon Shader enables Medialab to sequences with the show’s cre- The Cat in the Hat, Green Eggs and create 3-D characters with outlines ator/directors, Matt Stone and Trey Ham, The Hoober-Bloob Highway, like traditional cel animation, yet Parker. However, Stone and Parker The Lorax, Grinch Night, The Grinch retain their computed shadows, opted not to include on the tapes Grinches the Cat in the Hat and camera angles and lighting set-ups. The Spirit of Christmas, the infamous Pontoffel Pock & His Magic Piano, The technology is being used in animated short that spawned the as well as Spider-Man, The Incredi- Medialab’s Paris studio for the pro- South Park series. Fans will have to ble Hulk, Iron Man, The Fantastic duction of an original animated continue downloading that one off Four, Garfield and Where’s Waldo? series pilot called Sphinx. Get the the Internet and trading bootleg inside scoop on Medialab in the tapes. Each volume is priced at Why this growth in the home video February 1998 issue of Animation $14.95 and is labeled with a TV-MA market? Read our extensive cover- World Magazine . . . . Kinetix and rating and consumer warning label. age on this aspect of the industry Discreet Logic have formed a part- Some may wonder: Why is the in the November 1998 issue of Ani- nership to jointly develop and mar- video being released by Warner mation World Magazine. ket software combining their respec- Bros.? The series is owned by Com- tive specialties in 3-D modeling/visu- edy Central, which is owned by Technology al effects/animation and Comedy Partners, a joint venture of editing/post/digital media produc- Time Warner Entertainment and Via- Tools Of The Trade. Following the tion. At NAB, the two companies com. National Association of Broadcast- showcased new integration Have you ever wondered ers (NAB) convention in Las Vegas, between their software products: what Matt Stone and Trey Parker’s technology announcements Kinetix’s 3D StudioMax R2.5 and Dis- favorite films are? Check out their abound. Video software company creet Logic’s Effect and Paint pro- top ten pick lists in the September Play Incorporated merged with 3- grams. . . . Chicago-based game 1997 edition of “The Desert Island D animation software company producer TerraGlyph Interactive Stu- Series” in Animation World Maga-

ANIMATION WORLD MAGAZINE May 1998 82 dios has selected MediaPEGS’ papers to be presented at a joint is May 29 and entry fees range from PEGS 2-D animation software as meeting of comics scholars and pro- U.S.$35 to $75 depending upon part of its digital animation produc- fessionals in San Diego, California length. For entry forms and infor- tion system. . . . TCLai Enterpris- during the Comic-Con Internation- mation, call (773) 281-9075. es is developing a product called al, August 13 - 16, 1998. Faculty, Shooter, a Macintosh software pack- students, and those outside the uni- MTV Offering Student Rewards. age which enables one to shoot versity community are encouraged As a way to bolster development frame by frame film from a com- to make submissions for papers and and recruiting efforts, MTV Anima- puter monitor, synchronizing the sessions which take a critical or his- tion is offering student animators display with the camera mecha- torical perspective on comics, comic award money for excellence in ani- nism. Originally developed for use strips, comic books, woodcut nov- mation. To qualify for the competi- by the UCLA Animation Workshop, els, etc. Please note, editorial car- tion, students must currently be Shooter is not yet available to the toons, caricatures, and animated enrolled in a U.S. university as a public . . .Newtek is offering an cartoons are not within the scope junior or senior undergraduate stu- upgrade of their 3-D animation soft- of this conference. A 100 to 200 dent, and must send in a complet- ware NewTek 3D 5.6, free to regis- word abstract was requested by ed animated film by June 8, 1998. tered users of LightWave 3D 5.5. April 24, 1998, however, interested MTV will award $750 to the select- The upgrade features HyperVoxels, people should contact dun- ed junior films, and $1500 to the a rendering technology for simpli- [email protected] if they are inter- senior films which exhibit the best fying the creation of organic effects, ested but were unable to make the creativity, originality and compe- and Steamer Shader, which calcu- deadline. tency. Selected films will not be aired lates accurate shadows, refractions on or used commercially by MTV and reflections in LightWave 3D. . . Chicago Kid’s Fest. The Chicago without separate agreement. For . Israel-headquartered company, International Children’s Film Festival rules, regulations and entry forms, Techimage, Ltd. intends to enter is accepting entries of animated and send your address by e-mail to kell- the 3-D animation software market live-action works for its 15th edition, [email protected] with the release of a new facial ani- which will take place at Facets Mul- mation software package in the timedia’s theaters, October 15-25, The Humanitas Prize. April 15 near future. . . . 1998. The competition includes six was the deadline to send in ani- animation categories for feature, mation scripts for the 1998 Human- Call for Entries short and kid-produced films and itas Prize recognizing “humanizing videos. The deadline for submissions achievement in television and fea- Women’s Films Wanted. ture film writing.” A total of The Feminale, a festival in $125,000 is given to writ- Cologne, Germany, is seek- ers whose produced works ing entries for it’s ninth edi- best enrich their audience. tion, October 1-6, 1998. Engraved trophies are also The program has five cate- awarded to the winning gories, including Anima- show’s producer, director, tion. Entry forms are being story editor, production accepted until June 1, company and network. 1998. For information, The 1997 prize in the “Ani- contact feminale@t- mation for Children” cate- online.de. gory went to Alex Taub for The Thank-You Note, an Comics Conference. The episode of Life With Louie Sixth Annual Comic Arts for Fox Kids Network. There Conference is accepting German animator Raimund Krumme’s films will be showcased is no entry fee and no limit at Metamorfosi ‘98 this month. © Raimund Krumm

ANIMATION WORLD MAGAZINE May 1998 83 to the number of scripts submitted tion will take place in San Francis- tor Jane Williams said, “Our aim is to by one person. Call (310) 454-8769 co, California, May 19-22, 1998. celebrate the industry in a fun but for an application for next year! The event will feature seminars, informative way, emphasizing the exhibition and a 3-D lab where vis- importance of Vital! as the bridge Events itors can test-drive hardware and between the U.S. and European software. Tom Turpin, president and industries.” Following are some of Metamorfosi. The Goethe Institute CEO of Will Vinton Studios, will the confirmed festival features to will present a non-competitive ani- deliver the keynote address on May date. Retrospectives will profile Mag- mation festival called Metamorfosi, 20. Additional speakers and course nus Carlsson (Robin), Joanna Quinn May 11-15, 1998 in Rome, Italy. The teachers include Tim Cheung (PDI), (Famous Fred), Mae Questel (the event will feature films, seminars, Dave Thompson (DreamWorks), voice of Betty Boop), George Pal meetings and exhibitions on ani- Frank Delise (Kinetix) and Max Sims (stop-motion commercials), Georges mation from different countries. Ani- (Technolution). For information, visit Lacroix (Fantôme), and legendary mators whose work will be show- www.3dshow.com or call (800) British animators Oliver Postgate cased include Giannini & Luzzati 789-2223. and Peter Firmin (The Clangers, (Italy), Raimund Krumme (Ger- Noggin the Nogg). Exhibitions will many), Phil Mulloy (U.K.) and Jan Fischinger Exhibit/Sale In L.A. include the artwork of the late illus- Lenica (Poland). For information, “Optical Poetry,” a major exhibition trator Saul Bass, experimental contact [email protected] or visit of the work of the late abstract ani- artist/filmmaker Harry Smith and www.goethe.de/it/rom. mation filmmaker Oskar Fischinger South African puppeteer/animator opened last week at the Jack Rut- William Kentridge. Adult film pro- NATPE Cancels ANIFX. The berg Fine Arts gallery at 357 North grams will include a show of the National Association of Television LaBrea Avenue in Los Angeles, Cal- South Park animated series, and Program Executives (NATPE) has ifornia. The exhibition, which runs Manga Entertainment’s General canceled it’s second annual Anima- through June, features more than Chaos. Keith Griffiths from Illumina- tion & Special Effects Expo (ANIFX), 40 original paintings and drawings tions will present “Is It Animation?,” which was scheduled to take place created by Fischinger. Other than a a look at definitions of animation. in Los Angeles, May 8-11, 1998. mutoscope created by Fischinger Pat Gavin from Hibbert-Ralph will NATPE officials cited low pre-regis- which is only on display, all of the present a seminar on low-end pro- tration numbers as the reason for artwork in the show is for sale. duction. BBC will organize several the event’s cancellation, which Prices range between $6,000- children’s programs, including a could have been a result of the $80,000 per piece. A video cassette screening of Weston Woods films increase of animation-focused —The Films of Oskar Fischinger Vol- (The Snowman, Where the Wild events such as the World Animation ume I— has also been produced by Things Are), and a chance for kids Celebration and the now-annual Jack Rutberg Fine Arts and is avail- to “meet the Gogs,” characters from Annecy Animation festival. NATPE able for U.S. $40.00. For informa- the popular clay-animated series. had already significantly downsized tion, contact [email protected]. Seminars will include a sneak peek ANIFX from it’s first year in the Los at the new Skillset Report, “Training Angeles Convention Center by elim- Cardiff’s Got Vital-Ity. The Needs and Employment Trends in inating the exhibition floor, focus- renamed Cardiff Animation Festival, the British Animation Industry;” ing more on seminars and placing now known as Vital!, is gearing up “Careers and Crumpets;” “BBC Script the event in a local hotel. NATPE for its biennial event, June 23 to 28 Surgeries;” and Cartoon UK will pre- intends to schedule a one-day ani- in Cardiff, Wales, with a huge offer- sent “A Portfolio for Success.” The mation event or lecture series later ing of programs. The festival has a festival’s second “industry Expo” will this year. new focus on commercial issues, also offer a forum for networking career training and the interaction and business interaction. For com- 3D Design Show. The third annual of the creative and business aspects plete program listings and registra- 3D Design Conference and Exhibi- of animation. The new festival direction information, visit the Vital! web

ANIMATION WORLD MAGAZINE May 1998 84 site at http://www.vital-anima- Chris Shepherd and Simara by Wednesday, April 8. Cannes, tion.org. Christian Schindler. France. The 35th MIP TV market (reviewed in this issue), show- Last Month In Animation • Friday, March 27-Sunday, March cased nearly 700 animated TV The following is a list of events 29. Providence, Rhode Island, programs from more than 981 which took place since the last issue U.S.A. Rhode Island School of exhibitors. of Animation World Magazine was Design hosted an intensive published. These listings are pub- weekend workshop, “Animation • Friday, April 17. Beverly Hills, Cal- lished weekly in the Animation Basics for the Web” taught by ifornia, U.S.A. The Academy of Flash, a free newsletter which is dis- Cynthia Beth Rubin. Motion Picture Arts & Sciences tributed by e-mail. Subscribe now! presented a screening of the • Saturday, March 28. Vancouver, Academy Award nominated ani- • Now through June 17. London, British Columbia, Canada. Van- mated short films: Geri’s Game England. The Museum of the couver Film School hosted a (winner), Famous Fred, La Vielle Moving Image (MOMI) is fea- public open house at the Multi- Dame et les Pigeons, The Mer- turing an exhibit of artwork from media/3D Animation Campus, maid and Redux Riding Hood. the animated series, The Simp- 420 Homer Street, Vancouver. sons. Call (44) 0171 401 2636. Activities included hands-on • Tuesday, April 21-Sunday, April demonstrations, animation and 26. Toronto, Ontario, Canada. • Thursday, March 26-Sunday, film screenings, and guest The first Sprockets Toronto Inter- April 5. Newport Beach, Cali- speakers Chris Bartleman, owner national Film Festival for Chil- fornia, U.S.A. The Newport of Studio B Productions, Barry dren took place. Animated Beach International Film Festival Ward, president of Bardel Ani- works in the program include included screenings of the mation as well as representatives the 1940s “Animaland” cartoons “Absolut Panushka” collection of of Electronic Arts and Mainframe by David Hand, Carmen animated short films, and the Entertainment. Habanera by Polish animator festival’s competition program Aleksandra Korejwo and Smoke showcased animated films • Thursday, April 2. Glendale, Cal- by Cal Arts graduate Bobby including The Broken Jaw by ifornia. Legendary animator Podesta. Chuck Jones appeared at the Warner Bros. Stu- • Wednesday, April 22-Friday, April dio Store in the Glen- 24. Eugene, Oregon, U.S.A. The dale Galleria mall, to first annual Motion Graphics, sign animation art pur- Animation and Arts Festival took chased at the gallery. place at Cafe Paradiso.

• Friday, April 3- • Thursday, April 23. Burbank, Cal- Wednesday, April 8. ifornia, U.S.A. Women In Ani- Stuttgart, Germany. The mation Los Angeles presented 9th International Festi- “Sink or Swim?: The Current val of Animated Film, State of Independent Animation reviewed in this issue. Studios,” a panel discussion fea- AWN’s Ron Diamond turing Karen Dufilho (Pixar), was present to speak on Bruce Johnson (Porchlight), a panel about Internet Corey Powell (Hyperion), David animation. Pritchard (Film Roman), Sue Shakespeare (Creative Capers)

ANIMATION WORLD MAGAZINE May 1998 85 There was a screening of Pixar’s Michael Rose and Steve Box. In the Oscar-winning short, Geri’s • Wednesday, April 22-Sunday, category, Best Achievement in Spe- Game, and a Historical Com- April 26. Oslo, Norway. The fifth cial Visual Effects, the winner is The mittee tribute to Marija Dail. International Oslo Animation Fifth Element. Festival featured Nordic and • Friday, April 24 and Saturday, Baltic films in competition and Stuttgart. Winners are included in April 25. North Vancouver, international programs, includ- the festival review in this issue. British Columbia, Canada. Capi- ing award-winners from inter- lano College held the 1998 national festivals and special pro- AEAF. The Australian Effects and graduate show for its Commer- grams presenting the jury mem- Animation Festival (AEAF) Awards cial Animation Program stu- bers and their films. were held at the Sydney Conven- dents. tion Centre on Wednesday, March • Monday, April 27. San Francis- 18, 1998. Sydney-based design and • Friday, April 24 and Saturday, co, California, U.S.A. The Ideas in post house Garner MacLennan April 25. Los Angeles, California, Animation series continued at Design won in the “Titles, Idents and U.S.A. The Film Department of Minna Street Gallery: Nik Phelps Stings” category for their work on the Los Angeles County Muse- and the Sprocket Ensemble per- the Joey feature titles. The feature um of Art (LACMA) presented formed live music to two clay film award went to The Lost World, two programs of animation: “A animated films by cartoonist with effects by Industrial Light and Tribute to Louise Beaudet and Nina Paley. Magic (ILM). Tim Cheung’s Gabola the Cinematheque Quebecoise” the Great won in the short film cat- and “A Celebration of Stop- Awards egory. Winners of the other cate- Motion Animation” with guest gories were: animator Henry Selick. British Academy Awards. The • Student: Channel Hopping by British Academy of Film and Televi- Fiona Burnell (U.K.). • Friday, April 24. Tempe, Arizona, sion Arts held its 50th British Acad- • Commercials: PPP: X-Ray by U.S.A. The Arizona State Uni- emy Film Awards in London on Sun- Smoke and Mirrors (U.K.). versity Art Museum presented its day, April 19. The winner for Best • Simulation: Opel - Astra Ride by second annual Short Film and Short Animated Film is Aardman’s Electric Image (U.K.). Video Festival. Stage Fright, by Helen Nabarro, • Education: Walking the Dinosaurs by Framestore (U.K.). • Music Video: Underwater Love: Smoke City by Red Post Produc- tion (U.K.).

Animation Takes On Tampere. The 28th Tampere International Short Film Festival, which took place March 4-8, 1998 in Finland, awarded the Grand Prize to Marie Pac- cou’s animated film, Un Jour. In addition, the award for Best Ani- mated Film went to Czech animator Michaela Pavlatova’s new film, For Ever and Ever.

ANIMATION WORLD MAGAZINE May 1998 86 In Passing... A Tribute to Pierre Ayma (1941-1998) by Annick Teninge

ierre Ayma passed away quite animation which has suddenly last month. We become, thanks to him, a P wanted to pay a tribute to this profession, a passion and personality of the French Animation an industry for those who industry, with remembrances from live in France on what Pierre’s friends and former students. they learned from him In 1975, Pierre Ayma founded the and thanks to him. I will Animation Department of the CFT keep the essence of what Gobelins school, the main anima- Pierre left: a force. The tion school in France. For more than force with which he built 20 years, Pierre expressed his pas- his teaching. The force he sion for animated films through his gave to those who fight teaching and with his involvement today so that animation in many other animation related may live. The force which, projects. His commitments had a after he is gone, will be permanent focus point: to give to set into motion within us young people the means to express as we continue his work. and develop their talent. I worked Will we live up to with him for a few years at Annecy it? International Animation Festival, Pierre Ayma. Courtesy of Alain Seraphine where he was involved in the Inter- Jacques Peyrache Pierre succeeded in creating national Film Project Competition. I Chairman a curriculum acknowledged by pro- was always struck by the quality of XD Productions fessionals worldwide. All of the class- his commitment. Despite the diffi- es who spread out into small and culties, despite his outspokenness, large production studios alike dis- Pierre was always there. We all owe something to play the vitality of his work. Pierre The following testimonies him. Upon the French profes- became a personality that could not strongly illustrate his passion and sionals request, in 1975, Pierre be ignored in the animation world generosity and pay him back well. Ayma founded the Animation and this certainly contributed Department of the CFT Gobelins towards the radiance of the school. Annick Teninge school. This marks the beginning of His main concern was that each stu- General Manager a long venture which is still alive dent found his place in the industry. Animation World Network and well. He leaves us a past full of a life-long passion in the service of education. Everyone in the animation industry Pierre, his first name was that Pierre became a personality benefits from it and it will remain an of the founders. that could not be ignored in example for all the people who met And he was one of them, he the animation world and this him and for the school’s team who who, after so many years put certainly contributed towards ensures its continuity. together in Europe, stone by stone, the radiance of the school. - image by image, animator after CFT Gobelins School The team of the Animation Depart- animator, the edifice of this art of ment - CFT Gobelins School ANIMATION WORLD MAGAZINE May 1998 87 manage his animation department, was completed, the good relation- never feared to give aid and coun- ship between us continued through In 1975, Pierre Ayma sel to his flock. More than one stu- friendly visits to the CFT where we launched the first courses in ani- dent, me among them, took little would exchange news, and in the mation cinema within the frame- jobs to survive, in the studios or else- better moments, when he had the work of the Center for Technologi- where, thanks to him. He pushed time, it would border on sophisti- cal Education of C.C.I., on Boule- me to take my first job at Hanna- cated insults which would leave us vard St. Marcel in Paris. That’s where Barbera Cartoons in the United bent double with laughter and tears I met him, when I came to present States, and when I returned, con- running from our eyes on both my portfolio in hopes of being vinced the director of a Parisian stu- sides of his desk. Under his cane accepted as a student. I was scared dio to hire me. have passed many neophytes. He to death to find myself once again His pugnacity, his rigor in his actively participated in all the impor- in a moderately engaging scholas- work and what he expects of oth- tant moments in French animation, tic milieu, but Pierre was quick to ers, was seasoned with a dose of and lost his health doing so. reassure me, and took me to the cold humor, or completely off the Animation has lost one of its spaces designated for the most solid pillars, and we future students. have lost a pal. Aside from the animation desks that were flagrant- Yves-Charles Fercoq ly new, the rest of the mater- Animator ial consisted of “pegbars” bor- Student from the first year at rowed from the Center’s print- CFT Gobelins (1975) ing department, an animation stand tinkered together from metal corners, a camera bor- I had the pleasure to see rowed from a colleague, and Pierre again a few days a 16mm projector of Biblical before he passed away. It age. That is how I began my was during a writing seminar education, together with organized by Cartoon (Euro- seven other true believers, pean Animated Film Associa- under the benevolent encour- tion) in Vienna. agement of Pierre. Over two At midnight, we both wan- years, the respect that we had dered in the small streets, for him transformed into recalling memories from 20 camaraderie and friendship. years ago when I was a stu- Thanks to his enthusiasm, he dent in animation at the CFT knew how to create not only Drawing by Pierre Lambert April 1998 Gobelins, which he was then a motivated team but also a running. group of good friends. During that In 20 years, thanks to Pierre time Pierre upgraded the equip- Ayma, this school has gained an Pierre Ayma, not content to international reputation, training ment. The first editing table manage his animation depart- appeared soon, then a genuine ani- ment, never feared to give aid animators who have found their mation stand, etc... You should see and counsel to his flock. - Yves- place in prestigious studios such as what kind of equipment the stu- Charles Fercoq Disney, Universal, Pixar and Dream- dents get today! Also Pierre involved Works. I am proud I have taught to professional animators in our edu- some of these students. I owe this cation, and arranged regular visits wall behavior when the opportuni- to Pierre Ayma who succeeded in between them and us. ty presented itself... or sometimes putting talents together and pulling Pierre Ayma, not content to even if it didn’t! After our education the French professionals to an inter- ANIMATION WORLD MAGAZINE May 1998 88 national level. ers. Debates take place with repre- happen from CFT Gobelins to Vil- Thank you Pierre. sentatives from local groups. Thanks lage Titan. to Pierre’s charisma, network of tal- Today, the “Indian Ocean Stéphane Bernasconi ent and trust which he has instilled, Institute of the Image” has been cre- Producer/Director producers join us, like Eva Produc- ated. This institute, modeled after Ellipse Studio tion and Rooster. As of June `94, CFT Gobelins, is training, of course, training is begun for 70 people. in the field of film animation, but also in the fields of television, graph- End of the 1980s ic design and multimedia occupa- The Village Titan Ecoles part- At midnight, we both wan- tions. nership contacts René Borg, one of dered in the small streets, In recent days we were still the directors who made a mark in recalling memories from 20 working with him on the placement French animation films, for training years ago when I was a student of our young interns, who after two aimed at young interns within the in animation at the CFT Gob- years of training would present their framework of an experience led by elins... - Stéphane Bernasconi work to a professional European the Village Titan Ecoles, which is jury for approval of their talents and working on creating the school of June `95 do a rigorous apprenticeship with Fine Arts of La Réunion. The young trainees are French and European studios. René Borg facilitates my working and the new animation Shortening distances and meeting with Pierre Ayma, founder production studio called Pipangai working in the industry at the world of the Film Animation Department sees the light of day. Aware of the level, the introduction of new tech- at CFT Gobelins, school of the Paris fragility of this new industrial enter- nologies have proven him correct Chamber of Commerce. So, I meet prise, Pierre works night and day today. Along with Village Titan at with this dynamic personality from over long distances to bring busi- the Cartoon Forum in Arles during the world of film animation, who is ness back from Asia to France; mak- a press conference, Pierre was able respected in professional as well as ing bringing business back to to show and demonstrate that institutional circles. A friendship is France a reality, and above all to teleteaching, or long distance teach- born; agreements are signed make this business last. He facilitates ing, would be a guarantee to facil- between Village Titan and CFT Gob- the advancement of traditional ani- itate the development of quality elins to facilitate training for the mation Pipangai know-how into teaching and financial backing youth of La Réunion, a French knowledge about the new digital through and thanks to the institu- island in the Indian Ocean, near resources of today, because he tion of a network of different teach- Madagascar. believes with every fiber in him that ing establishments for animated car- Pierre Ayma loved to say, the development of filmmaking has toons in Europe. “We don’t have the right to train for to be not only the training of peo- This was, of course, the ‘unemployment or exile,’ hence the ple, but also the continual advance- great project which motivated him need to encourage the development and learning of the latest tech- of late, and on the eve of his death, ment and creation of an industrial niques. by telephone with us on Réunion, environment in the field of film ani- he let his feelings be known about mation in Réunion.” January `96 this project of a network of Euro- Training in the new tech- pean schools: “This is a project I’ve November `93 nologies begins. been nurturing for 30 years [and] This mad idea is launched in neither distance nor economic rea- partnership with the Village Titan. December `96 sons, much less administrative con- Pierre brings a certain number of Pipangai delivers 60 x 26 straints, will keep me from finally personalities to Réunion: represen- minute episodes to PMMP and Gau- getting it going.” tatives from the SPFA, CNC, Media mont with a staff of about 150. Thanks to the friendship he Cartoon, Mr. Robert Heintz from Always thanks to Pierre, the shared with us and to his interest in AFDAS, and a number of produc- transfer of technology was able to the experience led by Village Titan, ANIMATION WORLD MAGAZINE May 1998 89 Pierre made our island into a meet- Such was the fight of ing place. He was at our side to Pierre Ayma. bring to life “The Crossroads of the Indian Ocean Image” which in `95 gathered over one hundred pro- Alain Séraphine fessionals, producers and broad- Director casters. Fine Arts School of La Réunion The employees of Pipangai, Island Village Titan, the Institute de l’Im- age, [and] the school of Fine Arts of La Réunion can only bow their Our friend Pierre has heads in homage to this uncom- left us. Like many in our pro- mon man, and thank him for allow- fession, I owe him an Photo courtesy © Jean-Louis Rizet ing us to see beyond our volcano, enormous debt. He of Pierre, who had, among other for helping us live the adventure of knew how to communicate his pas- things, that incomparable gift of `toons, and break out of our island sion for animation to us, to guide immediately putting his companion isolation. us, warn us, encourage us to start at ease. After testing out my knowl- We can say that with Pierre up crazy, but always deeply human, edge, he hired me right there and Ayma we got into film, and that the projects. We must all continue his then, and that was the point of dream became reality. Pipangai work. I had run into him just before departure for a long friendship that today employs a staff of over 200, his passing. Full of fire, he had a never failed over fifteen years. and the Institut de l’Image is prepar- new project he wanted to bring us ing tomorrow’s talents in the field into and I had taken this picture as of animation, 3-D animation and proof of his determination and We must all continue his work. multimedia. As part of the schools good humor (Tuesday, March 17, - Jean-Louis Rizet accredited by the Ministry of French 1998, at 10:00 a.m.). Culture, the school of Fine Arts is See you soon, Pierre!! Conscious of my handicap becoming the school which trains as a beginner in the medium, Pierre the auteurs, the directors of ani- Jean-Louis Rizet Ayma quickly became my chosen mated cartoons and multimedia. Ramses. Pev. TouTenKartoon counselor, and even if some illustri- Apart from his passion for ous people like Norman McLaren, animated cartoons, his great pro- Rene Laloux and Julien Pappé had Pierre Ayma:A Devil of a Man fessionalism, his conviction in the the goodness to lean over my cra- In 1983, when I finished my worth of training people, the spirit dle, it is Pierre Ayma to whom I owe first professional short film, Story of of integrity which motivated him, being able to practice my métier as a Clown, my producer, Julien what set Pierre Ayma apart is a great animator in France and elsewhere Pappé, advised me to go meet generosity and great sensitivity in the world. During all those years, Pierre Ayma at the Department of which emanated from him and at any hour of the day or night, Animation at the CFT Gobelins, which he bore lightly. His friends, Pierre encouraged me, counseled because he thought that I would his colleagues, his former students, me, consoled me, reassured me, be able to teach at the school. Hard- the professional world, we all have and told me off with a bashful ly convinced of the idea, seeing my the duty to continue, each at his charm of a father that dares not young age, I nevertheless risked level, the work of a man who knew speak all the love that he bears for knocking on the door of this gen- how to put his energy, his passion his children. tleman, a proven authority in the and his talents to the service of all. His infectious enthusiasm, his world of animation. From the first We certainly have more to learn, to innate sense of appreciation for oth- second of our conversation, I was exchange, [and] to share so that this ers, his generosity, his honesty, his charmed by the smile, the malice, profession grows and spreads in visceral rejection of corruption, his France and in Europe. the mustache, and the good-nature ANIMATION WORLD MAGAZINE May 1998 90 apprentices before last messages of friendship. Over they participated in the course of this dinner, the laugh- the Mediapole ter and wine flowed, Pierre threw adventure in the himself into one of his favorite town of Arles, with sports, which consisted of merrily the cooperation of pulling my leg to the greatest the new Arles Ani- delight of the other guests. Then, mation Studio. A the tone got serious and Pierre said certain number of to us, speaking of the apprentices, problems had “Take good care of them. I’ve seen obliged Pierre to in their sparkling eyes how much draw back from they love this profession...” Finally, the project that he during dessert, he told us the dream had tried to finish of his life: to create a space that Drawing by the students from his last class. Courtesy of Jean- Louis Bompoint. for two years. He would be like the Villa Medicis for cool humor, his professionalism and had put a great Animation, where all filmmakers his explosive anger have been for deal of effort into it, and we devot- could come and shoot their films me a model of life and comport- ed all of our energy to keeping it without any constraints, financial or ment with my peers. By himself, going as long as we could, this last aesthetic. Then he took us home to and often against opposition, he promotion of artists that he had rig- his house, we drank a glass for raised French Animation to its just orously pursued. When he friendship, and then with a certain value, and I know of no one in our announced to the apprentices that pride he showed us his new office profession who is not indebted to he was leaving for reasons beyond with a superb bay window that him for something. his control, his farewells were opens on this Provence which he Forcibly refusing all honors drowned out by spontaneous loved so much. And there, once and thank-yous: “If you mention me applause, and he was very moved. again, he spoke of unheard projects in your credits, I’ll never speak to In a short time, these young peo- with an enthusiasm and a force that you again!...” (sic), Pierre Ayma’s only ple had understood the dimensions wouldn’t let us suppose that this happiness was to see animators and of this man who never compro- would be the last time he would filmmakers succeed with their pro- mised, and who never hesitated to flash his boyish smile at us. Of jects. For, not content just to head launch their program, even if it course, we all knew that recently a school with all the vigor that one meant using his own personal Pierre had serious medical problems, knows, Pierre would help every ani- money to advance the costs. But but his courage and his discretion mator in difficulty, freely giving his that wasn’t the best part. Even about his private life didn’t have the energy to each person that asked though he had to step aside from time to tell us that his health would- for his help. the project, Pierre continued to tele- n’t permit him to animate anymore, Pierre was Voltairian: he phone us to find out how our and that he was about to make us could have taken part in the Callas apprentices were doing, calling orphans, that devil of a man... affair, or that of the Chevalier de la each of them by name. He didn’t Barre. have anything to worry about. His Jean-Louis Bompoint Now that he has left us, last project continues to do him Director and Musician who will protect us from fate? No honor. one can tell me now that no man is A few days before his death, Translated from French by William irreplaceable... Pierre invited us to dinner in a Moritz and Nancy Gilmour. My friend Philippe Hervieux restaurant situated not far from his village of Puget on the Durance. Note: Readers may contact any and I kept close to Pierre Ayma in Animation World Magazine con- Mireille, his wife, Philippe Hervieux the last days of his life. He asked us tributor by sending an e-mail to and I never doubted that he had to complete the training of thirty [email protected]. gotten us there to deliver one of his ANIMATION WORLD MAGAZINE May 1998 91 EnEn HommageHommage ˆˆ PierrePierre AymaAyma (1941-1998)(1941-1998)

par Annick Teninge ierre Ayma nous a soudaine- de ce qu’ils ont appris ment quittés le mois dernier. avec lui, et grâce à lui. De PNous avons voulu rendre ce qui Pierre a laissé je hommage à cette personnalité du retiendrai l’essentiel : une cinéma d’animation francais, à tra- force. Force avec laquelle vers quelques témoignages d’amis il a construit son enseigne- et anciens élèves. Pierre Ayma créa ment. Force qu’il a don- en 1975 le département Cinéma née à ceux qui se battent d’Animation du Centre de Forma- aujourd’hui pour que tion Technologique des Gobelins- l’animation vive. Force qui CCI de Paris (principale école après son départ agira en française de formation aux métiers nous et continuera son de l’animation). Pendant plus de oeuvre. vingt ans, Pierre a communiqué sa Serons-nous à la passion du cinéma d’animation, à hauteur? travers l’enseignement et nombre de projets, avec une constante: Jacques Peyrache donner aux jeunes les moyens d’ex- Chairman primer et developper leur talent. Je XD Productions l’ai cotoyé pendant plusieurs années au Festival d’Annecy, où il était asso- photo et © Alain Seraphine cié au Concours International de Nous lui devons son oeuvre. Projets. J’ai toujours été frappée par tous quelque chose. En devenant une personnalité la qualité de son engagement; mal- C’est à la demande des pro- incontournable de l’animation, gré les difficultés, malgré ses coups fessionnels francais que Pierre Ayma Pierre contribua fortement au rayon- de gueule, Pierre était toujours là. créa en 1975 le département ciné- nement de l’école car sa préoccu- Les témoignages ci-après ma d’animation au sein du CFT pation première a toujours été que illustrent avec force sa passion et sa Gobelins (Paris). Ce fut le début chaque étudiant puisse trouver sa générosité, et le lui rendent bien... d’une longue aventure qui est tou- place dans ce métier. Il nous laisse jours bien vivante. en héritage ce passé riche d’une Annick Teninge passion de toute une vie au service Animation World Network En devenant une personnalité de la formation, dont l’ensemble de incontournable de l’animation, la profession bénéficie; cela restera Pierre contribua fortement au un modèle pour l’équipe qui assure Pierre avait le prénom des rayonnement de l’école. la continuité et tous ceux qui l’ont fondateurs. - CFT Gobelins connu. Et il en fut un, lui qui, depuis tant d’années, a bâti en Europe, L’équipe du département Cinéma pierre à pierre, image par image, Pierre réussit à créer au fil des d’Animation animateur après animateur, l’édifice ans un enseignement reconnu par CFT Gobelins de cet art de l’animation qui est les spécialistes du monde entier ; les devenu, grâce à lui, un métier, une différentes promotions qui ont passion et une industrie pour ceux essaimé dans les petits et grands En 1975, Pierre Ayma lanca qui aujourd’hui en France, vivent studios témoignent de la vitalité de le premier cycle de formation au ANIMATION WORLD MAGAZINE May 1998 92 cinéma d’animation dans le cadre conseils à ses ouailles. Grâce à lui, les meilleurs moments, quand il en du Centre de Formation Tech- plus d’un, dont moi, trouvèrent avait le temps, des bordées d’in- nologique des Gobelins, boulevard pour survivre de petits jobs dans des sultes sophistiquées qui nous lais- Saint Marcel à Paris. C’est là que je studios ou ailleurs. Il me poussa à saient pliés de rire et les larmes aux fis sa connaissance en venant faire mes premières armes à Hanna yeux de chaque coté de son présenter mon dossier pour poser & Barbera aux Etats-Unis et conva- bureau.Les larmes aujourd’hui ont ma candidature. J’étais mort de inquit à mon retour, le directeur une autre cause et c’est de sa trouille de me retrouver dans un d’un studio parisien à m’engager. faute.Sous sa férule sont passés de cadre scolaire moyennement Sa pugnacité, la rigueur multiples néophytes. Il a participé engageant, mais Pierre eut tôt fait dans son travail et dans celui des activement à tous les moments de me rassurer et me fit visiter les autres étaient assaisonnées d’une importants du cinéma d’animation locaux dévolus aux futurs en France, il y a laissé sa santé. élèves. Le cinéma d’animation a Hormis les tables perdu un de ses plus solides d’animation flambant piliers et nous avons perdu un neuves, le reste du matériel pote. consistait en “pegbars” empruntées au départe- Yves Charles Fercoq ment imprimerie du centre, Animateur un banc-titre fabriqué de Elève de la première Promotion cornières métalliques, une du CFT Gobelins (1975) caméra prêtée par un col- lègue et un projecteur 16mm d’age canonique. Et J’ai eu le plaisir de revoir c’est ainsi qu’a commencé Pierre Ayma quelques jours ma formation, avec sept avant sa disparition au cours coréligionnaires, sous les d’un stage d’écriture à Vienne, encouragements bienveil- organisé par Cartoon (Associa- lants de Pierre. Pendant tion Européenne du Film d’An- deux ans le respect que imation). nous avions à son égard se A minuit, nous nous sommes transforma en amitié et en promenés tous les deux dans camaraderie. Grâce à son les ruelles, nous remémorant enthousiasme, il avait su Dessin de Pierre Lambert. Avril 1998 des souvenirs vieux de vingt créer, outre une équipe ans, lorsque j’étais étudiant en motivée, un bon groupe de dose d’humour à froid ou com- dessin animé au CFT Gobelins qu’il copains. Durant ce temps, Pierre plètement loufoque dès que l’oc- dirigeait alors. améliorait la qualité du matériel. casion se présentait ; ou sans occa- En vingt ans, grâce à Pierre Une première table de montage fit Ayma, cette école a acquis une bientot son apparition, puis un veri- réputation internationale, formant table banc-titre, etc... Il faut voir Non content de gérer son des animateurs qui ont trouvé leur maintenant les équipements pro- département d’animation, place au sein de studios aussi pres- posés aux élèves! De même Pierre Pierre ne craignait pas de tigieux que Disney, Universal, Pixar intéressait les professionnels du ciné- donner aides et conseils à ses ou DreamWorks. Je suis fier aujour- ma d’animation à cette formation. Il ouailles. - Yves Charles Fercoq d’hui d’avoir été pour certains d’en- organisa de régulières rencontres tre eux leur professeur, et cela je le entre ceux-ci et nous, pour notre sion d’ailleurs. Après que le cycle de dois à Piere Ayma, qui a su réunir plus grand profit. formation fut achevé, les bonnes les talents et hisser le milieu profes- Non content de gérer son relations continuèrent par des vi- sionnel francais à l’échelon interna- département d’animation, Pierre ne sites amicales au C.F.T. où nous tional. craignait pas de donner aides et échangions des nouvelles et dans Merci Pierre.

ANIMATION WORLD MAGAZINE May 1998 93 Stéphane Bernasconi a su tisser autour de lui, des pro- Est créé aujourd’hui: “l’Insti- Producteur, Réalisateur ducteurs vont venir à nos côtés, en tut de l’Image de l’Océan Indien”. Ellipse Animation l’occurrence EVA Production et Cet institut, à l’instar du CFT Gobe- Rooster; dès juin 94 la formation est lins, travaille bien entendu dans le lancée pour 70 personnes. domaine des métiers du cinéma Fin des années 80 d’animation, mais également dans L’association Village Titan Juin 95 le domaine des métiers de la télévi- Ecoles, fait appel à René Borg, un Les jeunes formés sont en sion, des industries graphiques et des réalisateurs qui a marqué le production, une industrie du ciné- du multimédia. cinéma d’animation français, pour ma d’animation dénommée “Pipan- Ces jours derniers, nous tra- une formation destinée à des jeunes gaï” voit ainsi le jour. Conscient de vaillions encore avec lui à la mise en stagiaires dans le cadre d’une expéri- la fragilité de cette expérience indus- place de la formation de nos jeunes ence menée par le Village Titan qui trielle nouvelle, Pierre va travailler stagiaires, qui après deux années travaillait en même temps à la nais- sans relâche à distance pour que le de formation auraient à présenter sance de l’Ecole des Beaux Arts de rêve de rapatrier de l’activité de l’Asie leurs travaux à un jury profession- l’Ile de la Réunion. vers la France devienne réalité, et nel européen, pour la validation de René Borg favorise ma ren- surtout que l’activité se pérennise. leurs compétences, à faire des contre avec Pierre Ayma, le fonda- Il va favoriser la reconversion du stages en entreprise dans des stu- teur du département Cinéma d’Ani- savoir faire traditionnel de Pipangaï dios français et européens, avec un mation au CFT Gobelins, école de la en “Nouvelles Technologies”; Pierre esprit de “compagnonnage” pour Chambre de Commerce et d’Indus- croyait dur comme fer que le parfaire leur expérience profession- trie de Paris. Je fais donc connais- développement de l’activité ciné- nelle. sance avec cette personnalité forte matographique passait d’abord par Raccourcir les distances, tra- du monde du cinéma d’animation, la formation des hommes, mais vailler pour cette profession à respectée tant du milieu profes- aussi par une veille technologique l’échelle de la planète, les tech- sionnel qu’institutionnel. Une ami- permanente. nologies nouvelles lui donnent tié va naître; des conventions vont aujourd’hui raison. Avec le Village être signées entre le Village Titan et Titan, lors du Forum Cartoon 1997 le CFT Gobelins pour favoriser la for- Pierre avait le prénom des à Arles, dans le cadre d’une con- mation des jeunes réunionnais. fondateurs. Et il en fut un, lui férence de presse, Pierre a pu mon- Pierre Ayma aimait dire que qui, depuis tant d’années a bâti trer et démontrer que le télé- “l’on a pas le droit de former pour le en Europe, pierre à pierre, enseignement allait être une chômage ou l’exil”, d’où la néces- image par image, animateur garantie pour favoriser le sité de favoriser le développement après animateur, l’édifice de développement de la qualité de l’en- et la création d’un environnement cet art de l’animation seignement, et sa faisabilité finan- industriel dans le domaine du ciné- - Jacques Perache cière, par une économie d’échelle ma d’animation à la Réunion. obtenue grâce à la mise en réseau des différents établissements d’en- Novembre 93 Janvier 96 seignement du dessin animé en L’idée folle est lancée, en La formation en nouvelles Europe. partenariat avec le Village Titan. technologies est lancée. C’était bien sûr le grand pro- Pierre emmène à la Réunion un cer- jet qui l’animait ces derniers temps, tain nombre de personnalités: des Décembre 96 et à la veille de sa mort encore, en représentants du SPFA, du CNC, de Pipangaï aura livré 60 x 26 communication téléphonique avec Média Cartoon, Monsieur Robert minutes à PMMP et Gaumont avec nous à la Réunion, il a laissé enten- Heintz de l’AFDAS, un certain nom- un effectif de 150 personnes envi- dre, concernant ce projet de réseau bre de producteurs. Des débats ron. d’écoles européennes : “c’est un vont avoir lieu avec les représen- Toujours grâce à lui, le trans- projet que je nourris depuis 30 ans, tants des collectivités locales. Grâce fert de technologies a pu avoir lieu ce n’est ni la distance, ni les raisons à son charisme, et au réseau de du CFT Gobelins vers le Village économiques, et encore moins des compétences et de confiance qu’il Titan. contraintes administratives qui

ANIMATION WORLD MAGAZINE May 1998 94 m’empêcheront de le mettre enfin tainement à apprendre encore, à Pierre Ayma: ce diable d’homme en place”. échanger, à partager pour que cette En 1983, alors que je termi- Grâce à l’amitié qu’il profession grandisse et s’épanouisse nais mon premier court-métrage partageait avec nous et à l’intérêt en France, en Europe. professionnel Histoire d’un Clown, qu’il portait pour l’expérience Tel était le combat de Pierre mon producteur d’alors, Julien menée par le Village Titan, Pierre a Ayma. Pappé, me conseilla de rencontrer fait de notre île un lieu de conver- Pierre Ayma au département Ciné- gence. Il a été à nos côtés pour faire Alain Séraphine ma d’Animation du CFT Gobelins, naître “le Carrefour de l’Image de Directeur car il pensait que je pourrais l’Océan Indien” qui a réuni, en 95, Ecole des Beaux-Arts de l’Ile de la enseigner au sein de cette école. plus d’une centaine de profession- Reunion Peu convaincu de l’idée, vu mon nels, producteurs et diffuseurs. jeune âge, je me risquais tout de Les employés de Pipangaï, même à frapper à la porte de ce du Village Titan, de l’Institut de l’Ima- Notre ami Pierre nous a quit- Monsieur, dont l’autorité dans le ge, de l’Ecole des Beaux Arts de la tés. Comme beaucoup dans notre monde de l’animation n’était déjà Réunion, ne peuvent que s’incliner métier, je lui dois énormément ; il a plus à prouver. Dès les premières et rendre hommage à cet homme su nous communiquer sa passion secondes de notre entretien, je fus hors du commun, le remerciant de l’animation, nous guider, nous charmé par le sourire, la malice, les d’avoir pu nous permettre de voir mettre en garde, nous encourager, moustaches et la bonhomie de plus loin que notre volcan, nous déclencher des projets fous mais Pierre, qui avait entre autres, ce don faire vivre l’aventure des “toons”, et toujours profondément humains. inégalable de mettre tout de suite nous aider à rompre notre isolement Nous devons tous continuer son ses interlocuteurs à l’aise. Après insulaire. oeuvre. m’avoir fait subir un test de con- On peut dire qu’avec Pierre Je l’avais rencontré peu de temps naissances, il m’engagea aussitôt et Ayma on est rentré dans le film, et avant sa disparition ; plein de ce fût là le point de départ d’une que le rêve est devenu réalité. fougue, il avait un nouveau projet longue amitié qui ne devait jamais Pipangaï affiche aujourd’hui près de auquel il voulait nous associer. se démentir durant quinze ans. 200 employés et l’Institut de l’Image J’avais pris la photo suivante témoin Conscient de mon handicap prépare les compétences de demain de sa détermination et sa bonne de débutant dans le métier, Pierre en animation, 3D, et en multimé- humeur. (mardi 17 mars 1998 à 10 Ayma devint bien vite mon con- dia. L’école des Beaux Arts, faisant heures). seiller de prédilection et même si partie des écoles agrées par le Minis- A bientôt Pierre !! des personnes illustres comme Nor- tère de la Culture, devient l’école man Mac Laren, René Laloux et qui forme des auteurs, des réalisa- Jean-Louis Rizet Julien Pappé ont eu la bonté de se teurs en dessin animé et multimé- Ramses Pev TouTenKartoon pencher sur mon berceau, c’est à dia. Ce qui caractérisait Pierre Ayma, Pierre Ayma à qui je dois d’avoir pu au delà de sa passion pour le dessin exercer mon métier de cinéaste animé, de son grand profession- d’animation, en France et nalisme, de sa conviction dans la de par le monde. Pendant formation des hommes, de l’esprit toutes ces années, à n’im- d’intégrité qui l’animait, c’est une porte quelle heure du jour grande générosité et une grande ou de la nuit, Pierre m’a sensibilité qui se dégageait de Pierre encouragé, conseillé, con- Ayma et qu’il portait. Ses amis, ses solé, rassuré et engueulé, collègues, ses anciens étudiants, le avec le charme pudique monde professionnel, nous tous d’un père qui n’ose pas avons le devoir de poursuivre l’oeu- dire tout l’amour qu’il porte vre, chacun à notre niveau, d’un à ses enfants. homme qui a su mettre son énergie, Son enthousiasme sa passion, ses compétences au ser- communicatif, son sens vice de tous. Nous aurons cer- photo et © Jean-Louis Rizet inné de l’appréciation des

ANIMATION WORLD MAGAZINE May 1998 95 Dessin par les élèves de la dernière promotion de Pierre Ayma à Arles. crédit Jean-Louis Bompoint. êtres, sa générosité, son honnêteté, Pierre aidait tout cinéaste d’anima- jamais me dire que tout Homme son refus viscéral de la corruption, tion en difficulté, dépensant sans n’est pas irremplaçable... son humour à froid, son profes- compter son énergie pour chaque Avec mon camarade sionnalisme et ses colères explosives personne venue réclamer son sou- Philippe Hervieux, nous avons ont été pour moi un modèle de vie tien. côtoyé Pierre Ayma dans les derniers et de comportement vis à vis de mes jours de sa vie. Il nous avait pairs. A lui seul, et souvent contre A présent qu’il vient de nous demandé d’encadrer la formation tous, il a élevé le Cinéma d’Anima- quitter, qui va nous protéger de de trente stagiaires devant participer tion Français à sa juste valeur et je la sorte ? Que l’on ne vienne à l’aventure Médiapôle de la ville ne connais personne dans notre plus jamais me dire que tout d’Arles avec le concours du nou- profession qui ne lui soit pas rede- Homme n’est pas veau studio Arles Animation. Un cer- vable de quelque chose. irremplaçable... tain nombre de problèmes ont Refusant avec force les hon- - Jean-Louis Bompoint obligé Pierre à se retirer du projet neurs et les remerciements : “Si vous qu’il tentait de finaliser depuis deux me citez au générique, je ne vous Pierre était un Voltairien : Il ans. Il en a beaucoup souffert et adresse plus la parole !..” (Sic), le seul aurait pu prendre parti dans l’Affaire nous avons mis toute notre ardeur bonheur de Pierre Ayma aura été Callas ou celle du Chevalier de la à soutenir, pendant la durée de de voir des dessinateurs et des Barre. notre contrat, sa dernière promo- cinéastes qui réussissent leurs pro- A présent qu’il vient de nous tion d’artistes qu’il avait rigoureuse- jets. Car non content de diriger une quitter, qui va nous protéger de la ment sélectionnée. Lorsqu’il a école avec le brio que l’on sait, sorte? Que l’on ne vienne plus annoncé son départ aux stagiaires

ANIMATION WORLD MAGAZINE May 1998 96 pour des raisons indépendantes de de nous douter qu’il nous délivrait thousiasme et une force qui ne lais- sa volonté, son adieu a été couvert là un de ses derniers messages saient pas présager que ce serait la d’applaudissements spontanés et d’amitié. Au cours de ce repas, le dernière fois qu’il nous éclairerait de émus de la situation. En peu de rire et le vin ont coulé à flots et Pierre son sourire juvénile. Bien sûr, nous temps, ces jeunes gens avaient s’est livré à un de ses sports favoris, savions tous que Pierre avait eu de compris la dimension de cet qui consistait à me mettre joyeuse- sérieux problèmes médicaux ces Homme qui n’a jamais accepté de ment en boîte pour la plus grande temps derniers. Mais son courage faire des compromis et qui n’avait joie des autres convives. Puis, le ton et sa discrétion sur sa vie privée pas hésité à lancer cette formation redevenait sérieux et Pierre nous di- n’ont pas eu le temps de nous dire en puisant sans compter dans sa sait, en parlant de nos stagiaires : que sa santé ne voulait plus faire de cassette personnelle pour en “Occupez vous bien d’eux. J’ai vu dessin-animé et qu’il allait faire de avancer les frais. Mais là ne réside dans leurs yeux qui brillaient, leur nous des orphelins, ce diable pas le plus beau. Bien qu’il ait été passion pour ce métier...” Enfin, lors d’Homme... écarté du projet, Pierre continuait à du dessert, il nous a confié le rêve nous téléphoner afin de savoir com- de sa vie : créer un endroit qui serait Jean-Louis Bompoint ment progressaient nos stagiaires, la Villa Médicis de l’Animation, où Réalisateur et Musicien en les nommant un par un. Il n’avait tout cinéaste pourrait venir tourner pas à s’inquiéter. Sa dernière pro- son film sans contraintes financières motion continue encore à lui faire et esthétiques. Puis il nous a honneur. emmenés chez lui, boire le verre de Quelques jours avant son l’amitié et ce n’est pas sans fierté décès, Pierre nous avait invités à qu’il nous a montré son nouveau Note: Les lecteurs peuvent con- dîner dans un restaurant situé non bureau dont la superbe baie vitrée tacter les collaborateurs d’Anima- loin de son village de Puget sur donne sur cette Provence qu’il tion World Magazine en envoyant Durance. Mireille son épouse, aimait tant. Et là, il nous a encore un e-mail à [email protected]. Philippe Hervieux et moi étions loin parlé de projets inouis avec un en-

ANIMATION WORLD MAGAZINE May 1998 97 compiled by Wendy Jackson his month, we asked a few people involved in visual effects and experimental animation what animated Tfilms they would want to have with them if they were stranded on a desert island. On the visual effects side, Phil Tippett is the founder of Tippett Studios, the San Francisco-based effects studio which created the spectacular giant insect effects for Paul Verhoeven’s Starship Troopers, a 1997 Oscar nominee for Best Visual Effects. On the experimental animation side, Richard Reeves is a Canadian experimental animator whose recent direct (drawn-on-film) animated short, Linear Dreams, has been receiving rave reviews as it embarks on its international festival circuit. The film can be seen next at the Annecy festival in May. Finally, somewhere between visual effects and animation, Daina Krumins is a New Jersey-based law firm administra- tor by day, and experimental filmmaker by night. Her surreal films such as Babobilicons combine live-action and animation with tried and true visual effects technologies such as chroma-key and optical printing. Her next film, Summer Light should be completed some time this year. Phil Tippett’s Top Ten: 1. Akira by Katsuhiro Otomo. 2. My Neighbor Totoro by Hayao Miyazaki. 3. Baron Munchausen by Karel Zeman. 4. The Fabulous World of Jules Verne-Invention of Destination by Karel Zeman. 5. Nausicäa: Valley of the Wind by Hayao Miyazaki. 6. Beauty and the Beast (Disney). 7. Pinocchio (Disney). 8. The Seventh Voyage of Sinbad (animation by Ray Harryhausen). 9. Jason and the Argonauts (animation by Ray Harryhausen). 10. King Kong, the 1933 version (animation by Willis O’Brien).

Richard Reeves’ Favorites: It was hard to pick only ten films. For example, Norman McLaren has ten films alone that I could watch over and over. The string that binds these films is that they are all non-narrative; stories told on subconscious levels often inspired by musical or visionary experiences, using a wide range of techniques. These films inspire me...and with each viewing I can find something new in them. On a deserted island with only these films? It could be fun to project some onto rocks or water...

1. Mosaic by Norman McLaren and Evelyn Lambart. 2. Particles in Space by Len Lye. 3. Permutations by John Whitney. 4. Motion Painting by Oskar Fischinger. 5. J.S. Bach: Fantasy in G Minor by Jan Svankmajer. 6. Begone Dull Care by Norman McLaren. 7. The Bead Game by Ishu Patel. 8. Lapis by James Whitney. 9. Clocks by Kirsten Winter. 10 Frühling (Spring) by Silke Parzich.

ANIMATION WORLD MAGAZINE May 1998 98 Daina Krumins’ Treasure Chest: Some part of my mind, something that started when I was little, maybe a toddler or baby even, has a relationship with certain shapes, textures, sounds and images. These are the perceptions on which my heart opened at that time, and they are the basis for my own films (along with dreams, sense of beauty and meaning, etc.). The films that I like with this part of my mind, that contain at least some animation, are:

1. Pat O’Neill’s work, especially Water and Power. 2. The films of the Quay Brothers. I wish I could see them again, and the ones I’ve missed, too. 3. The Orchestra - a video piece that was on Great Performances on PBS some years ago. 4. The first part of Fantasia (Disney), especially the abstract parts and also the sections with the plant shapes, where mushrooms and flowers dance. (I hate the mawkish later sections like the Greek myth section and “Ave Maria.” What hooey.) 5. A long time ago I saw an animation by Kathy Rose which was also a live dance performance. She dressed in a costume to match the film, and danced in front of it. Incredible. I think this was in 1983. 6. Oskar Fischinger’s Composition in Blue and some others of his which I have seen. I wish I could see more of them. 7. Lately, I’ve enjoyed the fractal animations that various mathematicians have been coming up with. I like the idea of images based on mathematics. I’ve always liked physics and math. There was a PBS show this past year on the Mandelbrot Set. 8. I also like computer animation that has something to do with organic shapes: the Taelon Shuttle in Earth: Final Conflict, the giant “macroviruses” on a Star Trek: Voyager a few years ago, even the com- puterized spiders in the recent Lost in Space to which my son dragged me. These images amuse me.

Then, of course, there is the “social” part of my mind (admittedly undeveloped), with which I like such animated films as:

1. The Tom & Jerry short, Cat Concerto (Hanna-Barbera). 2. The Elephant/Ostrich/Crocodile ballet part of Fantasia (T. Hee, I think. I remember visiting T. and he had me hug a tree to feel it’s “inner spirit.” I wish I hadn’t been so self-conscious about it.) 3. Bugs Bunny, Woody Woodpecker, etc.: the sophisticated stuff. 4. Some parts of Allegro Non Troppo by Bruno Bozzetto. 5. Jiminy Cricket in Pinocchio and the Crows (and in fact all the rest too), of Dumbo (Disney). 6. Zorns Lemma by Hollis Frampton. It consists of lots of repetitions of the alphabet, with more images substituted for the letters. (Watch the audience squirm and try to figure out why they are watching this). 7. Tony Conrad’s Flicker Films. Two frames black, two frames of image — enough to give an epilep- tic a seizure. Disturbing, but interesting.

ANIMATION WORLD MAGAZINE May 1998 99 The Dirty Birdy

By John Dilworth

ANIMATION WORLD MAGAZINE May 1998 100 Jobs & Education and the Internet June1998 ur June issue is focusing on Jobs and Education and features a sub-theme about the Inter- net. Chris Robinson is investigating the future of independents in Canada and how it Orelates to university programs. Jerry Beck define his “Essential Animation Library” and Kel- lie-Bea Rainey will profile Animation Toolworks’ Video Lunch Box, a device that is changing the face of animation education from Cal Arts to elementary schools. And, what better way to learn about the animation business then to follow an actual production day to day? Barry Purves will chronicle his new work-in-progress Here’s a How de do that he is creating for the U.K.’s Channel 4. This six month installment will follow all of the ups and downs of the production through Barry’s personal diary. We will also survey university faculty members, industry executives, recruiters, artists and students about training, skills, the job market and expectations. Our Internet section will feature three excellent, insightful articles. Michelle Klein-Hass will let us know where to find the coolest animation on the web, while Robert Gonzales will explain the many tools available for creating animated content and discuss the strengths and weakness- es of each. We also have a real treat, in that, Kit Laybourne will present, “Under the Radar: Emerg- ing Voices in Digital Animation.” This issue will also feature another first in a series. Master animation educator Glenn Vilppu will share his life drawing lessons with us in the Student Corner. Students: take advantage of this great opportunity! The Library of Congress will be profiled in our Hidden Treasures column and Wendy Jackson will report on Bra!ncamp, an executive think tank that was held in New York City. Film reviews will include two films for which everyone has been waiting: Disney’s Mulan and Warner Bros.’ Quest for Camelot. Plus, revered Disney greats, Frank Thomas and Ollie Johnston, will discuss Pierre Lambert’s book Pinocchio, with Charles Solomon. Animation World Magazine 1998 Calendar

Adult Animation (July)

Asian Animation (August)

Television (September)

Independent Filmmakers (October)

ANIMATION WORLD MAGAZINE May 1998 101