Content 3 News AWG News

The Single Women ...... 5 AWG News ...... 32 News from ASIFA National Groups ...... 33 If it Ain’t Broke: Contemporary Uses of Traditional Techniques ...... 11

Interviews Contact Information SCRATCH, CRACKLE & POP! An Interview with Contact Information ...... 48 Steven Woloshen ...... 13

Dave Cox: Toronto Independent Animation Pioneer ...... 19

Riho Unt Talks The Master ...... 25

Climbing Over the Garden Wall: A Conversation with Patrick McHale ...... 28

ASIFA Magazine Credits Editor: Vice President of Communications: Design: Chris Robinson Mohamed Ghazala Monica Bruenjes Kara Miller

Contributors: Ray Kosarin, Richard O’Connor, Keltie Duncan, Crystal Chan, Kelly Gallagher, Jeannette Bonds, Patrick Jenkins

© 2016 ASIFA - prior written approval must be obtainedt to duplicate any and all content. The copyrights and trademarks of images featured herein are the property of their respective owners. ASIFA acknowledges the creators and copyright holders of the materials mentioned herein, and does not seek to infringe on those rights. 4 Letter from the ASIFA Treasurer

What ASIFA has Meant to Me

I frst got involved in my local ASIFA chapter in 2009, as part of my desire to support the amazing animation community in Portland, Oregon. I greatly appreciate that ASIFA gives chapters the autonomy and fexibility to manage their own activities and membership, while ofering a large support network. Over the years, my involvement in the international organization has grown and evolved, culminating in my recent election to the role of Treasurer.

ASIFA has always been a place to share my love of ani- mation with like-minded people, and has created countless opportunities for me to meet and connect with animators and animation-lovers all over the world. It is an amazing resource for learning, sharing, and growing the art and the business of animation. The people I have met through ASIFA have been fascinat- ing people to chat with at a festival, after a screening, or over a cocktail, and many of them have become deep and life-long friends. ASIFA members are not only artists and writers and animators and academics, but they are people who care about each other, who devote time and energy and resources to sharing with and supporting each other. They represent the very best of the anima- tion world, and I am honored to participate in such a wonderful group.

The role of Treasurer may seem like a boring but necessary job. However, I see it as a signif- cant opportunity to provide the concrete, meaningful tools necessary for the organization to meet our goals and fulfll our mission. I want to continue the fantastic work of my predecessors, while working to make the association more efective and more transparent. I also hope to use the role to build a greater sense of community and connectedness among our chapters.

I have a lot to learn in order to get up to speed and be fully efective, and I am looking forward to growing in the role. And I am always willing to listen to any questions or concerns, or just to say hi. Please feel free to contact me at [email protected] News 5 The Single Woman

Writer/Director Signe Baumane, praying to the ancient Latvian gods of flm.

By Richard O’Connor and the ridges of Staten Island “I know what is wrong with my try their best impersonation of flm,” she starts, sounding as if Signe’s World a Mediterranean coastal town. this train of thought will ride for Head against the window, a hours. “There is too much voice A person who spends four slight twist of the neck brings over. Everyone tells me this, years making a flm about sui- Manhattan into view. Brimming and I know it, but that is how cide and depression might be and boiling, even on the most I’ve done it. It is about depres- expected to live at the edge of pacifc day, the rolling water sion. Worst of all, it is anima- the world. draws all the attention. This tion about serious things. I see same river lured Spalding Gray what they don’t like. I see what Not exactly the end of civiliza- after years of resistance -his upsets them about it. The voice tion, Signe Baumane’s work- humor no longer strong enough over is huge problem. But that shop overlooks the anchor point to resist the water’s leaden is how it happened, that’s the of a short pier where the East swirl. Now it wraps around this flm I wanted to make.” River rejoins the Hudson in warehouse joining the ever New York Harbor. From her sev- present gulls in a white noise Rocks in My Pockets is narrated enth foor perch, the Verrazano soundtrack. by Signe herself, Latvian accent Bridge dominates the horizon and everything. Her voice foats 6 over the picture -thousands of loved. Within the flm, one might “I’m a loner,” she insists, “I feel drawings from her own hand- wonder if these are variations comfortable being alone.” She sometimes commenting on on the same thing - the pull might attract a crowd of enthu- the action, sometimes adding of two directions - the desire siasts while out on the town, detail and sometimes wander- to be a wife versus the desire but her return to the solitary ing altogether elsewhere. It’s to escape, to disappear yet to harbor view comes as soon easy to see how this concoction survive. as she fnds an escape. Per- could overpower an audience. haps it’s that space in between, The flm is like standing under Her self-portrait on screen, the anonymous hours on the a waterfall. Until technology while no doubt authentic, subway, where the burden of catches up with science fction, doesn’t fully connect with what the past and the weight of the until there’s a device that will can best be described as Sig- future sink onto the nickel-rub- allow one person to step inside ne’s impressive social bearing. bing present. Isn’t this where all another’s head, rare flms like Gracious, opinionated, forth- Americans - 20 year transplants this may be the closest thing to right, engaging. Few animators like Signe, and native born rummaging through a stranger’s have the developed and refned alike - live their lives? Riding brain -family heirlooms, histori- interpersonal skills that Signe the highway between where cal artifacts, old trophies, books Baumane has. She will spot a they were and where they think and boxes too precious to toss young animator shyly sipping they want to be. Encased in but stashed away not important from a Solo cup, take them by an anonymous cocoon of steel enough for daily use. the hand and proudly introduce and glass, by themselves in the midst of thousands, where one slight move in the proper direction could bring it all to a glorious conclusion. Signe’s under- ground pas- sage from the Manhat- tan canyons (and center of social “My grandmother must be at the center of my brain. She is standing confused in the water, not understanding why she doesn’t sink. I think like her, I want to survive - but I don’t want to live.” life, even for the ani- Conundrums beat the pulse them around the room going mators who can’t aford to live of Rocks in My Pockets, none person-to-person with a sales there) takes her underneath the more central than the divergent pitch that would catch P. T. Bar- World Trade Center, below the desires to disappear or to be num’s attention. East River, passed the billion 7

techniques learned while work- ing with Bill Plympton after her emigration to New York from Latvia, the flm required 30 to 60 drawings to be created each day. Signe drew every frame, and worked with her three assistants to digitally color and composite them.

Becoming an animator

The typical story goes some- Signe posing with a papier maché piece of the flm’s set. thing like this: I always loved dollar home of the Brooklyn me of Saturdays) which are to draw. From an early age I Nets and one hundred blocks separated from the pornog- would draw all over everything. down Fourth Avenue. Passed raphy stores by the highway Give me a crayon or a pencil the Gowanus Canal Superfund overpass. The earth fattens, and I’d doodle dinosaurs and site where artists have recently the street widens, trafc disap- spaceships and cats and dogs settled amongst the two hun- pears. There’s a sleeping guard all over the house. My parents dred years of industrial by-prod- at the entrance to the largely even had to put butcher paper uct, passed the VFW Hall with unoccupied industrial park with on all the surfaces so I didn’t its plaque commemorating the Signe’s studio. With the river ruin the paint job. Then I saw 1st Maryland Regiment of the in view, and the world at your The Little Mermaid (or Bambi Battle of Brooklyn, passed the back - this place seems almost or Cinderella or some other Greenwood Cemetery - New liveable. such thing), I didn’t know how York’s 19th Century version of they did it - but I knew that’s Central Park where families With very little fnancial what I wanted to do. The auto- would picnic on top of the dead. resource to make Rocks In My biographical segments of Rocks Pockets, the ability to lead a in My Pockets contain sex, When the trains are running as solitary life came as a blessing. love, abortion, worry, anti-psy- planned, the trip takes over an Through much of the produc- chotic prescriptions, confusion, hour. Another ten minutes on tion, the crew consisted of one confict - all sorts of things, but foot, downhill towards the water, person: Signe Baumane. This no mention of the flmmaker’s the ticky-tacky four-family row ballooned to four (including interest in cartooning, flm or homes give way to machine herself) by the end of produc- animation. Signe didn’t cover shops (they always smell to tion. Using some economical all the tablecloths in Riga with scribbles resembling penises. She didn’t make little comics about misunderstood heroines. “Give me a crayon or a pencil and I’d She was interested in storytell- doodle dinosaurs and spaceships and ing, in words. Latvia had been a part of the cats and dogs all over the house.” Soviet Union her entire life, but Russian was still a second 8 language. The Russian language shares a thing or two with Lat- vian - the word for “depression”, for example, in both languages takes the fem- inine gender. The subtleties of Schopenhauer, already difcult enough in Ger- man became even more complicated when processed Flipping through pencil animation through a Russian translation. Her the purely visual, gestural and classmate noticed the sketches sketchbook doodles were born external. in her notebooks and encour- from a struggle to understand. aged her to apply for work at Language had been her means Animation came to Signe in an animation studio. The Simp- to describe and understand the her twenties, towards the end sons had begun broadcasting in world and no longer sufced. of her college years. In the last post-Perestroika Moscow. This few months fnishing her phi- impressed her, even with lim- Realizing that her newly minted losophy degree from Moscow ited English, it was exciting and degree in philosophy might help University - which she calls the unlike anything she had previ- her secure an assistant position Harvard of the Soviet Union - a ously seen. on the long track to professor within the university system, Signe quickly concluded that she could do much worse than work as an artist.

Until college, her creative out- put was primarily written. Pri- marily and prodigiously. And precociously, writing a novel at age eight and having her frst work published when she was 14. In Moscow, with her language skills largely nullifed, she pursued her interest in dance. Drawing followed. When words didn’t work, so on to Drawings on the wall. 9

The process started with words. wise you don’t start. When you SHORT FILMS Signe wrote “three or four” live enter something new you don’t action scripts. One, “Love and know what will happen, if it isn’t “What I truly enjoy is the rela- Health Insurance”, addressed nerve-wracking it isn’t experi- tionship of language to image,” abortion and picked up praise mental.” In 2010 she fnished she says. This ofers an insight from producers and festival the script. The script called for in how to view, or maybe more programmers, but the path to a mixture of ideas - the real properly how to read, her flm. feature flm production - even interacting with the surreal, “People need some assurance in the low budget independent combining two dimensional along the way. You can’t just universe - was too arduous for drawings with three dimensional show them a bunch of images.” an artist with no track record in papier-mâché, and fundamen- the feld. tally - the tousled relationship She had made a half dozen between language and images. short flms before she began to “I was going to do it myself, use narration with “Five Fucking but where do I start? What do I The process, she says, “You Fables” in 2002. Other short flms with similar visual and narrative approaches followed roughly every two years. During the last of these, 2009’s “Birth”, she found herself in a creative crisis. “Where’s the challenge?” she thought.

A conversation with animator/ director Andy London helped convince her to pursue longer format work. “People who make short flms are mentally ill - like me,” her self-inclusion implying that short flmmakers are even Testing for stop motion crazier than at frst glance. “You do it to communicate your eternal soul and you hope to know about camera and light- do it. In hindsight, it’s not so connect to other people. But ing? Nothing! So you need to simple. I have these interests. the stakes are low.” A feature fnd a cameraman. Animation How do I bring them together? flm would ofer the opportunity people don’t foster those rela- Let me combine what I know. to develop characters and to tionships. There’s no way you I know how to take pictures. address an idea from multiple can make the movie if you don’t I know papier-mâché. I know angles. know the craft. So I decided – how to draw. Let me combine animation because I knew the them.” process.” GETTING STARTED: SCRIPT DEVELOPMENT, CHOSING A “I started as if it were a short TECHNIQUE flm. Of course, you don’t start unless you’re delusional - other- 10

Nonetheless, she set out to raise $42,800 in thirty days and ultimately reached $50,780. The stress of the campaign, though, left her in poor health. As the Kickstarter concluded she experienced severe migraines and vertigo. It seemed like it took just as much work to raise the money as it did to make the flm. This may be a truism that applies to all forms of indepen- dent flm.

Along with the flm’s “problems”, “You never learn from other people’s mistakes, only your own.” Signe also has clear sight of its FUNDRAISING add signifcantly to expenses. appeal. “Who wants to see a In this case, the worst case flm about depressed women?” Even with a small production scenario presented itself when she asks. “You know exactly team, a big flm costs money. Signe had to replace the frst who wants to watch.” One Rocks in My Pockets received composer due to scheduling festival director turned down a few grants, including the and creative conficts. The frst the flm, but then shared it with New York State Council on the musician already paid, the three colleagues - all women, Arts, The Jerome Foundation, already cramped budget had to all of whom pressed him to and a private donation through make room for the replacement. program it. This was a flm they Women Make Movies which wanted to see, the story was also served as the flm’s fscal In November 2012 animation familiar to them, flled with char- sponsor. [sidebar] An additional was completed. With a few acters they recognized. eight thousand dollars were weeks of art production and raised through fundraising post-production expenses, The “problems” Signe sees in events. Signe turned to Kickstarter as Rocks in My Pockets make it means to both alert people to extraordinary. The problems Audio production was the the project and bring in the she has fought throughout her biggest expense, as it often fnancing to help push through life - the problems her ances- is for the independent anima- the last steps of the process. tors have fought - won’t be tor. Doing all the voice work defeated by one flm. Her words herself, Signe still required a Initially, she was reluctant to and images give it expression, professional audio engineer crowd fund. “I couldn’t stand the give us all a glimpse into that and recording studio. She also public humiliation if we didn’t urge to walk down the slope, to decided to engage a voice make it.” Citing Michael Sporn’s the pier and keep going. coach, Sturgis Warner (also the unsuccessful drive to fnance flm’s producer), to work with Poe, “if he can’t do it, who can? Richard O’Connor makes flms her on diction and intonation. He had all of those readers that nobody likes and doesn’t on the Splog [his blog]. He’s like most flms that other people Music, sound design and mix famous!” make. 11 If it Ain’t Broke: Contemporary Uses of Traditional Techniques available tools to mimic a tex- exploration seems to be taking By Keltie Duncan ture or a form that could exist place deep within a computer. IRL, but would be so difcult/ Now computers are the ‘given’ The following is a collection of time consuming/expensive to and any use of flm is almost thoughts and justifcations for materialize that why would you? unheard of. While this is still the curation of a special screen- No objections. incredibly exciting, and there ing called “If it Ain’t Broke: However. are as many interesting things Contemporary Uses of Analog going on with animation today Techniques” from the 2015 Sometimes in this crazy e-uni- as there has always been, it Ottawa International Animation verse it’s nice to encounter does seem notable these days Festival. genuine moments of realness. when a flmmaker either mini- You know? To engage with rem- mizes the role of trendy digital Computers are great. It isn’t nants of a physical existence tools in favor of traditional tech- too much of an exaggeration to that is often implied and less niques, or shirks them entirely. say that computers continually often present. One of the side It was surprising to realize lately revolutionize the way just about efects of digital everything is a just how rare and novel it is to everything is done, including new appreciation for non-dig- see a purist non-digital anima- animation. Though there is ital anything. What was once tion. always a danger with something so prevalent is all of a sudden With this in mind I put together so exciting and accessible of a novelty, usually before any- a screening at the most recent losing the mastery in glitz and one who has lived through the Ottawa International Animation spectacle, animation created changes has even noticed. For Festival that celebrated and with computers is as capable an animator today to make the rewarded flms made within of challenging and expanding conscious choice to draw on the last couple of years which the medium as much as any paper, toil over a light table with used, at least as the primary analog technique that’s come a pile of sand or scratch on flm, technique, non-digital animation before it. With all the dazzle of that’s a big deal. That’s unique. techniques. A major respon- digital techniques, it’s interest- It feels like every other flm used sibility of events like Annecy ing to fnd a flm that downplays to be paint on glass. Paper cut and Ottawa is to keep folks that dazzle to create something outs? Dime a dozen. Stream abreast of the goings on in the with integrity, or which at least of consciousness morph ani- animation world. A privilege of acknowledges the dazzle for mation? Everywhere. Charcoal receiving the latest flms from a what it is and really goes for it. was for drawing with. Film was wide range of today’s practicing Computers are also generally, a given, and the term ‘flm’ was animators means an obliga- yes, easy, but also allow for referring to a physical material. tion to represent an accurate such complete control over any Plasticine! Multiplanes! Pen- picture of the most interesting, possible detail of a project that cil crayons; remember those? ground-breaking, entertaining, for notoriously meticulous and I haven’t seen a good pencil unique and comprehensive introverted people like many crayon mark in a dog’s age. array of what the programmers animators, it’s understandably see over any given selection preferable sometimes to use Look at us now: so much recent year. 12

folk song with the story being There is a special enjoyment in Part of fulflling that duty is cre- told in the images is exactly the watching non-digital animation ating space for the under-rep- tactility of the craftwork in each these days, made so enjoyable resented flmmakers, genres or frame. The use of embroidery in part because of its now rela- techniques, which also comple- is the soul that flls the 2:54 tive scarcity. With the rise of a ment the competition screen- minute body of the flm and, new medium comes an adjust- ings and rounds out the picture while it helps to be familiar with ment for existing media, but a of independent animation that is the how-to’s of animation and forced examination and recon- presented. It seems that these to fully grasp the amount of sideration doesn’t spell disaster. types of flms are less and less work that went into it, anyone Encountering new applications common and it is important to can almost literally feel Paley’s of existing techniques is excit- encourage the maintenance of respect and pride for tradition, ing, and encountering past the techniques. “If it Ain’t Broke” family and cultural celebration. examples in a new context was a collection of flms that Another stand out analog flm is just as interesting. Though embody the non-digital spirit made this year is Chulyen: A things are constantly evolving in this very digital age. The Crow’s Tale (2015) by Agnès and those shifts are important, programme highlighted flms Patron & Cerise Lopez, a pencil it’s equally as important to save created using (mostly) analog on paper 20-minute epic that space for masterful examples of techniques, not because of any tells the tale of Chulyen, the tried and true techniques. dislike of digital tools and aes- folkloric Nootka/Tanaina crow If it ain’t broke, right? thetics, but because it’s increas- trickster. The flm, completely ingly special to come across black and white, uses traditional flms created today using animation techniques, but if Keltie Duncan is the Program- anything but watching Chad compared to historical exam- ming and Technical Manager of Gadya (2015) by Nina Paley is ples of the same methods is the Ottawa International Anima- a perfect example of the sense slightly more rough around the tion Festival. of awe, wonder and whimsy edges. Where in the past this the intricacies of analog tech- could be a point of criticism, the niques can inspire in a viewer. flm’s slightly crude, yet wonder- The flm is a series of animation fully detailed, drawings are what loops hand embroidered onto give the flm its thoroughly com- hundreds of matzo covers - an pelling, engaging and engross- “embroidermation” as Paley ing quality. That the entire flm calls it – resulting in a flm that takes place among forests is undeniably painstaking and and lakes long before humans of the physical world. The hand ruined anything seems only rendered Passover folk song is ftting to be rendered in pencil. very much a product of today in The technique, as with Paley’s its viral video quotient, but goes flm, is the unifying element far beyond a momentary thrill of that conveys an unarticulated novelty through its technique. It element of the story and draws is of another time in its method (har har) out part of our senses and the artist’s hand is not only that bolsters the flm’s intent. palpable, but is the star of the The folktale is interesting, but it show. What stitches (har) the is really brought to life through 1950s recording of a traditional the specifc choice of technique. Interviews 13 SCRATCH, CRACKLE & POP! An Interview with Steven Woloshen by Kelly Gallagher than collaboration, Woloshen begin to take more seriously the adamantly opts for collabora- important work of sharing and Celebrated flmmaker and tion. Through the demystifying demystifying their artistic prac- passionate evangelist of hand- and sharing of his personal flm- tices within their communities, crafted cinema, Steven Wolos- making processes and honed creating accessibility around hen, has released his latest techniques, both within this animation and flmmaking. I had colorfully informative book on new book and within his real life the pleasure of digging into the handmade flm techniques, through innumerable commu- book more deeply with Steven. Scratch, Crackle & Pop: a whole grains approach to making flms without a camera. The book is more than just a tech- nically immersive crash course for those interested in learning hand- made flmmaking processes; it is an encouraging and welcoming text that both begin- ning and estab- lished flmmakers will beneft from reading, thanks to Woloshen’s ability to enthusiastically and authentically address a large audience. His Steven Woloshen passion for tactile processes jumps of the page nity flm workshops, he encour- and feels tangible itself, some- agingly invites everyone to join Kelly Gallagher: You men- thing for us to hold onto while him along the often rewarding tion in the introduction to reading the book. In an age adventure of cameraless flm- the book that though many when competition is often more making. We should only hope texts don’t already exist like encouraged within the art world more animators and flmmakers this, there are a few, one of 14 which is Helen Hill’s brilliant with other flmmakers. This feel- and experiences of other flm- Recipes for Disaster. As ing of “give and take” is at the makers. I wrote these books the title of her “handcrafted heart of my philosophy. Along- and host workshops to address flm cookbooklet” suggests, side the artistic risk taking, these issues. I also want to dis- concepts such as disaster or “mess-ups” and the community pel any myths about the decline failure are embraced in came- spirit is the love and respect of one medium and the rise of raless flmmaking. In Scratch, that comes with the sharing of others. I’m here to dialogue, Crackle & Pop! you insist ideas and experiences. discuss and work through any on encouraging viewers to of the roadblocks that served embrace handmade flmmak- to keep us apart. We all know ing processes because they KG: Mentioned in the fore- that some artists are living silent are a space to be playful, to word by Marco De Blois, and and secluded lives - becoming experiment, and to continu- exemplifed in your personal separated from their home- ally be learning. In this realm case studies throughout lands, communal experiences of flmmaking, “mistakes” or the book, it is apparent that and community leaders. I want “mess-ups” or even poten- direct animation flmmaking to bring artist and audience tial “disasters” can turn into practices harken on lineages together with simple tools and accidentally beautiful and and histories from both the overlooked means of expres- important seconds within a experimental cinema realm sion. flm. Do you fnd that these and animation realm. Could characteristics of handmade you talk about what it means When I began making hand- flms make them feel excep- to straddle both worlds? In made flms in the late 1970s, tionally inviting to newcom- what ways do both commu- I never looked in any specifc ers of flmmaking? In what nities value or give shape to direction. I made flms only ways are the concepts of handmade flmmaking pro- with a strong sense of curios- “play” and “chance” cele- cesses? ity. I owned all my equipment brated and praised within the so I never had to discuss the cameraless flmmaking form? SW: That’s a really good ques- methods of getting from script tion. When I went to flm school to screen. In Scratch, Crackle Steven Woloshen: I was in the 1980s, it was a badge of & Pop! I can only recall my greatly infuenced by Recipes honor to be put in one camp or own beginning and I hope for Disaster. When I wrote the another. But here we are in the my achievements touch other proposal for Scratch, Crackle 21st century. I don’t think that flmmakers as well. When I & Pop, I referred to Hill’s book there is a clear division in these frst proposed the idea of this and Brakhage’s The Giving and communities any more. We handmade flmmaking manual Taking Book. I am always hope- have so many creative stories - thirty years later, I had to ask ful that a community of flmmak- to tell and so many tools to help myself if I was an experimental ers will gather their experiences with the task of self-expression, animator using non –traditional and create another “cookbook- that the mediums of expression methods or if I’m an experimen- let.” When I fnished the book have therefore become very tal flmmaker - creating flms as earlier this year, I created a pluralistic. I am an experimen- a Dadaist or Surrealist would in website to promote the ideology tal flmmaker for one project but the early 1930s whilst incorpo- behind its creation. I felt that it I could be a traditional animator rating animated sensibilities into was important to include a page for another project as well. The my experimental flms. where readers could upload one issue that is very relevant their own recipes to share them today is access to the tools 15

KG: I greatly enjoyed the explain these little squares of with the aid of flm frame inter- inclusion of actual samples of plastic as a vital surface for the vals. For example, if we can flm leader in the book. See- flmmaking process. In many of imagine an animated gesture, ing them and touching them my master-classes, I point to how would it be achieved in made me refect on the imme- the calendar people analogy; eight frames? Additionally, what diate, sheer enjoyment that basically, there are two types would you want to illustrate in comes with tactile flmmaking of people. The frst type put a eight frames? processes. You discuss the monthly calendar on the wall, importance of immediacy in then mark a deadline with an the book, citing handmade “X” at the end of the month. KG: The book’s guide to flm’s fairly accessible tools, The other type tacks up a testing for emulsion versus and the lack of need for sto- daily date book and peels of base side of celluloid made ryboards and animatics- all each day until the deadline is me smile- you mention that qualities that have drawn you reached and then, are surprised one trick to fnd the emulsion to champion this flmmaking that so much time has been side is to put one’s lips to form. Could you speak to the squandered when the deadline each side of the celluloid so notions of tactility, immedi- arrives. When I look at a strip that one can realize the sticky acy (/but also patience), and of flm, I feel like the monthly side (the emulsion side.) This accessibility as they relate to wall calendar person – dividing trick prompted me to refect your own processes and the my time and tasks, my motion on notions of intimacy in desire to share these pro- and memories until I reach the handmade practices. Some cesses with others? fnal destination. of your own cameraless flms (eg: The Curse of the Voodoo Child) are incredibly intimate and personal pieces. In what ways do intimacy, physicality, and abstraction- qualities of handmade flmmaking that you explore in your work and throughout the book- lend themselves to personal flm- making and explorations of the deeply personal?

SW: In workshops, I start every practical session with this lip test. Sometimes, it freaks peo- ple out. I don’t set out to make students “kiss” flm but then I SW: The leader was a very As a result of this calendar explain how we should take important part of the book. I am analogy, I included the flm risks to achieve our results. aware that everybody is only strip to remind the reader that They laugh at frst but then the getting 16 frames (8 frames of handmade flmmaking isn’t idea of testing organic materials clear leader and 8 frames of necessarily a “fipbook” expe- begins to sink into their pro- black leader) but it is import- rience. The movement has to cesses. I remind them that just ant that I use this as a prop to be imagined in linear space like other animators who have 16 to lean over to adjust puppets animating 10 seconds of a live music no less) the audience or have to jump up and down in collaborative flm involving knew they were a part of the a pixilated flm, our physical/tac- many other flmmakers). Can screen. That’s what I call collab- tile creations add to the mem- you speak to the advantages oration between the audience ories of our production steps. of handmade flmmaking pro- and the artist. In many ways, my book opens cesses as they relate to both this door. Even the extreme solitary activity and collabo- microscopic photographs of rative activity? KG: Something I found my drawing and painting tools incredibly useful about are a reminder of the small and SW: I have hosted a lot of Scratch, Crackle & Pop! was intimate world of handmade workshops. I feel that they are its embrace of contemporary flmmaking – a world that could the real incubators for abstract and accessible digital tech- ft into a shoebox or your shirt ideas. I want people to learn nologies. For example, at one pocket. from each other. I want them point you ofer suggestions to share, talk, laugh and shake for accessible digital scan- of the stresses of the working ning options and include KG: After thoroughly prepar- day. In workshops we learn mention of a smartphone ing readers of your book to about one another in addition to stop motion application. I learn the techniques of hand- ourselves. It is also important to fnd this important because made flmmaking through see how miniature experiments so many young and new case studies from your own become large ideas when we flmmakers will fnd some- flms, you make sure to ded- put them on a large screen for thing like that to be far more icate time at the end of the others to view. There is no pride available than an Oxberry book to help readers organize or ego in a group workshop. flm scanner. Could you their own handmade flmmak- Our goal is to excel beyond our discuss the challenges in ing workshops. You mention own grasp and into the hearts putting together a book that that in your own utopia, (and I of each other. both celebrates handmade agree!), there would be hand- practices, celluloid and flm made flmmaking workshops When I was a guest of the 2007 tactility, while also navigat- at every flm festival and Animateka Animation Festival ing the reality of the material community center. Could you in Ljubljana, Igor had the bright conditions surrounding many talk about the importance of idea to recreate the handmade newly interested flmmakers emphasizing and champion- flm workshop as a communal of today’s day and age? ing flmmaking workshops in tool. Instead of giving me a your book as well as within ten-hour working session in a SW: When I set of the write your own life as a flmmaker small room with a limited num- this book in 2010, I was very who has successfully orga- ber of students, he opened the headstrong about the use of nized and participated in so experience to anybody and traditional methods, which many? For a flmmaking form everybody who walked into included real flm stocks with that can often be incredibly the cinema lobby. I met lots of emulsions. But times changed solitary, you also mention in Ljubljana residents, animators and flm equipment is increas- the book other various ways and festival guests. This was an ingly hard to obtain. In 2012, you’ve found to collaborate eye opening experience. Talk I hosted a small workshop in with others (whether it’s about “meeting on the level and Brussels. The students used using someone else’s flmed parting on the square.” When simple tools, but in the end, the footage to animate onto, or we screened the fnal flm (with flmstrips were too short to load 17 into the projector. I put lots of optical soundtracks that are all always makes me inevitably white leader at the head but the part of the cinematic identity. want to shout their names images still few by at a very When the microscopes are from the rooftops. What are quick pace. It was the last time aimed at flm stock, there are so some ways you think that the that I relied on a 16mm projec- many new sources of inspira- important work of demysti- tor to screen flm for students. tion. fcation can expand beyond In 2013, I looked into small making processes and tech- USB microscopes in conjunc- niques accessible but also tion with Dragonframe. I really KG: As an experimental branch out politically and liked the versatility that digitized animator myself who often make the varied and complex flm brought to the workshop uses cameraless flmmaking histories of cameraless flm- environment. We can also add practices, I found that I was making also more accessible audio tracks and compare the initially drawn to direct ani- and transparent? efect of sound on abstract mation as a result of some imagery. In a 2014 Poznan of the feminist politics sur- SW: For the last year and a workshop, we animated a flm rounding many cameraless half I have been working in frame while the ink was spread- practices and techniques. flm conservation. In that time, ing over its surface. Suddenly, When I saw Naomi Uman’s I’ve seen a lot of short flms by two animated forms were collid- Removed and read about her female animators/directors. The ing. This was something new! detourning domestic house- titles and subject matter of the But this also raises a question: hold cleaning products and flms are rarely talked about, Do you still need to use real nail polish to create the flm, the names are not common flm or would any small canvas I was immediately drawn in. and all the work that they con- be sufcient to create happy Learning about the women tributed to the art of flm has accidents? In the end, though, who have made major con- fallen by the wayside. Some of the re-evaluation of your skill tributions to cameraless the reasons became glaringly set can be as important as the practices but have been obvious: Musical rights were medium itself. often written out of its history not renewed; new distribution formats were not explored and female directors were not When the microscopes are aimed at flm properly encouraged to explore stock, there are so many new sources of independent paths. When I began writing Scratch, inspiration. Crackle & Pop! I had to main- tain conscience awareness about the shaky social state of independent analog flmmaking. (Evelyn Lambert co-directed Uman’s flms are remembered Recently, I have become very many of Norman McLaren’s because we talk about them, interested in the concept of the most well known flms, Elis- write about and share her tech- secret cinema. As a result of the abeth Thuillier and her com- niques with words - like you did microscopes and scanners, I pany of 200 women colorists when you asked me this ques- have been very interested in the did all the meticulous paint tion. I felt that technical tools exploitation of the perforations, work directly onto celluloid and tips were not the only topic the countdown leaders and the for Melies’ fantastical flms), that should fll this book. We 18 have to maintain our unique- inherently “radical” practice, you hope that more flmmak- ness and individuality and that generally in opposition to ers feel encouraged to demy- includes, a close vigil on the other modes of more main- stify their own flmmaker distribution, dissemination and stream flm and animation practices and techniques? In the conservation of our flms. I production? what ways does this kind of am hoping that this book and work help build community? future writing eforts will steer SW: In handmade flmmaking, away from the academic ques- I believe that the subject and SW: I have met a lot of anima- tions and focus on the acces- the object are very close to tors and flmmakers who have sibility of media. So far, the each other. I often wonder what overestimated the audiences’ motto, “we share words” is the would happen if we abstracted curiosity. They wonder why strongest reason to keep writing from the objective world? nobody “likes” the things they books – a selfess motivation to (When I say objective though, fnd important in the world. They help keep all artists’ work seen I mean the world as it was realize that all the prizes and and appreciated. recorded through the lens.) For awards can’t be of service to my work, I think found footage the community or to arts so they and appropriated images from wag their fnger instead. I have KG: In Scratch, Crackle & Hollywood flms are essen- read the comments of so many Pop! during the case study tial subjects to explore the dismissive artists that I felt it of your flm “Playtime,” you language flm movement and was time to nurture the flm explore the processes you iconography. When I was writ- community in optimistic, rele- used to create a flm with the ing my frst book Recipes for vant and timely methods. earth (literally soil), which Reconstruction, the derailment aided in the decay of flm of the Hollywood standard was Inevitably, it is my hope that footage of old Hollywood an important element in recon- everybody who tries handmade trailers. While reading this stituting flm. Burial, decay and flmmaking will share their section of the book, I couldn’t fermentation should be seen methodology, their joys, failures help but think about it a as valuable tools in flmmaking. and secret desires with other bit metaphorically (in addi- Mortality is such a powerful artists. I have great faith in book tion to the helpful concrete subject and the lifespan of the making. Since I have been techniques being explored). physical image is such a useful working in the flm conservation In many ways, handmade object that they both belong feld, I feel that the printed word flmmaking is a refusal of together. I want all aspects of may be the only artifact that standard industry practices “objective” cinema to be part of survives the test of time. I want and modes of making. More the handmade experience. to leave a simple blueprint to and more handcrafted flm- engage my children. makers are working to con- nect with each other, share KG: What inspires you to resources with each other, continue the meticulous and help each other out on proj- important work of demystify- Kelly Gallagher is an experi- ects, and create works that ing experimental animation mental animator and flmmaker are in direct opposition to practices? What do you hope whose research explores the what the mainstream flm and will come from the continued political potential and radical animation industries promote dissemination and further aesthetics of animation. and create. Do you feel that reading by new audiences of handmade flmmaking is an Scratch, Crackle & Pop!? Do 19 Dave Cox: Toronto Independent Animation Pioneer

By Patrick Jenkins His flms include Symbiosis to fnd a new home. When no (1976), a hand drawn flm civilized nation would admit Dave Cox is a pioneer of about Toronto Island and its the island, it returns home to a Toronto Independent Animation. community of residents. In this welcoming Toronto, who had Between 1976 and 1982, Cox flm, when Toronto City Council missed it, and the island and its created 4 independent short wants to bulldoze the island residents live in peace with the flms, in the midst of working on residents’ homes to create city. a furry of TVOntario and Ses- parkland, the Island stands up ame Street shorts, and public and wades away, roaming the Symbiosis won a prize at the service commercials at his day Saint Lawrence Seaway and 1976 Ottawa International job. the Atlantic East Coast, trying Animation Festival and was 20 invited to festivals ton for Commercial around the world. Art. In my second It was screened at year there, I had animation festivals an option to par- in Annecy, France; ticipate the bur- London, England; geoning animation Odense, Den- program. I com- mark; Melbourne, pleted the program Australia; and at and went on to Filmex in Califor- be the Resident nia. Cox wrote, Animation Artist at storyboarded, and the College, doing directed the flm, animation for the with Ken Stephen- school’s athletic son animating, and and other depart- Dave Campbell ments. colouring and doing Symbiosis everything else that story about a cat trying to teach In 1972, I was hired as an needed doing. 3 chickens and a rooster how to Animation Director with Bob sing a Christmas Carol. Kain at Videoart Productions Cox’s next flm, Bible Plus Dave, along with his wife Dale, in Toronto along with a few (1977) is a frenetic retelling of both now retired, worked for talented grads. We did 3 tele- major stories from the Bible, years as highly regarded Ani- vision series on mathematics including Adam and Eve, Noah, mation professionals in the for TV Ontario and a myriad of the Parting of the Red Sea, Canadian Animation Industry. short industrial and educational etc., all depicted by animating a In June 2015, I visited them at animations. I enjoyed working feld of 400 square 3/8” ceramic their home in beautiful Glen Wil- there writing, designing, direct- tiles. It was shot in one week- liams, Ontario and interviewed ing, and animating. In 1978, my end, with no sleep. Cox had no them about their adventures in new wife Dale, who had been idea what the content of the flm Canadian Independent Anima- working at Rainbow Anima- would be until he started the tion flmmaking. tion, had signed on at Nelvana flming process Friday after- Limited, and became their new noon. Patrick Jenkins: How did you production manager. In 1983, get started in animation? Nelvana asked Dale and I to go The following year, 1978, Cox to Tokyo, Japan to work for a created his most ambitious flm, Dave Cox: I was a horrible year on the TV series “Inspector In His Own Image, where the student in high school, but I was Gadget” as overseas directors. Greek god Zeus is seen toiling always expected to be a visual That was culturally most glori- at his drafting board, trying to artist. I quit school in grade 12 ous and challenging. When we design a creature to inhabit the because I was bored, although returned to Canada, I began Earth, only to see things go I am now represented on their freelancing on several TV series awry. Wall of Fame. I worked in a at Nelvana. paper mill for a couple of years, Cox’s last independent flm The where I got to learn a lot about PJ: How did these indepen- Christmas Card (1982) is 30 paper. In 1967, I was accepted dent flms of yours come second animated Christmas into Sheridan College in Bramp- about? 21

Islands feeding the geese and DC: At Videoart, the things we we liked the idea of maintaining Symbiosis ended up winning were doing at the time were a community of small houses First Prize in the under 3 min- low budget and we worked out there. We would have loved utes animation category! We long hours and weekends to to live there and we had friends got all kinds of reviews of the fnish them. We were working out there! We wanted to pre- flm and we received ofers to hard and long, but we certainly serve the idea of community. distribute it. The flm got a huge weren’t thriving. My nickname reaction from around the world. for a while was “Death Warmed PJ: To preserve the Island It was applauded by the Society Over”. At the time there were Community! for the Preservation of the Built only four small animation com- Environment. We got all kinds panies and one commercial DC: Yes. Toronto City Hall of interesting responses to it. house in Toronto. The guys wanted to bulldoze the houses I was working with, Dave and turn the Island into a park- We were little celebrities in Campbell, Terry Godfrey, Les land. I responded the only way I Toronto because, as we under- McBride, and Ken Stephenson, could, by doing a flm! stand it, no local person had were incredibly talented, and ever won a prize at a major I felt that we were ready and PJ: Was it done during the international animation festival able to do something (hopefully) Studio’s down time? before that. We started getting special. We were never going better jobs because Bob Kain at to go anywhere just pounding Dave: For sure. We had a Videoart put the award notice in out our volume. Bob Kain, the month and we did the 3 min- Marketing Magazine. benevolent owner of Videoart utes, from start to fnish, in that Productions decided that I could time. We had to fnish it in order PJ: So it achieved what you exchange work for using the to submit it to the 1976 Ottawa wanted it to do? It created equipment, the animation cam- International Animation Festival, new opportunities for the stu- era, and synchronizer, etc. the frst international animation dio and the crew? PJ: So that would be your festival in Canada. It was our frst independent flm full time project for that month. DC: Yes. It expanded our Symbiosis? It was drawn on paper with opportunities. pencil, and coloured with magic DC: Yes, it was a flm about the markers. PJ: What other festivals did it struggle to maintain homes on go to? Toronto Island as homes. This A month or so later, we was in 1976. received a call from the Festi- DC: It went to the Melbourne val ofce, informing us that it International Film Festival. PJ: What surprises me is that was accepted for competition. I think they liked the line in many people who go into the I bought a case of Baby Duck our flm that goes, “Like more industry, never make their (an inexpensive sparkling rosé respectable islands like Austra- own flms, but you did! wine) to celebrate with the lia and Madagascar!” (Laughs) crew. Dale and I went to Ottawa It was invited and appeared at DC: Well I’ve always been a on our belated honeymoon the Odense, Denmark; Lucca, sort of self-starter. I wrote the to attend the Festival. We sat Italy; Teheran, Iran; London, flm because of the Toronto there and watched our flm and England; Filmex, USA; the Islands. Dale and I used to all the other flms. We’d never frst edition of Festival of Fes- spend a lot of time on the been to a Festival before. tivals in Toronto, as well as the 22

Canadian Film Awards. It was ies included half-tone printing, I had no storyboard. I had just also screened at the Annecy the little dot patterns that are won a prize at Ottawa for Sym- International Animation Festival used to ofset print photographs biosis and I wanted to make a in France, in English, without in magazines, I’m sure this was flm for the next Ottawa festival. subtitles, so nobody applauded. a big infuence and inspiration I used the tiles because they Eventually, the International for me to do the frst experimen- were easy to manipulate, shoot, Film Bureau in Chicago tal tile flm. I wanted to create manipulate, shoot. I booked the acquired distribution rights. imagery using little black and camera for the weekend and white tiles, similar to the black went in and did it on my own. PJ: Why were the people on white half-tone dot patterns. It was just me. I didn’t get any in Symbiosis depicted as sleep. blobs? I had seen some of the Whitney brothers’ analog continuous PJ: You just made the flm up on the fy?

Making a 3-minute flm from sound DC: Well, I had the idea of the extension of the Bible as recording to screen in a month was a story. I knew I would have plenty of time to imagine each almost impossible. next sequence as I shufed along frame by frame. During each segment, I improvised the DC: The earth was a blob so motion computer animation at next, and so on. I had no initial the people were also blobs. We the time, and I hoped I might be plan for the flm. I fnished the had to keep the 1800 drawings successful using punch cards to last major scene (the creator’s simple because we had so manipulate the pixels. I pre- hand wiping the devastated little time. Making a 3-minute sented it to the Sheridan Col- earth from the screen) and flm from sound recording to lege’s Computer Department for realized that it was already 8:30 screen in a month was almost guidance and was discouraged p.m. on Sunday night. I exe- impossible. Every line we add graciously. cuted the credits at about 5:30 to a character takes time and a.m. on Monday. I dropped the diminishes the quality of the So years later in 1976, I created flm at the lab and went home to animation. Blobs were also the Bible Plus using the same stop sleep. ...Ahhhhhhh! best way to present the politi- motion technique to animate the cal satire without insulting the tiles. PJ: You also had your hand in unnamed city. the frame. PJ: Interesting the look of the PJ: Your next flm was Bible flm resembles early com- DC: Yeah, well it was supposed Plus (1977). How did that puter graphics. How did you to be me as God, the Creator, come about? come up with the idea for this of course. flm? DC: In 1968, at Sheridan Col- PJ: It’s a story that everybody lege I had done a little b&w flm DC: Well one Friday afternoon, knows. What were you saying test animating 3/8-inch ceramic I went down to the studio with about the Bible? Was it meant tiles with stop motion animation. the tiles and I started animat- to be sarcastic? Because my Graphic Arts stud- ing. It was done in a weekend. 23

DC: Yes but it was hard to fnd time. I turned down 25 jobs that year. It was expensive to produce a flm, because not only was I was losing potential income, I would have to pay the expenses of making the flm out of my own pocket. This flm was screened in competition at the 1978 Ottawa International Ani- mation Festival in the Children’s Category.

PJ: How did this flm start?

DC: Well I had an idea on the plane back from Annecy in France in 1977. I had story- Bible Plus board paper with me. I sat down DC: No, it’s a book that every- 2-frame move and shoot, every and sketched out the concept. body knows. If sarcastic at all, 2 minutes, whether the action By the time we landed back it was more against the type was simple or complex. I was home in Toronto, I had the story of humans we seem to be working with a feld of almost roughed out on paper. becoming over the centuries. 400 tiles. All I knew was I was going in PJ: Did anything get you to make a flm. I just needed a PJ: How did Bible Plus do for thinking about being the concept. you? Creator again? (Laughs)

PJ: I think the humour is that DC: I don’t think it did very DC: Well I wanted him to be the events of the Bible, which much. It wasn’t accepted at the Zeus, the Greek God, to make it took place over eons, are Ottawa Animation Festival. I universal. I wanted to make this depicted quickly, in fast for- did it mostly because I wanted flm to poke fun at the ongoing ward movement, using very to keep a promise to myself to debate between evolutionists simplifed imagery in 3 min- make a flm that year. versus the creationists, and utes. It’s a challenge for the whether God created man or viewer to identify what Bible Dale Cox: The Festival of Fes- man created God. Zeus was story is being told at any tivals (the original name for the simply a designer creating an given time because the imag- Toronto International Film Festi- inhabitant for our planet. Zeus ery is so reduced. It uses the val) screened Bible Plus. starts as a blob of blue and viewer’s imagination. The sketches a similar single cell sequence where Moses parts PJ: Great! This brings us to blob on his drawing board. As the Red Sea, the sea is just a your next flm In His Own he adds human features and line. Image (1978). Are you still appendages and characteris- trying to do a flm a year at tics, Zeus is afected similarly DC: In retrospect, time con- this point? until he is disappointed by the straints dictated that I did one antics of his creation and starts 24 again with another similar blob. ative. I was working at home. It We were a small crew doing was self-fnanced. DC: A cat, our cat, is singing this flm, Dave Campbell, my and conducting, trying to teach wife Dale, narration by Cec PJ: None of these flms were 3 musically challenged chickens Linder and special sound made for a studio. You owned and a rooster to sing Christmas efects by Lare Scholtis. your flms? Carols. They were our chickens DC: Yes I paid for everything. I as well. At one point the cat PJ: In the flm Zeus designs have written, designed, story- turns the book of music right man, but man seems to get boarded, animated, directed, side up on the music stand and out of control? inked, painted, shot, and edited they all start singing “Jingle many flms for studios for pay, Bells” in unison. At the end we DC: He designs Man, but but these were self fnanced pull back to reveal that they are supposedly, he does so over and administered. in the barn next to our house thousands of years rather, than here in Glen Williams. The Dis- seven days. Then he realizes PJ: Did you make any more ney Channel and Swiss Tele- his folly, humanity is making a of your own flms after In His vision purchased it. We didn’t mess of things on earth. Own Image? have a chance to enter it in the festival circuit that year but it PJ: The twist is, that at the DC: No. I got very busy with was shown at Annecy Festival end of the flm, Zeus tries commercial work. in France and the FilmEx Festi- again to design a new crea- val in Los Angeles. We worked ture to inhabit the earth and Dale Cox: It was a booming in Tokyo all of that year and comes up with a dinosaur. time for the animation industry. couldn’t control the international shipping from there. DC: It’s a process that Zeus DC:I was working seven days seems to accept as he tries to a week. I had no time to do my PJ: Thanks for speaking with design an alternate creature own work. I couldn’t say ‘no’ to me about your work. I’m look- for Earth and he is changed work. Oh I did another indepen- ing forward to your further accordingly. The idea is fairly dent animated flm later in 1982, adventures. simple. He and everything he called The Christmas Card. It designs in the flm starts as a was 30 seconds long. I had DC: It was our pleasure to blob, and everything he designs been sending out Christmas share what we old folks remem- is in his own image and vice Cards every year for 18 years, ber about our past lives. versa. and I wanted to make an ani- mated Christmas card. I fgured PJ: He wants everything to the only way to deliver it was to Patrick Jenkins is an award win- look like himself? buy broadcast time on City TV ning Canadian artist, animator in Toronto. So we bought 4 X and documentary flmmaker. DC: Almost every designer thirty-second spots for our local leaves their own stamp on their friends and we sent 16mm rolls characters and their creations of flm to anyone out of town represent them to the world. because there was no such It took about a month to do thing as home video at the time. the flm. It’s 7 minutes and 20 seconds long and was photo- PJ: What’s the story of the graphed with no cuts in the neg- flm? 25 Riho Unt Talks The Master

By Jeannette Bonds fcult to fnd the balance and I decided to keep the droopy not take their natural expres- ears and large expressive eyes. Jeannette Bonds: The Master sions too far? As for the chimpanzee, I also is based on Popi and Huhuu preferred more body language by Friedebert Tuglas. What RU: Creating an animation and action in this man-made drew you to this story and character is one of the most environment to the 3D-style what does it mean to you complicated and exciting pro- grimaces. I considered minimal- personally? cesses. The characters are like ism and precision of movement tools that help to tell the story more important regarding the Riho Unt: I frst read the short and thus the tools must always feeling of this story. I remember story Popi and Huhuu in high be of great quality. All the prep when I was setting up the last school. I had to read it as it is a work, flming a real dachshund scene, the dachshund lying on literary classic and furthermore, in order to capture his nature his side dead on the ground in compulsory reading. I hated and manners or watching mon- the puddle of blood, my hands the story from the bottom of my keys at the zoo was indeed actually refused to do it. This heart. It exuded such depres- necessary, but the right choices little fellow made of wire and siveness, fear, hopelessness, are still made by your own fabric had really gotten under disaster – it was too much for imagination, experience and my skin. a young person. And now, 45 fantasy. In the end it is the story years later, my view of it has that dictates everything. For JB: Additionally, when you changed to the opposite. I have example, I experimented with are dealing with animating grown to like this story “thanks” a dog puppet that had a lot of animals that are telling a to the erratic world we now live moving details in his face, but distinct story, particularly a in, full of conficts and opposi- it did not agree with the whole, character as realistic look- tions. The animated flm The it was too “animation-like.” So ing as a chimpanzee how do Master is a refection of what we see and feel around us and to which we have no straightfor- ward solution. F. Tuglas wrote Popi and Huhuu exactly 100 years ago when Europe and the entire world were facing the horrors of the war.

JB: The characters’ facial expressions are distinct and subtle. The ape’s face carries with it a subtle but inherent cruelty while the dog displays just the right amount of posi- tivity and curiosity. What was the process like in creating these characters? Was it dif- 26 you fnd the balance between that the story would animating them realistically run better without and fnding the stylization the human being, it required for animation? enables the audience to decide what or who RU: This was one of the main the master was or questions before we started why was he not com- to shoot the flm, whether to ing back. The char- add human-like nuances to the acter that I added to animals in order to be able to the story is the small tell the story more accurately butterfy in the jar that or leave the animals as they helped me to express walls, butterfy frames etc. – all are. There is always a threat the dog’s feelings more pre- of it refects the nature of the of over-doing; the story should cisely – longing and hope. And person, his habits and beliefs. I have credibility to express the end of the flm is diferent: also wished to irritate the audi- the drama in its full swing. It in Tuglas’s version the agony of ence and create opposing ideas was easier with the chimpan- these two animals was ended of the Master. Take the bed- zee, because his movements, by a bomb that the chimpanzee room, for example: a religious reactions and nature are more had discovered by accident. I stained glass window on one of similar to the human being, at decided to torture the audience the walls and François Bouch- least from the outside. Even the longer with a revolver. er’s nude painting on the other. drunken hung-over monkey is Which of them suits the two holding his head with two hands JB: So much of the story masters, the stained glass for just like a human. We had to is told with the production the human being and the erotic be more lenient with the dachs- design. The space itself car- painting to the chimpanzee hund. For example, Popi is ries its own narrative for the or the other way round? This looking at the family photos that audience to extract meaning problem I leave to the audience had been scattered around by from. As the flm progresses to decide. the monkey and his tail begins the viewer’s associations to wag of the joy of recognition. with the objects in the space JB: The flm does an excel- But all in all, the keyword was transform. Could you tell lent job of hierarchically car- still realism. us about some of the back- rying multiple perspectives, ground elements you felt that of the dog, the ape, and JB: Are there any diferences were important to enhancing the audience. Was this bal- between the original story the spatial narrative embed- ance difcult to maintain? and the flm? ded within the flm? RU: No, I would not say that. RU: The storyline is the same, RU: I have actually graduated These characters began to but the details difer. In the as an interior decorator and determine their own frame initial script as well as Tuglas’s designing and furnishing a room size and angle in the course of story the Master was actually at created no specifc problems for shooting. One is big, aggressive frst exposed – an old hunched me. As I voluntarily gave up on and strong; the other is small, grey-haired man, who leaves using a human character I had frail and vulnerable. However, from home and never returns. to compensate it with space that I would put the audience in the When I had shot the frst three would speak about the Master. dog’s “paws” in order to look for minutes, it became clear to me The furniture, paintings on the 27

tion to the real world was 1:4. JB: Class and war This large size was determined seem to be important by the dog’s feet that had to aspects of the flm, be tall enough to be able to be however you address animated normally. It took 4,5 both of these indi- months to shoot and the team rectly. Could you talk consisted of 25 persons. I am about the relationship especially happy and pleased between class and about the music. The world war on the flm? famous composer Arvo Pärt gave me the permission to use RU: I am trying to his music in my flm. determine the mean- ing of war in this flm. I JB: The frst and last shot of would name it war with the flm focus on the couch. oneself. War within us. However the audience has What kind of masters a very diferent association are we? For small chil- between our associations dren the masters are with the couch in the begin- their parents, teachers ning versus the end. Was it for students, rulers for always your intent to have countries and nations the frst and last shot be the the truth and the right master and if their nature and same? to serve. Would you prefer to behavior are similar to Huhuu’s, stand by the door and wait for then it can actually result in the RU: This neoclassicist striped the good and old one that you worst – the war. couch that looks like a tiger have mere memories of or suc- is the most important piece of cumb to the new one? JB: Could you tell us about furniture or even the third char- the production process acter. The couch is the dachs- JB: What does the relation- behind the flm? (How much hund’s ally, who ofered him ship between humans and time it took you to complete, shelter and protected him from apes mean to you person- the size of your team, what the chimpanzee. The freplace ally? challenges you faced during in the opposite, warm and calm- the making of this flm). ing, the large window above the RU: Actually, I have never given couch refecting a hopeful blue much thought to that problem, RU: The Master has been one light. The couch has defnitely although I was born in the Mon- of the easiest and problem-free deserved the honour of being key year. I do not even know, flms that I have made! All the the main character in the frst what this sign system is sup- elements necessary for the and the last frame! posed to mean, we all evolved smooth production of the flm – from apes!? Or did people who good script, professional cre- are born in the Horse year ative team, positive atmosphere Jeannette Bonds is Co-Founder evolve from horses? I’d rather and thorough research – it all and Director of GLAS Anima- be a dachshund: stubborn, worked perfectly. The puppets tion. opinionated and quick to taking and decorations were ready in ofence, just as I am. four months. Their scale in rela- 28 Climbing Over the Garden Wall: A Conversation with Patrick McHale Each eleven-minute episode By Crystal Chan fnds the two main characters, Patrick McHale: From outline brothers named Wirt (Eli- to fnal picture it was a year. When you watch Patrick jah Wood) and Greg (Collin But conceptually it was sim- McHale’s Over the Garden Wall Dean), wandering lost through mering since 2006. In 2006 I you feel like you’re on a Victori- the forest of the Unknown, a pitched a show called Tome of an-era amusement park ride – forest somehow both spooky the Unknown to Cartoon Net- a haunted, Halloween ride. The and quaint. The real delight of work. But that was right out of ten-part Cartoon Network mini- the show is its charming old- school. I was pitching a bunch series frst aired in November timey aesthetic. The colours of stuf. I was developing a pilot 2014. Now, a new DVD release are faded and the character called Space Planet for Car- makes for perfect viewing on a designs reminiscent of old pic- toon Network and then when fall night. ture books. Adventure Time got picked up I dropped everything to work on McHale started at the Adventure Time and stopped Cartoon network as a developing stuf. So then when writer on Adventure Time. I moved back to the east coast, He frst introduced Wirt at that point I was just writing on and Greg’s universe Adventure Time remotely and in a short he created it seemed like I had more time for Cartoon Network in to devote to my own things. 2013. Named Tome of So I talked to Cartoon Network the Unknown, the short about pitching something again recounts the brothers’ and I just brought up my old literal wild goose hunt idea, kind of revised it a bit. – they look for a goose, then ride of on it. It’s a You can make comparisons to ftting start to a show that Adventure Time or [The Mar- plays like an animated, velous Misadventures of] Flap- adult Mother Goose. jack. I worked on both of those shows, so I think I learned ASIFA Magazine’s Crystal certain things and I infuenced Chan spoke with McHale certain things on both of those about the series: shows. I learned a lot working on Adventure Time. I used that Crystal Chan: After knowledge to make Over the working on Adventure Garden Wall. In terms of the Time at Cartoon Net- character design, my drafts- work, how did Over the manship is limited so I turned to Garden Wall, come to design things simpler so that I be? can draw them. And I can make 29 them act with some depth. Oth- of my own stories for them. In erwise if it’s too complicated I’m the1800s they would publish just going to end up following these books that are just basi- my own model sheet or some- cally like clip art, images they thing and then not getting the had, and then someone would right emotion and comedy out write some text to make a little of it. story based on the image. And they’re pretty bad, a lot of the CC: Where does the old folk time. It would be like a picture tale, old folk song look and of a dog and say: ‘John’s dog sound of Over the Garden was a fufy dog and it would Wall come from? Were you wait for John outside sitting in inspired by old imagery, the grass everyday when he audio? Maybe some old flms went to school.’ And there’d be or old advertisements? just a picture of a dog and you could tell they were just writing PM: Well I think a lot of the some random junk based on infuence from it came from the image. But I kind of liked I think when writing a specifc some time I spent in Concord, taking that approach. So I was story I wouldn’t start with the Massachusetts. It was all ‘Grey fnding a bunch of imagery that music frst. The music would Gardens’ and colonial houses I liked like old postcards and sort of settle in as I was trying and stuf there. And so that mix these no-name old illustrations to write it. If I have a story about of things sort of settled in my in old books, and then sketch- a cabbage farm or something head as something that I liked. ing a bunch of stuf, and then then I’m listening to some sort One of the things I like to do is building the stories around that. of music and it would sort of look at old illustrations and think 30

slowly seep into the story and show I think, working with the of yourself in a character like sort of make sense. And if it composers to get the music Wirt. didn’t make sense I’d change right. the music I was listening to until PM: Once I started having to it did make sense, and build CC: Have you ever been be in charge of people and be the story structure around that. surprised by a reaction to the a director where you had to talk In the writing process music show? to people all the time and do becomes a very important part emails I started getting social of how I would structure a story. PM: There are a lot of anxiety. Which I never really responses about comparisons had that bad before. And then I CC: Can you tell me about to Dante’s Inferno. Which is a started feeling it. So Wirt kind of the fnal music in the show? neat one. Every once in a while got more and more of that. I get a message from someone PM: I co-wrote some of the stuf who had a strong emotional CC: Even his costume was with the composers, Blasting connection with it – either that based on something you Company. And then some of they have social anxiety or they made for yourself, right? the stuf was written by board have issues with their siblings. artists themselves. But I think People seem to really think that PM: Around 2006 I was trying to most of it was written by the it was an honest representation think of a way to perform music Blasting Company or me and of those things and they gain and I was wondering if I wore the Blasting Company. And I something from it. That’s prob- a costume it might be more, I sang a song for episode nine. ably the most surprising and don’t know, David Bowie-esque. I did some sound efect things. good thing. Where I’m playing a character It was really fun. That was the rather than being me onstage. most fun part of working on the CC: You’ve said there’s some And so I made this costume. I 31 got this old civil war cloak and other people. And so I feel like so then I stopped doing live made this red hat and all this Beatrice a lot, too: I have these action and haven’t really done stuf. And I never performed, things I can’t tell people about, anything since then. But I like but then I liked the imagery of and I get angsty. So writing it. And musically, I’m not really it and it seemed to be funny. Beatrice’s dialogue is a way of a musician, but I like writing It sort of looked like a magi- pulling that out. And then with songs so working with Blast- cian’s outft. Sort of looked like Greg, it’s a way to revisit when ing Company is probably a lot a gnome. Sort of looked like a I was a little kid and having fun easier for me. But I like writing. vampire with a red hat. And it and not worrying about all that I wrote one book. And it’s so fun seemed to make sense for Wirt, junk. All the characters, when to just write, just stick to your- who was trying to fnd himself you’re writing, it’s all just dif- self and change things and then and wasn’t really sure who he ferent pieces that live inside of you’re done. But I think what’s was. you. So when the storyboard nice about animation is you can artist and the writers were writ- do all these diferent things and Wirt is the closest physically ing dialogue I think they were put it all together with acting to me too, but I think all the all putting themselves into it as and drawing and music: every- characters are pretty equally well. So it’s a mixture of every- thing. inspired by me. Not to be an body. egocentric, but when writing I www.cartoonnetwork.com/ start creating characters that I CC: Would you think about video/over-the-garden-wall feel like have good dynamics doing live action or music or with each other. And then when something else? writing the actual dialogue, I Crystal Chan is a writer and think about my own personal PM: I had a camera when I editor based in Montreal. experience and experience with was in college but it got stolen, 32 ASIFA News

to several issues, among them New to the question of the “pow- erless” feature of Polish ani- Publications mated satire; the resemblance between animated documentary medium of the New Chinese Obsession. Perversion. School of animation and con- Rebellion. Twisted Dreams of temporary Polish and Czech Central European Animation. productions; the intertextual relationship between animated Edited by Olga and Michał westerns and the live-action Bobrowski cinema of Sergio Leone and Sam Peckinpah; the artistic per- The collective volume Obses- sonalities of Jan Švankmajer, sion. Perversion. Rebellion. Zdzisław Kudła, and Alexander Twisted Dreams of Central Sroczyński. European Animation consists of articles dedicated to the sub- The Authors: Marcin Giżycki, versive and suppressed motifs Olga Bobrowska, Chunning Institute of Political Science in auteur animated flms from Guo, Bogusław Zmudziński, of Pedagogical University of Visegrad countries and Italy. Jiri Nedela, Michał Bobrowski, Kraków (Faculty of Humanities), The authors—among them Mar- Denis Viren, Stefan Bielański, and Italian Cultural Institute in cin Giżycki (Animator Festival, Paola Bristot, Andrea Mar- Kraków. Rhode Island School of Design, tignoni, Giuseppe Sedia, Mar- USA), Bogusław Zmudziński tyna Olszowska, Wiola Sowa, (Etiuda & Anima International Robert Sowa. Zbigniew Czapla Film Festival; AGH University ASIFA Poland of Science and Technology, How can I get a copy of the Krakow), Guo Chunning (Ren- book? min University, Beijing), Denis Viren (National Institute of Arts, The publication is now available Moscow), and Paola Bristot for readers and is distributed (Academy of Fine Arts, Ven- for free. Anyone wishing a copy ice)—examine the artistic works of the book may write to stop- in the contexts of Central Euro- [email protected] with the pean politics and societies and request (the ordering party will also investigate careers of par- be asked to provide costs of ticular artists from the region. delivery).

The papers, written by scholars The publication is published from Poland, Czech Republic, by Galeria Bielska BWA and Russia, Italy and China, outline fnanced by International Viseg- the landscape of animated flm, rad Fund (project Twisted an art that engages both the Dreams of History. Subversive- senses and the intellect. The ness and Deformation in Ani- authors draw readers’ attention mated Film from V4 Countries), News from ASIFA National Groups 33

who is guided by the east- ASIFA- Australia erly star to Xanadu, to rescue Princess Shining Moon from the evil clutches of The Red A Tribute to Eric Porter—Aus- Dragon. The voice talent fea- tralia’s Walt Disney tures American 60’s teen idol, Eric Porter (1911–83) was the Bobby Rydell, as Marco Polo single most important fgure in Junior, and renowned Australian the history of Australian ani- actor, Kevin Golsby, as The Red mation. From his beginnings Dragon. Eric Porter oversaw the as a child-vaudevillian/light- production at his Sydney studio ning-sketch artist and, later, that of the entirely hand-drawn flm, light-bulb moment when he saw which involved more than 70 his frst Mickey Mouse cartoon artists and took two years to as a teenager, Eric Porter went complete. on to cement his place as father of Australian animation over the 43 years after its initial release, next 50 years. and after some restoration by the National Film and Sound Revered as “Australia’s Walt Archive of Australia (NFSA), Disney,” he founded the frst characters such as Aeroplane Marco Polo Junior Versus Australian professional pro- Jelly’s Bertie the Aeroplane, The Red Dragon returned to duction company, Eric Porter Louie the Fly for Mortein fy the screen once more for the Productions, which eventually spray and, for an aerosol furni- special occasion of the centen- closed in 1975. He was an early ture polish, Mr. Sheen. nial celebrations of Australian adopter and, in 1938, produced animation last year at the Mel- Australia’s frst animated car- However, his magnum opus bourne International Animation toon in color, called Waste Not, was Marco Polo Junior Ver- Festival (MIAF) and the 2nd Want Not, starring his own cre- sus The Red Dragon (1972). Queensland season of the Aus- ation, Willie the Wombat. Proclaimed as Australia’s frst tralian International Animation animated feature flm, it tells Festival (AIAF) at the Grifth Eric Porter is also credited for of the exciting adventures of Film School Cinema in Bris- some of Australia’s most mem- Marco Polo Junior, the 49th bane. Animation veteran Cam orable and iconic advertising heir of the original Marco Polo, Ford, one of the two animation

Bertie the Aeroplane from the The hero, Marco Polo Junior, from Waste Not, Want Not (1938) fea- classic Aeroplane Jelly commer- the flm Marco Polo Junior Versus turing Willie the Wombat. Image cial from 1948. Image courtesy of The Red Dragon. Image courtesy of courtesy of NFSA and Gaby NFSA and Gaby Porter NFSA and Gaby Porter. Porter. 34 sequence directors that worked on the flm, was present for the screening in Melbourne, as was Eric Porter’s son, John Porter. At the screening in Brisbane, Cam Ford was this time joined by Kevin Golsby and Yvonne Impiombato. Yvonne was one of the few female animators on the flm. She animated the heroine of the story, Princess Shining Moon.

Cam Ford disclosed that Eric Yvonne Impiombato, Cam Ford, and Kevin Golsby at AIAF Brisbane 2015. Porter shared a long term correspondence with his hero thanks to his determination, he (see http://shop.nfsa.gov.au/ Walt Disney, who told him the left behind a legacy to which product_info.php?products_ secrets of successful animation. that animation industry will be id=4076). It is the subject of a new docu- forever in debt. mentary in development called The Australian International Letter To Walt (see https://www. Marco Polo Junior Versus The Animation Festival: Brisbane documentaryaustralia.com.au/ Red Dragon is now available is an Animation Alliance Aus- flms/763/letter-to-walt). on DVD with special extras, tralia Inc. (ASIFA Australia) including the making of the event proudly supported by Eric Porter learned his craft flm, exclusively from NFSA Screen Queensland and the through trial and error but, Queensland Government.

Trent Ellis President, Animation Alliance Australia Inc. | ASIFA Australia

A wild storm at sea, conjured by The Red Dragon, threatens to end Marco Polo Junior’s journey. A thrilling scene from Marco Polo Junior Versus The Red Dragon brilliantly animated An original cel on display of The Red by Toshio Tsuchiya, head animator for special efects. Image Dragon and Princess Shining Moon. courtesy of NFSA and Gaby Porter. 35

Animation Evenings, held in ASIFA chapters on all conti- ASIFA- Croatia Zagreb in Cinema Tuškanac, nents had the right to vote via have the aim to join profession- secret ballot). ASIFA Croatia started a new als, students and animation program that will present var- lovers in Croatia in a non-festi- ASIFA Croatia can be followed ious ASIFA chapters through val atmosphere. on www.asifa.hr and on www. the year. The program is called facebook.com/asifa.croatia and “Animation Evenings” and the At the end of 2015, Vesna can be contacted on asifa.croa- frst Animation Evening was Dovniković left her position [email protected] held in January 2016, present- as ASIFA Croatia president, ing ASIFA Hellas’s program. which she held from 2003, The second Animation Evening and elected new president Sandra Malenica presented Best of ASIFA—a was Maša Udovičić. Vesna special screening made for Dovniković stayed as ASIFA the ASIFA 50th anniversary. Croatia representative in the ASIFA China was presented in ASIFA Board of Directors and March and, in early May, ASIFA in the managing committee Israel presented a selection of of ASIFA Croatia, along with flms from VAFI – International Margit Antauer, Sandra Malen- Children and Youth Animation ica (vice president) and Hrvoje Film Festival, which was held Selec (secretary). in Varaždin from 19 to 26 April, with Israel as partner. The In January 2016, Vesna selection of flms for the Israel Dovniković was elected for the program was made by Tsvika sixth time in a row as general Oren. secretary of International ASIFA (representatives of thirty-six

Vesna Dovnikovic 36 ASIFA- Hellas

ASIFA Hellas Celebrates 70 ASIFA Hellas members, volunteers, and guests at the opening of the Years of Greek Animation retrospective exhibition. The change of ASIFA Hellas’s 2015 was a year of change for legal status was registered in ASIFA Hellas designed a multi- the Greek chapter of ASIFA. May 2015. event program organized by ASIFA Greece changed its a specially appointed orga- name to ASIFA Hellas, took Uniting Greek Animators nizing committee (A. Dimitra, the form of a not-for-proft P. Kyriakoulakos, A. Rouvas), company, and elected a new In 2015, Greek animation and also participated in sev- administration board, aiming celebrated 70 years of cre- eral events organized by third to implement an ambitious ative eforts, since the public parties, such as ASIFA Cro- infrastructure program for the screening of Duce Narrates, atia screenings, cinema and beneft of Greek animation. The the frst Greek animation short animation festivals in Greece new administration board is by Stamatis Polenakis, in 1945. and abroad (Athens, Stuttgart, composed of Vassilios Karamit- The flm was made during the Syros, Corfu, Thessaloniki), sanis (president), Panagiotis German-Italian occupation of and special screenings orga- Kyriakoulakos (vice-president in Greece and exalted the heroic nized by the Hellenic Cultural charge of secretariat), Angelos resistance of the Greek Army Foundation and the Greek Rouvas (treasurer), Anastasia against the Italian invasion via Secretariat for Information and Dimitra (in charge of interna- Albania in 1940, in the begin- Communication: these were tional relations), and Vassilis ning of the second World War. presented at animation festi- Kroustallis (in charge of mem- For ASIFA Hellas, the oppor- vals or special events abroad bership development). The frst tunity to relate the 70th anni- (Serbia-Balakanima, Roma- decision of the new adminis- versary of Greek animation to nia-Anim’est, Egypt). Anastasia tration recognized the work of the restructuring of the Greek Dimitra, Vassilis Karamitsanis, previous president Ioannis Vas- animation industry was an Vassilis Kroustallis, Ange- siliadis by naming him honorary obvious choice, in order to unite los Rouvas, and Aristarchos president of ASIFA Hellas, and Greek animators in a collective Papadaniil represented ASIFA endorsed the implementation of efort and promote international Hellas in these events, intro- actions designated before the awareness of this milestone. ducing the Greek animation constitution of the new board, anthologies and responding to (from September 2014 to March An Action with Multiple audiences. 2015), including the celebration Events of 70 years of Greek Animation. 37

The organizing committee was pared the situation in Greece, assisted in these events with explained by P. Kyriakoulakos support from several profes- and A. Dimitra, with the French sional bodies and a grant from paradigm, analyzed by Moira Stavros Niarchos Foundation. Marguin (CFT Gobelins). The events organized by ASIFA Hellas for the celebration of 70 Retrospective Exhibition years of Greek Animation were at the Athens School of Fine the following: Arts, displaying works made by 80 Greek animators, and Animation Business Days screening 100 animation flms at Innovathens (Technopolis selected from 1,700 shorts reg- of the City of Athens, October istered in greekanimation.com 21-25, 2015), informing young web portal, co-organizer of the Detail of a puppet by Stratos animators on European market event. Five roundtables assem- Stasinos, the pioneer of Greek fgures and fnancing programs, bled ffteen Greek creators, animation to whom the event was such as Creative Europe-ME- producers, and scholars, who dedicated. DIA and CARTOON, and the discussed the past, present, development of an Animation and future of Greek animation. Animation Business Work- Cluster (more on this below). shop at Innovathens (Novem- Joan Lofts (producer of Peppa Children’s Workshops during ber 9-13, 2015), an opportunity Pig) and Benoit Maujean the retrospective exhibition for young Greek profession- (technical director of Asterix, (November 9-27, 2015), and als to meet with international the House of Gods) were the onsite in schools (through experts such as Joan Lofts and invited speakers from abroad, December 20, 2015). During Jason Robertson (University of and the event was supported by the exhibition, children’s work- the West of Scotland), and pre- the Greek Film Center, Creative shops were supported by tech- pare their projects for pitching Media-Europe, and AKTO, a nological sponsor Samsung, in international markets. private animation school. with tablets, curved monitors and media players made avail- able for the event. International Animation Day at the Auditorium Theo Ange- lopoulos (Athens French Institute, October 23, 2015), including an anthology of Jap- anese Animation selected by ASIFA; award-winning flms from Animasyros and BeThere! Corfu Animation Festivals and CARTOON D’OR 2014; and an anthology of French flms selected by AFCA, including a selection of student flms from French schools. A roundtable Children in action at a workshop at Athens School of Fine Arts. on animation education com- 38

Next steps for the Greek ani- mation infrastructure, under the auspices of ASIFA Hellas, were presented in Thessaloniki, during the International Film Festival and Forum (November 15, 2015) by the Organizing Committee of the Action and the President of the Greek Anima- tion Union. ASIFA Hellas will act as a consultant for the formation of an Animation Cluster, group- ing companies, schools, and consultants in order to promote Greek animation internationally. Pitching at Innovathens in front of experts and participants. Other initiatives include the institution of a Master’s Degree Greek Animation Prize at and an English translation of in Greek universities, and the Romantso (January 31, 2016), the content of greekanimation. creation of an animation co-pro- awarding the best Greek ani- com. Promotional events are duction fund to develop interna- mated short flm from among scheduled to present Greek tional projects. 50 works presented in Greek animation in Hong Kong and festivals during 2015. The prize Singapore, and a retrospective International networking is was awarded by the Greek Film exhibition will be proposed to crucial for the restructuring of Center to Efe Pappa for her Greek municipalities and cul- Greek Animation. The European creation My Stufed Granny. tural institutions. Training Network in Animation Three special mentions rec- (ETNA), CARTOON, and, of ognized the works of Nasos Vakalis (Diner for Few), Angelos Roditakis (Safe Place), and Kat- erina Avraam (The Ordeal). The vote of ASIFA Hellas members for the prize was coordinated by Vassilis Kroustallis.

What Will Be Eforts aimed at the develop- ment of infrastructures for the production, distribution, and marketing of Greek animation will continue through Septem- ber, 2016. The deliverables of these events will include the publishing of an e-book and a printed catalog in two lan- ASIFA Hellas president announces the Greek Animation Prize guages Greek and English, to winner Efe Pappa (on screen). 39

The organizing committee and ASIFA Hellas president at the Forum of the 56th International Thessaloniki Film Festival. course, ASIFA are considered An important article on the as important partners for the 70 years of Greek animation, development of the Greek ani- entitled A History of Persistence mation infrastructure. In Octo- and authored by Peter Schave- ber 2015, CARTOON Forum maker, was published in the invited and underwrote the February issue of Animation participation of Greek Producer Magazine. The author inter- Vicky Miha to their Connection viewed ten Greek animators Canada conference. Anastasia and focused on political issues, Dimitra and her student Johny including the actual economic Pappas participated in CAR- crisis. His article is based TOON Springboard in Novem- on thorough research (since ber 2015. ASIFA Hellas will August 2015) with data pro- continue to work to enhance vided by greekanimation.com. Greek participation in market- ing events organized by CAR- ASIFA Hellas wishes to orga- TOON. nize the General Assembly of ASIFA in 2016, and an action ASIFA Hellas provided data to for fnancing this initiative is the European Animation Study being undertaken by the new implemented by the European administration board. Audiovisual Observatory in 2015, and will continue to sup- port initiatives that contribute P. Kyriakoulakos to the presentation of Greek Vice-president of ASIFA Hellas Animation Industry abroad. 40

Jerusalem, by IAC, Wild Kids presentations by animation ASIFA- Israel Studio, and Bezalel Academy artists who share their flms and ASIFA Israel’s annual general of Art and Design; in Haifa, at talk about their creative pro- assembly elected a board of Tiltan College of Design and cess. two members: Moshe Yahav Multimedia. Haifa’s was the and Tsvika Oren. biggest event—a whole day of A wonderful recent Moshe Yahav is an development in Tel animation director Aviv and Jerusalem and head of the ani- is the establishing of mation department six other initiatives at Tiltan College of for similar meetings Design and Multi- where animation art- media, Haifa. Tsvika ists meet and share Oren is a veteran their flms. animation director, lecturer, journalist Several ASIFA mem- and curator. The bers are involved latter was also now as mentors in appointed as ASIFA an exciting project Israel’s represen- that brings together tative on the ASIFA documentary flm- international board makers and anima- for the next three tion artists to develop years. docu-animation flms. This project is one International Ani- of a number of suc- mation Day (IAD) cessful fnancing and 2015 events in Israel production initiatives included lectures, developed by the workshops and Animation Profes- screenings of flms sions Union. These from ASIFA Australia, come as important ASIFA Poland, Bra- additions to the zil, O!PLA Festival in growing support of Poland and Stuttgart ASIFA Israel’s animation club invitation, March 2016, the animation indus- designed by Yoni Salmon. Festival in Germany. try by the Jerusalem The events were Film and TV Fund. organized in Israel’s See their promo at three major cities and in the lectures and screenings with southern Sapir College. around 250 participants. http://www.facebook.com/ The-Jerusalum-Film-Television- Events in Tel Aviv were orga- ASIFA Israel’s animation club, Fund-1088231961209240/?- nized by Minshar For Art, Dina established 2013 in close coop- fref=ts (animation at 2:10). Goder’s Animatorium, and Avni eration with Minshar For Art, Institute of Art and Design; in continues its monthly meetings: screenings, discussions, and Tsvika Oren 41

ASIFA- Japan In We, ASIFA-Japan members, are now preparing intensively for our 16th International Ani- mation Festival in Japan— HIROSHIMA 2016, which will be held from August 18–22 this summer!

I am very honored and pleased that Jean-François Laguionie will kindly serve as our Inter- national Honorary President of HIROSHIMA 2016. The art- work of our ofcial poster was ASIFA Japan members attending the 33rd General Assembly, drawn by Seiichi Hayashi, a Tokyo. famous artist and a member of ASIFA-Japan. the past, we have held special Hiroshima, and various Jap- programs focusing on various anese cultural experiences, During the fve festival days, we so that you can enjoy and usually hold about 70 screening diferent countries, and this year, I am especially planning exchange with other partici- programs, including four inter- pants! national competition programs, to focus on Japanese ani- and about 700 inspiring anima- mation, which is expected to become quite a huge program. Established in 1985, our festival tion flms will be shown. One of is a biennial and competitive the main characteristics of our We will also hold parties every manifestation, co-organized by festival is that we have a large, Hiroshima City and ASIFA-Ja- high-quality audience, who evening, including the ASIFA Party on the fourth evening, a pan, under the endorsement of respects animation flmmakers ASIFA. All the artistic aspects very much. special picnic on the third day, many other short tours around are organized by ASIFA-Japan

International Animation Day 2015, at Kyoto University of Art and Design. 42 members, respecting above all the viewpoint and standpoint of flmmakers, and I, as a flm- maker myself, have been serv- ing as the festival director since the frst edition. Please visit our ofcial site (http://hiroanim.org/) for update information, and I truly hope that you will join us this August!

In the meantime, since the pre- vious issue last year, we were pleased to hold International Animation Day (IAD) 2015 in Japan in three cities—Kyoto, Nonoichi, and Hiroshima. IAD 2015 in Kyoto was held at Kyoto University of Art and Design; IAD 2015 in Nonoichi was held at the Nonoichi Cen- ter for Interactive Edutainment “Camellia;” IAD 2015 in Hiro- shima was held at four venues, including Hiroshima Prefectural Art Museum and Hiroshima City Cinematographic and Audio-Vi- sual Library. For details, please visit our ofcial site: http://asifa. jp/iad15/en/news.html.

Also, on December 11, we had our 33rd General Assembly in Sayoko Kinoshita Tokyo, and our year-end party President, ASIFA–Japan as always.

ASIFA-Japan is a friendly national group of 76 active members (as of March 2016), all working in the front line of animation and creative felds in Japan.

Hope to welcome you in HIRO- SHIMA 2016! 43 ASIFA- USA– Central

It was November and time for the ASIFA-Central Annual Ani- mators Retreat. This year, the retreat was opened and pre- sided over by our president, Jim Middleton. After a “Welcome to the Retreat” from Jim, followed by a reading from the “Book of McCay” (e.g. “So Many Splendid Sundays” by Winsor McCay), we kicked of the frst The annual ASIFA–Central Retreat at the Wealthy Theater. night with a screening of the “Best of the 2015 Ottawa Inter- national Animation Festival.” workshop at the Grand Rap- sion at the GRCMC where This was the frst time we had ids Community Media Center we all got a chance to talk this screening at our Retreat (GRCMC). Our animators and about the projects we’re work- and, based upon feedback from guests had the chance to try out ing on¬—this time along with our audience, it won’t be our a variety of techniques includ- our Microtalks session which last! ing stop-motion, paint-on-glass, included Deanna Morse’s talk sand, and clay animation. Also about her artist residency at the The next day, we spent the planned for the afternoon were Studio of Key West, Jim Mid- morning and a better part of the “Microtalks on Animation” but dleton’s animation of his recent afternoon hosting a hands-on, we were all having so much brain scan, and Chuck Wilson’s traditional, under-the-camera fun, we folded them into the talk on the “Five Things I Wish evening “Show-and- They Had Told Me in College.” Tell” session. So, while everyone drifted in and After we broke for dinner, as a out for lunch, we kept group we descended on a local animating for a just a boutique pizza parlor, then it little while longer. After- was back to the GRCMC for a wards, it was back to quick update on ASIFA–Cen- the Wealthy Theater for tral, followed by Jim’s updated the ASIFA International presentation of Winsor McCay’s Animation Day screen- Gertie the Dinosaur titled “Waltz ing, curated by Brad with Me, Gertie”—where he Yarhouse. projected a video of the 1914 flm, donned a lab coat, and International Animation Day Coordinator The screening was interacted with Gertie, much like Brad Yarhouse working with a student on a followed by our annual McCay did during his vaudeville sand animation. “Show-and-Tell” ses- performances. Next we had 44

Jim Middleton opening the retreat with a reading from the “Book of McCay”.

Brad Yarhouse’s talk on Motion spending some real, quality Comics, a presentation that time talking to our fellow ani- he had given previously to the mators. Since our membership Society for Animation Studies, is pretty spread out across where he talked about how the Midwest, it’s really nice to technology is enhancing and unplug from our computers and infuencing the way we tell sto- put faces to the names that ries using the traditional graphic we’ve been chatting with online medium of comic books. over the previous year.

We ended the evening with a talk by our guest speaker: “Gary Schwartz’s European Adven- tures.” Gary’s presentation was one part promotion of his work in Eastern Europe, one part travelogue, and one part recruit- ment pitch for running youth animation workshops, most recently in Armenia.

Sunday, we wrapped up the retreat with what is becoming an annual tradition: Brad Yar- house opening up his home for the ASIFA-Central Members’ Gary Schwartz making the case for us to come teach animation Brunch. Brad’s brunch high- in Eastern Europe. lights one of the things many of us like most about the Retreat: building up our community by Charles Wilson 45

member Howard Beckerman observes that, as the world’s ASIFA- USA–East shared his recollections of Starr foremost international festi- and her work. For International vals for many years occurred ASIFA–East has had an active Animation Day in October, biannually, this would arguably season with new incoming of- we presented a screening of make the ASIFA-East festival cers and a packed schedule of Berenike Rozgonyi’s 2012 the oldest continually-running events. documentary Disney of Duiv- animation festival in the world!) endrecht, about legendary Distinguishing ours from other In Fall 2015, ASIFA–East Dutch stop-motion master Joop animation festivals is its New co-presidents Linda Beck Geesink, preceded by a lecture York character—while entries and Dayna Gonzalez and on Gessink by ASIFA–East and award-winners have come international representative board member and animation to us from all over the continent, Ray Kosarin announced their historian Bill Lorenzo. Para- and Oscar winning flms have intentions to step down from mount Pictures kindly invited repeatedly been frst seen and these roles during the 2015–16 ASIFA–East members to enjoy appreciated by our audience, season, and requested that a screening of the Oscar-nom- our festival also serves as a a search be initiated for new inated, Charlie Kaufman-di- platform of work performed candidates to step into them. rected feature Anomalisa. in and around New York City. Katie Cropper-Klein volunteered Distributor gKids generously Also distinguishing our festival to serve as president, assum- invited members of ASIFA–East is its peer-juried structure: any ing this role at the beginning of to a New York / IFC Film Center currently enrolled ASIFA–East 2016, and Robert Lyons volun- premier screening of the new, member is eligible to vote at teered to serve as international Oscar-nominated feature Boy our jury nights, enabling inde- representative, which role he and The World, from emerging pendent flmmakers and flms assumes at the conclusion Brazilian flmmaker Alê Abreu. opportunity to be seen and cel- of this season. ASIFA–East In January 2016, ASIFA–East ebrated that they may not enjoy thanks the outgoing ofcers for hosted our Post-Holiday Party, at more commercial events. their service and the incoming where the industry in and ASIFA–East thanks our 2016 ofcers for kindly ofering their around New York enjoys the sponsors Bustle.com and Bat- time and energy to fulfll these chance to raise a glass with old tery Pop for their kind support, roles. and new animation friends. In and School of Visual Arts and February, indy animator Elliot Parsons Institute / The New In Fall 2015, ASIFA–East was Cowan presented his multi- School for again providing kind honored to participate in a award-winning feature The assistance and facilities for, screening and commemoration Stressful Adventures of Box- respectively, jury screenings celebrating the life of renowned head and Roundhead, followed and awards night. animation historian and distrib- by a Q & A. utor Cecille Starr, hosted by A listing of this year’s winners, Center for Visual Music, Los The highlight of every ASIFA with links to some of the win- Angeles, and New York Pub- season is our annual ASIFA- ning flms, may be found at lic Library for the Performing East Animation Festival. http://www.asifaeast.com/festi- Arts at Lincoln Center, where Launched in 1969, the ASIFA- val/2016-winners/. the event took place, at which East Animation Festival is, to veteran animator-historian and our knowledge, the oldest exist- ASIFA–East executive board ing animation festival in North Ray Kosarin America. (Howard Beckerman ASIFA–East 46

The Revenant – “The Bear” ASIFA- USA– (Regency Enterprises, New Regency Pictures, Anonymous Hollywood Content, M Productions, Appian Way, RatPac-Dune Entertain- On Feb 6th, 2016 ASIFA–Holly- ment); and Best Student Film wood held its 43rd Annual Annie ed (Sheridan College – Taha Awards™ at UCLA’s Royce Neyestani). Hall. This year’s Juried Award recip- Jason Carpenter - Pixar Animation Studios took He Named Me Malala ients included Winsor McCay home the lion’s share of the Lifetime Achievement Award awards, with ‘Inside Out’ receiv- Best General Audience Ani- – Joe Ranft (posthumously), ing Best Animated Feature mated TV/Broadcast Produc- along with eleven other cate- tion for Preschool Children gories, including Outstanding to Tumble Leaf – “Mirror” Music, Editing, Production (Amazon Studios and Bix Pix Design, Voice Acting, Writing Entertainment); Best Animated and Directing. TV/Broadcast Production for Children to Wander Over Yon- der – “The Breakfast” (Disney Television Animation); Best Ani- mated TV/Broadcast Production for a General Audience to The Phil Roman - Winsor McCay Award Simpsons – “Halloween of Hor- ror” (Gracie Films in Association Phil Roman and Isao Takahata. with 20th Century Fox Televi- The Winsor McCay Award is sion); Outstanding Achieve- one of the highest honors given Jonas Rivera & Pete Docter- ment for Character Animation to an individual in the anima- Inside Out - Best Film in a Live Action Production to tion industry in recognition for

This year was the frst for the Annies new category, Best Ani- mated Feature – Independent, with Filme de Papel’s Boy and the World taking the top honor.

The Best Animated Special Production was awarded to He Named Me Malala (Park- es-MacDonald/Little Door); Best Animated Short Subject to World of Tomorrow (Don Hertz- feldt); Best Animated TV/Broad- cast Commercial to Man and Boy and the World - Best Animated Feature - Independent Dog (Psyop); 47 career contributions to the art of animation. Don Hahn was the recipient of this year’s June Foray award, which honors an individual who has given signif- icant and benevolent contribu- tions to the art and industry of animation.

Joe Ranft WInsor - Daughter Brother

Don Hahn - June Foray Award Created in 1972 by June Foray, today the Annie Awards honor Today, ASIFA–Hollywood is the overall excellence as well as largest chapter of ASIFA’s inter- individual achievement in a total national organization. ASIFA– of 36 categories. For more infor- Hollywood supports a range mation on the Annie Awards, of animation activities and please visit www.annieawards. preservation eforts through its org. For information about membership. Current initiatives ASIFA–Hollywood, and for the include the Animation Archive, complete list of winners, visit Animation Aid Foundation, Ani- www.asifa-hollywood.org. mation Educators Forum, ani- mated flm preservation, special events and screenings.

Jerry Beck - Frank Gladstone - ASIFA - Hollywood President ASIFA - Hollywood Executive Director 48 Contact information

Representatives of ASIFA National Groups ASIFA NATIONAL GROUPS Chapter President Members of the ASIFA Board of Directors

ARGENTINA Oscar M. Desplats Oscar M. Desplats AUSTRALIA Trent Ellis Trent Ellis AUSTRIA Thomas Renoldner Stefan Stratil BOSNIA & HERZEGOVINA Berin Tuzlic Berin Tuzlic BULGARIA Pencho Kunchev Pencho Kunchev CARIBBEAN Camille Selvon Abrahams Camille Selvon Abrahams CHILE Vivienne Barry Vivienne Barry CHINA Li Zhong Qiu Li Zhong Qiu CHINA-JILIN Zheng Liguo Zheng Liguo CHINA-XIAMEN Wu Zhiqiang Wu Zhiqiang COLOMBIA Ricardo Arce Ricardo Arce CROATIA Vesna Dovnikovic Vesna Dovnikovic CYPRUS Yiorgos Tsangaris Yiorgos Tsangaris EGYPT Mohamed Ghazala Mohamed Ghazala FINLAND Heikki Jokinen Heikki Jokinen FRANCE Sabine Zipci Sabine Zipci GREECE Anastasia Dimitra Yiannis Vassiliadis HUNGARY Tamas Patrovits Tamas Patrovits INDIA Bill Dennis Anand Gurani INDONESIA Gotot Prakosa Gotot Prakosa IRAN Noureddin Zarrinkelk Noureddin Zarrinkelk ISRAEL Tsvika Oren Sarah Hatooka, Tsvika Oren ITALY Luca Rafaelli Alfo Bastiancich JAPAN Sayoko Kinoshita Sayoko Kinoshita KOREA Nelson Shin Nelson Shin MEXICO Jose Carlos Garcia de Letona Jose Carlos Garcia de Letona POLAND Mariusz Frukacz Mariusz Frukacz ROMANIA Genevieve Georgesco Genevieve Georgesco SERBIA Bozidar Zecevic Bozidar Zecevic SWITZERLAND Monica Stadler Jonas Raeber TURKEY Berat Ilk Berat Ilk UNITED KINGDOM Margot Grimwood Margot Grimwood USA ATLANTA Fatimah Abdullah Fatimah Abdullah USA CENTRAL Deanna Morse Jim Middleton USA COLORADO Corrie Francis Parks Ed Desroches USA EAST Ray Kosarin Dayna Gonzalez, Linda Beck USA HOLLYWOOD Jamie Kezlarian Bolio Frank Gladstone USA PORTLAND Rebekah Villon Sven Bonnichsen USA SAN FRANCISCO Nancy Denney-Phelps Karl Cohen 49

ASIFA President Ed Desroches [email protected] General Secretary Vesna Dovnikovic [email protected] Treasurer Ray Kosarin [email protected]

Development: new chapters, festival liaison, ASIFA Workshop Groups (AWG)

Vice President Sayoko Kinoshita [email protected] Director of New Chapter Coordination Vesna Dovnikovic [email protected] Director of Festival Liaison Nancy Denney-Phelps [email protected] AWG President Anastasia Dimitra [email protected]

Communications: news, information, public relations, marketing

Vice President Mohamed Ghazala [email protected] Director of News and Information Position Open [email protected] Director of Marketing and Public Relations Jamie Kezlarian Bolio [email protected]

Special Projects: International Animation Day (IAD), ASIFA Prize, New projects Vice President Ricardo Arce [email protected] IAD Curator Vanessa Ventura [email protected] ASIFA Prize Curator Agnes Li [email protected] Director of New Projects Deanna Morse [email protected] 50

Operations: tech ops, administration, archives, ethics, auditing Vice President Rebekah Villon [email protected] Director of Ethics/Audits Jef Wike [email protected] Director of Technical Operations Corrie Francis Parks [email protected] Director of Administration and Archives Asha Jagannathan [email protected]

ASIFA.NET queries [email protected]

Contact Address Vesna Dovnikovic Secretary General Hrvatskog proljeca 36, 10040 Zagreb, Croatia Tel / Fax: +385-1-299 13 95 E-mail: [email protected]

Call For ASIFA Fees

You may join ASIFA either as a member of a National Group (which in some cases may ofer addi- tional benefts such as local screenings, programs and events; contact your National Group for infor- mation) or as an individual member-at-large. International ASIFA members receive free entry at the animation festivals in Zagreb, Hiroshima and Espinho, and reduced prices at the Ottawa festival. Each ASIFA National Group sets its own annual membership fee, which includes $15 US (or 15 Euros) for each international member, payable by the Group to ASIFA International. Individual mem- bers unafliated with a National Group may pay directly to ASIFA International an annual membership of $33 US (or 33 Euros). ASIFA members in the European region should pay in Euros, in America and Asia in US dollars.

ASIFA National Groups (and individual members-at-large) who pay dues in Euros are requested to make a bank transfer to: Name of the bank: PSK Name of the bank account: Association Internationale du Film d’Animation IBAN: AT156.000.00.00.92171318 BIC: OPSKATWW Address: A-1018 Wien, Georg-Cochplatz 2 (usually not needed)

Paypal.com payments are also accepted – please contact the ASIFA Treasurer for more information. 51