Table of Contents

DECEMBER 2000 VOL.5 NO.9 5 Editor’s Notebook Getting to the people…

7 Letters: [email protected]

LOCATION-BASED ENTERTAINMENT

8 Imax May Be The Greatest Film Delivery System Ever Developed, But Will It Prosper? With Fantasia/2000, Imax looked to be a great hope for animation, now Karl Cohen inves- tigates why this immediate future looks shaky.

16 This Is Not Your Father’s LBE From the local bowling alley to elaborate theme parks like Disneyland to virtual reality pods, location-based entertainment has come a long way and, as Martin “Dr. Toon” Goodman explains, the possibilities are endless.

ANIME 2000 20 Vampire Hunter D:The Next Anime Hit in America? Fred Patten takes us inside the latest super-cool anime release coming to Japanese and (hope- fully) U.S. theatres soon. Vampire Hunter D is back…and this time it’s being done right. Visit us online to download a QuickTime clip!

25 The Anime Debate Is anime the most exciting, cutting-edge form of animation today? Or does it betray the whole point of the medium? Andrew Osmond asks ten animation professionals and commentators for their views and their responses reveal that there are no simple answers.

ADDITIONAL FEATURES

34 The Man Who Bought A Toy For His Kid and Kept It For Himself LEGO MINDSTORMS isn’t just the newest toy on the shelves this holiday season — it is the beginning of an obsession and a trip back to adolescence for Eric Huelsman. Come and learn how you can build robots, real robots that can complete any task you set your mind to.

38 The Animation Pimp This month the Animation Pimp, Chris Robinson, provides a new twist on traditional film reviews…

STUDENT CORNER

ECEMBER 39 Sketching on Location: Light and Dark Patterns Renowned drawing instructor Glenn Vilppu continues with his fourth installment discussing how to use light and dark patterns to create depth and perspective while sketching on location. See more examples of Vilppu’s techniques online. D

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ANIMATIONWORLDMAGAZINE December20002 Table of Contents

DECEMBER 2000 VOL.5 NO.9 INTERNET COMPANY PROFILE

41 UrbanEntertainment: Siting A Skyline Across The Net Fulfilling the promise of the Internet, UrbanEntertainment is creating contagious comedy and on-the-edge drama for the under-represented niche of African-American viewers, finding that they have strong crossover appeal

GAMING

48 A Stocking Stuffer That Gives More This holiday season brings three new animation masterpieces to DVD. Jacquie Kubin discusses the DVD format’s benefits and the new releases with a special focus on The Nightmare Before Christmas.

FESTIVALS & EVENTS

52 My Week In India As A Master of Animation David Fine tries to convince us that being a “master of animation” for a week in tropical India 2000 isn’t all fun and games. We remain unconvinced. View the expanded photo gallery of people, elephants and more online!

56 East Meets Too Much West?:A Chat with Sayoko Kinoshita The Hiroshima Animation Festival has always seemed like a bastion of Western animation in the midst of animation rich Japan. Chris Robinson interviews festival director Sayoko Kinoshita regarding the festival’s purpose and success.

60 LEAF 2000 Joe Fordham traveled to the London Effects and Animation Festival for three days of panels, discussions and elbow rubbing over a pint with the biggest names in the effects community.

67 Cinanima 2000: On Children And British Humor Annick Teninge visited Portugal’s Cinanima and found a lively festival that has made a real impact on its host country. Photo gallery available online.

70 Annie Awards 2000: Better Than The Oscars ASIFA-Hollywood’s Annie Awards are a high point in the animated year and this year was no exception, if a bit frigid around the edges. Go online to see more fantastic photos of the festivities! FILMS ECEMBER 72 Fresh From The Festivals Maureen Furniss reviews short films: Dottini Suru? (Your Choice!) by Koji Yamamura, The Man with the Beautiful Eyes by Jonathan Hodgson, A Supseita (The Suspect), directed by Jose Miguel Ribeiro, The Periwig-Maker by Steffen Schäeffler and Michael Dudok de Wit’s Father and D Daughter. As always, QuickTime movie clips available online.

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ANIMATIONWORLDMAGAZINE December20003 Table of Contents

DECEMBER 2000 VOL.5 NO.9 BOOKS

76 Nancy Cartwright’s Life as a 10-Year-Old Boy Liam Liebling reviews Nancy Cartwright’s new book in which she discusses her career as every- one’s favorite troublemaker Bart Simpson. SOFTWARE

77 Puffin Designs’ Primatte Keyer For Adobe After Effects Bruce Manning drags a mouse wired to his Mac G4 through this new tool and reveals that no person wearing a blue shirt against a blue screen is too tough for this matte creating program. Happy compositing is here again.

NEWS

79 Animation World News Toy Story 2 Rules Annie Awards, Imax Abandons Shrek 3D, AtomFilms & Lucas Online Create Star Wars Fan Film Site, Voiceover Casting Site Goes Live, Sony Cuts UK PlayStation 2 Shipment 2000 and much more.

81 Next Issue’s Highlights

6 This Month’s Contributors

Cover: VWE’s VR System, Battletech, proves that it’s got game. © Virtual World Entertainment, LLC. ECEMBER D

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ANIMATIONWORLDMAGAZINE December20004 Editor’s Notebook by Heather Kenyon ically violent and sexual material. viewers outside of Japan were When I explain that there is anime able to see all of the different types for pre-schoolers, house wives, of animation that the country is professionals, teen girls and producing? What if Vampire beyond they are amazed. The mis- Hunter D is able to secure access understandings even creep into to theatres worldwide? Would the professional world as Andrew general viewers be astonished by Osmond’s “Anime Debate” shows. the look and feel of the picture? Whether we are discussing Imax Would they then want more? After or anime we come to the same reading Fred Patten’s article, dilemma which is being given the “Vampire Hunter D: The Next opportunity to reach viewers. Anime Hit in America?” I knew I Getting to the people… Imax seemed to be a great wanted to see the film and others hope for animation after the suc- like it. Once again, all we can do is nce again while putting cess of Fantasia/2000. People, hope that a bold soul will take this together this issue of two especially independents, saw this risk and we will be rewarded by Oseemingly completely dif- as a great possibility. ‘What if an the opportunity of seeing these ferent themes, a similarity animated short was placed in front different types of animation. It is appeared to me. Location-based of every Imax feature?’ or ‘What if almost as if whether or not audi- entertainment is a huge umbrella more art driven animation features ences like these new shows and which covers many different areas were produced strictly for Imax?’ films is a moot point. The point is from arcades and theme parks to Festivals and beyond were filled the right to be able to see them. experimental virtual reality proj- with this buzz. Now, with hard On the other end of the ects. We chose to include Imax times hitting theatre chains and spectrum is the Internet. Urban theatres under this title because even harder times hitting Imax all Entertainment is a great example the massive screens are still gener- this talk has gone suddenly quiet. of what the Internet promised to ally rare outside of major cities and Karl Cohen’s “Imax May Be The do from its onset. The Internet urban areas, making them a spe- Greatest Film Delivery System Ever promised to give everyone their cial destination or location to Developed, But Will It Prosper?” own “channel.” And while many attend. Plus, the theatres are usu- defines the issues and offers looked forward to this day with ally located by other entertain- insight. Will our opportunity to great anticipation, they were dis- ment venues, be it an amusement reach audiences through this appointed to see it gobbled up by park, museum or shopping/enter- dynamic screening environment mega-corporations. However, tainment complex. “Anime” is also be shattered before we are ever Urban Entertainment is not only a gigantic umbrella which covers truly given the chance? How providing talented African- Japan’s vast expanse of animation would an audience re-act to see- American creators a distribution production. However, like Imax, in ing our independent “art” films on outlet, they are also proving that most parts of the world outside of this huge screen? Would they love niche programming, if it is good Japan, we see only the tip of the them? Would they want more? and of high quality, can be appeal- anime iceberg. I am always cor- Let’s keep our fingers crossed that ing to an audience beyond the recting people who believe that we get a chance to find out. niche. Lee Dannacher’s article, anime is only composed of graph- In the same vein, what if “UrbanEntertainment: Siting A

ANIMATIONWORLDMAGAZINE December20005 Skyline Across The Net,” clearly apply to their business. Espinho defines this company which is started its festival not knowing that movin’ on up. it would produce an ASIFA- And finally the most direct International president and a win- way of reaching people is in per- ner of one of the most notorious son. This month we are featuring prizes in animation within a little many different animation events more than twenty years. This one that have taken place from such small festival has placed Portugal ANIMATION WORLD NETWORK 5700 Wilshire Blvd., Suite 600 well-known centers as London on the animation map and they Los Angeles, CA 90036 and Hollywood to such little deserve high praise for such Phone : 323.634.3400 Fax : 323.634.3350 towns as Espinho, Portugal and accomplishments. It is here at Email : [email protected] Trivandrum, India. It is here that events like this that an under- the beginnings of awakenings standing for other types of anima- and changes happen. The results tion and points of view develop can be either personal — perhaps and widen our scope of what is an indy film is produced or a new possible. [email protected] taste acquired — and professional PUBLISHERS as attendees return to their home Until Next Time, Ron Diamond, President countries filled with new ideas, Heather Dan Sarto, Chief Operating Officer experiences and relationships to EDITOR-IN-CHIEF Heather Kenyon

ASSOCIATE EDITOR Rick DeMott

EDITORIAL ADMINISTRATOR Joan H. Kim

CONTRIBUTORS Mike Amron Karl Cohen Lee Dannacher Rick DeMott David Fine Joe Fordham Maureen Furniss, Ph.D. Martin “Dr. Toon” Goodman Eric Huelsman Heather Kenyon Jacquie Kubin Liam Liebling Bruce Manning Andrew Osmond Fred Patten Chris Robinson Annick Teninge Glenn Vilppu Paul Younghusband

OPERATIONS Annick Teninge, General Manager

DESIGN/LAYOUT Alex Binotapa

WEBMASTERS Jeremy Keller Alex Binotapa

ADVERTISING SALES Jay Stokes

ANIMATIONWORLDMAGAZINE December20006 [email protected] Support Ottawa! enjoyed Mike Wolf’s article, “In the this informative article with our Dear friends, Spotlight: Creating Prime Time students. Thank you. We are facing continual Animation” (Wolf, 2.12), on how economic pressures in organi- primetime television animation Dug Ward zing the Ottawa International works. I am glad that he has doc- Manager, UCLA Animation Animation Festival. Despite our umented how differently this form Workshop obvious importance within the of animation production is han- animation community and our dled vs. the traditional Saturday ______role as the most prestigious and morning and feature systems. I influential animation festival on worked two seasons on King Of Really…Is This Necessary? the North American continent we The Hill and it took me awhile to I was really excited to see are continually forced to deal with get used to this writer driven, live- the article, “Last Exit on St. Laurent very low support from our local, action like format, but we, and Street” (Robinson, 5.08), about provincial and federal levels of The Simpsons crew, produced Ryan Larkin in Animation World government. Our student festival, some of the funniest sit-coms on magazine. However, after reading SAFO, has been run almost entire- TV. However, I would like to point it, I am extremely disappointed. ly without government support out an inaccuracy which may or The writing of Chris Robinson and Ottawa ‘00, for all of its suc- may not have been a typo. In the leaves much to be desired. It is cess, faces a modest financial chal- article it appears that Mike is cred- decidedly illiterate, and his opin- lenge. As such, we are asking iting the invention of the animatic ions do not have a place in this influential members of the anima- to The Simpsons’ production, type of article — a lesson most of tion community like yourselves which just is not the case. When I us learned in English 101. I (animators, teachers, producers, was a student at the UCLA expected better things from a per- recruiters, executives) to take a few Animation Workshop in the mid- son of Mr. Robinson’s stature in the minutes and write a letter of sup- 1980s we were doing animatics, Canadian film community. If he port on behalf of the Ottawa which we also referred to as Leica “likes writing better than car- Festival. It can be addressed, “To reels, of our storyboards to try to toons,” why is he immersing him- whom it may concern,” and we work out our timing. After that, I self in the world of that medium? I suggest that it mention our indus- worked in the interactive anima- would love to see more articles of trial and cultural contributions and tion world where we created ani- this kind, but written in a profes- effectiveness and can address matics of our boards for every pro- sional manner. Is profanity neces- both the OIAF and SAFO. gram. Finally, Disney has been sary in the title of an article pre- I thank you all in advance using them for many, many years, sented in Animation World? I’m for your support and if you have albeit on film where as each scene not offended easily, I just don’t any questions or concerns, please completes animation it is dropped think there was a place for it. As a contact me at your desire. into the animatic. By the time I professional storyboard artist and went over to King Of The Hill, the animator, I look to awn.com daily Sincerely, animatic was something I was for news, career info and discus- Chris Robinson already familiar with. The sion, as do most of my friends and Artistic Director Simpsons and KOTH have made co-workers. I would like to think it Ottawa International Animation Festival successful use of this production is being presented by professional, process and I cannot imagine cre- respectful people as well. I appre- ______ating a show without this step, but ciate your attention. the history of the animatic pre- The Animatics History? dates these programs. Regardless Respectfully, First let me say that I of this inaccuracy I intend to share David J. Billings

ANIMATIONWORLDMAGAZINE December20007 Imax May Be The Greatest Film Delivery System Ever Developed, But Will It Prosper? by Karl Cohen

max and Omnimax (the latter presents films on a giant Icurved ceiling) are probably the most impressive film delivery systems ever developed. Seeing remarkably sharp and extremely bright 80-foot high images and hearing an exceptional sound sys- tem is a commanding experience. The 70mm Imax prints stay free of dust and scratches as the film moves through the projector on cushions of air instead of on rollers. The theaters are lofty spaces with stadium seating and large comfortable chairs. In recent months several “The Sorcerer’s Apprentice”: the only segment found in both the original Fantasia and animated works have been Disney’s Fantasia/2000. © The Walt Disney Co.All rights reserved. released in the medium and more First the Good News 35mm theaters across the nation, are on the way. Disney’s When Disney released they showed that animated films Fantasia/2000 had an extremely Fantasia/2000 exclusively to Imax presented in the Imax format can profitable run in Imax halls. theaters at the beginning of this also be profitable. Theaters showing Cyberworld, a year they demonstrated that com- Also, with Cyberworld’s new animated 70mm film, are mercial animation can look mag- October release, the film proved reporting good grosses. nificent on giant screens. When that animation in Imax is even Everything sounds rosy, so Fantasia/2000 grossed almost $50 more incredible looking when why has Imax stock gone from a million (on 75 screens) before it seen using the latest 3D technolo- high of $60+ at one time, to a low went into general release in gy. Many, but not all, Imax the- of less than $4 a share in October, aters use state-of-the-art liquid crys- 2000? It has lost over 70% of its tal glasses. The 3D effect is easy on value. The Canadian Press wrote, the eyes and the glasses are com- “In six weeks the market capitaliza- fortable to wear. Cyberworld is a tion has been cut to about $200 compilation film full of “cool” look- million from $1.2 billion” (Oct. 13, ing computer generated images. It 2000). Imax responded by saying is fine eye candy, but weak on the company’s stock price, “does story. It may be a hit with young not accurately reflect the compa- Cyberworld’s saucy cyber hostess Phig. people, but I prefer something ny’s long term value.” © Imax Ltd. with content. The film has grossed

ANIMATIONWORLDMAGAZINE December20008 Scenes from Pandorama by cartoonist/animator Nina Paley, one of the several experimental short animated films being made for Imax. © Nina Paley. $1.9 million in 3 weeks (30 There are also several sale was to the Cinestar Imax the- screens). experimental short animated films ater in Berlin. Animation presented in being made in Imax. The most 70mm showed the potential of recent is Pandorama by cartoon- Coming Soon in Imax the medium as a fine art this year. ist/animator Nina Paley from San Mainframe in Vancouver, The Old Man and the Sea is a 22- Francisco (www.ninapaley.com). It Canada has announced that Imax minute film by Alexander Petrov is a 4-minute, 70mm animated film has invested $16 million in their (Russia/Canada). He created it by made without using a camera. company and that they will pro- painting almost 29,000 images on She painted her 2,500 images duce 3 original 70mm animated glass with oil paints. It won the directly onto the film. She also features for them. The first produc- Oscar for best animated short and scratched on 70mm black leader tion is a new version of Gulliver’s major prizes at other film competi- and made impressions with rub- Travels. An Imax spokesman said tions. The Old Man and the Sea is ber stamps. Pandorama has won at the end of October that no one of the greatest animated films several festival prizes and is distrib- voice artists had been hired and I have ever seen. uted by Xlargo in Paris. Their first no director had been assigned to

Nearly 3 months went into creating the approximately 2,500 images in the 4-minute, 70mm animated film made without using a camera. © Nina Paley.

ANIMATIONWORLDMAGAZINE December20009 the project so it is still in an early Imax spokesman sounded excited to finish. The film had been slated stage of development. The Imax about what Disney might be think- to appear on 150 Imax screens. press person assumed it would be ing about, but the official Imax line Audiences will have to be released next year. Mainframe is is they cannot confirm any of the content to see the fairy tale parody best known as the producer of rumors going around. on smaller screens. Shrek will fea- Reboot, the first computer gener- However, an ominous blip ture the voices of Mike Myers, ated TV series for kids. appeared on the radar screen of Cameron Diaz, Eddie Murphy, Several other titles are in Imax’s future in early November John Lithgow and Linda Hunt. pre-production development at when after months of pro- The screenplay, based on a chil- Imax. No director or production duction work, Pacific Data dren’s story by William Steig, is a company has been assigned to Images/DreamWorks announced fairy tale in which an ugly ogre any of them. When asked if at that they would not be releasing shows up instead of Prince least one might be going to Shrek, their next computer animat- Charming. Mainframe, I was told, “No com- ed feature, on 70mm film 6 ment.” The films mentioned by the months after the picture goes into So Why Has The Stock Lost So press are Eddy Deco’s Last Caper, general 35mm release. The 35mm Much Of Its Value? based on a Gahan Wilson novel, version is scheduled to open May Imax’s recent drop in value Rumplestiltskin, a retelling of the 18, 2001. The 70mm version was can be blamed in part on their classic story in 3D animation, and to be in 3D and include new announcing that they do not a new version of Noah’s Ark. The material not in the 35mm version. expect their third quarter report to Imax person confirmed that the Marilyn Friedman, head of studio show their operation was prof- company is developing these recruitment and staffing at PDI, itable. The first two quarters of this titles. said that it was substantially differ- year saw them have a 40% Disney must be thinking ent from the 35mm release, so increase over the same quarters about another Imax project since they had expected it to do well in from last year. Fantasia/2000 was quite a suc- both formats. However, the Another factor that may cess. The official word from Disney increased costs associated with the have upset investors is the corpo- is there are no definite plans necessary creative changes finally ration announcing it was for sale. regarding what to do next. The made the production impossible Apparently they wanted some- body with greater assets, like Disney, to take charge so it could grow quickly. Now, with the sud- den plunge in their stock value, the company has announced it is no longer looking for a buyer. A third factor has little to do with Imax, but it will effect their growth for many months to come. Some Imax theaters are owned by chains, so even if their big screen is making money for them, their overall financial picture may not be bright. This year several large theater chains filed for bankruptcy protection. Too many chains rushed into building multiplexes in the late ‘80s and ‘90s. Theaters with 10 or more screens and amenities like stadium seating The enchanting “Firebird” sprite from Fantasia/2000. have made more modest complex- © Disney Enterprises, Inc.All rights reserved. es obsolete. Now analysts say

ANIMATIONWORLDMAGAZINE December200010 there are too many theaters for the number of people who normally go to the movies. There are about 36,500 indoor screens in the U.S. at the moment. David Fick, man- aging director of Legg Mason Wood Walker Inc., suggests we only need about 24,000 screens. Also, there are not enough new releases for the number of halls available, so you often find the same film playing in more than one hall of a multiplex and some- times playing at theaters near each other. A Dow Jones report from October 12 says, “uncertainty about how long it will take the industry to rationalize and consoli- date is hurting Imax. With 25% of its orders backlog coming from North American operators, trou- Physics-based animation methods in “The Steadfast Tin Soldier” created the bles for the industry translate into life-like movement of the ballerina’s skirt and hair. © Disney Enterprises, Inc. trouble for Imax.” Another Dow All rights reserved. Jones report suggests it will take at nent theater was the Cinesphere their gross per screen was far less least two years for the theater at Ontario Place in Toronto (1971). than what each Imax hall industry to resolve its problems. The first OmnImax hall was the grossed.) An Imax stock study by domed Ruben Fleet Space Theater Richard Greenfeld in New York in San Diego (1973). Animation Is A Practical Medium suggests that if theater owners are The company expanded at For Imax At This Time unsure of the market some will first around institutions with an There are several reasons cancel orders for Imax systems. educational mission. Today there why 70mm dramatic productions This “may reduce the economic are over 220 Imax theaters in 26 haven’t been the mainstay of Imax justification for original film pro- countries. Most of those that are in operators wanting to keep the duction in the Imax format, hence planetariums and science muse- public entertained. One is the limiting attendance growth poten- ums do not seem interested in basic economic realization that if tial.” showing general entertainment there are only a few houses that The best news from the films. I suspect they will continue will show your finished product, reports available is that the corpo- showing science and nature films you have to keep your production ration is estimated to have a large for many decades into the future. costs down. Arthur Schwartzberg, cash reserve ($30-35 million) and Those theaters in multiplex- president of Xaos, a company that a manageable debt, “leaving Imax es and other commercial situations has worked on twelve 70mm pro- in a healthy financial position.” have managers more likely to be ductions, said almost all Imax pro- interested in showing animation ductions in the past have cost Different Theatres Have Different and other forms of dramatic films. around $6 million. Old Man and Kinds of Programming Fantasia/2000 made almost $50 the Sea cost $3.4 million. The Imax Corporation million, even though there were Cyberworld, with about 11 min- developed out of a group working only 75 Imax halls willing to book utes of new animation (the rest is on Expo ‘67 in Montreal. Imax it before it went into 35mm clips purchased from other pro- made its debut at Expo ‘70 in release. (It was shown on 1,313 ducers), is said to have cost under Osaka, Japan. Their first perma- screens in 35mm theaters, but $10 million.

ANIMATIONWORLDMAGAZINE December200011 One reason animation is between the key frames) automat- Directing Imax Animation appealing to Imax producers is ically. Although the systems are still Is Different they do not have to pay for high in development, they worked well For the animation director priced talent (well known stars, enough to create some of the CGI the 70mm format has to be directors, script writers, etc.). With footage in Cyberworld and Paint approached slightly differently low budgets and expensive lab Misbehavin’, an entertaining 2- than working in 35mm. Working bills that is a strong incentive to try minute short made in 1997. I was with an enormous picture, espe- animation. told that Imax is a research and cially one that will be seen in 3D, development company and means no fast cuts, quick pans or SANDDE and GEPPETTO will prob- sudden zooms. Extreme close-ups ably remain “in the active develop- can be upsetting to some people. ment stage” in the future. Sudden changes of camera angle Unfortunately, there are no plans or lens focal length between shots at this time to release either system (like cutting from a wide angel to outside production companies. shot to a telephoto shot of the When asked how efficient subject) can also be disorienting. the new animation tools are, the Nick Walker, an animator at press person did not know. PDI/DreamWorks who was work- Wired, one of the cyber critters in Phig's Galleria Animatica in CyberWorld pre- Drawing in space sounds like it ing on the conversion of Shrek sented by Intel®, an Imax Ltd. would be an easy way to go off from 35mm to 70mm, says one Production. © Imax Ltd. model. If that is the case a lot of problem they faced was having to Another possible appeal is touching-up of drawings would add more information to shots. Imax has developed new tools to be required. For example when they turn a make computer animation easier. Since animation is a popu- close-up into a medium shot, they SANDDE (stereoscopic animation lar form of entertainment and it may need to add legs if a person is drawing device) is a system that has proven to be a money maker shown in 35mm from the waist lets the animator draw by waving for Imax theaters, we should see a up. If the person moves, the legs an electronic wand in space. The lot more animated productions in have to be animated to show the artist draws the key frames with the future, but only if the other person walking. SANDEE and then uses Imax’s business factors stay healthy Andrei Hedstrom, director GEPPETTO system to do inbe- enough to support the company of marketing at Xaos says, “We tween movements (the drawing as a whole. love working on 70mm projects

Pandorama, distributed by Xlargo in Paris, has won several festival prizes. © Nina Paley.

ANIMATIONWORLDMAGAZINE December200012 for many reasons. Beyond the hardware and software challenges of storage and bandwidth, our animators are always faced with opportunities to perfect their art. When your work is going to be displayed on a six story screen, suddenly details that might take the minimal amount of considera- tion for 35mm or TV, are scruti- nized to the point of obsession. To perform at this level for the length of time large format projects demand, is proof positive that we can take on anything.” Directors are slowly learn- ing how to use the medium best. By having the first theaters in Petrov’s daunting task of filling 70mm of celluloid was as much a challenge as the museum settings that were free of fictional old man’s four-day battle with the marlin. © Pascal Blais Productions Inc., most commercial pressures, the Imagica Corp., Panorama Film Studio of Yaroslavl. creators of Imax films could learn Shrek was going to be 45 minutes extremely expensive and I suspect by trial and error how to best use long or around 80 minutes in the reason it hasn’t been seen in their equipment. Now the pace is length (the Imax person said it was theaters in this country is that quickening. Will the stock holders definitely going to be the longer most film bookers are afraid give the industry the time it needs length). One consideration is Hemingway will not have as much to learn more about directing and whether or not the audience will draw as Siegfried and Roy, a doc- producing 70mm films, or will want to wear the 3D goggles for umentary on Mt. Everest or a film people wanting a quick profit longer shows. on dinosaurs. demand fast results? (Remember There are other decisions Imax animation is a new art that it took 35mm filmmakers at facing the Imax industry including form and in the right hands it can the beginning of the last century whether or not to produce mainly become a great one. When 15 or 20 years before they really novelty films that do little more Alexander Petrov came to the Bay got good at telling stories.) than show off the medium’s poten- Area before the Oscar ceremony, tial (like Cyberworld), or produce he talked about the problems he Decisions Facing the Industry In films with real content. There is had animating for the giant The Future reason to believe that theaters are screen. Before he saw his anima- At present almost all 70mm reluctant to invest in films noted tion on an Imax screen for the first releases run under 45 minutes in for content at the present time. time he was afraid his paintings length so science museums can A film with emotional and would look awful. He said, “When schedule shows hourly. (It takes intellectual content is the Oscar I saw the enlarged images in the the projectionist nearly 15 minutes winning Old Man and the Sea. It is Imax projection room, I was com- to rewind the huge/heavy reel of being distributed by its producer, pletely surprised. It is as if my little film and rethread the projector.) Pascal Blais, with Hemingway, A image had grown. It is…gigantic What will happen if the public Portrait (winner of the Canadian like a Michelangelo fresco. I am no wants longer shows with greater Oscar for Best Documentary). The Michelangelo, but when I see entertainment values? Production 40-minute program has only what has become of the small costs will certainly go up. Will the played in Montreal, Paris and a image I have drawn, I say public like longer shows if they are few other cities. Imax films are nor- whoa…It is something I could not produced? At the present time mally purchased or leased by the- have imagined.” (quote is from PDI/DreamWorks say they never aters/theater chains rather than www.oldmansea.com) decided if the 70mm version of rented from a distributor. Prints are In the future people’s view-

ANIMATIONWORLDMAGAZINE December200013 out the tumultuous times ahead, until that day arrives. Note: The Imax Cor- poration is also developing other types of products. They are work- ing with large projection systems for digital information. Apparently the Imax ride equipment used in Vegas hotels and elsewhere uses their projectors, but Imax says the rides are not part of their present business.

Karl Cohen is President of ASIFA- San Francisco. His first book, Forbidden Animation: Censored Cartoons and Blacklisted Animators, is published by The “Pines of Rome” segment combines CG whales and water surfaces with McFarland Publishers. He also traditionally animated water, backgrounds and other effects elements. teaches animation history at San © Disney Enterprises, Inc.All rights reserved. Francisco State University. ing habits will change. Wall sized home. There may come a day digital systems will probably take when these expensive films and away a lot of the 35mm theatrical projection systems become a Note: Readers may contact any business. On the other hand the major form of entertainment for Animation World Magazine 70mm experience is something people wanting to go to the contributor by sending an e-mail that cannot be duplicated at movies. Now, if only they can ride to [email protected].

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AWNHeadquarters,5700WilshireBlvd.,Suite600,LosAngeles,CA90036,USAtel++(1)3236343400-fax++(1)3236343350 -URLwww.awn.com This Is Not Your Father’s LBE by Martin “Dr. Toon” Goodman t’s a slow Saturday afternoon and rain is sluicing down the Iwindowpanes. The kids are complaining that there’s nothing to do and you could use a little action yourself. Let’s see. How about racking up robots, diving with dolphins or shattering the sound barrier in a Harrier? Thanks to the wonders of virtual reality (VR) you can do them all in the same afternoon and still have time to bathe the dog. If you don’t have a VR arcade nearby, don’t despair; the technology is expand- ing, the cost is coming down, and these location-based entertain- ment (LBE) sites are proliferating like tribbles.

LBE’s Evolution Location-based entertain- ment is hardly a new concept. The bowling alley where your mom and dad dated could be rightfully called LBE. When “Jake’s Roll ‘N Bowl” later set Space Invaders and Galaxian video games beside the Virtual World Entertainment’s BattleTech, a futuristic war game, has been continuously shoe rental counter, your future running since 1991 expanding to 17 LBE centers in the U.S. since it’s Chicago opening. parents could enjoy a crude enter- © 1999 Virtual World Entertainment, LLC. tainment multiplex. The same can entered distinctly themed fantasy The goal of any VR pro- be said for movie theaters, minia- environments and watched “ani- gram is to involve the participant ture golf courses and amusement matronic” animals, dolls and presi- directly in the events being simu- parks. However, such entertain- dents cavort for their entertain- lated, and the more advanced the ment was a bit short on imagina- ment and delight. As location- program the more detailed the tion — a concept that took on based entertainment became simulation. The participant can increasing relevance as location- more technically sophisticated, the experience varying levels of VR. based entertainment evolved. The level of interactive participation With Window on the World opening of Disneyland in 1955 increased greatly. LBE involving VR (WoW) technology, a.k.a. “desk- may have been the first large-scale simulations is the ultimate example top” VR, one views the action on a example of LBE as participants of this principle. conventional computer monitor or

ANIMATIONWORLDMAGAZINE December200016 screen. The next level up is “video of VR gaming can be placed in a mapping,” which puts a simula- 5,000 square foot area. A high- tion of the participant into the end VR arcade allowing for free- game itself. The most advanced range movement could be placed incarnation of VR is called “immer- in a 20,000 square foot structure. sive.” Here the player, through use Even in a major city, the rental of a head-mounted display (HMD), overhead would be reasonably sensory control gloves, an low and profits exceedingly likely. advanced joystick, or a combina- Kinney Aero (based in Lake Forest, tion of these, actually enters the California) built a VR-LBE facility game in a physical and psycholog- called FighterTown where partici- ical sense. Immersive VR can be pants enjoyed simulated flight mis- enjoyed in a “pod,” cockpit or cab; sions in F-111, F-104, F16 and F- these devices may have vertical Inside the cockpit of VWE’s Battletech VR 14 jets. FighterTown reports 100% and roll motion or use moving game. © 1999 Virtual World utilization capacity and repeat cus- seats. The experience may even Entertainment, LLC. tomers are estimated in the 65- take place in a room (“cave,” to amusement centers; the SG Onyx 70% range. Within a year of open- use the vernacular) where wireless Reality Engine II, the interactive ing, this endeavor was able to tracking allows full body, free- Tesla System, and the Intertrax expand from four to ten aircraft range movement within the simu- Real-Time Motion Sensor HMD are pods, each one upgraded with lated environment. just a few of them. Other players more realistic motion technology. in the high-tech market have also This is only one story; Virtual World The goal of developed VR gadgets that work Entertainment (VWE) boasts in support of games; the Sony BattleTech, a futuristic war game any VR program Glasstron, for example, is a 35- which has been continuously run- is to involve degree field display monitor that ning since 1991. Since opening in can handle most of the output Chicago nine years ago, VWE the participant from more advanced 3D author- now has 17 LBE centers in the ing tools and texture mapping U.S., 4 in Japan, 3 in Canada and directly… programs. Writing as a technolo- one in China. The images may be gy-challenged individual who CG but the money is real. VR’s Road to Fruition believes that his washing machine This field of entertainment, obtains water from a troll named VR, which dates which dates back to the early Mordac the Wet, I refer my readers 1990s, has only begun to reach its to VR technical manuals in order back to the full potential. The penultimate to learn how these marvels are early 1990s, has goal of the best VR programs is to achieved. When everything works have events unfold in the closest as it should, the participant can only begun to possible approximation to “real gambol among underwater reefs time,” and with recent break- (GreyStone Technologies’ Reef reach its full throughs in fast-frame rates and Explorer, Mercury System), tra- potential. motion sensing technology this verse the Grand Canyon (Ferris goal has been “virtually” realized. Productions’ Grand Canyon Vary Your VR Please Companies such as Virtuality, Adventure, CyberUnit XLR8 These glowing business Magic Edge, Virtual World System), or even take their place in reports are, however, tempered by Entertainment and Kinney Aero the squared circle (Virtuality’s certain considerations. One impor- have set up, or served as advisors Virtuality Boxing, 2000SU System). tant factor is that of theme diversi- and suppliers for, VR arcades. One of the most interesting fication within the VR field. In a These businesses have developed aspects of the VR arcade is that not 1995 overview of all available VR- products that seem more suited much room is needed; a passable LBE experiences available (94 in to intergalactic exploration than arcade containing all three levels all), nearly 40% of these games

ANIMATIONWORLDMAGAZINE December200017 were what the industry calls “shoot-em-ups.” The main demo- graphic sector participating in these engage-and-destroy experi- ences were teenaged and young adult males. If one added the VR games that included sports and military simulations, the percent- age of experiences most attractive to this sector rose to forbidding proportions. VR-LBE stood for Very Restricted-Longing But Excluded in the eyes of females, older adults and families. While theme diversifi- cation has significantly expanded since the 1995 overview, VR-LBE should constantly keep an eye on content-specific experiences that appeal to a wide range of poten- tial customers. It is encouraging to see that some of the newest and more advanced VR entertainment, such as Iwerks Entertainment’s Dino Island, create lifelike, real- time scenarios of adventure that an entire family can readily enjoy.

As VR under- Virtual World Entertainment’s VR-LBE has also secured a market abroad with 4 loca- goes refinements, tions in Japan, 3 in Canada and one in China. © 1999 Virtual World Entertainment, LLC. lifelike expe- made national headlines this year ing may be on the WoW if VR by proposing a “violent video arcades feature too high a propor- riences featuring game” ordinance that forbade tion of virtual violence or raunchy anyone under the age of seven- reality. States more conservative blood, destruction teen to play anything more com- than Indiana (and there are a few) and stupendous bative than race car simulations. may harass VR-LBE arcades with Games featuring graphic violence even more stringent legislation ninja cleavage and/or sexual content were to be unless the content diversifies plastered with warning labels and considerably. may come under kept a minimum of ten feet away increasing from nonviolent games, and any VR Without A Shot arcade owner not enforcing this In truth, the range of VR- scrutiny. ordinance could face loss of LBE experiences should become license. On July 11, the City all-inclusive and feature scenarios There is more at stake here Council passed this ordinance by that every average American than profits. As VR undergoes the unanimous margin of 27-0. yearns to experience. I’m talking refinements, lifelike experiences The 7th U.S. Circuit Court of about making some extravagant, featuring blood, destruction and Appeals has issued a temporary pleasant dreams come true or tak- stupendous ninja cleavage may stay on behalf of the coin-operat- ing the experiences of one’s every- come under increasing scrutiny. In ed industry until an injunction day life and recreating them in a Indianapolis, Mayor Bart Peterson hearing can be held, but the writ- more rewarding manner. And so,

ANIMATIONWORLDMAGAZINE December200018 with nary a shoot-em-up in sight, salesgirls who regard ordinary cus- achieve. Is that a poorly concealed here are some proposals for the tomers with facial expressions jewelry box in his suit pocket — a next great VR-LBE experiences: reserved for ripe roadkill, our cus- special gift for your special night? Boy Band Interactive: Who tomers encounter derriere- This immersive VR experience has more disposable income than smooching toadies who fetch includes a two-minute sim-gradua- pre-teen girls? This lucrative mar- molto elegante fashions on the tion exercise in which you strut ket can be tapped with Boy Band double. Every few minutes some across a stage like the magna cum Interactive, a VR experience guar- sim-celebrity (like Heather laude you are. anteed to keep their excitable Locklear) strolls by to comment I know. They’re not as heads glued into HMDs. Our par- approvingly on the participant’s much fun as blasting robots or ticipant can choose from a list of taste and style. The immersive dropping smart bombs down the hottest boy bands extant for experience ends at the doors of Saddam’s chimney, but similar the immersive experience of a life- Ginza Sushi-Ko, where the meal is experiences might someday be in time (or at least that summer). The on the house. An unforgettable demand for those who can afford participant finds herself in the front shopping experience, and cheap- home VR theaters. As we consider row of, say, an N’Sync concert er than a pair of socks at Bijan! a future where the technology of where she watches a three-minute Virtually Perfect Family: virtual reality could be the defining performance of one of the band’s Now anyone can thrive in a force in entertainment, VR-LBE just songs. Following this she is healthy family system without a might offer all games to all people, motioned on to the stage by the drop of dysfunction to be found. and the arcades may never close. member she deems to be the When you plunk down your cash In a dark corner of Jake’s cutest. She is taken backstage for for Virtually Perfect Family, things Roll ‘N Bowl sits a once-popular another twelve minutes of person- — and people — turn out just the video game. Its screen is streaked alized banalities and platitudes way you dreamed they would. As with hazy dust, the joystick bent from the band, and the immersive Virtual Dad, you come home to and askew. A thick black plug rests experience ends when a stage- big hugs and warm smiles. Suzie forlornly on the carpet, its bronze hand alerts the boys that it’s time can’t wait to show off her report prongs darkened by age. Despite for an encore. The band files out card, and Tommy confides his eas- its long-faded colors the word and the aforementioned cutest ily-solved problems to you, the Centipede can still be read along member plants a chaste kiss on the man he admires more than Ken the console’s chipped and bat- participant’s cheek, promising to Griffey Jr. After a great dinner filled tered sides. No kid has touched return in just a moment. Fifteen with family conversation, the kids the game in years; that was dad’s minutes for fifteen bucks — no are in bed and it’s Monday Night thing. Today his children are down more expensive than purchasing Football...your wife coyly beckons at the VR-Cade, walking on Mars. the CD, and twice the fun! from the boudoir. Is that a lacy red This is definitely not their Virtual Rodeo Drive: For negligee she’s wearing? father’s LBE. the proletariat who only sees As Virtual Mom, you’re in a haute couture and pricey celeb- hurry; it’s graduation night and Martin “Dr. Toon” Goodman is a wear in the tabloid spreads or you’re receiving your Masters in longtime student and fan of ani- pages of People, I present — Public Health Administration! It mation. He lives in Anderson, Virtual Rodeo Drive. It’s the grand was a great idea to return to Indiana. dame of all shopping trips as par- school and as you dress, hubby ticipants drop in at La Perla for lin- comes in to tell you how proud he Note: Readers may contact any gerie, purchase a few baubles for is. He’s been so supportive, quit- Animation World Magazine the homestead at MacKenzie- ting his consulting job to help you contributor by sending an e-mail Childs and find the perfect hand- achieve your dreams. You watch to [email protected]. bag at Hermès. After the man of and smile as he tells Tommy that it’s the house drops in at Louis Vuitton OK to cry at the graduation and and Lacoste, he’ll never wear that then advises Suzie to look up to Dale Earnhardt ballcap again! you as an example of what beau- Instead of haughty, 87-pound ty, brains and education can

ANIMATIONWORLDMAGAZINE December200019 Vampire Hunter D: The Next Anime Hit in America? by Fred Patten he question has arisen recently as to whether the TAmerican motion picture industry is ready for Japanese the- atrical animation, which is not presold through children’s TV. For most of the 1990s (starting with Akira in December 1989), Japanese animated features for adolescent and adult audiences have toured America only on the fine-art theatrical circuit. They have played usually in only one theater at a time, for a half-week or a week before moving on to the next city. The only exception was Urban is aiming to make Vampire Hunter D 2000 the first anime feature to reach Troma’s 1993 small general release America’s general science-fiction/horror fantasy theatrical audiences. © Hideyuki of the family film, My Neighbor Kikuchi/Asahi Sonorama/Vampire Hunter D Production Committee. Totoro. It was not successful an anime-specialty company, back novels in the tradition of enough to justify the costs of mak- hopes so as it prepares to release Occidental horror writers like ing dozens of 35mm prints and Vampire Hunter D, a stylish fanta- Robert E. Howard, Fritz Leiber, taking out full-page newspaper sy thriller in the tradition of Robert Bloch, H. P. Lovecraft and advertising. Britain’s 1950s-’60s Hammer hor- Stephen King. Many Japanese live- But a lot can change in a ror movies teaming Christopher action and animated horror few years. Anime is better known Lee and Peter Cushing. The small movies of the 1980s and ‘90s have to the general public than it was Los Angeles-based company is been based on Kikuchi’s novels. just five years ago. Animation in working hard at lining up a wider The author is known for, every general has become more accept- theatrical release than the art- couple of months, hosting all- able for adults, thanks to movies house circuit by the time the night seminars for horror fans at a and TV programs like Toy Story, movie is finished in early 2001. bar near his Tokyo home. Chicken Run, King of the Hill and The 1980s were a decade South Park. Theatrical children’s The Modest First Film of transition for Japanese anima- features based on the mega-popu- Vampire Hunter D has a tion, and the first Vampire Hunter lar Japanese TV cartoons Pokémon respectable if somewhat confusing D was notable in several respects. and Digimon have been notori- history, thanks to a 1985 anime It was one of Japan’s earliest ani- ously profitable despite poor criti- movie of the same name. That mated releases aimed blatantly at cal reviews. Is it time to experiment was an adaptation of a 1983 hor- the older teen/adult market rather again with a theatrical release of a ror-adventure novel by Hideyuki than for children or families. It was Japanese animated feature for Kikuchi. Kikuchi has fashioned one of anime’s first treatments of general audiences rather than for himself into one of Japan’s leading European horror mythology rather young children? horrormeisters during the past than boys’-adventure science-fic- Urban Vision Entertainment, two decades, churning out paper- tion or traditional Oriental horror- ANIMATIONWORLDMAGAZINE December200020 Scenes from the first animated feature of Vampire Hunter D 1985. © Hideyuki Kikuchi/Asahi Sonorama/Vampire Hunter D Production Committee. fantasy. Although Vampire Hunter Kikuchi, Wicked City, produced at original Vampire Hunter D novel D did have a theatrical release (in the new Madhouse studio by was followed by several sequels. December 1985 and early 1986), director Yoshiaki Kawajiri, released Fan demand for another movie, it was intended primarily for in April 1987. Kawajiri’s directorial “done right” (Kikuchi had com- Japan’s emerging home-video debut had been Lensman, a Star plained about the cheapness of market which was already Wars-imitation space opera based the first movie), started developing. demanding more dramatic action on an American 1930s sci-fi novel, and adventure (i.e., more violence three years earlier. Wicked City, a A New Ultra-Cool Version and gore) than was permissible Stephen King-type modern urban Plans for a new Vampire in family-oriented animation. horror fantasy, was his second the- Hunter D by Madhouse and Animation allowed Vampire atrical feature. It set Kawajiri’s repu- Kawajiri had just started in 1997 Hunter D to present frightening tation as a major directorial auteur when a new partner appeared. monsters and breathtaking fantas- of sophisticated animated sus- Mataichiro Yamamoto had been a tic action that would have looked pense. His productions for the Japanese animation producer embarrassingly laughable in a low- next decade were dominated by since the early 1980s, working budget live-action film. Vampire adult thrillers set in a high-tech with both established major stu- Hunter D was a hit with horror- future or in a Japanese historical dios (he was a co-producer in movie fans in Japan in the late landscape haunted by mythologi- 1983 for Tokyo Movie Shinsha’s 1980s. It was also popular with cal monsters. At this same time, Golgo 13, one of the earliest ani- horror and anime fans as one of Kikuchi’s reputation as a horror mated theatrical features to com- the earliest anime releases in writer was also growing, and his bine traditional cel animation with America, on the fine-art theatrical computer graphics) and his own circuit and home video in 1992 Filmlink International company and on The Sci-Fi Channel (which also produces live-action in 1993. movies). In July 1996, Yama- But it was a limited-budget moto started Urban Vision production. Its technical quality Entertainment in America to compared favorably with videos of become directly involved with the TV animation and direct-to-video growing American demand for releases, but not with most ani- anime. One of Urban Vision’s first mated theatrical movies. Ironically, Yoshiaki Kawajiri, director of Wicked City, video releases was a Madhouse one of the animated features that Lensman and the new Vampire Hunter D production. Yamamoto also want- 2000 produced at the new Madhouse stu- it suffered next to was another dio in Tokyo. Photo courtesy of Urban ed to pick up the American rights horror thriller based on a novel by Vision Entertainment. to both Vampire Hunter D and ANIMATIONWORLDMAGAZINE December200021 human-vampire crossbreed himself. In the new movie, “D” is summoned by a prominent family in one of the rising but still isolated human cities. Their daughter has been kidnapped by one of the most powerful remaining vam- pires, who has fled with her beyond the borders of their authority. They offer ten million dollars for her return, or proof of a clean death in case she has been converted into a vampire. But they are not relying on “D” alone; they In the year 12,090 AD, the Earth has fallen into the clutches of ruthless vampires and have also called in a team of ruth- humans are enslaved by a corrupted feudal system. © Hideyuki Kikuchi/Asahi less anti-monster bounty hunters. Sonorama/Vampire Hunter D Production Committee. The movie becomes a running Madhouse’s Wicked City (pre- ends. At first the monsters gained three-way chase across the coun- viously released in America by the upper hand; blood-drinkers tryside, through both human and Streamline Pictures). who established themselves as a monster towns. There are clear During their negotiations, new feudal aristocracy modeled signs almost immediately that the Madhouse mentioned that it was upon Dracula and similar vampire daughter Charlotte has eloped vol- starting a new Vampire Hunter D literature, preying on human peas- untarily with the handsome, movie that would be ready in ants and serfs. After thousands of charismatic vampire. The vampire three or four years. Yamamoto years, the vampires are becoming and monster mercenaries in his wanted to do more than reserve feeble and decadent, and the hire, try to kill both “D” and the the American video license for it; humans are rising up against their team of bounty hunters. The five he wanted to get involved in its domination. “D” is a stereotypical bounty hunters (a combination of production. Also, Urban Vision mysterious Lone Rider, a taciturn Rambo-style commandos, ninja (UV) had started small as an anime knight-errant/ronin who rides into assassins and a beautiful but cyni- video distributor only, but a community embroiled in civil cal femme fatale) are out to kill the Yamamoto hoped that in a few war and offers to help the humans vampire, and some of them would more years — coincidentally, by fight their vampire lords, despite not mind killing the girl and claim- the time the new Vampire Hunter showing clear signs of being a ing the “clean death” than taking D would be finished — UV would be ready to expand into American theatrical distribution. The new Vampire Hunter D bears the same title as the 1985 feature, but it is based upon the third novel (of twelve, so far; none yet published in English) in Kikuchi’s series, D: Demon Deathchase (1985). The setting is a Gothic medieval fantasy world of 12,090 A.D., long after nuclear and biochemical war destroyed civilization. Human survivors were forced to contend with mutant- spawned monsters that resembled The mysterious vampire hunter called “D” carries many of his own secrets. the supernatural beasts of leg- © Hideyuki Kikuchi/Asahi Sonorama/Vampire Hunter D Production Committee.

ANIMATIONWORLDMAGAZINE December200022 the trouble to capture her alive. They also set traps to kill “D” or at least take him out of the competi- tion. “D” remains stony-faced, but he obviously wonders if he is real- ly on the right side if the vampire and Charlotte are genuine lovers and are voluntarily going into exile to leave humans in peace. But is this a trick of the vampire, with Charlotte as an innocent dupe?

Vampire Hunter D was produced at Tokyo’s Madhouse studio, but Urban Vision arranged for the post-production work to be done in California. © Hideyuki Kikuchi/Asahi Sonorama/Vampire Hunter D Production Committee. sy author Neil Gaiman’s deluxe post-production work in California. book Sandman: The Dream The English sound track was Hunters. Amano’s art style was recorded in Los Angeles in 1999 faithfully matched for the rest of before the Japanese dialogue was the characters and costumes completed. The sound effects and Vampire Hunter D 2000 due to hit theatres early next year. © Hideyuki by animation director Yutaka other post-production work were Kikuchi/Asahi Sonorama/Vampire Minowa. Although the character directed during 2000 by Kawajiri Hunter D Production Committee. animation is not up to the highest in Marin County at Marco Co., Disney standards, Kawajiri’s tight whose husband-&-wife owners, First Rate Execution direction of facial expressions and Marco & Terry D’Ambrosio, com- The movie has some clever body language conveys a con- posed the score. The film’s final dialogue, but it relies so heavily on vincing “illusion of life” despite a print master was made at George its visual impact that it would not limited fluidity of motion. Lucas’ nearby Skywalker Ranch matter much if it were shown as a While the animation of facility. silent film. The suspenseful direc- Vampire Hunter D was in produc- Urban Vision has also been tion by Kawajiri (who also wrote tion at Tokyo’s Madhouse studio, working on publicity and distribu- the screenplay) is backed up by Urban Vision arranged for the tion all this time. A 2 1/2-minute beautiful graphics. Most of the chase takes place by day, through bright forest settings filled with trees and flowers. The vampires’ sumptuous palaces and court cos- tumes are rococo marvels of fili- gree and lace and sparkling gold trim (no cobwebs or emaciated corpses here). The main character designs are by noted international fantasy artist Yoshitaka Amano, whose recent American projects have included the art for 1001 Nights, an animated fine-art film commissioned by the Los Angeles Philharmonic Orchestra with origi- The new Vampire Hunter D bears the same title as the 1985 feature, but is based nal music by David Neuman, and upon the third novel of twelve in Kikuchi’s series D: Demon Deathchase (1985). the full-color illustrations for fanta- © Hideyuki Kikuchi/Asahi Sonorama/Vampire Hunter D Production Committee.

ANIMATIONWORLDMAGAZINE December200023 theatrical trailer was finished in atmospherics, creepy special audiences. 1998 and has been shown often effects, tense action, and von Visit Animation World at American anime fan conven- Helsing fashioned as a foppish, Magazine online at: tions; it is also downloadable on half-vampire, half-human outcast http://www.awn.com/mag/issue Urban Vision’s website. UV has called ‘D’.” 5.09/5.09pages/pattenvampd.ph made a work-in-progress print Now, plans are being final- p3 to dowload the trailer for available for international film exhi- ized for a simultaneous theatrical Vampire Hunter D 2000. bitions since mid-2000. It has release in Japan and America. A [Thanks for information on played to enthusiastic audiences at Japanese general theatrical release Hideyuki Kikuchi and his Vampire the FANT-ASIA Asian Film Festival in is assured, but tiny Urban Vision is Hunter D novels to the Vampire Montreal, Canada in July; at still trying to arrange for an Hunter D Archives website Japanime: The Best of Japanese American release that will exceed (http://www.altvampyres.net/vhd Animation, the major film event at the traditional anime art-theater /) run by Kevin Leahy, an American the Sydney 2000 Olympics Arts crawl of one theater in a couple of horror fan living in Japan.] Festival in Sydney, Australia in cities at a time. Its goal is still mod- August; and at the New York est for an American general Fred Patten has written on anime Anime Film Festival in October. A release: five or more theaters per for fan and professional maga- sold-out Halloween screening at city in twenty cities at a time. If zines since the late 1970s. UCLA’s Anime A-Go-Go film pro- Urban Vision can achieve this, gram in October-November was Vampire Hunter D may become Note: Readers may contact any blurbed as: “Regency meets the first anime feature to reach Animation World Magazine Transylvania in this visual knockout America’s general science- contributor by sending an e-mail of a movie with exquisitely gothic fiction/horror fantasy theatrical to [email protected].

ANIMATIONWORLDMAGAZINE December200024 The Anime Debate by Andrew Osmond s anime the most exciting, cut- Animator for Disney, ting-edge form of animation DreamWorks and Warner Bros. Itoday? Or does it betray the Feature Animation: The ability to whole point of the medium? animate a sense of mass is perhaps Animation World asked ten anima- the biggest place Japanese anima- tion professionals and commenta- tion comes up short, though I tors for their views. Their respons- think they really do that on pur- es reveal that there are no simple pose. In Asian films one often sees answers and delve into everything fantasy characters moving so rap- from personal tastes to cultural dif- idly they’re literally weightless. You ferences and film theory. Enjoy! Swords clash in a scene from X. © Manga see this in manga, too. If you want Entertainment, Inc. There is plenty here to question a manga character to look dra- and discuss. sionally it pays off, such as when I matic, just have him or her blast- discover innovative ideas and ing around with a page full of *QUESTION ONE* approaches to the art form as in speedlines. It turns me off, my hav- Is anime, Japanese anima- Katsuhiro Otomo’s Memories, or I ing grown up with the clear and tion, no more than badly-made find visually impressive action powerful comic book staging of animation? For example, anime sequences in films such as Ninja guys like Kirby and Romita and often features jerky, puppet-like Scroll and Akira. Ditko. I find it very convincing and character movement, along with The reason as to why I visually pleasing when a character an excess of static frames, without haven’t joined the ever-growing is animated so that one really feels a trace of the “illusion of life” legions of rabid “otaku,” results the sense of weight and mass. championed by Disney and other from certain aspects of Japanese Look at Stromboli in Pinnochio, at greats. cartoons that turn me off, and sur- the bullfight cartoon with Bugs prisingly these elements remain Bunny, at Max in Cats Don’t Giannalberto Bendazzi (author consistent throughout all of the Dance, etc. Look at Tex Avery. He of Cartoons: One Hundred Years anime I’ve seen, whether it’s a animated the most impossible of Cinema Animation): Yes, anime cheaply-produced OAV or a classy is badly animated. On the other Miyazaki production. Namely, it is hand, it is normally well written the unappealing and cold nature and well directed. of their character designs, and the general lack of dynamics and com- Amid Amidi (publisher/editor of plexity in their personality anima- Animation Blast): Having viewed tion. The death of animation is if so many animated films, I’ve you don’t find the characters developed a rather extensive and believable because subsequently varied appetite for animation, but the value and effectiveness of the sadly, the majority of anime I’ve stories those characters are telling seen leaves a sour taste in my is diminished. mouth. Still, I refuse to completely All I pray for is that the next write off their output, and I sample international animation fad will be Escaflowne, the saga that follows the adventures of the mythical world of new Japanese cartoons at every more visually stimulating and Hitomi Kanzaki, airs on Fox Kids.TM and opportunity I receive. Very occa- appealing. © Fox Kids.All rights reserved.

ANIMATIONWORLDMAGAZINE December200025 is perhaps the only Japanese ani- mation studio that can afford to regularly incorporate a Disney-like fluidity and complexity of motion into its animation. The flying sequences that have become a trademark of Miyazaki’s work for Studio Ghibli are the best-known examples.

Animator: Taking the example of the film Princess Mononoke, I was continually disappointed when huge animals that would weigh hundreds or even thousands of When Miramax obtained the distribution rights to Princess Mononoke, they agreed that only the dialogue could be changed; none of the frames, scenes or imagery pounds would gallop or jump could be touched. © Miramax Films. exactly like an animal weighing a things, but it was only funny on their wall. fraction of that. I think the because he understood how to That is still largely true. Japanese enjoy that sense of manipulate the sense of mass. Anime fans who pay attention to weightlessness, since it seems to The best test of good ani- the actual animation instead of be associated with supernatural mation is to take shots or scenes concentrating on the story and power, but to me it just looks like out of the context of the film and dialogue tend to look for imagina- the creature is made of balsa watch them without any connec- tive direction and graphics rather wood and fluff. Also, the “actors” tion to the story. For me, and most than rich, lush, Disney-quality in Mononoke were often wooden. Western trained animation buffs, animation. There are some amazing layouts quality animation will have a sense and poses, but that does not make of mass and the movement will The “movement gap” great animation in the pure sense. occur in a pleasing and interest- It’s not that I find the movement in ing way. between Disney and Mononoke objectionable; it’s just much of Japanese that it’s often uninvolving. I Fred Patten (Anime commen- remember being struck at the dif- tator since the ‘70s): When animation is one that ference in the way the “Night American fans first saw the giant- Walker” rose up and moved robot and space-adventure anime Japanese animators about. That character more than TV cartoons in the 1970s and any other in Mononoke seemed to 1980s, one of their fascinating are acutely aware of. have personality and presence aspects was how they seemed dia- — Mark Schilling through its animation. It seemed metrically opposed to American TV to me that the Japanese love of animation. American TV animation Mark Schilling (Author of effects animation here worked to had been getting graphically sim- Princess Mononoke: The Art and an advantage, since the Night pler and simpler so that the actual Making, The Encyclopedia of Walker wasn’t a person, and was- animation could remain relatively Japanese Pop Culture and n’t animated in a stock and pre- fluid. Japanese TV animation relied Contemporary Japanese Film): dictable way. It gave me chills to on elaborate drawings with very The “movement gap” between see it move. By contrast, when I little movement. A catchphrase at Disney and much of Japanese ani- watched the giant boars running the time of Space Battleship mation is one that Japanese ani- or San riding on Moro, it seemed Yamato and Captain Harlock was mators are acutely aware of. weightless and a fraction as that the animation stunk, but fans Budget is one reason. Studio thrilling as it could have been. would have loved to have any Ghibli (creators of Princess given scene as a framed cel setup Mononoke, Kiki’s Delivery Service) Gilles Poitras (Author of The

ANIMATIONWORLDMAGAZINE December200026 Anime Companion and the new techniques of great live-action wouldn’t have failed. Not by the Anime Essentials): The character directors. Consider the concert number of cels per second, as movement in anime is not any sequences in the beginning of most of the best animators in our lower in quality than most U.S. Perfect Blue or the opening history were very limited in this animation and often higher. The sequence of You’re Under Arrest. matter. The brand new CGI pro- choreography in a TV show like These are anime done as if shot grams prove that “state of the art Cowboy Bebop or theatrical fea- from a camera. Even in older techniques” are far from being as ture like Perfect Blue are only two anime you find cinematic elements good as some of the more classi- examples of this. As for static being used. cal. There is no sure technical way frames, there are not that many to measure the quality of an ani- and they are often used to create This “illusion of mation. Animation is a combina- what could be called an “illusion tion of elements so diverse that of cinema.” cinema” is a good only the final patchwork can be This “illusion of cinema” is a judged. good example of key differences example of key Disney’s “illusion of life,” has between U.S. and Japanese ani- differences between not much to do with the number mation theory. In the U.S., anima- of frames per second but is an tors look back on the history of ani- U.S. and Japanese overall result. Can anyone say that mation, often just animation in the it is the same in The Jungle Book U.S. and not that far back. In animation theory. and Aladdin? There seems to be a Japan anime is more of a cinemat- — Gilles Poitras very deep gap between the two. ic art with directors observing the As such, there is no reason what- What first drew me to soever that the “illusion of life” can anime was the use of “camera” be rendered only with very high techniques in the Yamato series; budget animation. Animation is which I saw in a store window in very clearly an art form and the 1977. The only U.S. show I can final quality of artwork is frequent- think of that does this is The ly very different from the sum of its Simpsons “Halloween” specials, parts. The Japanese are no excep- which parody cinema and there- tion to this rule. Since the country fore use the same techniques. As for the “illusion of life” I think anime comes much closer. You rarely see anyone move like an American animation character, even the ones in the better Disney movies. Exaggerated, overly ener- getic movements are not an “illu- sion of life.” Slower sequences where people stand or sit and move little when they have a con- versation are a better “illusion of life,” found commonly in anime.

Cedric Littardi (Co-founder of the French AnimeLand maga- zine and creator of the coun- Director Satoshi Kon (Memories), special try’s first anime video label, advisor Katsuhiro Otomo (Akira) and Faye and Spike from Cowboy Bebop, How do you Madhouse Studios’ (Ninja Scroll) theatri- the futuristic adventures of an easygoing Kaze Animation): cal feature Perfect Blue was translated bounty hunter and his partners. define good animation? Not by from Youshikazu Takeuchi’s suspense- © Bandai Entertainment. the budget, otherwise Titan A.E. novel. © Manga Entertainment, Inc.

ANIMATIONWORLDMAGAZINE December200027 has a very rich cultural back- Mark Schilling: Traditional tradition of Disney style acting and ground in the areas of stylization, Japanese performance arts, such lip synch in Japan. Some anime graphic arts and storytelling, there as Kabuki and Noh, are highly styl- films look strangely limited to is no reason why they cannot ized forms that rely more on pres- Western audiences, but they don’t create a life of their own. entation than representation for to Japanese viewers. The anima- their effects. In Kabuki, sword- tors and directors use conventions Maureen Furniss (Founding edi- fighting scenes are akin to dance, to get around the limits of the ani- tor of Animation Journal and with the swords of the two oppo- mation, just as their American author of Art in Motion: nents barely touching, let alone counterparts do. Americans are Animation Aesthetics): People clashing. Also, in Kabuki the most simply used to one set of conven- often use the physical movement dramatic moments are considered tions: is it any odder to have a of animation as its primary qualita- to be stylized poses that the lead character hang in mid-air with his tive measure. This is the case in actor holds while the audience feet and legs revolving, then whip part because of the dominance of applauds and shouts its approval. him off screen in a fast pan, than Disney-style animation and the his- Flow, in short, is less important to have a character turn into a tory of animation as an attraction than form. In much of Japanese “super-deformed” child version of that mystifies by recreating “real animation, particularly the sci-fi himself when he behaves childishly? life.” When animation does not variety, there is more emphasis on seem to create “real” movement, the grotesquely comic or operati- Francesco Fillipi (Animation its identity as a construct becomes cally dramatic gesture — the columnist and animator): Disney clear. There’s less wonder in look- worlds-colliding climaxes in the wanted to show the “truth of the ing at drawings that look like Dragonball series being one exam- movement.” Every emotion a char- drawings on the screen than ple — than on so-called realistic acter lives must emerge in a frame. drawings that somehow look like movement. So you can see everything the they could be real. It’s a little mind character feels, nothing less but game that has been used to pro- nothing more. Instead, the mote animation to the general Japanese wanted to show the public since the early days of film “psychological truth” of the char- history, when animation was still acters. It’s true their first choices categorized under the heading of were due to their lack of money, “trick film” and audiences mar- but they managed to build a new veled at Winsor McCay’s ability to language. In this direction a great make Little Nemo or Gertie the help came from the Japanese abil- Dinosaur move. The aesthetic of ity to concentrate attention on Japanese animation, with its limit- only a single element, as in the ed animation technique, is deter- Kabuki theater and Haiku verses. mined by many things including So in animation, the emotions budget, but also cultural and con- were spread through the environ- ventional expectations of the art ment, so everything contributed form. to a character’s emotions: the If people are interested in music, the colors, the editing, etc. studying the cultural components Behind X and the manga book of In the first episode of the TV the same title is Clamp Studios, made of Japanese animation, then I up of four talented women: Nanase series Captain Harlock, the little think the whole of Japan’s produc- Ohkawa, Mokona Apapa, Mikku “Mick” Mayu meets her “uncle” Harlock, tion becomes much more interest- Nekoi and Satsuki Igarashi. knowing the Earth forces are lay- © Manga Entertainment, Inc. ing. When we limit ourselves to ing a trap to chase the space saying, “It doesn’t look or act like Charles Solomon (Film critic pirate. Mayu and Harlock are what is produced by the most suc- for the LA Times and author of happy to meet but also sad cessful American studios,” then we animation books including The because of the whole situation. are pretty limited in our perspec- Disney that Never Was): It should Disney would have animated the tives. be borne in mind that there is no scene alternating smiles and sad

ANIMATIONWORLDMAGAZINE December200028 Jay Ward’s TV programs, and such recent TV animated hits as Ren and Stimpy, The Simpsons, Aeon Flux, King of the Hill and South Park. A good script, good voice acting and good music can win a devoted audience despite jerky or limited animation. Some recent noteworthy examples of anime that exemplify this are Serial Experiments Lain and Cowboy Bebop.

Francesco Fillipi: I saw two new Ashitaka riding atop a wolf and Princess Mononoke on the back of Moro, non-Japanese shorts at the I her adopted wolf mother. © Miramax Films. Castelli Animati festival. In For The looks on the characters’ faces. tion has been around for more Birds, a Pixar short, there are a lot Instead Rin Taro (the director, also than 50 years. It can be (and has of little birds with very expressive responsible for the recent movie X) been) extremely effective when faces. Everything moves and the put sad music over two smiling used properly. Do the designs for birds are very funny. There was faces. the film suit the style of the anima- also The Periwig-Maker, a German Further, Osamu Dezaki tion? One of the great lessons of puppet short about the Black (one of the greatest directors of the UPA films is that the way a Death. The puppets have almost anime) talked about the animated character is animated should the same faces for all the film, but character of Black Jack, based on relate to its design. Animating Mr. they were so human, so deep, so Tezuka’s manga, in an interview Magoo, Bullwinkle or Tenchi in a true in their dramatic experience for an Italian magazine: “Black Jack full Disney style is as inappropriate and...so beautiful! I can’t say the is a difficult person to under- as doing Hanna-Barbera style limit- second short is better than the first stand...he has an obscure tem- ed animation of Pinocchio. Would or vice versa. They are both per- perament, but charming at the full animation add anything to fect in their own language, the same time. As director, I didn’t feel Tenchi or Rocky and Bullwinkle? I first in the Disney style, the second the need to understand the most doubt it. in the anime style. mysterious parts of his soul. I decided to leave his mystery inte- I think it’s apples Animator: I think it’s apples and gral to him and to follow with the oranges. Different conventions camera tagging after...letting the and oranges. and different tastes are at work. audience create a personal image Perhaps Akira and Mononoke are of him.” Different conventions not as interesting or entertaining This requires a different role and different tastes to general Western audiences, but for the viewer, a different sensibili- the same is true of most successful ty, but for those who grew up are at work. Western animated features in with it, there are no problems at Japan. all. In anime you can give your — Animator As for why some feelings to the character, have a Westerners, who weren’t raised on dialogue with him or her, not only Fred Patten: There is an attitude the anime style, prefer it I can’t say. listen to a monologue. It’s more that the only animation worth I think a big part of it is that they interactive. watching is Disney “illusion of life” love the stories and the overall quality animation. American exam- style so much that they’ve come to Charles Solomon: To dismiss ples that disprove this include accept the Japanese animation anime as “badly made animation” most of the UPA output, Disney’s style. I really think that if some top- strikes me as silly. Limited anima- Toot, Whistle, Plunk and Boom, notch Western character anima-

ANIMATIONWORLDMAGAZINE December200029 Cartoon Network’s popular Dragonball Z. © Cartoon Network. tors worked on a quality anime to Disney and its imitators, who U.S. scarcely no animated feature film, the results would knock your must appeal to the widest possible can be created with less than $50 socks off, and make most current audience to recoup on their enor- million, the Japanese need a tenth anime films look lame (and most mous investments. Could Disney of these budgets. U.S. mega-pro- current Western animation, too!). I have attempted the Twilight Zone- ductions keep more or less the also don’t think anime could be like fantasy of Memories or the same style, as imposed by Disney done as inexpensively as it is if they psycho-horror of Perfect Blue? I standards, with the unique pur- put the emphasis on character ani- think not. Less bound by the need pose of having everyone in the mation that the top studios here to sell tickets to every eight-year- target audience come and see it in do. For years there’s been flirta- old in the country, Japanese ani- the theaters. The Japanese anima- tions between DreamWorks and mators can be more imaginative, tors have a much wider range of Otomo to do a film together. That daring and, occasionally, more animation styles. Akira and would be something. self-indulgent than their Disney Princess Mononoke have less to do counterparts. with each other than Hercules *QUESTION TWO* and Titan A.E., for instance. Are some anime titles of Cedric Littardi: Whereas in the value, or are productions such as Gilles Poitras: In the U.S. anima- Akira and Princess Mononoke as tion is seen as young children’s misguided as more commonly- entertainment. In Japan until maligned titles such as Pokémon? recently anime was largely seen as And how about anime which children’s entertainment, but breaks what is commonly regard- remember in Japan you are not an ed as a cardinal rule of animation adult until you are 20. A show like — animating a story such as Heidi, Blue Submarine No.6 (recently which could have been made in screened on Cartoon Network) is live-action? assumed by Americans to be for people over 18, as the story has Mark Schilling: Japanese anima- the complexities and nuances of tors have made a virtue of necessi- presentation that would fit that ty by using limited animation to Patlabor directed by Mamoru Oshii. age group in the U.S. But the explore topics considered off-limits © Manga Entertainment, Inc. director had in mind an audience ANIMATIONWORLDMAGAZINE December200030 of 12-15 year olds. Charles Solomon: Hayao reflected actual Japanese history. Anime for children is far Miyazaki is clearly one of the most Being overly intellectual is a flaw more complex in plot, character interesting and talented directors almost unknown in American development and subtlety than working in animation (and in film) animation. U.S. animation, even much of U.S. today. John Lasseter, Nick Park and cinema. My interpretation of this is Frédéric Back are about his only that there is a much greater peers. Mamoru Oshii is so skillful a respect for the ability of children to director he can make a story as understand stories in Japan than silly as the first Patlabor movie there is in the U.S.; in fact a greater seem compelling. Don Bluth tried respect for what adults can under- to capture the excitement of Oshii’s stand, given the quality of U.S. TV Ghost in the Shell or Hiroyuki and movie fare. Okiura’s Jin-Roh (Wolf Brigade) in Titan A.E., but failed. Director Hayao Miyazaki personally Giannalberto Bendazzi: Anime is The Tenchi series combines corrected or redrew more than 80,000 of Princess Mononoke’s 144,000 normally misunderstood overseas sci-fi fantasy adventures with slap- animation cels.© Miramax Films. because Japanese tradition is stick romantic comedy in a way today the only big, winning ani- that is unpretentious and silly, yet Many of Miyazaki’s other mation cultural tradition that does- warm. Outside of The Simpsons, films, such as Kiki’s Delivery Service n’t share Western values and view- few American TV series — animat- and Laputa: The Castle in the Sky, points. These films don’t have ed or live-action — can match the should be more accessible to gen- internationally recognized stars, clever writing in “Murder eral audiences. Catnapped! is a except for the Pokémon. Machine,” episode 9 of Trigun. delightful fantasy for young chil- Cowboy Bebop evokes the film dren which will not bore adults. Gilles Poitras: Another factor is noir genre more effectively than Jin-Roh could certainly have been the large manga industry in Japan many live-action detective movies. a live-action film, but it is a taut which provides producers with a Takashi Nakamura’s Catnapped and suspenseful political thriller. body of literature to draw on. seems to overflow with imagin- Outlaw Star is a TV series in the Then there is the competition ative visuals. Star Wars vein that successfully between studios in Japan. What captures the action-filled pacing, do we have in America? Disney, Being overly the interstellar grandeur, the exot- Fox and Warner Bros. dominate ic aliens and the bantering dia- the market so people usually intellectual is a flaw logue of Lucas’ hit, despite its limit- judge between what they pro- ed TV budget. duce with few other options. In almost unknown in Japan the industry has so many American animation. Giannalberto Bendazzi: Among companies that there is a constant anime I find many examples of pressure to find new niche mar- — Fred Patten good cinema, tolerated today in kets and to try new techniques. the way intellectuals just tolerated This competition allows small com- Fred Patten: Akira seems to have Casablanca in the ‘40s. If I were to panies to get work, even subcon- attempted too much, mixing an mention one title only it would be tracting for other companies, and intellectually confusing “scientific Ranma 1/2. Of the feature films, I to develop reputations. Some secret” with an apocalyptic action- very much like Takahata’s works, examples of this are Gainax, adventure story, but it’s spectacular especially Grave of the Fireflies. Gonzo and Studio Rex, all of to look at and genuinely sus- But the really original works are which gained reputations for qual- penseful. Princess Mononoke was the short films of Osamu Tezuka ity work in a commercial culture also possibly too intellectual, leav- (Jumping), Yoji Kuri, Renzo used to a variety of companies. I ing audiences confused by the Kinoshita, Taku Furukawa, don’t think they could have lack of clear heroes or villains, and Harugutsu Fukushima, Sadao gained the same attention in leaving American viewers con- Tsukioka, Keiichi Tanami, Shinichi the U.S. fused as to how much of the film Suzuki, Nobuhiro Aihara, Keita

ANIMATIONWORLDMAGAZINE December200031 audience. The story would be too heart-rending if it were done well in live-action. (If it were done badly, it would feel manipulative and hokey.) Director Isao Takahata balances the intensity and dis- tance to give the story its maxi- mum emotional impact. If the film- makers have the proper vision, ani- More scenes from Cowboy Bebop. © Bandai Entertainment. mation can be used to tell almost any story. Kuroska, Dino Sato, Kihachiro seen American funny-animal ver- Kawamoto and Tadanari sions of David Copperfield and Cedric Littardi: This is the great- Okamoto. Unfortunately there is Tom Sawyer. This seems like pick- est challenge an animator can no distribution for these latter ing some of the lesser Japanese face — to make his artistic world films, and we see them only in the products to compare with the best better and more expressive than international festivals. of Disney. the real one. Considering the spectacular success of Takahata, Cedric Littardi: Who is to say an Gilles Poitras: Many anime set in there is hardly anyone that could anime is “misguided?” Pokémon a realistic setting would be much challenge his achievements in this sells more than anything else. more expensive to do as live cine- domain. And this will become a Akira has united a fan-base world- ma. Sets, crews, equipment, loca- critical skill in a world where CGI wide and — nearly 15 years after tion shoots, actors who vaguely animation can be made to look its release — is still considered a resemble the characters all add up more and more real, mixed with classic. Princess Mononoke is the to a much higher total than the real-world images. most successful Japanese film ever. cost of an anime. After all a small If misguided is another word for studio space rented in an office Giannalberto Bendazzi: About “un-Disney,” then these anime are. building is enough for the anima- 30 years ago, the American critic But you will never convince the tors, rented sound studios are Dwight McDonald proposed a people that enjoy them and they enough for the voice and sound hierarchy that is still valid, and fits are the best suited to judge. effects work and the actors do not Japanese animation production. Success is often the best guide to have to look like their characters. We have there a mass-culture out- quality! put (TV anime), a mid-culture out- Charles Solomon: There are put (theatrical feature films such as Fred Patten: As for the Japanese anime shows and features that Miyazaki’s or Takahata’s), and a animating stories which could be could be done in live-action, espe- high-culture output (the inde- told in live-action, this is a case of cially some of the martial arts pendent works of Yoji Kuri, what the legal profession calls sagas. They remind me of the Kihachiro Kawamoto, Osamu tu quoque. How different is Saturday morning programs from Tezuka and many others). You can DreamWorks’ animated The Prince the ‘70s and ‘80s that used ani- get quality out of them all, but of Egypt from de Mille’s live-action mated versions of live characters more likely out of the high-culture Ten Commandments? Hanna- (Partridge Family, Karate Kid, output, just because there are no Barbera animated Heidi. The Harlem Globetrotters) because it big money investments there and Japanese are notorious for animat- was cheaper. There are stories that therefore no constraints by the ing popular literary classics with may initially seem suited to live- executives, the marketers, the dis- funny-animal casts (The Three action but work in animation, tributors and so on. Musketeers, Treasure Island, depending on the style and story- Around the World in 80 Days; telling. Grave of the Fireflies is *QUESTION THREE* these are actually usually commis- essentially a live-action story, but Finally, if you could nomi- sioned by TV buyers in Italy and doing it in animation heightens nate one other national animation Spain), but the last decade has the emotions and distances the industry which deserves far more

ANIMATIONWORLDMAGAZINE December200032 attention, which one would it be?

Mark Schilling: Canadian anima- tors have been doing excellent, innovative work for years. Not many Canadian animation otaku out there, at least that I’m aware of. But then again, how many American multiplex goers are aware that many, if not most, of the best comedians on their screens are from The Great White North?

Charles Solomon: The defunct government-sponsored studios in Czechoslovakia, Yugoslavia and the USSR produced an extraordi- Ghost In The Shell, based on the manga (comic) of popular artist nary body of work. I’ve heard the Masamune Shirow, combines advanced computer graphics with traditional Shanghai Studio no longer exists, cel animation. © Manga Entertainment, Inc. which I greatly regret as they cre- ly imaginative Soviet short films Maureen Furniss: There is a ated some remarkable films that and features; not just Russian, but whole world of animation out adapted traditional Chinese art from other Soviet republics like there that deserves to be dis- styles to animation. If I had to pick Latvia. Hungary had a wide range cussed. However much of it is one other country’s animation as of animation from short art films to even further from the Disney-style worthy of wider attention, it theatrical family features, mostly “norm” of American feature anima- would probably be Canada, as the through the Pannonia studio. But tion and thus has even less likeli- National Film Board artists and if you mean more attention by the hood of being widely screened Frédéric Back have made so many public, then none. Most foreign and appreciated. It’s almost impos- brilliant films. animation will not play in America sible to say one country, though except to the art-house circuit. Canada, England, Russia, France, Francesco Fillipi: The Canadian Chinese animation is usually beau- Germany, Estonia, Czechoslovakia National Film Board is great. I like tiful but too slow-paced for gener- and Italy all come to mind. also Aardman animation. al audiences. It is probably signifi- cant that the one Chinese animat- Our grateful thanks to all the con- Cedric Littardi: For years, studios ed feature that comes closest to tributors to this article. have used Korea to make most of American tastes, A Chinese Ghost their animation, creating a more Story, has been picked up for Andrew Osmond is a freelance and more skilled workforce there. American video. writer specializing in fantasy Today Koreans are struggling to media and animation. bring new projects to fruition and Giannalberto Bendazzi: An ani- though most copy the anime style, mation industry as such only exists Note: Readers may contact any an underlying creativity can be felt in the USA, Japan, Korea and Animation World Magazine in many of these. France. In the rest of the world we contributor by sending an e-mail have animators, animation com- to [email protected]. Fred Patten: If you mean more panies, but not an animation attention by serious animation afi- industry. In my opinion, the most cionados, then the late Soviet and original and innovative films of the Socialist Hungarian state-subsi- ‘90s have come from Britain and dized animation industries and Russia; one step lower I would put China. There were some stunning- the USA, Canada and Poland.

ANIMATIONWORLDMAGAZINE December200033 The Man Who Bought A Toy For His Kid and Kept It For Himself by Eric Huelsman t’s funny, the baggage an artist That ad used to show kids shoot- and March. Relief would turn to carries through life. Memories, ing the Fanner at an upside-down horror, however, when Mom real- Igood and bad, tend to be the bucket, the bullets making a very ized what a techno-nerd I had measure of any artist’s repertoire. nice “ting-tang” sound. But believe become. It wasn’t like I was a And animators, being the consum- you me, when I repeated this prodigy or anything. After a while mate artists that they are, are cer- demonstration at home with my my late night projects had become tainly no exception. But where an mom’s old wash bucket, the sound an obsession and Mom began to animator’s repertoire does seem to those little plastic bullets made was worry. She even hinted at where be exceptional is that it is typically absolutely delicious. Dad kept the mags. Didn’t work, a treasure trove full of memories of That same Christmas I got however. By the time I exited much-loved toys of the past. an Erector Set. Needless to say, I puberty I had no less than three Hence… damn near wore out my six-shoot- Erector Sets, including an er before I finally got around to advanced discovery set that came that Erector Set. But one rainy day, with a wired remote control. when I had no more stik’m’caps and the last of my bullets had rolled under our musty old couch, I wearily dragged out my Erector Set box and opened it for the very first time. Wow. What a surprise! Everything looked so cool. So many shiny pieces of metal. So many doo-dads of all sorts, nuts, bolts...Big boy fare! And then, of The Robotics Invention System course, there was that little motor 1.5™ gives users the ability to create and the chain. Neat-o. I began to programmable robot inventions. © 2000 The LEGO Group. assemble my first crane. For the next six months my When I was a boy, one of Deputy Fanner collected dust as I the best Christmas presents I ever spent all my spare time with the got was a Mattel six-shooter. It Erector Set. Many a feverish night I was, to be exact, a Deputy sat huddled under the blankets One possible configuration using the Fanner…a nifty little Colt .45 repli- with a flashlight, poring over that Robotics Invention System™ that allows ca with ivory (okay, plastic) han- erector set manual. Mom, ever the programming of robots to be simple. dles…a ringer for the gun Little worried that I had discovered my © 2000 The LEGO Group. Joe used on Bonanza. Worked like Dad’s stash of girlie magazines, LEGO My LEGO the real thing, too. It used Greenie threw back the covers one night, As a grownup I have come stik’m’ caps and shot spring- only to find to her relief that her to appreciate a few toys that have loaded “Shootin’ Shell” bullets, just son was getting off on windmills arrived on the scene since my like the ones in the television ad. and tractors, not Misses February youth, but not many. I have, for ANIMATIONWORLDMAGAZINE December200034 example, always thought the the LEGO article, I mean. wonder if it isn’t some sort of alien whole LEGO thing was pretty cool This August my editor plot. stuff. I’d had Lincoln Logs and emailed me the good news that I Tinker Toys, and thought LEGO would be doing this article and I What Makes the LEGO would’ve been neat to have as a was elated. Negotiations began Robotics Stuff So Damned kid. But as an adult I pretty much and a couple of months ago I Much Fun dismissed building LEGO, much received a LEGO Robotics At the center of the preferring, well…girlie magazines. Invention System Droid Developer Robotics Invention System kit is a Funny thing, though, how, when Kit. I opened the box and YOWZA small, programmable robot brain I was supposedly working on a - Déjà vu! Just like my old Erector called the Robotic Command screenplay at my writing partner’s Set, there sat hundreds of tiny little Explorer or RCX. The RCX can be house I always managed to dig pieces in individual plastic pack- programmed using (only) a out and fool with his prized LEGO ages. And an RCX module. Neat-o. PC…sorry, Mac fans. Included in collection — every time I visited his I’m gonna build a robot. the basic kit is CD-ROM software, house! two motors, two touch sensors, Then I got married and one light sensor, an infrared trans- started a family. On a whim, I mitter, a Constructopedia building bought my first son a LEGO kit guide and over 700 LEGO pieces. and “helped” him put it together The RCX is the brain of all the (hell, the kid was only two). One LEGO MINDSTORMS creations and kit led to two, two to four, and I incorporates the same “brick” con- guess you can guess the rest. struction method as does any Now, if I could only muster the other LEGO toy, meaning that courage to just let go and let my LEGO pieces can be made to son play with –er, his LEGO. attach directly to it. Typically, the RCX is the central structure of any robot and usually has sensors that Powered by the Micro Scout™ LEGO let you do lots of neat little things microcomputer, inventors can design and build their own Star Wars droids. © 2000 with it, such as make the robot roll The LEGO Group. forward, roll backward, play a little sound...all from the flick of a flash- This, people, is an amazing light. toy. Simply put, you gotta have Now, just in case you like to one. You’re building honest-to- be challenged — and what self- god robots here. When I started serving animator doesn’t like that? building it, it was under the pre- — there is the issue of building a tense of writing an article. Now robot without any written instruc- LEGO MINDSTORMS™ and Star Wars join forces in the Droid Developer Kit™. I’m hooked. It is just that fun. First tions. This is a LEGO tradition (a © 2000 The LEGO Group. of all, all the pieces snap together LEGO-cy, if you will), and hey, they in the same old LEGO way, but didn’t spare us when it comes to The LEGO MINDSTORMS with this twist…they have made building these robots. Fear not, Robotics Invention System 1.5 lots of custom, robot-looking and dear reader. Included with the RIS Back in 1998, during a visit acting pieces. Moreover, the kits are CD-ROMs (again, PC only) to the E3 show, I stopped and pieces are built so that you do not that present the entire system in a watched in utter amazement the have to use only LEGO’s guides. graphic, interactive way. This little robots the LEGO display had You can strike out on your own. greatly avails the first-time LEGO going. I then told my publisher, And building is only half the fun. user, as those unfamiliar with text- Dan Sarto, that if a motorized Wait ‘til you play with it. What a less instructions might find the kits LEGO article ever had to be writ- blast! They do really neat things. In a little daunting should you ten, I was to be his man, and, as fact, the whole RIS scheme is so get confused by what you’re luck would have it, I am! To write fiendishly clever as to make you looking at.

ANIMATIONWORLDMAGAZINE December200035 Programming Your Robots For you hard-core comput- er geeks out there, each of the RIS kits’ RCX modules has been built around a thing called RCX Code, which is the LEGO programming language. RCX Code has the abili- ty to subnest commands and use more program blocks, which Robots that see.Vision Command™ Another Vision Command™ allows for creating more complex lets you build and program robotic inven- configuration combined with the tions that respond to what they see. Robotics Invention System™. programs. The RCX programming © 2000 The LEGO Group. © 2000 The LEGO Group. language is comprehensive and easy to learn. Included in the floppy disk, and back. It is also entrée in the MINDSTORMS livery. newest 1.5 version are new tools easy to delete unwanted pro- Due out by the time you read this, that help you learn about what a grams. For quicker reference of it uses a low-res camera to perform code block is, while the Try-out what your programs do, the robotics missions that require the tool allows you to see what a Logbook has been moved into the use of sight. It can be pro- block does. The Copy tool lets you Program Vault. In addition, all pro- grammed on your PC to respond quickly copy a stack of blocks. grams are now backwards com- to motion, color or light. If used patible. This means that Robotics alone, it can be made to be any- Invention System 1.5 users can use thing from a motion sensitive spy programs from version 1.0. camera (imagine the possibilities There are three new robot there, kids!) to a music synthesizer families in the LEGO MINDSTORMS played with a wave of the hand. I Robotics Invention System 1.5: the myself will probably get one for Roverbot, the Acrobot and the the following reason: imagine the Inventorbot. Each has its own possibilities of using a camera- unique abilities and skills: the mounted robot during a hand Roverbot is a steady going robot count in Florida… that moves around, avoids obsta- When combined with the cles and can follow a line; the Robotics Invention System, the The RCX™ component is the brain Acrobot is a fast moving robot that camera becomes a revolutionary of LEGO MINDSTORMS™ inventions — an autonomous LEGO microcomputer flips and dances; and the vision sensor smart enough to be that can be programmed using a PC. Inventorbot is a smart, attentive the eyes and brains of your robot, © 2000 The LEGO Group. robot that can greet you and help which means you can have it do Programming can be as you in many other ways. In addi- everything short of counting bal- elaborate or as simple as one tion to the new models, the lots in Broward County. chooses, depending on the level Robotics Invention System is now of complexity and tasks people set modular. This means that the Exploration Mars for themselves. A first-time user Roverbot’s, Acrobot’s and Exploration Mars is the third with basic PC skills can design, pro- Inventorbot’s body parts are plug- expansion set for the Robotics gram and build a simple robot and-play. By snapping on a new Invention System. Launched in within one hour. To ensure a posi- arm, leg or head, you can quickly March, 2000. Designed in associa- tive first-time experience, there is a change the functionality of the tion with The Planetary Society, series of easy to understand train- robots. Also, Vision Command and Exploration Mars lets you build ing missions for building basic Exploration Mars are two expan- and program inventions that simu- robots. Additionally, through the sion sets that can be purchased for late the tasks of actual Mars mis- Program Vault it is easy to organize these robots. sions. programs in multiple folders, as well as move programs from the Vision Command LEGO TECHNIC CyberMaster Program Vault to the desktop, to a Vision Command is a neat With LEGO TECHNIC

ANIMATIONWORLDMAGAZINE December200036 CyberMaster, children can build a computer-controlled robot gladia- tor instructed to compete with a hand-held LEGO fighter. The glad- iator can be programmed with dif- ferent personalities. The robot, through the computer, talks to the child throughout the game, tries to out-maneuver the hand-held fighter and sends scores to the computer. A number of intelligent robotic vehicles can be built and instructed to move as the child wants. There are one-player and two-player options. A stand-alone computer, i.e. home PC computer, is required for both LEGO MIND- STORMS and LEGO TECHNIC CyberMaster. However, it should One possibility using the Exploration Mars™ expansion set in conjunction be noted that LEGO MINDSTORMS with the Robotics Invention System™. © 2000 The LEGO Group. and LEGO TECHNIC CyberMaster hobby with, perhaps, some decid- enthusiasm for this toy. It is truly are not compatible. edly cultish overtones. The college fun for the whole family, even my crowd is very definitely already Mom likes it. But most of all, it is a involved and I think they will be relatively harmless way for me to becoming more inclined as this get back to my adolescence. I hobby grows. Students at several guess the only thing I have to be of the leading engineering univer- ashamed of is that my wife just got sities already have personal me a subscription to Playboy. And Websites dedicated to building that I have yet to give the kit back these robots and are forming a over to my son. Maybe in twenty cottage industry of gadgets and years or so. I really don’t want him devices. I would expect to see to mess up the cool robot I just more of the MIT-sorts getting built two days ago. involved and creating complicated robot actions using relatively sim- When not sweating article dead- ple code. Already what they have lines, Eric Huelsman is the direc- achieved far exceeds the original tor of the Friedman 3D Computer RIS design. And just wait until the Animation Program in Los real artists get involved and start Angeles. The Exploration Mars™ expansion set designing robots that defend cas- lets you build and program inventions that simulate the tasks of Mars missions. tles, have laser tank battles and the Note: Readers may contact any © 2000 The LEGO Group. ilk. These sorts of activities are Animation World Magazine talked about on the many (mean- contributor by sending an e-mail Cultists Beware ing the dozen or so) Websites ded- to [email protected]. The interesting thing about icated to the whole RIS craft. this phenomenon, if you will, is Whew! It’s not gonna be a source that it seems to be in its infancy as of fun and information, it’s gonna a wildly popular format, and will be its own sport! be heading into “adolescence” But despite my reservations very soon. It is, by my estimation, for anything with such blind devo- about to become a very serious tion lent it, I can’t over-express my

ANIMATIONWORLDMAGAZINE December200037 Monthly provocative,drunken, idiotic ramblings from the North… soldier who held the gun’s 55th favourite toon. It’s some Japanese corporation’s 56th favourite toon. The Old Man It’s IMAX’s 57th favourite toon. It’s my ass’ 58th favourite toon. It’s Andy Griffith’s 59th favourite toon and The Sea: (he was hoping to star). It’s Wolverine’s 60th favourite toon. It’s Laura Dern’s 61st favourite toon. A Plagiarism It’s Deion Sanders’ 62nd favourite toon. It’s Pinball Clemon’s 63rd favourite toon. It’s Pinball Wizard’s (not the film) 64th favourite toon. It’s some fug- Illustration by Andreas Hykade. Courtesy of Chris Robinson. ger at Disney’s 65th favourite toon. by Chris Robinson It’s my mom’s 66th favourite toon. his is Pascal Blais’ favourite inventor of Kleenex’s 26thfavourite It’s whomever my dad is’ 67th cartoon. It’s Bernard toon. It’s “We’re gonna need a big- favourite toon. It’s Richard Meltzer’s TLajoie’s 2nd favourite toon. ger boat’s,” 27th favourite toon. It’s 68th favourite toon. It’s my 69th It’s Martine Chartrand’s 3rd June Foray’s 28th favourite toon. favourite toon. favourite toon. It’s Sofi Valliant’s 4th It’s George Jones’ 29th favourite favourite toon. It’s Alexander toon. It’s Nick Tosches’ 30th Hottie Animator ‘o da Month Petrov’s 5th favourite toon. It’s favourite toon. It’s the guy who Sandra Gibson, RISD grad. Sayoko Kinoshita’s 6th favourite drove Di to her death’s Her film Edgeways has been toon. It’s Mariel Hemingway’s 7th 31stfavourite toon. It’s the old rockin’ the festival circuit. favourite toon. It’s Anthony man’s 32nd favourite toon. It’s Quinn’s 8th favourite toon. It’s Jesus Christ’s 33rd favourite toon. The Animation Pimp is Gordon Pinsent’s 9th favourite It’s his friend’s 34th favourite toon. brought to you by AAA Ladies toon. It’s Normand Roger’s 10th It’s David Cross’ 35th favourite from Shanghai, meeting the sexu- favourite toon. It’s the guy who toon. It’s the guy he works with’s al needs of the animation commu- runs Annecy’s 10th favourite toon. 36th favourite toon. It’s my dog’s nity since August 1999. It’s the woman/man he’s fuggin’s 37th favourite toon. It’s “Lola’s” 12thfavourite toon. It would have 38th favourite toon. It’s “Koko’s” Does this make any sense been John Denver’s 13th favourite 39th favourite toon. It’s my bitch’s whatsoever? Do you want to con- toon. It was the woman who did (other dog) 40th favourite toon. tinue this rant? Do you have an South Park but died’s 14thfavourite It’s Xena’s 41st favourite toon. It’s opinion of your own to share? toon. It’s Leonard Maltin’s Very Duffy’s 42nd favourite toon. Then visit Chris in the Animation 15thfavourite toon. It’s Jean-Guy, It’s Michael Caine’s 43rd favourite Café online at http://www.cre- my barber’s 16th favourite toon. It’s toon. It’s Terry Sawchuck’s 44th ativeplanet.com/communitycen- Paul Reuben’s 17th favourite toon. favourite toon. It’s Pete ter/ and ask him what the heck It’s Elizabeth Taylor’s 18th favourite Townshend’s 45th favourite toon. he’s talking about! toon. It’s EVERYONE who’s fucked It’s June Christy’s 46th favourite Chris Robinson is a writer, festival Elizabeth Taylor’s 19th favourite toon. It’s Hot Tuna’s 47th favourite director, programmer, junky and toon. It’s Tom Knott’s 20th favourite toon. It’s Emmet Miller’s 48th doesn’t give a shit about you. His toon. It’s Jacques Parizeau’s 21st favourite toon. It’s ASIFA’s 49th hobbies include horseback riding, favourite toon (doesn’t like immi- favourite toon. It’s ASIFA-Canada’s pudpulling, canoeing and goat grants or women). It’s Stumpy 50th favourite toon (‘cause Ocelot thumping. Bouchard’s 22nd favourite toon told ‘em so). It’s Kirikou’s 51st (‘cause Jack told him so). It’s Mr. T’s favourite toon. It’s that little Cuban Note: Readers may contact any 23rd favourite toon. It’s Quebec’s kid’s 52nd favourite toon. It’s his Animation World Magazine 24th favourite toon. It’s Patrick uncle’s 53rd favourite toon. It’s his contributor by sending an e-mail Roy’s 25th favourite toon. It’s the dad’s 54th favourite toon. It’s the to [email protected].

ANIMATIONWORLDMAGAZINE December200038 Let’s Sketch on Location: Light and Dark Patterns

by Glenn Vilppu Glenn Vilppu. his is the fourth in a new series of bi-monthly articles Tabout sketching on loca- tion. The articles are based on my Sketching on Location Manual. The manual was developed as a series of lessons that I use on my guided sketching tours of Europe, and that I use as material in my regular drawing classes. As such the lessons can be part of a regu- lar course or can be used by indi- vidual students as a practical learn- ing guide. In the last chapter we worked on “Organizing and Creating Space.” If you have not seen the previous lessons starting Figure 1.All drawings in this article are by and © Glenn Vilppu. in the June 2000 issue of Animation World Magazine, it is recommended that you do. The lessons are progressive and expand on basic ideas. It is sug- gested that you start from the beginning for a better under- standing of my approach. If you really want to start at the begin- Figure 2. Figure 3. ning open with the lessons based on the Vilppu Drawing Manual. examples and compare the draw- rating the planes in space by the ings with shadows added to those use of shadows. Be careful, and Dark and Light Patterns without shadows. The example in don’t confuse dark shaped objects Now that you see your sub- figure 1 is the drawing of an with shadows. jects as a series of planes in space, abandoned church from the previ- Figures 4 and 5 are anoth- one of the most dramatic and use- ous chapter. er set of examples where I have ful ways of expressing them is by In the two other examples used different patterns to separate seeing them as alternating in dark- (figure 2 and figure 3), you will the planes. You don’t have to ness and lightness. Visualize shad- notice that I changed the order of accept the way the light is on the ows being cast from outside of the the light and dark pattern. Instead subject; you can make the light picture, throwing these planes of going from dark to light, I went come from any direction you wish. alternately in shadow and light. from light to dark and then light These drawings, as well as the This is one of the most useful and again. Remember, “There are no ones in figure 1, 2 and 3, were traditional means of creating rules, just tools.” The point is to done in line only, with the wash depth in your picture. Look at the create a sense of depth by sepa- added later. When I did the draw-

ANIMATIONWORLDMAGAZINE December200039 ing in figure 6 and 7, I was giving Glenn Vilppu first wrote for Glenn Vilppu teaches figure a lecture to explain the use of Animation World Magazine in drawing at the American planes and shadows which create the June 1997 issue, “Never Animation Institute, the Masters a more dramatic and spatial Underestimate the Power of Life program of the UCLA Animation picture. Drawing.” His drawing manuals Dept., Walt Disney Feature Compare these drawings and video tapes may be pur- Animation and Warner Bros. to see how the tone adds depth chased in the Animation World Feature Animation, and has been and gives a more complete feel- Store online at: sent to teach artists at Disney TV ing. Go back and look at the draw- http://www2.awn.com/awnstore studios in Japan, Canada and the ings in the previous chapters and /index.php3. Philippines. Vilppu has also see where I have been using this worked in the animation industry tool. This is one of the most practi- for 18 years as a layout, story- cal and useful tools an artist can board and presentation artist. His have to give the illusion of space. drawing manual and video tapes Note: Readers may contact any are being used worldwide as Additional examples of Vilppu’s Animation World Magazine course materials for animation work can be viewed online at contributor by sending an e-mail students. http://www.awn.com/mag. to [email protected].

Figure 4. Figure 5.

Figure 6. Figure 7.

ANIMATIONWORLDMAGAZINE December200040 UrbanEntertainment: Siting A Skyline Across The Net by Lee Dannacher liding into the 21st Century, the word ‘urban’ remains Ssynonymous with ‘hip.’ If it’s urban — it’s appealing, fresh and hot. And if it’s UrbanEntertainment.com, it is way hip and getting hotter each month as the vibrant dot-com paints a fresh skyline across the Net. Beginning in July of ‘99 as a B2B Website specializing in the distribution of black independent films, UrbanEntertainment has on NBC’s Third Watch. For since evolved into a bona fide des- UrbanEntertainment, Ridley’s tination site featuring acquired riotous blaxploitation series chroni- and original fare targeting the cles the exploits of an afro-sport- African-American audience. CEO, ing, ‘70s Shaft-type action hero Founder and President Michael working undercover for a secret Jenkinson has attracted the best organization to “level the playing and brightest of the industry’s field for African-Americans.” established black directors, writers, Becoming an instant Web hit, producers and actors who are Undercover Brother soon sparked looking to shape bold artistic turf a Hollywood bidding war for the on the new media stage. In record property’s offline rights. In May, time, UrbanEntertainment has Jenkinson and Ridley made become a showcase for conta- Internet history by inking a deal gious comedy and on-the-edge with Imagine Entertainment and Universal Pictures, making this the drama. Although set-up to CEO, Founder and President Michael service the under-represented Jenkinson. Photo courtesy and first Net-borne project to get niche of black viewers, © Urban Entertainment. picked up for the theatrical mar- UrbanEntertainment’s program- interviews and now includes five ketplace. Jenkinson and Brian ming has, in reality, left no ethnic original animated series that have Grazer of Imagine will produce, or non-ethnic viewer by the way- rolled out over the past eight with Ridley writing and exec-pro- side in its presentation of shows months. The first to debut last ducing the live-action film. with strong crossover audience March was Undercover Brother Also last spring, the nascent appeal. from the prolific veteran John dot-com launched the comic A.J. Ridley, whose striking resume Jamal’s popular Pookie Poo series Taking It To The Street includes writing the Gulf War that centers on a fast talking, Today, the young company drama Three Kings, writer/ street-wise hustler operating on boasts a burgeoning library of live- director of Cold Around The Heart, the game show circuit. On the action features, shorts, celebrity and current producer/writer darker side, established scribe Ben

ANIMATIONWORLDMAGAZINE December200041 year working in the financial industry for Chase Securities in New York. Embarking on a new career path, Jenkinson then crossed back over the border to become a resident producer in Norman Jewison’s Canadian Film Center where he spent the next year in intense and immersive studies of the entertainment world. Wanting to be at the “epi- center of the activity,” he struck out for L.A. and quickly landed an intern position at 20th Century Fox. In the ensuing six years, Jenkinson rose first to VP of Acquisitions before moving over to work as Fox’s Vice President of Development and Production. Undercover Brother flying high with the series’ growing success. © Urban Entertainment. Although valuing his expe- Ramsey (The Big Hit) premiered his taining black women living in riences there, Jenkinson became dramatic series entitled The Chicago and what they go more and more frustrated over the Contract, which follows the life of through in their day to day life limitations of shepherding ethnic a professional assassin as he strug- dealing with men, family, money related projects through the gles with inner, and literal, and jobs. Challenged by the huge entrenched studio systems. The demons. Then the very hip and numbers of people now logging Web’s landscape during the fall of funny Cisco and Ripple went live on to the site, Andrews says of her 1998 was pivotal, then, to as UrbanEntertainment’s weekly new Net audience, “I want them Jenkinson’s next move. Online series for movie reviews. Written to be able to come away with trading services like Schwab and E- and voiced by A.J. Jamal and fel- something funny, something sort Trade had just hit their stride and low comedian Spencer, Cisco and of ‘bad,’ something sort of wry, Jenkinson, having always been Ripple stars two brothers ‘straight something raunchy on occasion fairly active in the stock market, from the hood’ who give us — — and something educational.” says, “In doing my research for with a decidedly urban attitude — All five of UrbanEntertainment’s investment purposes, I focused on their timely critiques on today’s current series Netcast loud and Internet entertainment compa- current movie premieres. clear the budding company’s aim nies.” He recalls, “It wasn’t hard, if UrbanEntertainment to serve up fresh ideas and con- you were paying attention, to see unveiled their fifth original series tent we would be hard pressed to that something really fundamental Sistas ‘N The City at the end of find anywhere else. was happening to the way we October, created by well-known communicate and entertain our- writer/producer Tina Andrews An Urban Dream selves and conduct commerce. It (scripter and producer of the the- A Canadian by birth, became a really appealing time to atrical Why Do Fools Fall In Love, Michael Jenkinson ventured do something entrepreneurial, writer/producer of the TV mini- through several different land- which was always part of my plan. series Sally Hemmings: An scapes before launching himself I felt that I had a pretty well-round- American Tragedy and writer of onto the Internet frontier. After ed background that would lend the recently aired CBS miniseries working as an attorney with the itself to allowing me to start some- Jaqueline Bouvier Kennedy Federal Department of Justice in thing — the legal background, the Onassis). Andrews’ comedic and Toronto, he obtained an MBA from business background, as well as sensitive Sistas revolves around the the prestigious Ivey School of the creative entertainment experi- lively world of four young, self-sus- Business and subsequently spent a ence. It just seemed like an irre-

ANIMATIONWORLDMAGAZINE December200042 sistible time and so I launched the site.” earlier held the same post at Silver UrbanEntertainment.” Jenkinson next focused on Pictures (having first received his Enlisting award-winning the acquisition of Net-friendly MFA from USC). Lee and Jenkinson independent producers Nichelle Flash animated content but was agreed to stay small and spend Protho (VP Programming and disappointed in finding very little every dollar they made on creat- Production) and Angela out there of interest at the time. ing productive assets instead of Northington (VP Acquisitions and That’s when the risky leap to origi- creating costly infrastructure and a Development), Jenkinson opened nal series was made. “My idea was numbers-heavy staff. “Our philoso- shop in the early summer of 1999. that I would get into production phy has been, ‘Let’s be scalable. They began in earnest acquiring and do it with really talented, real- Let’s only bring in-house the essen- the many African-American films ly experienced storytellers and I tial team and outsource every- he’d screened over the years would marry that talent with the thing else,’” Jenkinson explains. To which had not been picked-up by technical expertise.” He admits that end, they have expanded to the majors or mini-majors with the that undertaking animation for the just 10 key and carefully chosen plan to distribute them primarily to first time in his career was “really employees — which also fits outside video and TV venues. As a more of a natural progression Jenkinson’s belief that, “I’ve always marketing gimmick, the trio start- based on the state of technolo- seen this business as a boutique ed the company’s first Website gy…what could really play well on business and I think you have to UrbanMedia.com where distribu- the Net.” But subsequently, he be really hands on in terms of who tors, armed with a password, declares, “I’ve become really quite is creating and overseeing the could access information to a fanatic of animation. You know, content in order to insure really Urban’s catalog, screen trailers and it’s just the limitless possibilities of high quality.” The dot-com’s roster in some cases, even view the full- what you can do at a price and it’s now includes Casey Cuddy as VP length motion pictures. The novel- the best use of the technology in of Market Development, Rebecca ty of selling features online “cer- terms of entertainment on the Ford as Sr. VP Business Affairs and tainly got us the attention we Internet at this point in time.” the recent addition of Debra needed,” Jenkinson remembers, Langford as Sr. VP Production and “…and as a spin-off, I found that I Development, who comes to the was getting a lot of traffic from Netcaster after serving as a Vice individuals that weren’t in the busi- President in programming at ness, who weren’t distributors, Warner Bros. TV and an earlier and they were constantly e-mail- turn with Quincy Jones’ television ing saying, ‘How can I watch the operations. As planned, the site’s movies?’ That gave me the idea — backend technical needs are all why don’t I try to service that traf- being handled outside the compa- fic? And so I started to buy short ny and animation deals are cur- films, as well, making those avail- rently in place with the Burbank- able for everybody to watch on based studio Flip Your Lid for the Damon Lee, Urban’s President of majority of their series, with Elliott Production and Development. Photo courtesy and © Urban Entertainment. studios in Toronto handling other animation shows in the line-up. Welcome to the ‘Hood In early summer, with the Building Up The Block number of original projects begin- Building onto their already ning to swell, Jenkinson brought impressive first year block, his friend and associate Damon UrbanEntertainment recently Lee on board as President of revealed a full schedule of new Production and Development. shows that will be ready to launch Prior to joining the fledgling early next year. Jenkinson, obvi- As Sir Dunkalot, Undercover Brother dunks college b-ball corruption in episode Netcaster, Lee was Vice President ously enthused, says, “We have a eight. © Urban Entertainment. of Production at MGM and had really good line-up of some of the

ANIMATIONWORLDMAGAZINE December200043 most established and some of the John Singleton (Boyz ‘N The Hood Music, which will take us deep hottest up-and-coming African- and this year’s Shaft) will make his inside the music world with an American talents in Hollywood. It’s first foray into Internet entertain- out-of-control gangsta rapper great the way talent has respond- ment, co-creating with comedian attempting to clean up his act ed. I think that they’ve been very Freddy Ricks a New York street while the powers that be work to excited by the opportunity to life comedy called Hustlin’ maintain the status quo. reach their audience directly with- Hank…. renowned director Producer Nichelle Protho is out any gatekeepers…being able George Tillman Jr. (Soul Food and brazen in facing the accelerated to prove that their ideas have Men of Honor) will be working production slate. A graduate of appeal as opposed to having with his producer Robert Teitel on the University of Southern somebody determine that before an original series currently under California’s School of Engineering, they get an opportunity to show it wraps….Malcolm D. Lee (of last she went on to a successful career to an audience.” year’s debut hit The Best Man) is as a software engineer, segueing working on the tentatively titled into a producer of numerous dra- Baby Mama Drama, a series where matic shorts, music videos, docus, he’ll examine the varied philoso- commercials and, most recently, phies of a pseudo-black nationalist co-producing Ben Ramsey’s indy barber constantly juggling his two feature Love and a Bullet. Protho very different babies’ states, “The best part of working mamas…..There Goes The Nation here is that my creative voice is created by Chris Mack (former staff heard 90% of the time. It’s undeni- Pookie in bed with Carrie from A.J. writer on ER and The Practice) will ably the most freedom I’ve had to Jamal’s popular Pookie Poo series. © Urban Entertainment. deal with a multi-cultural, multi- voice my opinions in Hollywood.” dysfunctional first family of the The challenge, she feels, “is to be First up will be a second new millennium…..and from even more groundbreaking” animated Web skein from John Cheo Hodari Coker, respected as UrbanEntertainment’s focus Ridley, this one based on his sci-fi journalist and scripter of the in- changes from just getting eyeballs novel Those Who Walk In progress Marion Barry and Tupac to the site into keeping the audi- Darkness. Departing from the Shakur biopics for HBO and MTV, ence coming back. In her close comedic tones of Undercover respectively, comes The Devil’s work with high caliber, traditional Brother, Ridley will write, produce and direct this anime-like series centering on a rookie cop charged with the task of hunting down mutants with superhuman abili- ties. Also mixing his artistic talents for a first online adventure will be noted director Reginald Hudlin (House Party, Boomerang). Signing with Jenkinson last July, Hudlin will write and produce a highly interactive point-of-view series entitled Game where view- ers will be able to control aspects of a young man’s attempts in seducing women. Opening the flood- gates just last month, UrbanEntertainment added to their lengthening A-list of new pro- Are blacks and whites finally living in harmony, or is it The Man’s Hallucinatrometer? duction deals by announcing: You can find out in episode nine of Undercover Brother. © Urban Entertainment.

ANIMATIONWORLDMAGAZINE December200044 artists (who are coming from woman?’ And I’d say, ‘Well, no it adventure began when Jenkinson longer format TV and feature pro- doesn’t have to be a black approached her last June. “One of duction), Protho observes that one woman. I choose to make her a the things that I was lamenting of the biggest adjustments for black woman.’ That never came about at the time,” she says, “was some of them is in creating suc- up with UrbanEntertainment — the fact that we couldn’t get any cessful storytelling in the limited and that’s actually one of the really cute, quirky black shows to two-to-four minute Web seg- things that was very attractive to be committed to on the networks. ments. “We stress the need to be them because they know that that I would say, ‘Where are the black impactful, similar to how a com- is an audience that’s not being Ally McBeals? Where are the black mercial writer/director works,” she served. So, they had more incen- Providences? Where are the black says. “Fortunately for us, our tives, not less, to go with this prop- Sex in the City’s?’” And when writer/directors are so full of great erty. And obviously, I’m very grati- Jenkinson replied that that was ideas — and the Hollywood stu- fied about that.” just the kind of material she could dios haven’t come close to drain- develop for UrbanEntertainment ing this well of creativity — that it — where she would have com- is nearly impossible for them to plete autonomy to do whatever miss their mark on the Internet!” she wanted to do and say what- ever she wanted to say — those Painters On The Scene were golden words. “For some- John Ridley could not body who is very controlling,” she sound happier in describing his laughs, “this was music to my first experiences in Net animation. ears!” Working with Flip Your Lid On Undercover Brother, he says, through the design stages was “It was literally from the time I got Tina Andrews’ Sistas ‘N The City very stimulating as well, especially the first script in and the time we portrays four African-American women given Andrews’ own artistic in Urban’s fifth original series. got up on the Internet was about © Urban Entertainment. endeavors in painting and pho- three weeks. It’s a very streamlined tography. “I was very specific process and one of the great Ridley is also enjoying the about what I wanted the girls to things about working with ‘smallness’ of Web production, elu- look like in terms of skin colors, UrbanEntertainment is that they cidating how his world in televi- hair texture, hair length and fea- don’t develop. They only pick up sion series is replete with huge tures because I wanted a repre- things that they want to do. Once crews, revolving directors and tons sentative cross-section of a lot of I pitched the idea to Mike and he of writers. For his Net series, on different types of black women.” approved it, we were good to go. the other hand, “If I need to make The animators didn’t disappoint They’re there to really help the a phone call, I don’t have to call 50 her, nailing the final designs down artist,” Ridley continues, “and that’s people. I can call Mike and say, within the first few drafts. The art what is exciting about working in ‘Hey, can we change this,’ or ‘Add of animation has been a fulfilling the Internet. It’s not about the that”…and it gets done.” Ridley trip for her overall, Andrews money, it’s about having the speaks highly of Flip Your Lid (the declares. “I will tell you that what’s opportunity to be creative and studio animating both his series) the beauty of it is actually design- have people support your creativi- saying, “They do a great job and ing and creating those characters ty.” That new attitude was espe- they’re very creative people, as and seeing them exactly as you cially relevant with his second well.” Same goes for his voice envisioned them as opposed to series Those Who Walk In actors, he states. “When they go going out and trying to cast some- Darkness which stars a black, in, they know the kinds of things one to come up to that vision. It’s female lead. “When I first went out that I like and they are not afraid to like having someone actually paint with this property,” he says, refer- come up with some ideas that are your fantasy and giving it back to ring to making the rounds at tradi- also very funny on their own.” you!” tional media studios, “the first Tina Andrews is also elated Sistas ‘N The City is influ- thing that people always asked me by her first time out in animation enced heavily by Andrews’ contin- was, ‘Does it have to be a black and Internet production. Her uing interaction with her own

ANIMATIONWORLDMAGAZINE December200045 more community and much more opportunity for feedback and, even to some extent, interaction with the more popular charac- ters,” he says. He believes audi- ence response is increasingly vital to their operations not only because of its helpful direction for the shows’ creators, but it gives the company valuable data with which to arm themselves when they go out pitching their shows for offline possibilities to the televi- sion and feature studios. What sets UrbanEntertainment apart from so many of the struggling destination venues is that — because of their offline sales and distribution of In episode one of Sistas ‘N The City it’s one of those “booty-call, gee-I-hope- films — they have had a solid rev- my-friends-don’t-find-out” things. © Urban Entertainment. enue stream from day one. As long-time girlfriends and she incor- can be handled. Virtually all the their online offerings expand, porates much of their true-life scripting, animation, design and however, Jenkinson is naturally humor and characterizations into track edits can be zipped for com- looking closely at developing all her series (including their Friday ments and approvals via e-mail other revenue potential including night card games). Directing the files, allowing her to keep up with syndicating their series as re-pur- voice recordings herself assures the voluminous amount of other posed programming (e.g. for Andrews that the characters will work on her plate (including a hip- interstitials), rich media adver- remain true to each one’s distinc- hop version of The Wizard of Oz, a tising, sponsorships and product tive attitudes and distinguishing mini-series on Coretta Scott King placement opportunities. vocal deliveries. She’s thrilled with and an upcoming tour for her Additionally, the company is the incredible talents her four book depicting the sixteen year involved in several proof-of-con- main actors bring to each session journey of the making of the Sally cept structures where they will be — where they also voice all the Hemmings film). Although she providing content to emerging other female parts in the series, as says that the tricky part of her technological platforms — thereby well. Andrews, who had her own Webisodes is writing storylines in positioning themselves and creat- prominent acting career early on, just four pages, it’s readily appar- ing the relationships that will remains untempted to jump in ent that she’s enjoying every ensure them an early place in front of the mike for this series. She minute of Sistas ‘N The City — tomorrow’s entertainment environ- laughingly responds to that idea describing her stint with ments. with, “Oh no-no-no, it really is UrbanEntertainment by saying, “It The important considera- enough to be executive produc- really allows me to stretch in new tion in building a new online ing, directing the episodes, writing ways and sort of exercise new forum, Jenkinson thinks, is in how the episodes and overseeing as muscles that I would not have to approach both long and short much of it as possible!” However, done in conforming to offline tele- term assessments. “Every decision she then trails off with, “There is vision and film work.” becomes that much more compli- one character coming up in a cated because you’re dealing with wedding sequence, though…” City Scaping The Future rapid obsolescence and opportu- For her initiation into Jenkinson excitedly talks nities you’ll have to forego if you’re Internet series, what has also about the upcoming ‘version two’ already locked into something proved crucial for Andrews is the of the UrbanEntertainment site. “It else.” He concludes that, “The ease with which Web production will definitely incorporate much biggest challenge that faces all of

ANIMATIONWORLDMAGAZINE December200046 us is the ability to maintain flexibil- you trust?” In rolling out its daring, ity and scaleability while at the energetic and innovative program- same time putting into place ming, the brothers’ very own things that make for a viable and Netcaster, UrbanEntertainment, is long-lasting enterprise.” New assuredly answering the call. challenges notwithstanding, Jenkinson is having a great deal of Lee Dannacher, currently based fun working within the new free- in New York, is a supervising pro- doms of Net production. “Here, ducer and sound track director of we make things and immediately over 350 half-hours of television Urban’s Cisco and Ripple deliver animated series, along with get feedback and so the process film reviews with flavor. feels so much more productive © Urban Entertainment. numerous home video and film than anything that I’m accus- know it very soon!” productions tomed to. It’s very exciting to get Devoted viewers can now up in the morning knowing that be heard offline mimicking the sig- Note: Readers may contact any I’m going to achieve something nature closing for each Cisco and Animation World Magazine today. It’ll either be great or it’ll be Ripple movie review, where the contributor by sending an e-mail bad,” he laughs, “but at least I’ll duo asks the audience: “Who can to [email protected].

Bonus HTML Features Every on-line (HTML) issue of Animation World Magazine contains additional features not found in the download or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended articles and special sections. Don’t miss the following highlights that are showcased exclusively in this month’s Animation World Magazine HTML version:

• My Week In India As A Master of Animation David Fine tries to convince us that being a “master of animation” for a week in tropical India isn’t all fun and games. We remain unconvinced. See people, elephants and more online at AWN’s photo gallery at: http://www.awn.com/mag/issue5.09/5.09pages/fineindia.php3. • Fresh From The Festivals Maureen Furniss reviews short films: Dottini Suru? (Your Choice!) by Koji Yamamura, The Man with the Beautiful Eyes by Jonathan Hodgson, A Supseita (The Suspect), directed by Jose Miguel Ribeiro, The Periwig-Maker by Steffen Schäeffler and Michael Dudok de Wit’s Father and Daughter. Download a clip from each of these films online at: http://www.awn.com/mag/issue5.09/5.09pages/5.09festival.php3. • Vampire Hunter D: The Next Anime Hit in America? Fred Patten takes us inside the latest super-cool anime release coming to Japanese and (hopefully) U.S. theatres soon. Vampire Hunter D is back…and this time it’s being done right. See a QuickTime clip online at: http://www.awn.com/mag/issue5.09/5.09pages/pattenvampd.php3. • Sketching on Location: Light and Dark Patterns Renowned drawing instructor Glenn Vilppu continues with his fourth installment discussing how to use light and dark patterns to create depth and perspective while sketching on location online at: http://www.awn.com/mag/issue5.09/5.09pages/5.09vilppu.php3. • Annie Awards 2000: Better Than The Oscars ASIFA-Hollywood’s Annie Awards are a high point in the animated year and this year was no exception, if a bit frigid around the edges. Check out the photo gallery only available online at: http://www.awn.com/mag/issue5.09/5.09pages/kenyonannie.php3. • Cinanima 2000: On Children And British Humor Annick Teninge visited Portugal’s Cinanima and found a lively festival that has made a real impact on its host country. Check out the photo gallery online at: http://www.awn.com/mag/issue5.09/5.09pages/teninge.php3.

ANIMATIONWORLDMAGAZINE December200047 A Stocking Stuffer That Gives More by Jacquie Kubin omething special for the film the fastest growing entertainment full of surprises!” For film fans, film- and animation holiday segment in history with more than makers, animators and animation Sstocking can be found on nine million players already in con- fans, bonus materials mean more the DVD movie shelves. Enhanced sumer homes. than added entertainment value. with bonus footage that provides Meeting the demand for They can also provide a virtual sneak peeks behind the scenes of DVD enabled movies, studios classroom on how some of the favorite movies, DVD’s are no have released more than 8,000 greatest films to hit the silver longer just entertainment. They DVD video titles. While most screen have been made. also provide how-to tutorials fea- movies run from approximately 75 turing the directors, artists and cre- to 100 minutes, DVD capacity Get Up Close to Burton’s ative talents behind the movies. allows for up to, and sometimes Nightmare “Viewing a DVD has become exceeds, two hours, or 120 min- DVD’s released for this holi- more than the passive experience utes, of run time. Adding a new day are the animation tours de’ of watching a 2D movie,” said budget line item to film produc- force of Tim Burton’s Nightmare Martin Blythe, VP Publicity, tion, studios are filling the DVD’s Before Christmas Special Edition, Paramount Home Entertainment. enhanced capacity with “behind- James and the Giant Peach Special “It becomes a way for consumers the-scenes” information explaining Edition and Toy Story Collector’s to build their own narrative experi- some of the how and why of film- Edition The Ultimate Toy Box. Each ence in and around a movie.” making. These features normally of these films’ DVD releases con- Since it first launched in 1997 to include a documentary type short tain bonus features that explain today, the DVD format represents film introducing the key people that took part in the film’s creation, “behind-the-scenes” information on the production of the film, interviews with starring cast mem- bers, movie trailers, sound track videos and even technical infor- mation about the film’s pre-pro- duction stages. “We have just released MI:2 (Mission Impossible:2) on DVD and it is a film that demands these bonus materials because it’s so full of ‘how in the world did they do that’ stunts,” Blythe says. “We have included almost 50 minutes of material on how Tom Cruise did Tim Burton’s The Nightmare Before the most dangerous stunt work The Mission Impossible: 2 DVD offers film Christmas DVD Special Edition Set himself and how the stunts were fans, filmmakers, animators and anima- contains bonus materials including two actually done. None of this materi- tion fans a virtual classroom on how of Burton’s earlier films, Vincent and some of the greatest films to hit the sil- Frankenweenie. © Touchstone Pictures. al was released during the film’s ver screen have been made. © 2000 by All rights reserved. theatrical release and the DVD is Paramount Pictures Corp. ANIMATIONWORLDMAGAZINE December200048 Lock, Shock and Barrel, a trio of troublemakers, help Jack Jack Skellington performs an unfamiliar role as Santa in Nightmare Skellington play Santa for a stint. © Touchstone Pictures. Before Christmas. © Touchstone Pictures.All rights reserved. All rights reserved. the groundbreaking animation “The DVD medium allows for not sequences and a storyboard to techniques and skills used in creat- just the inclusion of additional film comparison that takes a few ing these films. Lauded with acco- materials, but the ability through dozen scenes, comparing them to lades such as “breathtaking” and well integrated menus and navi- the actual storyboard drawings. “never before seen,” Tim Burton’s gation to make the experience Extremely interesting to stop-action Nightmare Before more involving for the viewer,” view is the still frame gallery of Christmas (Touchstone, 1993) is Chris Carey, Senior VP for more than 450 conceptual art highly regarded as the first mod- Technical Operations, Walt Disney images, including some of Burton’s ern, and in many viewers’ opinion, Studios explains. “DVD is creating original character and scenery best full-length stop-action feature a more educated viewing audi- sketches. For animation fans and film. (However, this is a much ence that has a greater appetite animators, the most intriguing and more hotly contested subject since for more information about the fascinating aspect of this DVD’s Chicken Run hit the screens this films, how they were made and bonus material is The Making of past summer.) The story is of the the story behind the scenes.” Filled Tim Burton’s Nightmare Before Pumpkin King, Jack Skellington, with feelings of German expres- Christmas documentary. During who resides and lords over sionism, Burton’s professional this film short, viewers will see and Halloween town. One day, follow- directorial debut, Vincent is narrat- hear Tim talking about his original ing the annual Halloween celebra- ed by film legend Vincent Price. It ideas before being taken through tion, he becomes disenfranchised is impossible not to see a fore- the step-by-step process of creat- and seeking something else, finds shadowing of things to come, par- ing this breathtaking film from Christmas Town. Enamored of its ticularly The Nightmare Before concept to final lighting and cam- colorful lights and buoyant spirit, Christmas, in both story and style. era operation. Viewers will meet The Pumpkin King plots to kidnap The other film, Frankenweenie is composer and lyricist Danny Santa Claus, or Sandy Claws as an uncut version of his original Elfman and legendary director Jack refers to him, in order to film that has never before been Henry Selick who took Burton’s become the red coated emissary made available to consumers. concepts and turned them into a of good will. Only Jack doesn’t “Vincent and Frankenweenie are film. The documentary also shows really get the concept, hence the two films produced by Tim in his some of the more than 100 artists nightmare begins. early days at the Disney Studios,” and technicians, including 13 ani- Standing the test of time, Carey says. “They clearly demon- mators, who spent more than this stop-motion masterpiece has strate Tim’s predilection for a style three years working to bring this been released on DVD within a of filmmaking.” Taking viewers film together. This filmmaking special edition set that includes deep behind the scenes of the cre- “how-to” explains how the film plenty of bonus materials includ- ation and filming of this ground- required the creation of hundreds ing two of Mr. Burton’s earlier breaking film are looks at some of of puppet characters that anima- films, Vincent and Frankenweenie. the deleted scenes and animated tors moved 24 times per each sec- ANIMATIONWORLDMAGAZINE December200049 Jack’s version of Santa leaves a young boy astonished when the Lock, Shock and Barrel kidnap the real Santa Claus allowing gift he delivers decides to devour the family Christmas tree. © Jack Skellington to take his place. © Touchstone Pictures. Touchstone Pictures.All rights reserved. All rights reserved. ond of film, against a backdrop of own CD, making this special edi- some of the same creative team 230 sets housed on 19 different tion a three volume set, is the that worked on Nightmare Before stages. Watchers will see how bonus features of Toy Story I and II Christmas. Joseph Ranft, the storyboard Collector’s Edition. Both the Toy supervisor, worked to visualize the Story I and II DVDs contain some A Learning Tool film frame by frame, literally pre- bonus material including the DVD is definitely here to making the movie in static form Academy Award winning short Tin stay — at least until it is replaced before any other process could Toy found on Toy Story I and the by the next big thing. The high- begin. Academy Award nominated short density format allows movies to be Luxo Jr. found on Toy Story II. transferred from the big screen to Viewers will also enjoy on the set interviews with both Buzz and Woody. However, the third DVD features the documentary history of the making of Toy Story I and II. Other features include the process of character and location design and fans of this film will learn some of the moviemaking secrets behind this Walt Disney/Pixar release. The Toy Story Collector’s Edition also includes storyboard to film comparisons, original treat- ment ideas, music videos and a

The Toy Story DVD Collector’s Edition guide to some of the films’ hidden includes storyboard to film comparisons, jokes. original treatment ideas, music videos Another Disney animated and a guide to some of the films hidden jokes. © Disney Enterprises, Inc. modern classic is James and the All rights reserved. Giant Peach, a film that mixes live- action, stop-motion animation and Other Holiday Releases computer generated special Other releases to stuff an effects into one film. The holiday Promising to be another holiday favorite, animator’s stocking with are Toy DVD release celebrates the 40th the DVD release of James and the Giant Story I and II Collector’s Edition anniversary of the children’s story Peach Special Edition celebrates the 40th anniversary of Roald Dahl’s popular chil- and James and the Giant Peach. by Roald Dahl and viewers of this dren’s story. © Disney Enterprises, Inc. So voluminous that it required its DVD will get to revisit the skills of All rights reserved. ANIMATIONWORLDMAGAZINE December200050 the home screen maintaining a movie watchers are able to single Jacquie Kubin, a Washington, movie original widescreen format step frames in both forward and DC-based freelance journalist, on standard or widescreen TVs reverse or digital zoom into a enjoys writing about the electron- with their respective 4:3 and 16:9 scene to take in details. And, ic entertainment and edutain- aspect ratios giving a true to the- though it is not a heavily support- ment mediums, including the ater like experience in the home. ed feature now, those watchers Internet. She is a frequent con- Depending on the wants of the will be able to take a seat in a vir- tributor to the Washington Times consumer a DVD player can be tual director’s chair, changing the and Krause Publication maga- priced from under $200 for a sys- movie’s viewing angles while zines. She has won the 1998 tem that will meet most families’ learning about filmmaking from Certificate of Award granted by needs to more than $900 for a the upcoming and reigning kings the Metropolitan Area Mass player with enhanced storage and and queens of the cinema. Media Committee of the format compatibility features. As American Association of University prices for DVD players and movies Jacquie Kubin wishes Women. become competitive to the VHS everyone everywhere a joyous format, for the consumer, the DVD holiday season and prays that this Note: Readers may contact any movie’s biggest draw may be its year we can become just a little Animation World Magazine increased entertainment value. closer to peace and tolerance for contributor by sending an e-mail Depending on the DVD player, all people. to [email protected].

ANIMATIONWORLDMAGAZINE December200051 MMyyWWeeeekkIInnIInnddiiaaAAss AAMMaasstteerrooffAAnniimmaattiioonn by David Fine ish welcome festooned with flow- ers and gifts. The hotel was a resort near Trivandrum in the state of Kerala in the south of the sub- continent. The setting was no less than paradise; lush palms, the beach, the sea and the pool with its charming tiled mosaic of swastikas. Of course, this is an ancient Indian symbol, which has David Fine enjoys the lush coastal landscape of Trivandrum, the capital city of Kerala, more to do with luck than a mas- the state which hosts “Week With The Masters.” Photo courtesy of Toonz Animation. ter Aryan race. I also had a per- nimation festivals can be looking to establish the company sonal assistant to attend to my so predictable. The end- as a quality provider of original needs and make sure I showed up Aless procession of incom- animation for India and Asia. on time. His name was Shoubhik prehensible short films, the lavish At the same time, he also and he is a layout artist at Toonz. parties I’m not invited to and the wants to raise the profile of anima- He was very helpful because this illicit trade in meal tickets. So when tion in India and the Week with was one busy schedule. Most days Harvey Deneroff and Bill Dennis of the Masters is a big part of this. Bill started at 9 am and ended at 11 Toonz Animation India invited me also has a genuine excitement pm. Okay, it wasn’t all work, work, and Alison to attend their forum about what he is doing, which is auspiciously titled, “Masters of nice. He really appears to be Animation Week in India,” I knew thrilled to be hosting the event this was an opportunity not to be and to be inviting renowned ani- missed — despite my fear of get- mators to take part. ting malaria, the long flight, ‘Delhi Belly’ and the possibility of stum- Splendid Place, Splendid People bling upon spiritual enlightenment Soooo… I decided to and inadvertently giving up my life accept this fantastic, all expense in the West. Or worst still, becom- paid, first class opportunity to go ing a candidate for the Natural to a place which, despite numer- Law Party, like George Harrison. ous chicken tikka masalas, I have Still, Bill was coming never been. Alison decided to stay through London and invited us to at home since we have this lovely a swanky Park Lane dinner to three-year-old who already seems explain the whole thing. So far, so to catch every bug there is without good. Bill’s an ex-Disney bigwig going to a place where mosquito who has now moved to setting up bites can kill you. and running Toonz in India. Toonz So off I flew to the land of A traditional “Kathakali” dancer during provides animation services for the Raj, that great former com- a performance for the Masters. Western companies, but Bill is also monwealth state. I arrived to a lav- Photo courtesy of Toonz Animation.

ANIMATIONWORLDMAGAZINE December200052 ferent angle. More of an, ‘I don’t really know what I am doing here’ kind of thing. So lots of nervous coughing and charming, self-dep- recating little jokes. I don’t actually have to work hard at this tech- nique because it’s really all I know how to do. Bill Plympton is another thing all together. Here’s a guy who makes his own feature films. Literally almost everything is done himself and he likes it that way. It’s also part of the charm of his work. But he also produces his own books and videos himself so he comes on stage with a sack of the stuff to sell. It’s brilliant because you have an adoring audience Delegates and Masters flank a baby elephant, not an uncommon sight. From left to right: Nicholas Blechman, Bill Dennis, Harvey Deneroff with his daughter Allegra, R.O. and he delivers the goods. Who Blechman, David Fine, Bill Plympton, Joanna Priestley,Will Vinton and Arnab wouldn’t want to go home with a Chaudhuri. Photo courtesy of Toonz Animation. signed copy of Mutant Aliens for work, but it was busy. episodes of Bob and Margaret and only 500 rupees? I wonder if I Anyway, besides the splen- the short the series was based on, could have sold some copies of dour of the location, there was the Bob’s Birthday. Each of the Bob and Margaret if I had had delight of being amongst such a ‘Masters’ had to do a ninety- some. great group of animation people. minute presentation. I kind of for- Some friends I hadn’t seen in a got about that when I cheerfully while and some famous names I accepted the invitation. It was a had longed to meet. In addition to case of suddenly realising that I me, we had party animal Bill had to think of what to say a few Plympton and two members of days before leaving. I decided that the famous Portland animation I would concentrate on the mafia — the lovely and delightful process of turning a personal short Joanna Priestley and Mr. film into a series made with a big Claymation himself, Will Vinton. company and a few hundred peo- There was also the renowned illus- ple. Masters Will Winton and Bill Plympton. Photo courtesy of Toonz Animation. trator R.O. Blechman famed for his Still, I’m never all that com- wiggly broken line known fortable standing on a stage and A Master Is Taken Seriously throughout the industry as ‘That talking about myself. I feel kind of Despite the importance of Blechman look.’ Also one of the embarrassed about it. Fortunately, this gathering in India, I found that world’s greatest sound and music Will Vinton did a session before Indians have a very basic, even artists, Normand Roger was there me which was an inspiration. He’s old-fashioned view of animation. with the collection of mega-films so relaxed and confident and has They are really only familiar with he has enhanced with his sound lots of funny clips to show of danc- Disney type cartoons and produce work. India was represented by ing raisins and such things. He hardly any animation for them- the exciting young animator Arab also has a fabulous moustache selves. We had press conferences Chaudhuri. and a nice, shiny bald head which that attracted a large assembly of I think works well for public speak- the Indian press. The questions Stage Fright ing. I decided that I could never mostly were along the lines of, I was there with two compete, but that I would try a dif- ‘What do you think of Indian ani-

ANIMATIONWORLDMAGAZINE December200053 mation?’ Like I have any clue. I wanted to throw the question back and ask what they think of my animation, since I was here with my work, but alas, none of the assembled press had seen any of it. Perhaps it’s just as well because the short and the two episodes coincidentally contained lots of full frontal nudity and I’m not sure if that’s okay in India. Having said that, it might have elicited more interesting questions. They probably didn’t see Plympton’s work either. I wonder what they would have thought of it. The press conferences seemed more about reporting on the fact that some famous people An example of the elaborate costumes worn for the traditional temple folk dance from the West were here in the “Theyyam” of North Kerala. Photo courtesy of Toonz Animation. Indian state of Korela. It didn’t are just so many stories in India and they were actually pretty seem to matter too much what we without having to bother regurgi- good at what they did, but we did did, except that it was good that tating old folk stories in a new hear the same set on three differ- we were there and our status was, medium. ent occasions. I would have so if anything, elevated by the press Amongst our ‘tasks’ during much preferred ‘The Bootleg Ravi in order to make the story bigger. the week was to judge a festival of Shankar’s’ despite the fact that they Joanna Priestley was referred to in mostly student shorts from India were probably there to please our an article as a ‘household name in and South East Asia. There was a Western musical palette. The America.’ Of course she didn’t stop wide range of styles and qualities, Indian people liked them and getting ribbed about that one. I but lots of talent and artistry was in danced a lot, but not with the kept thinking, ‘Lemon Pledge, evidence, if perhaps in its early opposite sex. The boys could only Rice-a-Roni and Joanna Priestley.’ stages of development. Some dance with each other, and, come Bill Dennis rightly sees India quite sophisticated stuff and some to think of it, the woman didn’t as an opportunity waiting to hap- stuff which appeared as though dance. Odd how people can be pen. I mean here you have a bil- the filmmaker got bored and so working on computers in the lion people who adore films and finished it quickly without bother- Technopark, but still be encum- watch Indian made live-action all ing to do some re-shooting or bered with the practice of not the time. They are culturally very attending to a proper sound track. being able to dance with the rich and have so many stories to Come to think of it, I guess it was- opposite sex. Still, I didn’t dance tell about their lives and their n’t really all that different from either, but not for religious rea- struggles and their history. Not to most festivals. sons. I had to stay true to my wife, mention the wealth of folk tales, Alison. Mind you I rarely dance although I must say, I do get a bit Parties, Picnics and Princesses with her either. disheartened when I hear about We also attended numer- We also had a fabulous pic- making animated folk tales. I so ous parties and fun events. The nic with elephants. Not elephants much prefer original, contempo- organisers seemed to get a pack- sitting with us around a blanket rary human stories told from a per- age deal on an Indian pop group hogging the potato salad, but pro- sonal, subjective point of view. I who did covers of Seventies and vided for us to have rides on. This also like funny films, of course, but Eighties hits. Dire Straights, Stones, is a place where elephants are not with a human truth to them. There Pink Floyd, Dylan… It was all there uncommon as household pets.

ANIMATIONWORLDMAGAZINE December200054 They are very useful for carrying organised and I started to get heavy stuff around. On the other used to being called a “Master.” hand, you want to make sure they When you’re toiling away at your are house trained. I’ve never seen films you never imagine that it such a huge dump come out of might result in getting invited to anything. We all couldn’t help but some swanky do in some exotic stare, which I hope wasn’t uncom- part of the world like India and fortable for the elephants. Still, yet, there I was. Lucky me! they didn’t seem too concerned about privacy. It’s just such a differ- Be Sure to visit us online at: ent culture! http://www.awn.com/mag/issue I did go for my ride, 5.09/5.09pages/fineindia.php3 to although I was reluctant. I was a see our expanded photo gallery of bit queasy that day and so my the Week With the Masters event! sense of adventure was tempered by the fear of throwing up on the Also, see the all new David back of this great beast. I was Fine and Alison Snowden Website helped on and it seemed to be at: http://www.awn.com/snow- okay until the elephant got up. I den-fine/ for information and didn’t throw up, but the sensation images from Bob and Margaret of being lifted in the air by this and more of this imaginative cou- huge animal was unbelievable. ple's work. They appear such heavy, docile Riding atop an elephant, David Fine gets things, but their power is so a better look at India’s scenery. Photo David Fine is the co-creator and courtesy of Toonz Animation. impressive. I had heard of an ele- co-writer of the TV series, Bob phant who had killed its trainer would make of Plympton’s films. and Margaret. He and his wife and then trampled him flat as a Mutant Aliens has sex and vio- Alison Snowden, also created the pancake. Literally flat. I just could- lence, but I’ve never seen the two Oscar winning short film Bob’s n’t get that thought out of my together in the way Bill does it. In Birthday from which the series head so I was keen to get it over one scene a man’s eye is poked is based. They both work out of with and retreat to safety. out by the protruding nipple of a London where they are presently We also went on a tour of large breasted woman. Everyone’s consulting on 26 new episodes the city of Trivandrum. This includ- afraid of that. That’s why I wear of Bob and Margaret while ed a visit to what was a palace at impact resistant glasses. developing new ideas and one time, but which was now a Between all this, I got to playing with their three year old very dusty and hot former palace laze around the pool and eat daughter, Lily. full of dusty artefacts. The best part pineapples and drink fresh of the tour was that we bumped coconut juice. The food was fabu- Note: Readers may contact any into a woman who was actually a lous, if you like Indian food, which Animation World Magazine princess connected to this palace. I adore, and the people are contributor by sending an e-mail She found out that we did anima- amongst the kindest and friend- to [email protected]. tion and she asked us why so liest people I have ever met. many cartoons were so violent. Surprising that, considering the She referred to, as she put it, unbelievable security at the air- “Tom and that other one. What’s ports. I guess there’s a few bad its name? Jimmy? Jerry?” We apples out there. explained that we didn’t do that In the end, this was no less kind of work. I said that my films than an unforgettable life experi- usually contain penises and some ence and I was honoured and swearing. Well, I didn’t say it, but I thrilled to be a part of it. The thought it. I wondered what she whole event was wonderfully

ANIMATIONWORLDMAGAZINE December200055 East Meets Too Much West?: A Chat with Sayoko Kinoshita

The Hiroshima 2000 festival catalog cover. All images courtesy of the International Animation by Chris Robinson Festival, Hiroshima 2000. Japan Animation Association (JAA) is, according to one animator, at The front entrance of Aster Plaza in Hiroshima, site of the 8th International Animation Festival. the end of its rope with Hiroshima. This organization of independent animation artists has complained about the lack of an independent Japanese presence and that no special programs have focussed on the JAA animators. According to some in attendance, the pre- sident of JAA, Kichachiro Kawamoto, who was also the vice- president of the Hiroshima Festival, was quite critical of the festival during the 2000 closing ceremonies. In fact, Kawamoto announced this year that he would no longer cooperate with the festival as of 2002.

ff the bat. Thanks to the one of the elite animation festivals Brazilians, I’ve never in the world thanks to its relation- Obeen to the Hiroshima ship with ASIFA. However, unlike Animation Festival. See back in ‘96 Annecy or Ottawa, Hiroshima has I decided to go at the last minute. truly remained a festival that lives My travel guru got me some by ASIFA’s goal to “promote the art bizarre connection through L.A. of animation.” Thanks to strong on a Brazilian airline...Vespa or state support and public participa- something like that. Anyway, I get tion, Hiroshima does not need the to L.A. and am told there is no corporate support that Ottawa room and there is no way in hell and Annecy rely on. With this I’m getting on the flight. As I had comes the freedom to program some concerns about flying over more artistic‚ or independent ori- the Pacific I took the free hotel and entated work. Sounds like para- spent a day in L.A. So despite an dise, doesn’t it? honest attempt I’ve never been to Well, it’s not all heavenly. A Opening ceremonies of the festival’s Hiroshima. I just wanted to set the number of Japanese independent Welcome Party. LP straight before proceeding. animators have quietly com- I’ve heard many good plained that Hiroshima devotes On the other hand, things about the Hiroshima too much attention to Western Animation World has heard from Animation Festival. It is of course, animation from Europe, the U.S. several of the Western participants with Ottawa, Annecy and Zagreb, and Canada. In particular the who have nothing but exception-

ANIMATIONWORLDMAGAZINE December200056 ally glowing reviews of the event — stating the film selection was excellent and the workshops vital. With all this in mind, I was asked to sit down with Sayoko and talk about the goals of the Hiroshima Festival and her reaction to some of these complaints.

Chris Robinson: What is the pri- mary aim of the Hiroshima Festival?

Sayoko Kinoshita: I am organiz- ing the festival from an interna- A press conference conducted during the festival. tional standpoint, and moreover, notes that despite an increase in named “Frame-In” which the par- as a festival held in Asia, I am aim- Japanese entries, there is a ticipants could use freely to pres- ing the development of not only decrease in films being accepted. ent their works, to hold sympo- Japanese animation but also of the He wonders why the festival does siums, lectures, etc. Throughout Southern countries of our world. not accept more Japanese works the festival period, we place 5 staff The Hiroshima Festival has and suggests that you introduce a members as well as interpreters for been the only place where national competition or special “Frame-In,” and the facilities Japanese and Asian people could program (like a Panorama) to include high quality projectors for appreciate foreign animation introduce new works by Japanese 16mm, VHS (NTSC, PAL), Betacam (from Europe, North America, animators at every festival. (NTSC). Any participants can book etc.), synthetically and in volume, the space, and all the programmes and continuously. Japanese pro- are announced in advance ducers and animation people par- through the daily bulletins. ticipate to see the foreign anima- Japanese students and young film- tions, from the historical works to makers enjoy using this space to the latest. For the foreign partici- show their own works as well as pants, I have been trying to sup- to exchange ideas and informa- port them to facilitate their con- tion. Also, the festival side uses this tacts with Japanese professionals. space to organize “questions & Scene from the festival picnic. answers corners” between our CR: What about the complaints guests and the participants, and that you don’t devote enough SK: We always hold the special such programmes are well attention to Japanese animators? programme(s) for Japanese anima- received by Japanese young film- tion. We show various titles rang- makers as they can talk and dis- SK: My policy is that the chances ing from independent works to cuss more closely and frankly with must be given equally to every theatrical features, TV pro- the guests from abroad. Especially, filmmaker and there should be grammes, commercials, etc., from since HIROSHIMA2000, “Frame-In” no special consideration for coun- the pioneers to the contemporary. moved to a larger hall, next to our tries and/or regions, including Also, Japanese works are selected main theatre (within the same Japanese people. within several programmes which complex). I curate under various themes Also, since HIROSHI- CR: This is true enough but do (such as Best of the World, MA2000, I initiated a workshop you not feel some responsibility Animation for Peace, Animation space named “Kid’s Clips” where given that your country produces for Children, Asian Collections, children can enjoy animation a diverse and respected body of etc.). freely throughout the festival. Most work? Animator Koji Yamamura Moreover, we have a space of the participants are Japanese

ANIMATIONWORLDMAGAZINE December200057 tradictions here. You are providing a list of evidence saying that in fact you do support Japanese and Asian animation, while others speak to the contrary.

SK: I am quite confident that Japanese animators are receiving much benefit from our festival. Speaking of myself, also being one of the “independent Japanese ani- mators,” I have been doing all the hard work as the festival director, for the artists of Japan and of the world, for more than 16 years gra- tuitously, devoting my life. I do not complain about the situation, but I The crowd inside the festival hall. do my best to practice the art children. I invited a professional because they don’t see more movement myself for the better- instructor from France, and also, Japanese animation at the festival. ment. As you may understand, it is Elena Barinova, one of the AWG always difficult to satisfy all and members from Russia, joined us SK: We have always been making every people. with her 6 workshop children. up special programme(s) to intro- Japanese children were enjoying duce the animation scene to those CR: Tell me about it. Well thanks animation as well as the interna- countries which have had less for your time. tional exchange. We showed the opportunities to be presented cameraless animation (about 2 internationally. In the past, we SK: Thank you. minutes) made by our “Young introduced Republic of Korea, Directors, at the very end of our D.P.R. of Korea, Indonesia, Closing Ceremony, and the audi- Vietnam, Singapore, The ence could feel our future full of Philippines, Brazil, Malaysia, hope and happiness! Thailand, Sri Lanka, India, Turkey, By viewing many foreign etc. In order to make up such pro- quality works, young Japanese grammes, I myself always visit filmmakers are enjoying the bene- each country to research and fits of having the opportunities to exchange with their animation be inspired by and to study these people in person. This way, I could foreign animations. And, our festi- present their situation widely, val has been well recognized, including workshops, students, TV among the Japanese young film- programmes, commercials, pro- makers, as a “gateway” to become motional works, features, inde- the professionals. In proof of this, pendent works. Myung-ha Lee of the Republic of Korea accepting the Debut Prize award for his all the Japanese filmmakers whose film Existence. work was selected for our compe- CR: Who is your audience? tition are now working at the front As usual the words and line of our field, especially where SK: Our audience consists of: 45% whispers collide, burst and scatter they can make full use of their cre- are from Hiroshima City, 40% from down different avenues. The com- ativity and originality. other cities in Japan, and 15% plaints of the animators it seems from abroad. are aimed more toward the lack of CR: Some International guests Japanese animation in competi- have expressed frustration CR: There seems to be some con- tion then in special screenings.

ANIMATIONWORLDMAGAZINE December200058 This is a common complaint. In Ottawa, we’ve heard it. In Annecy, they’ve heard it. In Zagreb, they’ve heard it. What many pro-national- ist animators forget is that the fes- tivals are international. Secondly, they have an international jury. Opinions and tastes vary from fes- tival to festival. Should a festival director interfere and insist on a certain number of national or local films? No, if your aim is to show- case the best work. In Zagreb ‘96, the selection committee made concessions to national sentiment and the result was that some very weak films were shown in compe- Festival goers as they exit the hall. tition. A few years back a reality that you simply cannot Wendy Jackson's photo gallery Canadian animator complained please all. shows exactly who was there for about her film not being accepted the 1996 festival. (September and lightly accused us of being For more information on 1996, Vol. 1, No. 6). politically motivated. The funny Hiroshima, check out the thing is that if we were politically Animation World Magazine Chris Robinson is the artistic motivated the film would have acrhives for back issues and more director of the Ottawa been shown. Bottom line is that articles! These are the highlights of International Animation Festival. festival directors are generally our coverage of Asia's premiere doing a lonely thankless job for animation festival: Gigi Hu reports Note: Readers may contact any thousands of animation profes- on the 1998 festival (October Animation World Magazine sionals. It took me time, but obvi- 1998, Vol. 3, No. 7), Monique contributor by sending an e-mail ously Sayoko has mastered the Renault keeps a festival diary and to [email protected].

ANIMATIONWORLDMAGAZINE December200059 LEAF Roundup 2000 By Joe Fordham

or three days in Germany, Sweden, Switzerland mid-November, London’s and the United States. FKensington Olympia exhibi- tion hall played host to the sev- Day One enth annual London Effects and After a cocktail reception Animation Festival, LEAF 2000. for LEAF speakers the previous Breaking down the statistics, 99 evening, hosted by Rushes in a exhibitors spread themselves rooftop Soho nightclub, an unsea- across two floors at LEAF’s accom- sonably sunny morning greeted panying gathering of digital imag- the first LEAF speakers. Sean Schur ing purveyors, Digital Media of the Moving Picture Company World, from Nov. 14-16. Three chaired the event before an almost auditoriums on the floor above capacity crowd. “I’m not John contained 18 LEAF public speak- Lasseter, but I wish I was,” keynote ing events, seven master classes speaker Plympton said, referring to and five smaller tutorials delivered the Pixar Animation Studios direc- by more than 50 speakers. Add to Inside the Digital Media World tor who was scheduled to kick off this the LEAF Awards — a glitzy convention.All photos and images cour- the proceedings. Born in Portland, affair showcasing 32 productions tesy of the LEAF Festival. Ore., and now a resident of New in competition for eight trophies animation, but Bill is a great story- York, Plympton described himself — plus the inevitable slew of par- teller. We felt that it was important as a “stand-up comic with a pen- ties, and the event amounted to a to emphasize this because some- cil,” and illustrated his talk with significant media showcase for times the idea of creating effects examples of his self-styled brand of Britain’s VFX community. for effects films can carry people “therapeutic humor” — hand-ren- away and they can forget that dered, frequently scatological, effects are there to tell the story. satirical cartoons. We also have Peter Molyneux, whom we consider to be a guru in the U.K. for computer gaming. We realize how important 3D is to the gaming world, so this is our first step toward addressing that clique.” Stewart said the choice of venue is new for the festival this The Olympia Convention Center, home of the festival. year, placing the event closer to London’s Soho post-production “LEAF is really the jewel in community than its previous A sample of classic Plympton. our crown; it’s a celebration of best Wembley site in north London. work,” event director Jane Stewart The expansion was preceded by He screened an extract of said. “We have two keynote speak- nine months of teaser campaigns his latest feature-length work in ers this year. One is Bill Plympton, and advertising that built to a fever progress — Mutant Aliens — and who comes from the 2D world of pitch that brought in representa- explained his creative process. For animation. We traditionally cover tives from Britain, Ireland, France, Plympton, this begins with a gag

ANIMATIONWORLDMAGAZINE December200060 book he carries in his pocket and In the afternoon, VFX recently resulted in the production supervisor Craig Hayes regaled the of online 30-second Flash anima- audience with Tippett Studio’s tions produced for the Internet, manifestations of invisibility effects with titles such as Why Everyone for Hollow Man. Dominic Parker in Oklahoma Is Fat. Plympton dis- and Jan Hogevold recounted cussed America’s attitude to sex Computer Film Co.’s 350 digital and violence, censorship, translat- effects and CFC’s Digital Lab pro- ing hand-renderings to the Flash cessing of more than 80 minutes format, his TV commercial work — of production footage for Chicken a generally fruitful relationship that Shrek, the title character of Run. Damien Raymond Barker and enables him to fund his independ- PDI/DreamWorks’ next all CGI John Harvey of London’s boutique ent projects — and computers: animated film. post-production house Clear dis- “They’re too slow. I could make Smith discussed animation style, cussed the VFX behind singer 1,000 features for the price of pose-driven dynamics and the cre- Robbie Williams’ music video “Rock Dinosaur, “ he said. ation of “hairy bits.” The story’s nat- DJ — The Ultimate Striptease.” The Industrial Light & Magic ural environments also called for video stripped the British pop icon VFX supervisor Stefen Fangmeier the ingenious simulation of inter- to the bone with a combination of maintained the momentum with active mud and beer, while the prosthetic makeup and 30 sec- his discussion of The Perfect Storm. theatrical teaser trailer offered onds of motion-captured 3D ani- He reviewed ILM’s 25-year history glimpses of derring-do with a fire- mation, produced at Clear over in a video montage, noting he breathing dragon and a crum- five weeks. was a week away from celebrating bling castle. Shrek opens in the his 10-year anniversary at the stu- United States in May 2001. LEAF Awards dio, then illustrated the balance of Sony Pictures Imageworks Clear was among the recip- miniature, live and computer-gen- speaker Gregg Anderson next ients of the eight LEAF Awards dis- erated elements in ILM’s opening took the stage to discuss character tributed at the UCI Plaza Cinema, shot for The Mummy. “We had a animation in Stuart Little, Hollow just south of Piccadilly Circus. new bag of tricks for The Perfect Man, Spider-Man, Stuart Little 2 Deadpan British comedian Jeremy Storm, “ Fangmeier said, empha- and Harry Potter and the Hardy emceed the event, intro- sizing ILM’s ability to invest in the Sorcerer’s Stone. Sony Pictures’ ducing “the important and serious research and development ne- Spider-man, scheduled for release business of cartoons made by cessary to achieve the film’s in 2002, was the focus of the computers,” and Web animation 100% computer-generated VFX. audience’s questions, though “all done by spiders.” The winners, Discussion of fluid dynamics, ani- Anderson also noted Imageworks’ announced with irreverent, ra- matics and the importance of scale contribution of 500 VFX shots to pid-fire comic delivery, were as were followed by a Storm VFX Charlie’s Angels, which was sched- follows: blooper reel and questions from uled to open the following week the audience. in Europe. Animated commercial: Simon Smith followed with AKA Pizazz, Fishing Line a sneak preview of Pacific Data ______Images’ CG feature Shrek. Smith Live-action commercial: took the audience through the FrameStore, Chrysler Golden Gate production process behind the ______animated fairy tale — which fea- Feature film effects: tures the voice of Mike Myers as Mill Film, Gladiator the lonely ogre Shrek, Eddie ______Murphy as his sidekick donkey and Music video effects: Cameron Diaz as a feisty princess. Clear, Super Furry Animals Do Using 3D animatics, work-in- or Die progress tests and final footage, Music video,“Clear, Do or Die.” ______

ANIMATIONWORLDMAGAZINE December200061 Short film: mated character. Starting from the Disney’s Dinosaur, outlining the Pixar Animation Studios, For the art director’s original sketches, con- creation of CG dinosaurs and Birds cepts then were modified by lemurs and their prehistoric live- ______designer Ron Cobb and, under action environments, illustrating Titles, idents, stings: VFX supervisor Jeff Okun’s direc- his talk with the Secret Lab’s step- FrameStore, 10th Kingdom tion, AMEE adopted a playful by-step video and slides. He ______puppy-dog attitude in the open- revealed that his association with Student work: Johannes Weiland, ing of the movie, which gave way the epic production began with a Hessi James to a Clint Eastwood-like stare and a yearlong brainstorming process ______menacing, military demeanor in with VFX supervisor Neil Krepela in Web animation: her final scenes. 1994. This included consultation AKA Pizazz, Bird Interactive with associates at ILM, Santa ______Barbara Studios and DreamQuest Special animation award Moving Images before the Disney feature Picture Co. Body Story animation team decided to devel- op its own technology to realize The international cast of 2,000 scenes, cut to 1,300 for the nominees and guests adjourned film’s release five years later. to a smoky West End haunt, a brisk After lunch, veteran anima- walk away, under the Christmas tor Larry Lauria next hosted a Disney’s Dinosaur. lights of London’s Regent Street, course in character design in the and celebrated until the wee LEAF’s second keynote main LEAF auditorium, his first hours. speaker, Peter Molyneux, next took time in London. With a video cam- the audience from 1989’s Space era positioned over his shoulder Day Two Invaders era to the latest produc- toward his animation table, Lauria Freezing fog and bad traffic tion of Molyneux’s Lionhead instructed a small gathering of caused the second morning’s Studios, Black and White, 10 artists in classic 2D animation tech- schedule to be reshuffled to weeks before its scheduled release niques — snaps, reversals, stretch accommodate late arrivals. Alias date. Molyneux explained how and squash, character proportions Wavefront’s Richard Kerris intro- the elaborate, interactive role-play- and graphic design. duced Cinesite VFX supervisor ing game, inspired by a blend of Tom Smith, who delivered his King Kong and Dark Crystal, analysis of the 900 VFX shots in allowed players to control the fate Red Planet and the evolution of of God-like creatures that lord over the robot character AMEE a few a complex 3D environment. weeks before her U.K. theatrical Molyneux predicted computer debut. Smith explained the intense game characters eventually would seven-month process of bringing become indistinguishable from to life Cinesite’s first lead 3D ani- characters created for films such as Mill Film created many of the effects for the blockbuster Gladiator. Toy Story and Dinosaur. He also noted the comparative costs and Gladiator continued to returns of film and gaming tie-ins, draw audience interest with Mill citing the £100 million GoldenEye Film’s Dave Lomax providing step- movie budget and its £250 million by-steps of VFX scenes produced return; compared to the game’s £4 for Gladiator the Ridley Scott- million investment and £260 mil- directed Ancient Rome extrava- lion return. “LEAF is a great forum ganza. Lomax clarified Mill Film’s for the convergence of these two involvement in the much-dis- art forms,” he said. cussed tiger fight scenes — actor A shot from Framestore’s Neil Eskuri concluded the Russell Crowe was in the arena “Golden Gate” commercial. morning with a romp through with the animals; Mill Film closed

ANIMATIONWORLDMAGAZINE December200062 the gap — and revealed the Animation World Network produc- thoughtfully juxtaposing Disney’s extent of the CG replacement of er Dan Sarto, and his first speaker, Dinosaur on day one with the Colosseum in the equally John Bennett of the Moving FrameStore’s Walking With famous “360-degrees” Steadicam Picture Co. Bennett held forth on Dinosaurs on day three, and MPC’s shot. He also hinted at Mill Film’s the subject “How the Internet Body Story on day one with upcoming projects — Tomb Complements the Post Industry,” Glasswork’s discussion on a similar Raider, Cats and Dogs and Harry discussing MPC’s Internet and theme on day three. Smaller cours- Potter and the Sorcerer’s Stone — intranet asset management and es were aimed at working profes- and answered audience queries streaming media tools, screening sionals, including ILM’s guidelines about Mill Film’s use of flame* and live online examples of Unique ID’s for building a show-reel and a ses- Softimage in its feature work. Cakes software. sion with Sue Nichols of Disney on Dave Witters of WAM!NET storyboarding. followed with a discussion on a similar theme, titled “You Animate, We Render.” Sony Pictures Imageworks followed this with a discussion of platform integration, which concluded with a panel dis- cussion chaired by Mikael Shields Pixar’s beloved, For the Birds. of AtomFilms that asked, “Is there Pixar Animation Studios’ any future for putting animation Jesse Hollander also received an on the Internet?” enthusiastic response, and obliged Jetinder Patria, of the with an encore screening at his English West Midlands brand cre- presentation of the LEAF short film ation company the Boxroom, winner, For the Birds. As lighting stayed with the discussions for all The crowded convention floor of supervisor for the three-minute three days and proved to have Digital Media World. short, Hollander recounted the questions for practically every development and production of speaker. “I always like to come to Digital Media World the latest in the long line of Pixar’s LEAF,” he said. “It’s the biggest Perhaps the most-consis- award-winning in-house endeav- thing for CG in Britain.” The LEAF tent draw throughout the festival ors, emphasizing the Pixar credo, master classes maintained their was the Digital Media World con- “No amount of technology can draw through all three days, vention, where all the usual major turn a bad story into a good one.” software manufacturers were The day concluded with a assembled along with a gathering panel session headlined “Stop- of regional representatives. frame vs. CGI.” Despite the Softimage was touting XSI version provocative subject matter and an 1.5, in its European debut, while expanded panel of seven speakers Discreet Logic had Magma, its chaired by Andrew Ruhemann of code name for 3D Studio MAX Passion Pictures, the day’s late start release 4 — a VFX, animation and cut the discussion short, leaving gaming 3D software. Alias the question of validating the two Wavefront, RealViz and NewTek’s media unresolved. Lightwave also were centers of attention. See more details of soft- Day Three ware on display at the festival. Rain did not help the final Day two saw an imagina- day of speakers fill the main LEAF tive marketing gimmick that hall. A die-hard contingent of audi- caused momentary consternation, ence members arrived in time to when scruffy-looking youths be greeted by the day’s host, Sophie Trainor (right), LEAF host. appeared outside the conference

ANIMATIONWORLDMAGAZINE December200063 tion centers to help foster indige- nous talent. A few booths down, Mill Film reps were luring prospective employees with a video loop of Gladiator and their recent com- mercial output unspooling over- head. A long list of work-in- progress titles and upcoming proj- ects stood testament to the oppor- tunities available (Hannibal, Tomb Raider, Pluto Nash and more). Farther up the row, Laurence Plotkin, director of human resources and recruitment for Digital Domain, commented on the need for California VFX The recruitment village. facilities to be on the lookout for hall, parading about with ban- said her main aim at LEAF was new and emerging talent. “We’re ners, protesting the cloning of fur- recruiting for Passion Pictures’ new continually getting different proj- niture. On closer inspection, the TV series. “We have 26 episodes of ects that require different skillsets, campaigners were distributing fly- 3D animation, so this is a big push and much of the time our artists ers for 3D-model supplier for us,” she said. “We’re looking for gain experience internally then ReplicaNation. “They told us to people across the board: anima- move onto different roles, so we look earnest,” said one anony- tors, compositors, technical direc- need to bring people in to replace mous banner holder. tors, production staff. Talent is a bit those positions,” he said. “I’ve Three young ladies in latex thin on the ground, probably been at LEAF for the last three bodysuits also provided a splash of because a lot of people have gone years and I always enjoy coming color, strolling the convention floor to the States, but a lot of people here, meeting students and seeing for Xenturi, a new multi-media have seen Hot Spot, so we’ve had the level of achievement in the authoring platform due to be a pretty good response.” work and education in the U.K. I released in January 2001 by Nick Noreen Irwin, director of don’t get a lot of independent Stedman’s AuthorCo in Bristol, operations for Cinesite (Europe), solicitation from Europe, because England. Another eye-catching also acknowledged the migration people have to change their life to attraction was the availability of of talent, though she hoped to pursue that kind of opportunity, beer in lieu of mineral water as a address the issue. “At the moment and only a certain sort of person trading post refreshment. we’re really suffering in that we’re would be capable or willing to A rank of recruitment having a lot of homegrown talent do that.” booths lined the back wall of the peaking in their career and after The DD booth attracted upper floor at the convention hall, their training we lose them to the shader writers, software develop- marking the festival’s “recruitment States,” Irwin said. “Cinesite is ers and systems engineers. “I’ve village.” Digital Domain, Cinesite bringing a lot more production (Europe), Mill Film, Passion Pictures back into the U.K., so I think it’s and Pepper’s Ghost Productions, a important to try to communicate British broadcast TV and online that to students and experienced media animation company, were operators in the U.K. and Europe. in evidence. We want them to realize that they Cara Speller, 3D producer don’t have to go to the States to for Passion Pictures — runner-up work on the best productions.” in the LEAF short film category Irwin also emphasized Cinesite’s A crowd listens to the latest with its 3D comedy Hot Spot — affiliation with third-level educa- from Macromedia.

ANIMATIONWORLDMAGAZINE December200064 believe these shows are very important,” said 19-year old Robert Farrell from the University of Hertfordshire. “We’ve come here looking around for some new programs for Macs and Lightwave, because we’re doing a course in digital modeling and ani- mation using those tools and we want to see what’s developing in the marketplace.” Clearly, Farrell and his fellow students already had an eye to their professional future, and were all extremely con- scious of the digital media revolu- tion unfolding around them. “I want to get into games, but my second option would The Alias|Wavefront booth. probably be film and special also met some good animators Animations’ Mark Brierley (anima- effects,” Farrell said. “Britain is turn- that may not have access to the tor on Passion Pictures’ Hot Spot) ing out a lot of games developers kind of resources that we general- are among recent speakers at now because I think a lot of the ly see in the States,” Plotkin added. Bournemouth. “Mark works mostly kids around our age grew up with “By coming to LEAF we help to one-to-one with our students in computer games. So I think young share information with them in tutorial sessions, giving advice on people are going to veer more to what we’re looking for.” animation techniques, but he also games creation and they’ll want to does some fantastic lectures on see something of their own ideas Future Animators how to animate,” Morgan said. out on the platforms. If it comes to Farther along the upper Morgan also said he had more having to get more qualifications floor, Bournemouth University and than 200 requests for to get to do that, then yeah, I’ll go the University of Westminster also Bournemouth show-reels after the get the qualifications. Speaking were canvassing for talent. Both event. personally, I just want to get out establishments made mention of there and start using the tools.” their industry affiliations. Ashif Tejani, course leader in Joe Fordham is editor of Westminster’s M.S. in com- VFXPro.com, a fellow Creative puter animation, was offering liter- Planet community Web site, and ature advertising the school’s spon- on-line news resource for the sorship by Softimage XSI. Ben visual effects community affiliated Morgan and friends from with the Visual Effects Society. Bournemouth were evangelizing a range of courses from B.A. (Honors) in computer visualization The Avid booth was packed. Note: Readers may contact any and animation though to an M.S. Digital Media World Animation World Magazine in computer animation and made opened up its doors to student vis- contributor by sending an e-mail mention that they had been enter- itors on the afternoon of its final to [email protected]. taining Cinesite, Digital Domain day. As fleets of young visitors and Sony Pictures Imageworks poured off a bus, VFXPro stopped as candidates for guest lecturer to glean a student perspective at appearances. ILM’s Tim the convention entrance. McLaughlin and Aardman “For future animators I

ANIMATIONWORLDMAGAZINE December200065

On Children And British Humor by Annick Teninge

Festival Daily Newspaper cover number one drawn by Festival Daily Newspaper cover number two drawn by animator/director Jose Miguel Ribeiro. animator/director Regina Pessoa. All photos courtesy of the Cinanima Festival. he 24th edition of the art of animation, with high-quality Changing Espinho Cinanima International international programs and a con- Cinanima’s action certainly TAnimated Film Festival was stant focus on education. This is bears fruit. Locals such as Abi Feijó held November 6-12, 2000 in notably demonstrated by the cre- and José Miguel Ribeiro are now Espinho, a city located on the ation of workshops for kids in local internationally renowned anima- northern coast of Portugal. The schools, and this year’s presenta- tors. Abi was an art student when festival started in 1976 as a spin-off tion of “10 years of Anilupa,” a chil- he heard about the festival in of a local cineclub. Originally dren’s workshop located in Porto, 1977. He knew nothing about founded in 1956, within the cul- with a film program, workshop animation — there was no anima- tural section of the local sports and exhibition of optical toys. tion school in Portugal then, and club, Espinho’s cineclub broke up Cinanima also supports other local there is no animation school now. a few years later due to political projects such as the renovation of an He packed a bag, with enough repression, only to spring up again old factory into a permanent work- food for the week, and went to in 1976 after the national 1974 shop center, with a museum, per- Espinho. Although the entire pro- revolution. For over two decades, manent animation and multimedia gram amazed him, three anima- Cinanima has been promoting the workshops and a training facility. tors particularly impressed him: ANIMATIONWORLDMAGAZINE December200067 Cambre, a famous Belgian school; a retrospective of Brazilian anima- tion; and a focus on prestigious U.K. puppet-makers Mackinnon and Saunders, with a film pro- gram, workshop and great exhibi- tion of puppets, including puppets from Tim Burton’s Mars Attacks and Steffen Schaeffler’s The Periwig- Maker, featuring the little girl with her flaming red hair. Unfortun- ately, the puppets from Barry Purves’ films were not included, José Miguel Ribeiro, area Cinanima 2000 jury members Marcos Magalhães local and Cartoon d’Or and Bruno Edera. since they are permanently exhib- 2000 winner for The ited at the U.K.’s National Museum Suspect. of Film Photography and Caroline Leaf, Co-Hoedman and Aardman’s Chicken Run, in collab- Television located in Bradford. Marcos Magalhães. Since then Abi oration with Cinanima, was This year’s programming has attended every edition of the proudly held there. This new cen- was laced with a recurrent parent- festival, except one, when he was ter allows the festival to have one child theme, featuring a wide doing an internship at the location for the festival office, the- range of filial feelings and emo- National Film Board of ater and exhibition space. Now tions, from the most unspeakable Canada/NFB (the mention of the the festival organizers won’t have to the most beautiful. Although NFB in Marcos’ film credits had led to beg for empty stores to install they have a very different Abi to inquire about working their temporary offices and deal approach, both The Hat (Michèle there). Over the years, Abi, and his with last minute electricity and Cournoyer, Canada) and Daddy studio Filmografo, have won sev- phone connections, etc. And I (collective, South Korea, best eral awards at Cinanima and other first film award) treat child abuse in international festivals. This year, Programming and People a very powerful and moving way. Abi won both the Cartoon Among others, this year’s Run Of The Mill (Borge Ring, Portugal prize and the prize for program included: German films Denmark) shows parents’ inability best Portuguese script for his of the ‘90s, with films from six dif- to help their drug-addicted child, brand new film, Clandestino. José ferent art schools; a tribute to La despite their unconditional love. Miguel Ribeiro, director of The Suspect, is the most awarded Portuguese director to date, with 18 awards including the presti- gious Cartoon d’Or 2000. José Miguel credits both the Cinanima festival and Filmografo for his success. This year, Cinanima had a new space, the Multimeios Center, an interesting closed building, which, from the outside, looks like Noah’s ark. This ambitious con- struction was completed to host all kinds of cultural activities in Young architect Nuno Lacerda Manuel Cruz, best soundtrack jury, inside the Espinho, including Cinanima. In Lopez designed the Multimeios Multimeios Center. August, shortly after its opening, Center and was also a member of the young director jury. the Portuguese premiere of

ANIMATIONWORLDMAGAZINE December200068 Me, The Other (Marie Paccou, U.K./France) portrays a young woman who learns how to inte- grate her childhood into her life as a woman and a mother. In The Periwig-Maker (Steffen Schaeffler, Germany), although the plague affected little girl is not his daugh- ter, the periwig-maker struggles with a natural caring feeling when he is faced with the dilemma of helping the child or drawing back. In The Night, Regina Pessoa, last year’s winner of Cinanima’s young Portuguese prize, tells a story where a mother and her child’s Cinanima 2000 Grand Prize winner, Michael Dudok de Wit’s Father and Daughter. loneliness is seen through the © Michael Dudok de Wit. kaleidoscopic eye of the little girl. ence of festival old-timer Bob with the launch of the Casa da On a lighter note, Florence Godfrey. Throughout the week, Animação (Animation Center) in Henrard’s Sortie de Bain (Bathrobe) this witty British director managed the neighboring town of Porto, and Lili et le Loup (Lili and the to entertain everybody, from which will be the European Wolf), from La Cambre’s program, young animators to old friends. Capitol of Culture in 2001. The illustrate with humor and tender- Bob was not born yesterday and Casa da Animação center will fea- ness a little girl’s rebellion against has an interesting view on today’s ture film programs, exhibitions, her parents. Finally, Father and industry, illustrated with funny seminars and workshops. To cele- Daughter (Michael Dudok de Wit, comments like, “A camel is a horse brate this exceptional year, UK) beautifully portrays a daugh- designed by committee.” He also Cinanima’s organizers have prom- ter’s longing for her lost father. This talked about a recent encounter ised an exceptional program. 8-minute story unfolds in what he had with a TV producer in the Rendez-vous in 2001! seems to last only a few seconds, UK. He asked: “What’s with send- in a very moving and visually stun- ing all the work overseas?” The View more Cinanima photos ning film. Father and Daughter producer replied: “Bob, you don’t online at: won the Cinanima 2000 Grand want the third world to starve, do http://www.awn.com/mag/issue Prize and the Journalists’ Prize. you?” To which Bob answered: 5.09/5.09pages/teninge.php3. Another interesting compo- “Well, I am starving!” Bob’s new nent of Cinanima was the pres- film, Millennium — The Musical, The Cinanima 2000 complete list is a funny musical of winners is available online at: extravaganza cele- http://www.awn.com/cinanima. brating a thousand years of British history Annick Teninge is the general – from Bob’s point of manager of Animation World view. “What is the Network. A French native, Annick message? Is there a began her animation career as moral?” You’ll have to Assistant Director at the Annecy see the film to find International Animation Festival, a out! post she held for six years. Cinanima 2001 (November 5-11) will Note: Readers may contact any The U.K.’s Pat Raine Webb, young director jury, with Bob mark the festival’s 25th Animation World Magazine Godfrey at the City Hall Welcome reception. Photo cour- anniversary. This ann- contributor by sending an e-mail tesy of the Cinanima Festival. iversary will coincide to [email protected].

ANIMATIONWORLDMAGAZINE December200069 Annie Awards 2000: Better Than The Oscars by Heather Kenyon he Annie Awards truly are the Oscars of Hollywood Tanimation. In fact they are better than the Oscars because they are much more relaxed and we’re the ones being honored. Held each year by ASIFA- Hollywood, the well coifed (one time a year only please!) who’s who of animation come out to walk the red carpet of the Alex Theatre. Indeed, the best part of Emmy Award winners Rob Paulsen and Maurice LaMarche, the voices of the now the event is usually the reception infamous Warner Bros. duo Pinky and the Brain, ensured a festive and energetic before and after the ceremony, tempo during the ceremony. Photo courtesy of ASIFA-Hollywood. simply because it is a time to see ners to shine and give them ample humorously giving us a lesson in old friends and make new ones — time to accept their prizes. There the strange ways of Northern an opportunity that we don’t often were many lovely moments, Californians. Their appearance at get. In the same vein, the ceremo- including June Foray presenting the awards has fueled a rumor ny is a delight as the community her award of service to Linda here in So Cal – who knew one gets to see their own awarded Simensky who was obviously hon- had to be well-over six feet tall to and congratulated on another ored. Winsor McCay Award win- work at Pixar? We’d never seen so year of hard work. ner Lucille Bliss could hardly con- many tall people! On Saturday, November tain herself and proved that one is The one unfortunate 11, 2000, ASIFA-Hollywood held only as old as one feels as she aspect of the evening was their 28th annual Annie Award raced through her speech, listing something that we Southern ceremony at the aforementioned past and current projects, stating Californians probably could have historic Alex Theatre in Glendale’s that she was excited and ready to learned about from those that thriving downtown arts district. keep right on acting. Susan came from up North. It was cold. The awards presentation went by McKinsey Goldberg was so thank- Really cold. Unusually cold for Los at a lively clip due to the always ful and moved, she held back Angeles, and because it is Los funny and endearing duo of Rob tears while accepting her award Angeles, no one had apparently Paulsen and Maurice LaMarche, for outstanding production design even considered ordering some the voice team of Pinky and the on Fantasia/2000. After helping to heating lamps in case of a turn in Brain. While presenters kept their create such a glorious sequence as the weather. (If the weather is not banter to a minimum (thank you!), “Rhapsody in Blue” though, I think perfect Angelenos tend to get out- the winners were allowed to the entire audience wanted to raged — ‘How dare the weather thank their crew and staff and shout back, “No, thank you!” not be perfect?! Who has ever even make wagers from the stage. In the heated feature cate- heard of such a thing ruining such I am glad that ASIFA-Hollywood gories, Toy Story 2 was the clear well laid plans?’) Therefore, despite realizes that the Annies are an winner with seven victories and champagne and finger foods, the opportunity for their award win- Pixar took the attention in stride, crowds dispersed quickly, heading ANIMATIONWORLDMAGAZINE December200070 for warmer digs. However, one couldn’t deny the glow of com- munity that most attendees left with, whether or not they had an Annie in their hand.

View our expanded Annies Photo Scrapbook online at: http://www. awn.com/mag/issue5.09/5.09 pages/kenyonannie.php3.

For a complete list of winners visit our Headline News item online at: http://www.awn.com/headlines/i ndex.phtml?newsitem_no=3704.

Heather Kenyon is editor-in-chief of Animation World Network. After receiving her B.F.A. in Filmic Writing from USC’s School of Cinema-Television, she went to work for Hanna-Barbera Cartoons. Currently, she is an International Board Member of Susan McKinsey Goldberg, awarded for outstanding production design on Women In Animation and on Fantasia/2000, and Eric Goldberg, Susan’s husband, who also took home the the Board of Trustees for Trees prize for outstanding character animation for his work on Fantasia/2000. for Life. Photo courtesy of ASIFA-Hollywood. Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to [email protected].

ANIMATIONWORLDMAGAZINE December200071 Netherlands. Info: Michael Dudok de Wit, Unit 153, 31 Clerkenwell Fresh from the Festivals: Close, London EC1R 0AT UK. Tel/Fax: (44) 20 7608 1188. E- mail: [email protected]. URL: December 2000’s www.dudokdewit.com. Visit us online at: Film Reviews http://www.awn.com/mag/issue 5.09/5.09pages/5.09festival.php3 to download a movie clip of each by Maureen Furniss of these titles.

ithin the world of ani- www.sherbet.co.uk/ Your Choice! mation, most experi- A Supseita (The Suspect, It is not without hesitancy Wmentation occurs 1999), 25 min., directed by Jose that I embark on a review of this within short format productions, Miguel Ribeiro, Portugal. Info: film; although it is certainly charm- whether they be high budgeted Zeppelin Filmes, Ida., Produtora e ing to watch and listen to, I don’t commercials, low budgeted inde- Estúdio de Animaçao em Volumes really understand it. A plot sum- pendent shorts or something in Pólo Technológico de Lisboa, CID - mary provided to me suggests that between. The growing number of Lt 1 1600-546 Lisboa, Portugal. Raoul, an alligator, has a bad tooth short film festivals around the Tel: (351) 21 710 1100. Fax: (351) and also needs a haircut. Another world attest to the vitality of these 21 716 1903. character, an armadillo named works, but there are few other The Periwig-Maker (1999), Madillo, is trying to decide if he venues for exhibition of them or 15 min., directed by Steffen should bring an umbrella with even written reviews. As a result, Schäeffler, Germany. Info: Steffen him. Sounds simple enough, I distribution tends to be difficult Schaeffer, Cranach Str. 41, D- know, but the ‘story’ itself unwinds and irregular. On a regular basis, 12157 Berlin, Germany. Tel/Fax: in a rather disconnected way, with Animation World Magazine will (49) 30 8560 21 42. E-mail: ideal- surreal elements — including highlight some of the most inter- [email protected]. three men behind a counter recit- esting with short descriptive Father and Daughter ing “What’s your choice?” periodi- overviews. (2000), 8.5 min., directed by cally — so that I’m never quite sure Michael Dudok de Wit, exactly what is going on. What This Month: Dottini Suru? (Your Choice!, 1999), 10 min., directed by Koji Yamamura, Japan. Info: Yamamura Animation, Inc., 4-8-10 Kasuya Setagaya-ku, Tokyo 157- 0063 Japan. Tel: (81) 3 3309 0649. Fax: (81) 3 3309 6476. E- mail: [email protected]. URL: www.jade.dti.ne.jp/~yam/E- index.html The Man with the Beautiful Eyes (1999), 5.5 min., directed by Jonathan Hodgson, UK. Info: Sherbert, 112-114 Great Portland Street, London W1N 5PE UK. Tel: (44) 02 (0) 7636 6435. E- mail: [email protected]. URL: Your Choice! © Koji Yamamura/DENTSU, INC./Yamamura Animation, Inc.

ANIMATIONWORLDMAGAZINE December200072 really intrigues me about the film, ‘normalcy.’ In that respect, we are though, is the fact that my eight left questioning who the man is, year-old daughter, after seeing it why his home burned down, and last summer at the Annecy what to make of the film’s theme, International Film Festival, kept in effect placing ourselves within chanting that same refrain. And the boys’ own points of view. when I asked her which film she The film’s story is told liked most on that day, Your through English voice-over narra- Choice was her winner. tion, but the action is illustrated The Man With The Beautiful Eyes. Having also won the first © Sherbert Films Ltd. through a combination of text and prize at the Chicago International images that capture the essence of Children’s Film Festival and a host completely different from Your the story. The director describes his of other awards, it is clear that the Choice! This film, which is based work as an attempt to create ‘visu- film has a strong connection to on a poem by Charles Bukowski, al poetry’ that does not always children and their imaginations. tells the story of a group of boys illustrate the story in a literal way. This is not altogether surprising, who are fascinated with a mysteri- He and the film’s designer, Jonny since director Koji Yamamura ous house. Their parents have Hanah, decided to collaborate on made the film with the help of sev- warned them to stay away from it, the film due to their shared admi- eral ‘junior directors’ — elemen- which, of course, makes it all the ration for Bukowski’s writing. I tary-school children who partici- more tempting. One day they think the result is an interesting pated in workshops where story encounter the man who lives example of the use of text in a film, development was discussed. there; he curses while leaving the as well as creative ‘camera move- Yamamura then used their ideas to house, then addresses the boys ment’ as a way to energize the create the animated imagery, cordially before returning inside, visuals. Hodgson studied at the using pencil and ink on paper, as never to be seen again. He has Royal College of Art and worked well as 2D computer generated long, unkept hair, a bottle of as a commercial animation direc- images with RETAS!PRO and whiskey in his hand and a cigar in tor for several years before setting Photoshop. The film was pro- his mouth, and the boys see him up his studio, Sherbert, in London duced by Shigeki Sawa, at Dentsu as a strong, natural man who pro- with Jonathan Bairstow in 1996. Inc., Japan. vides an attractive alternative to They produce commercials and Yamamura is a self-taught the conventional lives of their television graphics as well as short animator who graduated from the mothers and fathers. When the films. faculty of Painting in Tokyo Zokei man’s home burns down, the chil- University and has worked as a dren suspect it was their parents freelance animator and illustrator, who did it, because (in the chil- producing short animated films, as dren’s logic) their parents hate well as television commercials and what this man represents and multi-media works. Among his want to shield their children from influences, he counts animators it at all costs. Ishu Patel, Paul Driessen, Co Of course, all this is seen Hoedeman, Yuri Norstein, Priit from the youths’ perspectives, as Parn and Karel Keman. they try to figure out who this man is and what he represents. For the The Man with the Beautiful Eyes viewer, a dual interpretation Another take on childhood emerges. We understand that this can be found in The Man with the man is likely of dubious nature (a The Suspect. © Zeppelin Filmes. Beautiful Eyes, a 5.5 minute paint missing child poster seen on a wall The Suspect on paper and cel animation direct- reinforces this idea), yet something It is relatively rare that a 25- ed by Jonathan Hodgson. It, too, tells us that, indeed, society would minute animation keeps my eyes has a message that is somewhat likely want to crush this kind of glued to the screen these days, enigmatic, though in a manner free spirit, a crack in the system of but The Suspect did exactly that. In

ANIMATIONWORLDMAGAZINE December200073 my opinion, it provides a great example of 3D animation; I think it comes close to the quality of an Aardman work, though The Suspect employs puppets rather than plasticine figures. It is obvious that every aspect of the film was crafted with care, from the stylized background and character designs, to the cinematic editing and use of sound and effects, such as a wisp of smoke and light falling across the set. Ruffling newspa- pers and a fancy penknife that flies through space are among the The Periwig-Maker. © Ideal Standard Film Productions. effects that create a very entertain- of their independent puppet ani- vent yourself from risking anything ing puppet film. mation studio, Zepplin Films, and live the life of a dead person.” The story involves four which opened in September The story is related through quite different characters who find 1997. Voices were recorded in English-language voice-over narra- themselves together in a train June of the following year, and tion provided by the accomplished compartment. An older man, shooting and post-production ran British actor Kenneth Branagh. reading the newspaper, comes September 1998 through Impressive sets and props across information about a myste- November 1999. Although the lend a great deal to the visuals in rious railway killer. After a chubby film seems perfect to me at its pres- the film. A long tracking shot middle-aged lady and a svelte ent length, a fifteen-minute ver- opens the film, taking the viewer young woman enter the compart- sion is being edited for use in the- from an exterior that includes the ment, a rough-looking man takes aters. The film’s dialogue is water of the Thames and the a seat. As the foursome travel Portuguese, but the version I saw London Bridge through the streets across a stretch of tracks, the man has English subtitles (unfortunate- of London in which the action becomes ever more suspicious ly, white ones, so not all could be occurs. The entire set, which is that the younger fellow is in fact read — still, the visuals tell the given depth with the use of false the wanted killer. Deliberately slow story clearly, so that was not a perspective, measured 4.5 meters pacing, with a lot of attention major problem for me). wide by 10 meters long. It con- given to the movements of each tains eleven houses based on his- model, allow us to sense the per- The Periwig-Maker torical drawings, which contain sonalities of each character. Another outstanding exam- hand made and fitted tiles, walls Largely silent, they often regard ple of puppet animation comes made of individual miniature bricks each other with telling eye move- from German director Steffen and other examples of detailed ments. It is perhaps the way the Schäeffler. The Periwig-Maker tells miniature work. eyes move, plus some other the story of a man who lives in Citing the influence of leg- aspects of the film (such as the London during the time of the endary puppet animator Jiri Trnka, character design of the older Plague. Though he seals himself the filmmakers used a minimalist female character), that prompt the off from the rest of the city to avoid approach to puppet making, rely- comparison with Aardman’s work. infection, he eventually becomes ing on body movements rather Director Jose Miguel involved with a young girl who than facial changes to create Ribeiro, together with Luis Da has become ill. As the film’s cre- expressiveness. Only the eyes and Matta Almeida, developed the ators explain, the story contains eyelids of the puppets’ faces could idea for the film and began to some philosophical perspectives be moved. Body movements were write its screenplay in 1995. Over related to two different ways of liv- enabled through the use of metal a two-year period, they finished ing: “You can risk your life and live armatures under polyurethane the script and began development before you die — or you can pre- foam, silicone rubber and foam

ANIMATIONWORLDMAGAZINE December200074 latex exteriors; wigs were hand- made of mohair. The puppets were built by Mackinnon & Saunders, in England, using a scale of 1:5, with the largest pup- pet measuring 36 cm. Along with animated objects, real flames are used to provide light from candles, a fireplace and other sources. The 15-minute film was cre- ated over a six-year period at Schäeffler’s Berlin studio, Ideal Standard Film, which the director founded in 1994, with sister and producer Annette Schäeffler; together, they adapted the story from Daniel Defoe’s “A Journal of the Plague Year.” Though this is the team’s first animated film, they previously created several live- Father and Daughter. © Michael Dudok deWit. action shorts and a documentary. white and sepia) and even the has created numerous commer- The Periwig-Maker has been well- look of its images. This time, de cials. He also illustrates books and received, with screenings at over Wit has composed his visuals teaches animation at art colleges sixty festivals and numerous using pencil and charcoal, along in England and abroad. awards since its release in late with ANIMO software. The direc- 1999. tor’s memories of Holland and its Maureen Furniss, Ph.D. is countryside, where he was born Assistant Professor and Program Father and Daughter and raised, influenced his back- Director of Film Studies at From Michael Dudok de ground design in the film, which Chapman University in Orange, Wit, best known for his Academy runs 8.5 minutes in its theatrical California. She is the founding Award nominated film, The Monk version (slightly shorter for tele- editor of Animation Journal and and the Fish (1994), comes a vision). the author of Art in Motion: poignant tale about a young girl A partly lively, partly mourn- Animation Aesthetics (John whose father disappears after he ful accordion score accompanies Libbey, 1998). departs in a small boat. In the the images in Father and director’s words, the film shows Daughter, which are without dia- Note: Readers may contact any her ‘longing’ for her missing par- logue. De Wit takes music credit Animation World Magazine ent — her unending devotion as for the film, while Normand Roger, contributor by sending an e-mail she returns over and over to the in collaboration with Denis to [email protected]. spot on the banks of the water Chartrand, was responsible for where they last stood together. sound. Altogether, the film took For anyone who has experienced two years to create, though its a last moment like this, and many production was spread over four of us have, the film strikes a chord. years. The film is a British and How often does one travel back to Dutch co-production, including that spot, even if it is only in one’s producers Claire Jennings of mind? Cloudrunner in London and Aesthetically, the film has Willem Thijssen of CinéTé similarities to The Monk and the Filmproductie bv in Amsterdam. Fish, both in terms of its simple De Wit now works out of his color scheme (in this case, black, London-based studio, where he

ANIMATIONWORLDMAGAZINE December200075 Jones and Mel Gibson. Here, Nancy comes across more as a Nancy Cartwright’s Life wide-eyed fan than as a star in her own right, making the writing a as a 10-Year-Old Boy great deal of fun. Surprising Extras book review by Liam Liebling The biggest surprise is her terrific, detailed description of how ast Sunday, I sat in the cold an episode of The Simpsons rain at the Simpsons Global comes into being, from the very LFanfest with a broad smile first idea to the finished product. stuck to my face. I was smiling For those unfamiliar with the par- because I was seeing something ticulars of animated television pro- amazing: the cast of The Simpsons duction, these generous chapters performing live for the finale of the will make an excellent introduction first-ever Fanfest. They were to the process. reading series writer John The book also makes for an Swartzwelder’s very funny script excellent oral history of The “The Cartridge Family,” and each Simpsons; Cartwright was there of them was nailing every line. when it all started, and she does a I was especially paying good job of chronicling the revo- attention to Nancy Cartwright. lution. She also takes care in relat- Seeing Cartwright perform Bart, ing interesting aspects of produc- your senses and logic begin to tion (a watermelon and a stalk of fight. You’ve heard that voice for celery were used to make the more than ten years now, but in a sound effect of Bart getting his fictional context that is now some- heart ripped out in “New Kid on how more real than what’s hap- There are no revelations in the Block”). This is pure candy for pening onstage. Seeing the truth the book; no juicy details of studio those of us obsessed with — that Bart’s essence is really a quarrels or tables being upended, Simpsons minutiae. And the can- short, passionate woman who scripts sent flying. Instead, we dor in which she describes her job could be a high school English have a pleasant reportage of puts the reader at the table reads, teacher or that cool petsitter the Cartwright’s journey to the record- in the recording studio and the neighbors use — well, it’s jarring. ing booth, from the school-wide autograph booth. But once you get past that, speech contest she won at 10 to Cartwright is doing exactly you realize you are seeing some- the Emmy she won in 1992 and what she was destined to do, and thing incredible: someone who is her life beyond. she’s loving every minute of it. You doing exactly what they were Cartwright tells her story in can tell that, even sitting in the born to do. the quick, enthusiastic style of a rain. friend eager to bring you up to The Lady Behind Bart speed on what’s happened since Liam Liebling is a lifelong You get a similar picture the last time you’ve seen her. That’s Simpsons fan and is truly psyched from Cartwright’s book, My Life as really the charm of this book: her to have acquired the Krusty the a 10-Year-Old Boy, which chroni- unjaded, childlike excitement for Clown Studio Playset. cles her youth to her life today, her life’s work. This excitement is focusing mainly on her voiceover never more present than in the career as Bart Simpson. It’s a por- several brief chapters in which she Note: Readers may contact any trait of a woman completely excit- shares stories about her experi- Animation World Magazine ed about her life and the way it’s ences recording with such stars as contributor by sending an e-mail turned out. Elizabeth Taylor, Kirk Douglas, Tom to [email protected].

ANIMATIONWORLDMAGAZINE December200076 The animator’s best acting coach

Hooks has made a valuable contribution toward deepening our understanding. —Brad Bird

Acting for Animators A Complete Guide to Performance Animation Ed Hooks Until now, animators who have wanted to learn about acting have had no option but to study the subject side Foreword by Brad Bird by side with stage and movie actors, a group that uses Illustrations by Mike Caputo acting techniques in a wholly different way. Ed Hooks offers a better alternative with Acting for Animators, the first book about acting theory and technique written specifically for the animator. Animators need to know a lot about acting, but they don’t need to know everything. Acting for Animators sorts out the acting theory that they need, presenting it in a form and with references that are more relevant to the animator’s world. It explores the connections between thinking and physical action, between thinking and Check your favorite bookstore emotion; it provides the steps for an effective character or call 800-793-2154 analysis and the dynamics of a scene. Using references to animation and live action, acting principles are highlight- ed and explained. Plus, the accompanying CD-ROM provides explicit examples, including videoclips of improvs based on the seven essentials of acting and highlights of Rudolph Laban’s movement theory. Save 20% when you order online: www.heinemanndrama.com 0-325-00229-0 / 136pp / Paper + CD-ROM / $18.95 Puffin Designs’ Primatte Keyer For Adobe After Effects software review by Bruce Manning hen blue and green screen images are not Wperfectly shot or lit, the background reflects blue or green spill on the subject. Often there is not enough time to trick out each shot. Factors such as budgetary cut backs, grips and gaffers at the craft service table munching on cashews, not enough 10k’s or sky pans to even the background or whatever the cameraman’s excuse is this time, it’s your job as a digital compositor to fix it. That’s when you pull Puffin’s Primatte Keyer out of your bag of tricks and tools and become a hero. I had been working on a Pull Puffin’s Primatte Keyer out of your bag sci-fi short film called Lizards. There of tricks and tools and become a hero. were several blue screen shots in the movie. As always some shots nents: view buttons; Primatte shrinking the matte. The Help, went together easily, but there tools; sliders; and Help, Undo and Undo and Redo buttons allow you were a couple of real lulus. Bad Redo. The Primatte buttons are to correct mistakes and obtain on- spill, not enough light — you user friendly and visually easy to line help. But the star of this soft- know the story. One of the sub- work with. The Primatte tools ware package is the process jects was a little boy wearing a allow you to select the keying known as sampling. Sampling blue shirt. I had tried to fix the operation you wish to perform. involves selecting an area of the scene with another brand of blue These operations include such composite with the mouse by screen keyer, but had limited suc- actions as sampling colors to be dragging a line. As you drag, a cess. That blue shirt was causing keyed, adjusting properties of sam- snail trail will follow the path of the real trouble. It would change pled foreground color to remove cursor to show you what area of brown every time I would com- color spill, defining transparency the image you have selected. After posite it. It was time to try some- properties of the matte, specifying releasing the mouse button, thing new. foreground colors, removing noise Primatte Keyer will start the com- and other matte creation steps. positing process and quickly gen- What It Is The Primatte tools also include the erate a matte. A good matte is the I slid the Primatte disk in my slider, Decolor, Clip high and Clip secret of effective compositing. MacG4. Primatte works with low. The View buttons allow you In Lizards’ scene 10C, the Adobe After Effects. I found the to choose which component is dis- little boy had a blue shirt and there Primatte Keyer in the After Effects played in the composition win- was uneven lighting in the blue clips effects menu. The interface is dow. Sliders allow you to fine-tune background. When creating a comprised of four main compo- your matte by applying blur and matte the foreground elements ANIMATIONWORLDMAGAZINE December200078 should be a perfect white and the The second step I used in color (Composite View). There was background elements perfect fixing the blue shirt/blue back- ‘color spill’ on the edges of the black. The technology behind the ground problem was to clean up foreground objects. When on the Primatte Keyer that makes perfect the backing color area by adding edges of the foreground object, mattes possible is a process called additional shades of blue. This sec- this spill comes from where the the Primatte polyhedral slicing ond step (Clean BG Noise) is usu- edges of the foreground object algorithm. I used the tools offered ally executed while viewing the blended into the backing color. If it by this software to solve the prob- black and white (Matte View). is on the center of the foreground lem. While in the (Clean BG object, it usually results from Noise) sampling mode, the user reflected color from the backing samples the white milky regions as screen. The next Primatte step shown in the left-hand image (Spill Sponge) can be used to elim- above. As the user samples these inate this spill color. regions, they turn to black as shown in the right-hand image above. The third step in fixing the Before BG Noise After BG Noise blue shirt/blue background prob- Removal. Removal. © Photron © Photron lem (Clean FG Noise) was to sam- USA/Puffin USA/Puffin ple and eliminate gray areas in the Designs. Designs. 100% foreground area of the Before FG Noise After FG Noise How It Works image. Removal. Removal. The first step in fixing the © Photron © Photron blue shirt/blue background prob- When blue and USA/Puffin USA/Puffin Designs. Designs. lem was to (Select BG Color) indi- green screen cate the selected background If you have a choice, try not backing color on the original fore- images are not to shoot anything that is blue ground image. The sample should perfectly shot or against a blue background. Use a usually be taken from a ‘medium green background instead. But if shaded’ area near the foreground lit, the background you get stuck like I did, apply object. By ‘medium shaded’ area, I reflects blue or Primatte Keyer. Bingo! Perfecto! mean that if blue is the backing Primatte Keyer is sold through color and that area of the fore- green spill on Pinnacle Systems for Macintosh ground image has blue shades the subject. and Windows 95-98 NT systems. ranging from very pale blue to almost black, a shade of blue in- Again, I made several sam- Bruce Manning can be found on between these extreme ranges ples on the dark, grayish areas on his Website, www.Footage- should be chosen. If good results the foreground object until it was Now.com. are not obtained using this sam- solid white in color. Care should ple, Primatte should be reset and be taken in both this and the pre- Bruce shoots with a Mitchell another sample taken using a vious steps to not sample too close Fries 35mm film camera. He com- slightly darker or lighter shade of to the edges of the foreground posites with a Mac G4 and all the blue. A single pixel may be select- object. Getting too close to the Adobe software he can jam into ed or a range of pixels (snail trail or foreground object’s edges will it, which now includes Puffin’s rectangular sample). If a range of result in hard edges around the Primatte Keyer. pixels is taken, the sample will be foreground object. At this point, averaged to get a single color the matte or key has been created Note: Readers may contact any sample. Don’t worry, Primatte and would allow the foreground Animation World Magazine Keyer has 99 levels of undo so take objects to be composited into a contributor by sending an e-mail advantage of this and sample this new background image. I then to [email protected]. and that and this and that. changed the display mode to the

ANIMATIONWORLDMAGAZINE December200079 Animation World News

Compiled and written by Rick DeMott Technology news written and compiled by Mike Amron and Paul Younghusband.

Get your headline news first every day on-line at http://www.awn.com/headlines Plus, have industry news delivered to your e-mail every week in the Animation Flash,AWN’s weekly industry newsletter. Subscribe today at www.awn.com/flash/

Awards Call for Entries l Toy Story 2 Rules Annie Awards l Submit Your Film To Hypnotic & Win $1 Million l Cinanima 2000 Names Its Award Winners l Art In Motion II Celebrates What It Is To Be An Author l Chicago International Children’s Film Fest Announces l Internet World Wants To Bring Your Shorts To The Globe l Winners l Outer Limits Film Series Seeks Yours Shorts l BAFTA Hands Out Its Interactive Awards 4 http://www2.awn.com/mag/news.php3?item=Call%for%Entries 4 http://www2.awn.com/mag/news.php3?item=Awards Commercials Business l J.J. Sedelmaier Goes Godzilla With Three-Series Promo l Animation Stock Ticker For Tuesday, November 14, 2000 l Natterjack Spots Cartoon Network’s Scare-A-Thon Promos l Sony Cuts UK PlayStation 2 Shipment l TOPIX/Mad Dog Bring Home Spots For Novartis l Renegade Animation Launches Animation Service For Web l A. Film Animates Tony The Tiger For Kellogg’s l Ads l J.J. Sedelmaier Animates “Tons of Ts” For Old Navy l Das Werk To Acquire London-based Glassworks l Mac Guff Ligne Says Oui To Pillsbury Doughboy Ads l Animation Stock Ticker For Tuesday, November 7, 2000 l Will Vinton Spins & Splats AT&T Spots l TV Loonland Increased Earnings Estimates By Four Times l R!OT Twists New Spots For Chevrolet l Psychic Files Lawsuit Against Pokemon l J.J. Sedelmaier Flies With Capt. Linger Interstitials l UK Culture Secretary Strikes Out Against Trashy Cartoons l Rhinoceros Charges Forward For Alka Seltzer l Nelvana Wins Licensing Lawsuit l DMA Hits A Home Run With Salty IDs l Mainframe & Studio B To Begin Co-Production l Sideshow Spotlights New TV Series Arrest & Trial l Classic Media Terminates Harvey Acquisition 4http://www2.awn.com/mag/news.php3?item=Commercials l Oniria Opens Studio In Berlin l Animation Stock Ticker For Tuesday, October 31, 2000 l Commercials For Kids Stay In Europe For Now Video l iFuse.com Ready To Explode l Anime Classic Wicked City Now On DVD! l Sony Restructures After Marketing Exec Ousted l DreamWorks’ Prince Of Egypt Follow-Up Arrives On Video l Cinar Recovers $50.9M More In Unapproved l More South Park Antics On VHS & DVD l Investments l Thomas and the Magic Railroad Chugs Onto VHS & DVD l Animation Stock Ticker For Tuesday, October 24, 2000 l Rayearth Conclusion Hits Video Stores l India’s Pentamedia Buys 51% Of Film Roman l How the Grinch Stole Christmas! On DVD 4 http://www2.awn.com/mag/news.php3?item=Business l Angel Cop Collection Arrives On DVD l Disney Celebrates Christmas With Two Holiday Releases l Toy Story 2 DVD Has High Fidelity Cursing 4http://www2.awn.com/mag/news.php3?item=Video

ANIMATIONWORLDMAGAZINE December200080 Events Internet and Interactive l Bangkok Entertainment Show Highlights The Burgeoning l This Week’s Web Animation Guide For Friday, November l Thai Industry l 10, 2000 l PISAF Brings Animation Art To South Korea l AtomFilms & Lucas Online Create Star Wars Fan Film Site l TAIS Is Holding A Stop-Motion Seminar l This Week’s Web Animation Guide For Friday, November l Learn What’s Up In Learning At Interactive TV & Online l 3, 2000 l Learning Conference l Wild Thornberrys Ramble On Game Boy Color l ISEA2000 Symposium On Electronic Art Comes To The l Urban Entertainment Signs A-List Talent For 5 New Webtoons l French Capital l AtomFilms Launches Animation Showdown l Telluride IndieFest Is A Premiere Showcase For Indie l Stan Lee Media Toon Drifts Onto SciFi.com l Filmmaking l Brilliant Digital To Create Musical Webtoons l F/X Wizard Douglas Trumball Speaks At Columbia College l Voiceover Casting Site Goes Live l Cinemagic 2000 Celebrates The Wonder Of Work l This Week’s Web Animation Guide For Friday, October 27, 2000 l For Children 4http://www2.awn.com/magt/news.php3?item=Internet%and%Interactive l 17th EuropaCinema & TV Film Festival Celebrates The l Best From Europe People l Toronto Reel Asian Festival Celebrates The Fast East In The l l Great North Film Roman Promotes Clifton l l Gnomon School of Visual Effects Thirteen One-Day Cartoon Network Italy Appoints Three New Staff l l Maya Workshops Fox Family Finds New Head l l Cartoombria 2000 Takes A Hard Look At The Current Lucas Learning Lands New Director Of Development l l Status Of Animation Marvel Names Milo President Of New Media l l New York Digital Salon Highlights Digital Art Of All Kinds Cinar Names Rossi New CFO l l If TV’s Made You Brain Dead The TAIS Short Attention Span ART Adds Self As CFO & Sims As VP Sales l l Festival Is For You PPM’s Rodriguez To Head Filmax’s Toon Division l l eMediatainmentWorld Brings Internet Content To The Cartoon Network Online Names New VP l l World Stage Ousted Levin Officially Leaves Sony l l Phil Roman Discusses His Rise From The Farmlands To Blur Studios Adds 4 Animators To Its Roster l l The Simpsons Sari Rosen Joins ATTIK As Executive Producer l l “Creative Work in Digital Media” Symposium Icebox Names Entertainment Veterans As COO & CMO l l Catch Young Animators’ Work At Illinois Institute of Art Two Senior Appointments At Cartoon Network Netherlands l KliK Animation Names Ethier Director Of Business Development 4http://www2.awn.com/mag/news.php3?item=Events 4 http://www2.awn.com/mag/news.php3?item=People Films Technology l What Lies & Scary Fight For International Box Office l l AtomFilms Brings Shorts Back To Theaters Dosch Design Drums Up More Texture CDs l l Singer Could Mark X-Men Sequel Toon Boom Announced USAnimation SP#2 l l Angels Defend BO Crown From Satan’s Son Nicky Nothing Real Shakes Up Linux l l Imax Abandons Shrek 3D Hair and Fur For The Masses l l Pixar Dives Into Nemo Feature InSpeck Makes Scanning & Morphing Easier l Scary Thrills & Chills Claim International Box Office 4http://www2.awn.com/mag/news.php3?item=Technology l Charlie’s Angels Truly Blessed At US BO l Help! I’m A Fish Feature Is An International Success Television l International Box Office Gets Scary l Bedazzled Falls To Fourth In Second Week At US BO l Mickey Gets New House In 2001 l Hollow Man Debuts Strong At IBO, What Lies & X-Men l WB TV To Send Richie Rich To College l Hold On l Destiny Images Completes 2 Educational Series l Flash Animated Theatrical Short Nears Completion l Disney Orders 21 Episodes of New Toon 4 http://www2.awn.com/mag/news.php3?item=Films l Varga Awarded Mr. Bean Series l Newest Scooby-Doo Direct-To-Vid Hits TV In November In Passing l SciFi Channel Orders Dune Sequel l Annecy Fest President Passes 4http://www2.awn.com/mag/news.php3?item=Television 4http://www2.awn.com/mag/news.php3?item=In%Passing

ANIMATIONWORLDMAGAZINE December200081 Next Issue’s Highlights The Year To Come, January 2000

ithout one Y2K fear we are easily slipping into 2001 already. This issue we are taking on the big questions that are facing the animation industry on the brink of the new year. For instance, Eric WOldrin is going to discuss everyone’s favorite topic, the Internet, and, among other topics, exact- ly how we are supposed to be making money with it. Michael Hurwicz is going to ponder whether or not the Internet is actually helping independent animation. Are there increased distribution outlets in this new age or are our fearless independents still in an unfunded jam? Finally, we are going to take a long hard look at the U.S. job market and try to determine if this is one of animation’s typical down cycles or if globalization is here to stay. We are also going to ask mainstream newspaper entertainment editors their thoughts on ani- mation — is it growing up? Is it becoming more sophisticated? What are the papers that are influencing the general movie-going population saying? This should be an interesting trip outside of the bubble. We also have a very special interview with Piotr Dumala, director of Crime and Punishment, a new masterpiece just hitting the festival circuit. Moreover, as a bonus treat, Piotr has written for us an essay on his “philosophical stone of animation.” Switching gears we will also feature an interview with super-talented Charlie Adler conducted by the always entertaining Will Ryan. As the Rugrats take on the big screen again, Charlie will discuss them, his career and more. Sit down with one of the hardest working actors and directors in Hollywood today. In the Student Corner we will have the voice of Digimon, Joshua Seth, give his top ten voice acting do’s and don’ts. We are also happy to announce that Fred Patten will be kicking off a new Animation World feature. Several times a year Fred will provide us with the latest reviews of new anime re- leases. I bet you don’t know what you are missing and will want to check out some of Fred’s anime picks. Maureen Furniss will be back with her short film reviews too! Upcoming Editorial Calendar

The Year In Review January 2001 Gaming February 2001 Technology March 2001 The Business of Animation April 2001

ANIMATIONWORLDMAGAZINE December200082