Issue 24

In This Issue: TUMBLE LEAF ALSO Los Aeronauts & Starburns Industries - The Lost Interview

EXECUTIVE EDITOR JOHN IKUMA CONTENTS:

ASSOCIATE EDITOR AI IKUMA

CONTRIBUTING WRITERS JOHN IKUMA Pg 6 - New Stop Motion Pro Software PAUL HOWELL

LAYOUT DESIGNER JOHN IKUMA Pg 7 - TUMBLE LEAF O’NEAL PAGNANI Pg 8 - Kelli Pixler Interview (Tumble Leaf)

Pg 11 - Drew Hodges Interview (Tumble Leaf)

Pg 15 - Los Aeronauts

Pg 20 - Starburns Industries - The Lost Interview

Stop Motion Magazine is published bi-monthly by StopMotionMagazine.com, 4113 Irving Place, Culver City, CA. 90232. Content is Copyright 2009-201 by Stop Motion Magazine. All Rights Reserved. Reprint in part or in whole without written permission from the publisher is strictly forbidden. Stop Motion Magazine is trademarked by John Ikuma. Motion Control Goodness for Animators

Check details at: ditogear.com/products/omnislider-animators-edition/ Letter from the Editor It seems like such a long time since the first Issue of SMM was released in 2009.That was over 5 years ago! It’s also been a really amazing journey along the way. I’ve personally been able to talk to many of my hero’s along with learning a great deal about the industry from long time stop motion professionals whom believe in the art form. Recently I announced that we will no longer be producing print issues of SMM. This decision was made out of necessity to maintain my personal sanity while working in the animation/VFX industry here in Los Angeles. At the time of the announcement I was working none stop 16 to 24 hour days on a major advertis- ing campaign for Toys R Us. It was brutal and taxing mentally to say the least. I was also rewarding and amazing. Another reason I made that announcement was the anticipation for starting season 2 of Tumble Leaf as Lead VFX Artist at Bix Pix Studios. Honestly working on season 1 was a dream come true and being called back to work on season 2 is an amazing honor and I know I’ll cherish every moment.

So let me rephrase my statement about the future releases of SMM. Future Issues of SMM will be produced on a non-scheduled bases... This means there will be issues in the future and Stop Motion Magazine will exist in a print form but will be sporadic and will hold no official release dates. Due to mainly being a one man show in producing the magazine I have to face the reality of there is only so many hours in the day to dedicated to work, family, and hobbies. Since SMM doesn’t make a real profit from advertisers or print on demand, it makes it very difficult to maintain and hire individuals. I’m lucky enough to have had the help of a couple individuals whom contributed to the making of Issues 23, 24, and the upcoming issue 25. One such person is O’neal Pagnani whom I hired for a short period to help me deal with layout while I was busy on the Toys R Us gig. O’neal has a bad reputation in the industry and I’m the type of individual to not pass judgement unless I have witnessed transgres- sions first hand. In my opinion everyone deserves a second chance and I truly think his passion, humility, and kindness proved that his growth throughout the hard times he has faced in the past has made him a better person. I thank him for his hard work and dedication to SMM and hope his journey to salvaging his reputation is a speedy and rewarding one. You Rock O’neal and thanks!

In this Issue you will find a great interview with the creators ofTumble Leaf, Drew Hodges, and Kelli Pixler. I’ve been waiting forever to get this issue released and since Tumble Leaf has been picked up for a second Season and since they’ve been winning awards left and right from Cannes, Annie Awards, and Emmy’s, it’s probably best to get this issue out so that the world can see why Tumble Leaf is such an amazing show and why Bix Pix Entertain- ment is probably one of the best studios to work for in the animation industry. They’re also going to be the main focus of my energy for awhile so I want to make sure you guys know why. There’s also the Lost Interview with Starburns Industries which is between myself, Joe Russo, and James Fino that was conducted years ago. This interview was originally supposed to be a bunch of interviews which would have been with all the higher ups at Starburns including Dino Stamatopoulos, and . Unfortunately however their work schedule and my work schedule never meshed well and the result was the cancelation of the Starburns Issues. Hopefully in the future one can be produced.

In closing I would like to thank all of the readers of SMM and tell you it has been an honor to produce a maga- zine which is read in almost every country in the world and has a large loyal following. We just passed 9000 subscribers on our YouTube Channel and are edging past to 3000 magazine issue subscribers. In the future we may switch to a paid subscription basis to keep SMM running, but for now enjoy the free pdf version or Print on Demand versions and Keep Animating.

-John Ikuma (Executive Editor of Stop Motion Magazine) Stop Motion Software Re-Invented

Stop Motion Pro has gone back to basics, simplify- shapes and instructions using a keyboard alone. ing the animation capture process giving animators Rig removal tools mean animators can test remov- instant access to powerful tools with Stop Motion ing rigs on set, ensuring shadows and other issues Pro Eclipse, for Windows (native Mac version in will not cause problems for post production. Direc- development). tors will be able to see and approve the shot on set. “We noticed animators were confused when it came Multiple track audio functions mean sound files can to learning how to animate - why should software be layered, allowing the creation of the sound track get in the way of character and story? It should while the animator works. Professionals will love enhance it!” Says Ross Garner, director at Stop Mo- the ability to add multiple versions of one track tion Pro. - perfect for extending pauses in dialogue when Setting out to create the most intuitive animation you need to squeeze in a few extra frames for your software meant testing and collating feedback with characters performance. professionals in the industry. “We worked at all “These considerations add up to innovative, smooth levels, students, home users and professional ani- interface that users will love,” says Ross. mators, if you know any animators, you will under- Stop Motion Pro Eclipse is available on Windows stand they are very specific about what they want,” (and Macs running Windows). We are actively says Ross. developing a native Mac version, the first Alpha of One click access to tools such as onion-skinning, this software was demonstrated at Annecy Anima- changing fps and copy / paste frames was essential. tion Festival in 2014. Dozens of features are now represented using icons Eclipse, with control of Canon and Nikon DSLR’s, which mean more can be fit onto the screen without starts at $18* per month, or $185* outright. clutter. Tool tips in multiple languages (English, *USD French, German and Chinese) give information Any questions can be directed to Stop Motion Pro on functions. Advanced production management at: [email protected] Visit their website: features are a gem, with easy episode, shot and take www.stopmotionpro.com recording. Animators wanting to work with lipsync will love the software. It’s possible to assign mouth page6 TUMBLE LEAF Bouncing on a Bog Bubble and Exploring the Magical World of Tumble Leaf - Written by John Ikuma Tumble Leaf is not your ordinary Miro. Miro was a blue little boy show only exists inside the Prime kids show. For one thing it a stop whom has evolved through the and Amazon websites. motion kids show which seems creative process to become to- to be a rarity in todays television days Fig the Fox. Kelli and Drew Regardless, the show is cute and production. Fig the Fox and his teamed up and pitched the show pretty amazing. The scope and band of forest animals travel the to just about everyone that would depth of the world of Tumble Leaf Tumble Leaf Island in an never listen. It was a struggle form what is huge. Without me giving too ending adventure of discover and I understand, but the perseverance much away I can tell you the ba- wonder. Each episode is filled paid off and now that are produc- sics. Fig whom is a little blue fox with magic that tugs deep at your ing one of the most entertain- and his best friend Stick whom is imagination and heart strings. ing and fun children’s shows on a little caterpillar that rides along Amazon.com and Bix Pix Studios television. on Figs arm find new items each teamed up to make this wonderful episode in the Findy Place which show and since the success of the Now because the show is avail- is a room inside a shipwreck with first season it has been announced able through Amazon Prime it a treasure chest in it. They set out that there will be a second season. does have its disadvantages and throughout the day to discover So how better to celebrate this advantages. For one thing Ama- what that item does. Kind of like news than with a look into how zon has a large audience through an applied science and discovery the show was created by talking to Amazon Prime which allows way learning. They meet all sorts Kelli Bixler who is the owner of them to have a great distribution of cool looking animal characters Bix Pix Studios and Drew Hodges model directly to the viewer. This whom share in the adventures. It’s who is the main creator and Di- helps in providing realtime data definitely entertaining and worth rector of the series. showing who’s liking what. The checking out the season 1 free disadvantage to this is that many episode. I think you’ll enjoy the First you should know a little people may not have access to magic and oh yeah the kids will back story before we dive into the Amazon content due to not having like it too... interviews. Tumble Leaf origi- a Prime account or because the nally started out as a short called advertising and promotion of the Interview With Kelli Bixler right graceful! And I love working with stop-motion artists, they are fabulous human beings. Executive Producer - Tumble Leaf SMM: What were the major challenges you faced in SMM: Can you tell us how Bix Pix Studios got developing the Tumble Leaf Series? started? Kelli: Could we really do it? I mean, for a televi- Kelli: After working years in live action, I was in- sion budget, in the timeframe Amazon needed it, and troduced to stop-motion animation on a Playschool with the production value that we were hell bent on job, where a 2D animator was sculpting clay figures delivering??? at lunch for his own stop-motion short, they were fabulous and I was hooked! I thought my live action SMM: Is pitching a show hard in this modern day ideas/scripts could be produced in stop-motion and industry of online instant access media? that might get more interest…it’s was so different- unique! Kelli: Pitching has always been a crapshoot, there are a lot of great ideas out there that don’t find a SMM: Can you share with us how Miro developed home for a bajillion reasons. I’m convinced this into the character Fig the Fox for the Tumble Leaf business is still done based on relationships, and the Series? players change drastically in this town, but if you stick around long enough eventually something’s Kelli: Drew Hodges first created Miro, a blue boy gonna stick. with an odd shaped head, and after pitching to a few folks, he/we listened to the feedback and reworked the character.

SMM: Why does stop motion animation appeal to you?

Kelli: Maybe it’s because I had a dollhouse and painstakingly laid hardwood floors and put up wall- paper, or maybe it’s because studying the history of film, I thought this medium is truly magical, I love the movement, the detail, or maybe it’s just taking something that’s dead (no movement) and making it alive, vibrant…it breathes. Done right, it’s down SMM: Why is your studio such a friendly and fun work environment even during hard deadlines?

Kelli: Is it? Oh I hope so, because I like to think I’m friendly and fun…A work place you’re respon- sible for is just an extension of who you are and how you work - it’s a reflection of the source.

SMM: You have a list of rules for the studio... Can you share them with us?

Kelli: Basically it’s what we all learned in kinder- garten, or the golden rule... “Do unto others as you production, but Drew is on his way to mastering would have them do unto you.” stop-motion and its seemingly boundless possibili- ties. SMM: You’ve been in the industry for a while and have faced many challenges. Can you share with us SMM: What’s different about Tumble Leaf com- how you’ve grown as a person and how the industry pared to the other children shows out there? has changed you? Kelli: It’s genuine, real….it’s imperfection makes it Kelli: PATIENCE. The industry has forced me to perfect, like humanity. learn patience. SMM: Why are Cookies served to the crew on Tues- SMM: Tumble Leaf is amazingly detailed and gor- days at your studio? geous. Where did this sense of texture and detail come from and how did you reach such a brilliantly Kelli: I’d love to do it Tuesday and Thursdays but colorful and vibrant final look for the show? I’m on a budget…. Cookies are good, especially warm and gooey with milk. Bix Pix peeps work re- Kelli: Drew Hodges. Don’t get me wrong I have ally hard and it’s just a little way for me to say thank very high standards and my own sense of quality you, and bond with all of them on a level that brings us all together. SMM: Do you have a favorite episode of Tumble Leaf and can you tell us about it?

Kelli: I have several for many different goofy reasons. KITE because it’s the first, I remember Drew saying to me, “I got something that’s pretty cute.” He was right, that kite suit still makes my heart skip a beat. TUBE, because it involved my Mom’s kitchen table at 2am in the morning, (long story) so I always think of my Mom and Dad and my pseudo grandmother, Bozzie, (she called mov- ies, “picture shows”) when I see that episode. ICE BLOCK because of the James Bond-esque music. MASK, where Fig says my favorite line, “maybe we can turn snappy into happy.” ROCK, when drink wine… we did all the above and walked away Maple’s inner ballerina comes out. CARDBOARD with the jury award for best TV show, it was a com- BOX, when Fig uses his pretend voice as the Turtle plete surprise, an utter delight, and a perfect ending Prince, and when Hedge sings horribly. I could go to Tumble Leaf Season One. on and on… SMM: Can you tell us about how Tumble Leaf got SMM: Can you tell us about your experience at An- its start? necy and winning such an important award in the Animation Industry? Drew: In 2006, after finishing a big project I was looking for something new to do. I thought a kid’s Kelli: We were thrilled to be invited to Annecy, show would be a good way to explore a lot of ideas it’s such an honor. I have never been, and it was I had rolling around my head. It started as a very heavenly. The festival came at the end of shooting abstract world made of gears and mobiles and a and working for 13 months, 14 hour days, 6 days little blue boy named Miro. But that was just the a week, so we went to enjoy the beautiful lake and start, the first thread and I really had no idea what countryside, to watch great content, eat cheese and the project would eventually evolve into. Interview With Drew Hodges Director/Creator - Tumble Leaf

SMM: Miro seemed like a great concept, why did it change so much?

Drew: I put everything I had into Miro but as time passed and no one picked it up I would put more and more into it. My fabrication and design skills grew and I’d incorporate outside feedback and new ideas. Ultimately it was 7 years of gradual little changes and some big changes that eventually moved the show so far away from where it started.

SMM: how did you get started in animation? what they were up to and try to challenge them as much as I could. Drew: The same way a lot of kids do: messing around with a friend’s video camera - we figured SMM: Do you have any favorite moments during out how to make stuff move. I always wanted to production of Tumble Leaf you could share with us? make movies and stop motion was a cool way to get some big ideas out there on no budget. When I saw Drew: There were favorite moments from all the dif- ‘Nightmare Before Christmas’ I knew that I wanted ferent phases of production. But there were some re- to make movies like that. I never really cared much ally late night script rewrite sessions that felt closest about animation itself but the kinds of little movies I to being equal parts insanity and pure creative flow. kept making started to resemble animation more and Those moments where we rode the edge were always more and so I eventually just started making fully the most memorable and exciting. animated projects. SMM: Do you have a favorite episode of Tumble SMM: You were very hands on as a director during Leaf? the Tumble Leaf production. What was it like to play Director, Animator, Producer and Creative force for Drew: I like “Drumsticks.” I think everything was the series and not get much sleep? working in that one. It was one of the toughest to make but also one of the most purely “Tumble Leaf” Drew: It just felt normal to me. I have a pretty short episodes we did. There was a cool location, beau- attention span so I like to stay as busy as possible so tifully light with a mysterious new character, fun things are constantly new and challenging. I had music and great animation. such a great crew that I was always excited to see SMM: During production the crew came up with all sorts of wild stories about the origin of the Island of Tumble Leaf... Without giving too much away... Whats the deal with all the ancient buildings?

Drew: The non-J.J. Abrams answer is: The ruins and strange artifacts are there for the audience – so they can participate in the story by imagining what the ruins are for themselves. I think its fun trying to imagine what the backstory of the ruins and past Tumble Leaf civilizations might have been. Plus old stuff just looks better than new stuff. It’s a great way for a lot of different crew members to be able to add their own ideas into the world through the details of how every little object is made.

But the real answer is Tumble Leaf only exists in SMM: What inspires you? Zucchini the Chicken’s mind. Look closely the clues are all there… Drew: Really great production design, art and worlds other people have built or imagined can be SMM: This show is meant for a young audience, but very motivational. in my conversations with parents it seems to have caught their attention as well and is very entertaining SMM: What’s next for you? to both young and old. Why do you think that is? Drew: Finishing up a short film I’ve been working Drew: We were always the first audience so we tried on and off on for the past 13 years…hopefully. to entertain ourselves and put in elements we were inspired by. We also tried to put in a high level of detail and thought into the stories, world and stop- motion animation which helps appeal to a wider audience. SMM: Were there any major challenges for you during the production that you could share with us?

Drew: We had a pretty tight schedule so even simple things had added pressure. Some things just take a certain amount of time to complete, time we didn’t have. So we were forced to make up new ways of doing things faster.

Adding science concepts into stories in a unique way that a young pre-schooler could still under- stand was also a great challenge.

Los Aeronauts / The Aeronauts Aeronauts is a film that we all dream of making. It’s available number of festivals left on 2015. beauty and depth are stunning. Visually speaking it is a masterpiece and the film isn’t even finished yet. The aeronauts tells the story of Soo’goh, a handi- When we here at SMM first laid eyes on the couple capped creature that tries escape from the cruel of images floating around the internet we were desertic environment in which he and his tribe are instantly drawn in. The film Aeronauts by Leon Fer- confined. They all dream on a green vast land, only nandez Hernandez is breath taking and it is apparent reachable with the help of their god, that frees them even in the behind the scenes images gracing these in exchange of offerings. pages. We were very blessed to speak this brilliant director and we can only excitably anticipate the completion of the film in the coming days. Please enjoy this interview.

SMM: Can you tell us about your film?

LFH: Its name is “Los aeronautas” ( The aeronauts). It is mainly stop-motion animated, combined with some digital compositing. It is produced by the mexican film institute, which each year calls for shortfilm projects in order to make a contest. Usual- ly they give three prizes; the winners get the support to entirely produce their work. We won that support in 2013, so we are at the stage of production right now. We are not sure if The aeronauts will have its premiere this year or the next one; it depends on the page15 SMM: How did you get into making stop motion a couple of years they encourage me to start my films? own film and gave me support with equipment and advice, so I started with a small 2D project which I LFH: In fact it was kind of and accident. I am a finished on 2006. sculptor since I was 14 and I never thought about animation. When I was 25 my mother saw an ad However, as a sculptor, I liked more stop-motion, in the newspaper regarding a 1-month animation and began searching funds to produce my first stop- class in a local art school. She thought it would motion short film. I tried the contests organized by interest me and paid the Mexican Film the entrance fee Institute (IMCINE), without even telling and after a couple me about it. She just of strikes I won one “informed me” the of the prizes, which day I supposed to were the financial attend. I didn’t mind support to produce the “short notice”, my short. So I did in fact I was happy and in 2011, I fin- to assist, plus it was ished MUTATIO, a free of charge. 10min stop motion animation. Since I went to that class and the two teachers I had were then I participated in some projects as an animator, animators Juan José Medina and Rita Basulto. They art director and puppet maker, and now I am at the were known already as talented animators, plus production stage of “THE AERONAUTS”, another they are also artists, so we became good friends stop-motion short film, also produced by IMCINE. and they started to invite me to work in their proj- ects as an “in-betweener”, or sculptor and so. After SMM: The Aeronauts visual look is very impres- SMM: Who inspires you as a director/animator/art- sive and unique. Can you explain how the produc- ist? tion design shaped the look of your film? LFH: I think that most stop-motion animators LFH: Well, the story behind this short film needed admire Harryhausen and Svankmajer, so do I. As a a harsh, dry desert, so we studied different types of director I also have a tremendous respect for Henry sand-rock landscapes and cloudy skies. We made a Selick. lot of tests and finally we got there. SMM: Can you explain how you got started in SMM: What have the struggles been in making this making this film? film? LFH: I started this project working on the short LFH: To be honest, this was a very ambitious proj- film’s plot with my screenwriter friend Salvador ect because of the number of characters, sets and Delgadillo. That took us some time and we barely requirements; and we knew the funds available in finished the project folder in order to entry the the IMCINE contest, which were a little low to this IMCINE contest on 2013. We didn’t get the prize kind of project. However we took the shot since we that year and we understood that we needed to fix a are able to make our own puppets and sets, in fact lot of our project. We did so and by the next contest we founded our puppet making company last year we got the financial support. I started right away (HUMANIMALIA STUDIO). That’s how we man- building puppets and sets, and we started animation aged to save some money and stick to the fund limit in October 2014. we had. Anyway, we were fighting against time since day one, because we want to finish before some big festivals entry deadlines. SMM: What are your puppets made out of?

LFH: They are all based in dragon skin silicone and ball and socket armatures. They also have geared skulls so we can move eyebrows, jaws, make them smile etc. One of the characters have wings, they are made of paper and tin foil.

SMM: What kind of software and systems are you using?

LFH: I am using Dragonframe as animation soft- ware, which is great. Cages”,“LLuvia en los ojos / Rain in the eyes”, SMM: When can we expect to see your film in they were made by local animators and won a lot festivals. of prizes in international festivals.

LFH: We are certain we will finish this film this SMM: How big is your studio and the facilities you year. are using?

SMM: What part of Mexico are you working in? LFH: I am working in a great studio ( OUTIK ANIMATION STUDIO). Here I found all the LFH: I am working in Guadalajara, which is the equipment I need, a nice set, advice and solution to most important city in our country after Mexico each problem I had. You can check some of their City. This city has a big art and some work here OUTIK ANIMATION on Vimeo of the best stop motion animators in Mexico. You can check some great short films like “Jaulas/

Starburns Industries-The Lost Interview The following interview was back wall with Shadow Machine. into this company?” and he said conducted with right after the end James and I own a VFX/2D “No”. So we went out and had of production on the last season animation company called 2/3D lunch, James, Dino and I; and of Mary Shelley’s Frankinhole. Films and we were walking started talking about putting to- It was a joy to have had worked the neighborhood and ran into gether a different facility. Some- with the crew on that production a friend. She said “Oh hey I’m where where people could enjoy and having spent many months working next door on this show where they’re working and they there I grew to feeling at home called Morel Orel. I think you are treated properly and compen- with the studio. This interview know the creator Dino Stano- sated for the work they’re doing with Joe Russo and James Fino topolous”. I was like “Yes I do instead of being held under lock two out of the four studio owners know him from the old days of and key like it seemed like was at the studio was to be released Mr. Show”. She said “You should going on at that other company. many years ago. There was actu- come by and do a little studio ally supposed to be a full Star- tour”. To get to the point of where the burns issue with Dino Stanotopo- name comes from. lous and Dan Harman, but due So I popped in there and ran to their heavy work schedule it around the set and talked to a We were bating around different never came to be. Luckily I found bunch of people who are now ideas for names and I just thought this interview within the library friendly with Starburns Indus- it would be really funny to have of stop motion magazines catalog tries. I ran into Dino and I said an industrial twist on the fictitious of interviews. I hope you enjoy “Hey Dino how you doing? It’s factory setup. Dino plays this the insight that Joe and James been a long time”. He said “Great character on this show “Com- provide. I F%^&-ing hate this place. Lets munity” named “Starburns” and I get out of here”, and I said “What thought that’s an interesting name SMM: Where did the name do you mean by that?” He said “I in itself, but than to make it into Starburns Industries come don’t like the people here, I don’t some working factory environ- from? like the management”. The crew ment “Starburns Industries” came was awesome but the manage- around. We all thought it was so Joe Russo: It’s an interesting ment treats him like crap. I said absurd that we had to name the thing. If we go back a couple of “That’s unfortunate. You should company that. years when our offices were in do something about that. Start Hollywood, when we shared a your own business. Are you tied SMM: How long has the studio field trips out and searching for fect for us. She said “It’s a little been open? what our building would be. funky. I know it’s not your style. It kind of has this Castle thing Joe Russo: We are a year and a Joe Russo: With our amazing going on.” So we came and took half old now. We weren’t even broker Laura Leeogdan with a look at it and yeah it definitely supposed to open until this past CBRE. She’s a go getter. We said has a castle look. February in 2011. we needed 50 parking spaces and a building next to it. Because James Fino: Literally “Castle”, James Fino: we were gearing up we could find all these beautiful and we are in a neighborhood of to do Frankenhole with Dino. facilities, giant buildings with no castles. There are a lot of build- parking. ings out here that have that castle Joe Russo: Summer of 2010 we shape theme. were sitting with Dan Harman James Fino: That’s vital, because and Dino Stanotopolous, basical- animators are going to be here Joe Russo: And we knew that we ly talking and having preliminary and then their friends come and were going to be doing a show meetings about how to get the we are going to have weeklies about the Frankenstein Family business plan setup. so it just kind of made sense for at least that James Fino: Dan was production. interested because he had done channel 101 James Fino: The first and we kind of liked thing we did was the model he had blackout the ceiling already setup. About completely. There was bringing in young up just one huge open and coming artists space so we had to and helping them. start hanging dividers up just to start prep- Joe Russo: But Chan- ping for the stages. nel 101 was a non- From the get go we profit and he wanted were going to have to to create a for profit work with other com- model. So Dan was interested on that we are going to need every- panies to help build the puppets that level and said “What would one to easily get in, work, and to help build the stages and just it take to get a 22 minute animat- then get out. get them in here as quickly as ed special from scratch made?” possible. In fact the stages were So suddenly we went from this Joe Russo: And secondly she showing up halfway done and idea to getting the ball rolling. said if we found a building out- we had a team of painters here We didn’t even have a bank ac- side of L.A. County there was a finishing off the stages as they count yet. different tax bracket for produc- came in. That was exciting but tion. Which is great, we save a it was really burning the candle James Fino: And the building lot of money being just this side at both ends trying to make sure that we had for the company at of L.A. County in Burbank. everything was going seamlessly. the time was more geared for VFX. So we knew we’d have to So then we find this building Joe Russo: There were 60 some have a more physical space. With here in Burbank. She showed us odd puppets made and 40 sets that came the parking spaces that a dozen places, but she said there built for the Community Christ- were needed. So we went and did was this one that would be per- mas Special. James Fino: Yeah we had 10 sweating bullets. But from the When all things are said and stages that we had setup. We put very beginning the Network was done, we did this thing, and together a team of animators for like “Are you sure you guys can turned it in, and got the show the very first time. Some people do it?” some great exposure. It basically had worked with each other, helped setup the company. We some people were brand new, but Joe Russo: “Absolutely!” as we used some of the money to get it was really getting everybody were shitting our pants. into the building and buy equip- up to speed. ment and get ourselves setup. James Fino: We knew were go- Joe Russo: There were no com- ing to deliver it somehow. We James Fino: Community is a puters, no cameras, no lights, and were going to get it all done. And show that has some really die- no infrastructure in the building. for everybody that came to work hard fans, and Community (the It was cabled up in 1978. We had on it, it was a chance to work on show) loved it and helped spread to put in the internet and have a Stop Motion Christmas Special all the images through the social the whole thing wired. We didn’t that lured everyone because we networking. Just that look was have a phone until the beginning all grew up on that stuff. something that everyone really of this year. likes. Joe Russo: There was a guy that James Fino: It was from scratch, put in a 12 hour day and found Joe Russo: One of our animators every little bit of it. We knew we that he had shot the whole scene Drew Hodges got an Emmy for only had 6 weeks of animation. wrong. He had preplanned his it. We had to turn everything in by walk cycle and found out that thanksgiving (November). Then his characters were in the wrong James Fino: He got it for some we only had a week and a half of place three quarters of a way amazing pterodactyl scenes he digital for VFX and it was going through the shot at 12 hours. did, Christmas Pterodactyls. The to air December 9th. He said “That’s alright I’ll start whole thing was just beautiful. over” an he basically started at We were half dead when it was Joe Russo: And we turned in our 1am and finished at 6 am the over, but when we were watch- last shot December 8th (2010). next morning and it was that ing it with our crew during the kind of dedication that got that screening party we had, it was James Fino: It was literally right show done. just amazing to see that we had up to delivery. Everyone was completed it. and took his stab at this German Joe Russo: When we came back Expressionist view of the Fran- to the stages after the show had kenstein World, and made this delivered and calmed down, two beautiful style for the show. Last days prior there was 80 people session looked good, but it was running around the building and a lot of tights and two shots, and than suddenly it was dead, no things like that. This session we one there, stuff everywhere. It got to explore the world a little was like a big empty box again, bit better. and it was so weird to go from complete full bore production to James Fino: We got to explode nothing. So we dragged a broom the scope of the Frankenhole, all the Starlog Magazines and across the floor and got ready for were as in session one the bar the Visual Effects Magazines the next production which was that they all hang out at was a and that’s the direction I wanted “Frankenhole”. forced perspective miniature, to go. When I came out here where as this session we built a the first job I got was in sitcom full scale bar for the puppets and television. Which I though was a green screen cove (with the just to pay the bills, but I actually exterior of the bar). We went all loved it. It was really cool to see out to make sure the quality was a production go from a Monday knocked out of the park as much table read all the way to a Friday as we could. live performance in front of audi- ences. It was something I had Joe Russo: We got a lot of help never considered. So I got a start from the guys over at Dragon with the guys from “Mad about Frame. You”, doing a pilot with them, James Fino: We managed to and then I went on to “Home knock out a commercial in- James Fino: Yeah, Jamie and Improvement”, and worked with between which was for Little Dyami. They helped us setup that team for a couple of ses- Caesars Pizza. It was a world all the software and stations up. sions. The show was number one created out of dollar bills. Then They were on the phone with us at its height. I was very fortunate we prepped for Frankenhole. walking us through it. and came in while the show was on top of the world, Tim Allen Joe Russo: Frankenhole started SMM: How did you get started (Star of the show) was too, and up in February. It was a lot of fun in Animation and Film? he had a number one movie, getting that one going too. Santa Claus. James Fino: Actually in a round James Fino: We got a lot of the a bout way. I grew up with a real original team back for that, and big love of special effects. All I some new people to get up to did in El Paso Texas, which is speed with the look of it, but basically the Tatooien of Texas, they did it and it was amazing. there’s nothing out there, it’s just vast... Joe Russo: We had a produc- tion designer whom had never Joe Russo: No Star wars Refer- worked on the show before; he ences... had worked on Coraline and Fantastic Mr. Fox. He came on James Fino: All I did was read During my hiatus a friend of end of that I met Joe (Russo). pus and taking classes because I mine who was working at Fox I got hired away from King of wanted to see what it was like to knew I was looking for a gig to the Hill to go work on the first be a Frat-Rat even though Santa cover those months. She said” he round of dot coms, there was a Cruz didn’t have a frat. About we’re starting up on a pilot, send company called Media Trip and the same time the school was me your resume because you’re they hired me away to go work kicking me of the campus and from Texas and the show has a on a series that Kelsey Grammer catching onto my shenanigans I lot of heat on it, it’s called King was going to do one of the first got a call from a friend who said of the Hill.” The show was from Webisodes. So I worked on that “Hey lets move to L.A. and be who created Bea- and some friends of mine were rock stars”. So I borrowed a mo- vis and Butthead, and also Rick working with Joe at his studio. torcycle and rode down here and Daniels who was a Co-Executive What I loved about Joe was his spent the first night here in LA. I Producer on . So studio was producing animation slept in McCarther Park because I sent it in and instantly got a of every kind of style I could I didn’t know any better. meeting the next day and went imagine. I remember think at that to Century City and met with point that I wanted to work at a I escaped death and found an Joe Bushey and Mark McKim- place where I have an opportu- apartment soon there after with sey who had come over from nity to produce different types of a bunch of friends. It was basi- working on the Simpsons, and styles and not get locked into one cally a bee-hive of anyone who also met Greg Daniels who was style. So that’s where I met up could afford to hangout with us awesome. with Joe. for a week or two. In the first month I was here I ran into a girl They said “Yeah, this is great”, I knew from Northern California. and then I got a call the next day She was subbing in as an office from Joe Bushey, He said “This manager at this little animation is really acquired, I’m sorry, company because here sister was but the person who is leaving on maternity leave. We ended up decided to not leave after all. dating and she got me a job as a So we don’t have an opening”. PA at this little animation com- I thought “Oh that’s ok, I’ll go pany. back to Home Improvement” and literally the day before I The main thing they were pro- was supposed to go back to ducing besides some titles and Home Improvement I got a call trailers for movies was this little and they said “She changed her unknown cartoon that was on the mind!” So I took the job and left Tracy Almun show called “The Home Improvement, but this was Joe Russo: Man I’ve had the Simpsons”. At that time no one an animation show about Texas most blessed and lucky career. knew what it was and I was just and these guys were just amaz- I’d like to gear someone who a lonely P.A. doing cleanup work ing. I stayed with them for 5 ses- stepped in a bigger pile of shit and labeling pages for Wes Ar- sions and that was my animation and made something out of it. I cher and David Silverman who school. was living in Santa Cruz, going are the animation directors on the to UC Santa Cruz, but not en- show. Because they were doing I was working with the Fox rolled. Just going there because hand drawn animation and they Producers and writers, and inter- it was next door to my family’s had a minute a week to produce, facing with all my counterparts house. I couldn’t afford college there was just the two of them at and I learned and was basically getting myself and me. I got thrown into it. animation that way. Towards the into trouble sneaking onto cam- were his words were “In the old country in order to save face you wrestle”. So I ended up wres- tling with him, and the producer walked by the door and thought I was beating him up and called the cops. The police showed up and threw me into the back of a squad car. The whole time Guado was laughing. At some point I was praying that they would just reveal the joke to the cops and I wouldn’t end up downtown.

I had to learn how to read mag So eventually I got sprung and track which is when you break- they pulled me into the office, down the soundtrack into sylla- and Guado said “I can’t save bles and write them down frame you anymore. Margo’s your boss by frame on an exposure sheet. and if she see’s fit to let you go I learned how to cleanup the art, again, that’s her call”. She took ink and paint because sometimes me into her office and told me the frames would come back “I don’t want you working here. wrong from the only person in You don’t have what it takes”, town that did that. Anyway I and just gave me the hard nosed ended up getting onto this crazy conversation. Which actually I little show and over the course needed more than anything to of which I was still trying to be a grab the bull by the horns and rock star. I was playing gigs and take control. I started to realize staying out all night drinking and that there were a lot of people partying. I was missing a lot of that want to work on that show acter layout. Over the course work because of it and waking and in animation at large. There of session two I did the layout up under my desk. I had totally people way more qualified than for some of the best shows. I taken for granted the fact that me that would kill 10 people to remember that Jail I was working on a show that, get my job. But I had the oppor- House Rock episode that got the here we are 20 years later and it’s tunity to just say yes and take the show its first Emmy. The Tree still on. People have raised their job and put my best foot forward, house of Horror episode was children who are now working so I did. great. It was the Edger Allen Poe on the show and things like that. Raven episode that was so much I ended up getting myself into a Session One (The Simpson) fun to work on. bit of a pickle that fired me. started, I started in the back- ground department doing clean- he didn’t want me to work with up and within a few months I that company more because was doing background layout. my heart wasn’t into it, and she By the end of the year I was was right. It came down that as the background supervisor. The I was leaving I wanted to say following year I wanted to get goodbye to my boss. We ended into layout so I took the layout up wrestling because I believe test and got promoted to char- The singer of the band who took me to the Hospital on his way out the door said to me “I don’t have any way to pay for your hospital fees but you can be in my band”, and then he drove off. After they set my ankle I went back to the party, it was about 3 o’clock in the morning. I basi- cally said that “I was stuck there for the next 6 to 8 months. They told me that they were going to put me in a cast, and I re- ally don’t have anyway to make a living now. Maybe I’ll take you up on this silly job offer of yours”.

By the end of session two I was tials called “The Perpetually He basically said they were getting antsy, because I still Grinning Man”, which are great. going to see if they could get a wasn’t following my dream of If you look them up on Google record deal and were going to Rock-n-Roll. I was working on they are just awesome. We do some music videos and try a show that was cool and ev- basically made foam core cut- to raise some money and make erything but it still wasn’t the outs of ourselves and animated a record. So we got down to do- dream I moved to L.A. for. It ourselves. It was a blast. I got a ing some production design and was right about that time that the real hankering for stop motion some art direction. One of the show went over to Phil Roman then working with all those cool videos that we were proposing and Klauski was left with some mediums and I didn’t have to to do was a stop motion video. other shows like Rug Rats and draw. That was important thing. Bill was friends with this guy Duckman, and stuff like that. So I just had to move something in named Fred Stuhr who if you I started working on the other increments. I totally understood know anything about stop mo- shows that Kauski had to offer that part of animation. tion animation you know Fred and realizing very quickly that I Stuhr is like the God Father of wasn’t a trained animator, I was It was right about then that I our generation of stop motion a fairly skilled copier. went to a party and there was animators. this notoriously party band I could do the Simpsons only called Green Jell-O. We just got I was fortunate enough to work because I had done it a billion wrecked and there was a girl at with Freddie on the Green Jell-O times before, but I couldn’t the party that was being teased “Three Little Pigs” Music Video translate that into other kinds of by some guys, and I went to try only because I was in the band. animation. Not as easily as some to get the guys away from this It wasn’t like he could tell me I of the other people who had girl. We were all on the second couldn’t be on set. We ended up gone to school for it. So I got put floor of this loft. In the ensuing working on this crazy video in on special projects, like “Penny” light hearted argument that hap- the course of a weekend. That for the Pee Wee Herman show. pened I ended up getting pulled and ten other music videos. They I did a couple of those then I off the balcony and when I hit were mostly live action. But the worked with this guy, Stephen the ground my ankle shattered. band was fairly a Partridge Fam- Holland and did some intersti- ily version of Gwar. really interested in it and I could see doing this kind of animation, I thought it was really cool. But, the label I was on put me on the road with another band. I was to tour around the world. While I was in Europe I saw the “Three Little Pigs” music video, which we thought that that band had come and gone. I thought “what the hell is going on?”, so I called management. They said that the band was blowing up and I should come back to LA. Green Jell-O went on the road, toured the world, and did some really cool stuff.

We just happened to know some Freddie to come back and ani- I guess someone had heard the cool people, the singer and drum- mate other videos. I got to work “Three Little Pigs” song in mer from Jell-O were also in this with him again. But this time it Seattle and then got back to Mtv band called Tool that was sort was more of a hands on situa- and ended up Matt Penfield on of this side project at the time. tion where I got to animate some 120 minutes had it as the number The guitar player for Tool, Adam scenes and get my hand dirty. one song for two too three weeks, Jones and he worked at Stan There were some scene during it was very popular. It was differ- Winston as a sculptor. He had that “Prison Sex” music video ent because suddenly you’re not his fingers in some pretty serious where we were animating meat just affiliated with a band that’s pies with people who knew how and the meat was cooking under playing goofy shows; you’re in to build Marquette’s and Ball-in- the lights and the enzymes were a band that’s got some validity. socket armatures. So when Tool coming out of the meat, and as After that experience of being a was gearing up to make their first we would wide our hands off rock star it was time I wanted to music video Sober, my roommate onto our pants I got blisters on settle down and get a career back at the time was the Bass Player my thighs from the chemicals on on track in animation. in Tool. He was like “Come on the meat and the glue and shit down to set and lets make some like that. Than the last night of shit happen”. So again I got to shooting we had literally finished work with Freddie on doing the all physical production for the Sober music video, and doing video before editorial. It was the some animation with him. That night of the L.A. earthquakes and video did pretty well for the band. all the cameras hit the ground and spooled out, and what was left Mean while Jell-O wasn’t doing behind was used in the video. The shit. We released the record, and meat man had a much bigger role no one bought it. At some point in the original video. But that’s they decided to do another stop what ended up on screen. motion music video and I got called back in to art direct and After that, getting this taste for do some animation. They got working in production, I was I started my little animation com- model rail roading. I really big and that we had to stay to the pany in 1996 and then every year into that aspect of world building curriculum and tell a story. I was I just started plugging away and with miniatures and getting down really into “Herby the Love Bug” trying to do a little more work. into that level of the miniatures. and so was she (the girl). So we Oddly enough, Green Jell-O So for me it was something that had something in common to talk was what put me in contact with had always attracted me toward about. a show called “Mr. Show” that stop motion. At that time I had Dino was a writer and an actor my own super 8 camera that my So I came up with this story on and here we are 10 years later dad gave me. In the garage I was where Herby would be driving owning a company together with trying to reproduce the cloud tank down the street in one direc- James and Dan Harman. effects and all the physical stuff tion and the background starts that was popular at that time, to move. Then we zip panned to claymation and stop motion. a Russian tank that was rolling down the street in the opposite Diving into my fireworks bag and direction. When Herby and the mixing gun powder and blow- tank meet up, neither of them will ing things up in the backyard and budge because Herby doesn’t experimenting in very danger- want to get out of the way. So ous ways. I just wanted to get Herby smashed into the tank and my hands dirty and make stories. it crumbled to the ground and Stop Motion was what definitely Herby drove over the tank and off drove me toward visual effects screen. Then an SS Helmet comes and in a round about way taught up from the rubble and a fist me animation and now here doing comes up and shakes its hand. stop motion.

Joe Russo: I remember the Art Clokey and Rankin Bass stuff as a kid and thinking that was really cool and getting into understand- ing that you take a little object and move it a little bit. Then I was in 5th grade a teacher of SMM: What attracted you guys mine had an assignment for all to Stop Motion? of us. She had a super 8 down shooter and wanted us all to do James Fino: For me as a kid it a 2d cartoon. It was a simple was magic. It was something project and a lot of people did that I couldn’t put into words flowers blooming or a ball bounc- really. It wasn’t 2D; it was 3D ing. There was this really cute stuff that was being composited girl in the class that I wanted to with live actors. As a kid I knew talk to but I didn’t have the guts that wasn’t a man in a suit and to do it. I rigged it so I would end for me that was magic. An then I up being her animation partner. associated it with holiday spe- I tried to talk the teacher into cials as a kid. Those were always letting us do some stop motion. I again magical. I had always been just wanted to move some things drawn to miniature worlds, like around on the page. She said no I think that’s what got me into compete with the Pixar’s and is being created by people and by animation. What got me into stop DreamWorks of the world. a machine. Thanks to the digital motion was working with Fred revolution we have the software Stuhr on the “Three Little Pigs” James Fino: But then there was that with onion skinning allows and Tool videos. After that point this whole midrange of CGI that for a lot more to be done. I was just into stop motion. It came out and weren’t that great. took a longtime when; when I Joe Russo: We didn’t have any of first started the company up in Joe Russo: But you can do it in that shit. All we had was pointers 96 we did a lot of stop motion. stop motion for that price point and that was the best you could Than at 98-99 it kind of tapered and it will look better and people do. Video Lunch Box a little bit, off and no one wanted to pay for will be like “Oh!” Suspension of but this Dragon software has it anymore. It was just too expen- disbelief with this little model changed everything. sive. We shot everything on film, moving around, being surrounded did all our color timing on film, in a wash of color and light. James Fino: Definitely that and did all our editing on giant Stein- There is a beauty to it that you the digital post also. I remember beck’s. We didn’t have editing on just can’t get in a CG model. on “” in the edit- off line or even on line. Every- ing booth all the scenes that came thing was linear editing at that James Fino: Yeah, I remember in were transferred to laser disc point. If you wanted to change a being blown away by all the JPL and all the platters. So than the frame you had to go to the be- animation and NASA anima- editor had to work off the Laser ginning and reset everything. It tion as a kid. They were some Disc and he could do a minimum was just a huge expensive giant of the first CG work I had seen. of doing mouth posses with cut hassle. When non-linear editing Of course the “Wrath of Kan” and paste and stuff like that. came out and digital workflows genesis animation that looked That’s nothing like what they can came out, things started to come amazing and all the early stuff. do now. It’s really revolutionized. back. I also believe that people I think we are past the wonder And all animation platforms, started getting tired of looking at on CG and so know I think it’s things can be done on the now these 2D cartoons and these re- all about hand made stuff. Like really effectively and on the fly ally slick 3D cartoons. You can’t getting back to the artist and what almost. SMM: What’s next for Star- biro had done with Elf. All of that want to bring stop motion onto all burns Industries? has really come to the fore front. the different platforms and do it that way. So whether it’s an iPad James Fino: A Feature! That’s Joe Russo: I also want to do 2 interactive story book or some- where our goal is. games. I want to explore the idea thing like that we want to do stuff of doing some console games that like that. Joe Russo: We have some series where stop motion is the medium. stuff keyed up. Some 2d and It makes since to do it because Joe Russo: I don’t know if any- some stop motion stuff. We are once you shoot that asset you can body caught the mini marathon of actively and aggressively getting replay it a billion times instead of Frankenhole where Victor Fran- scripts together. Dino is reaching cycles. kenstein is promoting session one out to some of his writer friends. over the Halloween Holiday, but Tony Millionaire has hit us up to James Fino: I said features at the end of it there was a reveal do one of his properties. We’ve because naturally you think of that Victor is not whom he seems been talking to Stan Lee, alley something really big, but Joe and to be. He takes off his costume Kauffman. I are in the new media council for and it’s Orel, who kinds of teases the Producers Guild. For a few “Stay Tuned, there might be a James Fino: There are a lot of years now we have been working Morel Orel Special”. people really interested now in in a variety of different platforms. stop motion. A lot of it is thanks So Whether or not we start with James Fino: Coming Soon!!! to Coraline and the Fantastic Mr. a game and later it becomes a Fox, and the stuff that John Fa- feature or vice versa we actually