Table of Contents
SEPTEMBER 2000 VOL.5 NO.6 4 Editor’s Notebook A success and a failure?
6 Letters: [email protected]
FEATURE FILMS
8 A Conversation With The New Don Bluth After Titan A.E.’s quick demise at the box office and the even quicker demise of Fox’s state-of-the-art animation studio in Phoenix, Larry Lauria speaks with Don Bluth on his future and that of animation’s.
13 Summer’s Sleepers and Keepers Martin “Dr. Toon” Goodman analyzes the summer’s animated releases and relays what we can all learn from their successes and failures.
17 Anime Theatrical Features With the success of such features as Pokemon, are beleaguered U.S. majors going to look for 2000 more Japanese imports? Fred Patten explains the pros and cons by giving a glimpse inside the Japanese film scene.
21 Just the Right Amount of Cheese:The Secrets to Good Live-Action Adaptations of Cartoons Gerard Raiti looks into why some cartoons make successful live-action features while others don’t. Academy Award-winning producer Bruce Cohen helps out.
25 Indie Animated Features:Are They Possible? Amid Amidi discovers the world of producing theatrical-length animation without major studio backing and ponders if the positives outweigh the negatives…
Education and Training
29 Pitching Perfect:A Word From Development Everyone knows a great pitch starts with a great series concept, but in addition to that what do executives like to see? Five top executives from major networks give us an idea of what makes them sit up and take notice…
34 Drawing Attention — How to Get Your Work Noticed Janet Ginsburg reveals the subtle timing of when an agent is needed and when an agent might hinder getting that job.
37 Where The Recruiters Go Part of the trick of getting hired is knowing where to be seen by the recruiters. We asked several studios about the resources they turn to first. EPTEMBER The Student Corner
39 Getting Started in Your Home Town S Here at Animation World Network we frequently hear from folks who want to start in animation from their hometown. While we don’t claim that animation exists in every corner of the globe, here are a few suggestions to seek out what is in your area.
© Animation World Network 2000. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.
ANIMATION WORLD MAGAZINE September 2000 2 Table of Contents
SEPTEMBER 2000 VOL.5 NO.6 Focus On...
41 Jewish Rabbits Tsvika Oren speaks with three prominent Israeli animators and gives us an overview of Israel’s current animated state.
45 Israel’s Film Festivals Tsvika Oren profiles Israel’s surprisingly active festival scene, including the unique International Student Film Festival.
Internet Company Profile
48 The Power Behind Atomic Cartoons Bob Miller talks with Rob Davies, one of the founders of Vancouver’s Atomic Cartoons, which from pre-production to Flash, is making a name for itself. The secret? Read on…
2000 Gaming Column
52 Making Money Online: Game Creators Bringing targeted advertising into game playing in a realistic manner is Adaboy’s goal. Jacquie Kubin reports on the benefits to game creators.
Books
54 Straight from the Moose’s Mouth Karl Cohen reviews Keith Scott’s new book that not only discusses everyone’s favorite flying squirrel and moose, but also provides an accurate historical look at the early days of television animation.
News
57 Animation World News Lucasfilm To Make Anime Flick, Eyvind Earle, Disney Artist & Painter Passes, Winder Winds Up VP At Fox Animation, Honkworm Moves To Vancouver With New Prexy, Zdenka Deitchova To Head Kratky Film, Stan Lee Teams With Venture Soft To Tackle Asia, Sony In The Red, PlayStation 2 & New Accounting Rules Are Factors and much more…
59 Next Issue’s Highlights
5 This Month’s Contributors
Cover: X. © Clamp Studios. Photo courtesy of Manga Entertainment. EPTEMBER S
© Animation World Network 2000. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.
ANIMATION WORLD MAGAZINE September 2000 3 Editor’s Notebook by Heather Kenyon and Aardman Animations’ crafts- competitive summer U.S. box manship surely showed that stop- office, the film was quickly motion is an attractive and fetch- dropped from theaters, with little ing technique when in the hands additional promotion or advertis- of masters. Furthermore, there is ing from Fox. As Don Bluth points no doubt that effects are now as out in Larry Lauria’s “A integral to most films as film stock Conversation With The New Don and cameras. A Perfect Storm fea- Bluth,” Fox has switched its focus tured two of today’s biggest stars, to New York-based CGI studio, George Clooney and Mark Blue Sky, a dynamic leader in the Wahlberg, battling the realistic field. While DreamWorks remains looking digital foe, water. Another committed to animation and its huge success for us has to be the state-of-the-art Burbank animation excellent adaptation of The X-Men complex, there is an uneasiness A success and a failure? that Brian Singer and 20th that perhaps they too will decide Century Fox brought to the to utilize outside animation studios s we begin to walk away screen. As numerous other comic (Aardman) and PDI, in which they from the summer – what books are lined up to hit the silver have made recent heavy invest- Ahas been gained and screen, we hope they follow X- ments. With El Dorado’s less than what has been lost in the ongoing Men’s excellent lead. As Rick promising outing…the industry struggle to expand the reach and DeMott points out in his article, waits with crossed fingers that the success of animation? There have “Super Mutants Everyone Can new animation giant – one of the been several victories, and several Relate To: The X-Men,” the produc- last remaining true players in the defeats. ers successfully walked the fine group that rushed to the anima- As Martin Goodman points line between fan approval and tion table in the mid-nineties — out in his article “Summer’s wide audience exclusion – a true sticks to their promise. The saddest Sleepers and Keepers” this summer hurdle. This film’s success has aspect of both Titan A.E. and El has seen the strong introduction already bumped up production on Dorado’s fate is…they were not of different styles and genres of several other effects heavy comic bad films. I thoroughly enjoyed animation – something we have adaptations. the lively, seemingly spontaneous long been hoping would happen. Unfortunately, however, banter of El Dorado’s Miguel and Despite mixed reviews and audi- the summer wasn’t all wine and Tulio. Altivo (joining Fox’s Bartok) is ence reaction, Dinosaur took CGI roses. Titan A.E. came and went, a new favorite when it comes to to another level with its madden- as did The Road to El Dorado. sidekick characters. Some of his ingly complex number of compos- With Titan A.E.’s passing so did Fox reaction shots were hysterical. We ites and digital creations. Chicken Feature Animation in Phoenix, a come back to my old rant…in fact Run brought stop-motion to the facility opened with much hope it is beginning to sound like a forefront, as it became the highest and fanfare in 1996. Despite mantra…that not only do we grossing stop-motion film of all Roger Ebert calling Titan, “the Star need incredibly talented story- time. The charming tale of Ginger’s Wars of animation” with three- tellers creating these animated fea- quest for freedom worked and-a-half stars out of four, and a tures with singular, strong creative perfectly with the animation style, respectable opening at 5th in the visions, but we also need studio ANIMATION WORLD MAGAZINE September 2000 4 backing that understands the for feature films not being pro- nuances of animation. I am not duced by the majors, and we still blaming the woes of every anima- face people believing that this tion feature on studio executives, summer shows an animation satu- but animation is not live-action, ration of the market. (A favorite pet and those that truly get a handle peeve of mine, I wonder, why they on its marketing will be the ones never say this of live-action?) Is the to win – if, and only if, they have public telling us that there are too ANIMATION WORLD NETWORK 5700 Wilshire Blvd., Suite 600 the great story and film to back it many animated features saturat- Los Angeles, CA 90036 up. We have already seen this with ing the market? No, we are just Phone : 323.634.3400 Fax : 323.634.3350 Warner Bros.’ missed opportunity learning that because animation is Email : [email protected] in The Iron Giant. no longer a special event with There were also some grey only one or two releases a year, areas this summer as we must now play with the big well…Rumors say Dinosaur’s box live-action boys on their own office draw wasn’t as big as terms. (Television primetime ani- [email protected] expected, and Pokemon’s popular- mation is also learning this tough ity appears to be fading fast…this, lesson.) When the studios set up PUBLISHERS Ron Diamond, President I am sure some will argue is a their animation entities they asked Dan Sarto, Chief Operating Officer good thing! While adults may be for this, and now, to properly com- puzzled at Pokemon’s hold over pete and succeed, animation films, EDITOR-IN-CHIEF children one thing is sure: subcon- and their backing studios, are Heather Kenyon sciously it is expanding their hori- going to have to make sure they zons about the styles of animation have all their ducks in a row – from ASSOCIATE EDITOR Rick DeMott they will accept on the big screen story, through marketing and dis- and that can only be good. tribution. We have to inspire the EDITORIAL ADMINISTRATORS Fantasia/2000 opened the IMAX average movie-goer to plunk Joan H. Kim arena to animation in a stunning down their money on a movie Gregory Singer debut that has already seen the going experience that happens to CONTRIBUTORS signing of DreamWorks’ much- be animated vs., the latest live- Amid Amidi anticipated Shrek for similar treat- action fare and that my friends, Karl Cohen Rick DeMott ment. That’s one I will be in line to is proving to be a heck of Janet Ginsburg see on the first day! While this is a a challenge. Martin “Dr. Toon” Goodman positive, Fantasia/2000’s perform- Heather Kenyon Jacquie Kubin ance on regular theatrical screens Until Next Time, Larry Lauria was quite lackluster. It seems that Heather Bob Miller Dr. William Moritz the large screen format is indeed Tsvika Oren carving a unique niche for itself Fred Patten and will become a bigger player Gerard Raiti in time. OPERATIONS With unemployment in Los Annick Teninge, General Manager Angeles running high, it can at times feel like the sky is falling in, DESIGN/LAYOUT but over all I’d say this summer Alex Binotapa was more positive than negative. It was the mixed bag of an evolving WEBMASTERS Jeremy Keller industry. We still have barriers to Alex Binotapa overcome. As Amid Amidi points out in his article, “Indie Animated ADVERTISING SALES Features: Are They Possible?” distri- Jay Stokes bution remains a huge problem
ANIMATION WORLD MAGAZINE September 2000 5 formation appears on the Harvey Website, even though I have made repeated requests to the [email protected] Harvey management to fix it. The Harvey site has been completely Harvey Shame had ended, and the company was overhauled at least twice, without Shame on you guys! expanding its successful line of even a word of the historical mis- Regarding your article, “Harvey comics which included Joe information being changed or Entertainment Takes Control” Palooka, Green Hornet and Speed fixed. Clearly disrespect by Harvey (Kenyon, 5.3): comics. I believe this is when management, for the founder It is hard to believe the edi- Robert Harvey became a partner, Alfred Harvey and his family. tors of Animation World Magazine although my records don’t confirm No matter who and/or think the Golden Age of comics his involvement until 1949. what the source, factual informa- was in the 1950s and early 1960s. By 1946 the company had tion should be checked and dou- But, that is not why I am writing... become known as “Harvey ble checked. Otherwise it com- Harvey was NOT “founded Publications” and the Harvey “H” pletely destroys the credibility of all in 1939 in New York City as a became a fixture on the covers of other information. comic book company by brothers the comics. I am hereby requesting a Alfred, Leon, and Robert Harvey,” I find, it was not until 1948 retraction to your article, which I as your article states. the publications became known as believe to be damaging to Harvey was founded in “Harvey Comics.” This is when my family. 1940 by Alfred Harvey as “Alfred I believe the first “Harvey Comics” Harvey Publications.” The first logo appeared on the Thank you, comic published was Pocket comic books. Alan Harvey Comics No. 1 in spring of 1941, I would like to clarify that I http://www.sadsack.net the sister publication was Fun am not saying that the names of Parade No. 1, a collection of gag the companies changed (although U.S.Animators Insulted! cartoons. (Do some research and some may have). There were at From “Scandals, find these books, and you will see least a dozen “Harvey” corpora- Smokescreens and a Golden Age?: who published them for yourself.) tions and partnerships coexisting Canadian Animation in the 21st This by the way, was during the at different times in Harvey history. Century” (Robinson, 5.5): Golden Age of comics. When Harvey stopped pro- “Right wingers were not alone in These however were not ducing comics in the early 1980s it their complaints; in the U.S., mem- the first comics Alfred Harvey was because it had been devastat- bers of the Motion Picture Screen worked on. He entered the busi- ed by lawsuits, period. Cartoonists Union went out in full ness in 1927 when he sold his first One other note of interest: force this spring to complain about cartoons, and by the end of the “Harvey” was Alfred Harvey’s mid- jobs being lost to Canadian com- 1930s was the Managing Editor dle name. Wiernikoff was the orig- panies because of generous tax for Victor Fox at Fox Feature inal family surname. Soon after subsidies. It’s always interesting to Syndicate, one of the leading changing his name, his parents hear complaints from people with- comic publishers of the time. followed suite, later his brother in a culture that has generally When Alfred Harvey enlist- Leon, and finally Robert. numbed and overtaken most of ed in the US Army, in 1942, he I also wanted to say that I the world with its crass disposable brought his twin brother Leon love Animation World Magazine, culture which has thrived off Harvey into the business as a part- but this article has really hit a sore cheap labour and exploitation. So ner. I believe this is when “Harvey spot. a few American animators are out Features Syndicate” was formed, I question if this misinfor- of work; welcome to the world while the company through its mation came from the current the rest of us have been living in publications became known as Harvey management. The reason I for decades.” “Family Comics” at this time. question the Harvey management To exult in the suffering of By the end of 1945 WWII as the source is, the same misin- innocent people is wrong. Chris
ANIMATION WORLD MAGAZINE September 2000 6 Robinson and the rest of you guys Shockwave. I attended the cere- mer we are working on two series should be ashamed of yourselves. mony in Hollywood but was never of Flash animations intended for introduced to any of the other the Web upon their completion. Eric Lurio competitors except for the Ruth However WE ARE NOT GOING TO Truth group who won the grand SACRIFICE QUALITY because there More Growing Pains prize. So here’s to being a good is so much other cheap, amateur- “Growing Pains” by Martin sport and shaking hands, as well ish stuff out there. We both have Goodman (Goodman, 5.4) was a as praising Chris Lanier for his love- full time jobs by day, and we work great article, and proved quite ly work and insightful article on together each night plugging thought provoking. What specifi- animation and the Web. away at these films. Each film is cally touched me was the sen- Also, keep up the good done at 24 fps just like Disney and tence, “The best bet for a great work AWN. I enjoy it very much. all art is hand-drawn, scanned in animated adult feature just might and streamlined for vector based be an action-adventure flick that Best, graphics. It is very time consuming would have contained minimal Michael Stinson but we want our work to stand dialogue and wowser SPX if filmed Creator of Symbolman out among animations as live in the first place.” I am a pro- http://www.symbolman.com opposed to falling in the sea of ducer at Momentum Animation mediocrity. John Kricfalusi, creator and I immediately thought, ‘That is ______of Ren and Stimpy as well as other exactly what we do: action adven- huge successes, was quoted as ture with wowser SPX!’ It seems Maybe there’s hope for saying recently, “There is too much we have the talent here at imagination amongst all this tech- shit out there,” regarding Internet Momentum, we just need to keep nology after all. Continue the animation. Well when all is said searching for the right people to good work. and done, my cohort and I don’t talk to. If you are interested in the intend to fall under that statement. style I am talking about you can Rose Marie Everyone should take pride in their download a trailer we made that films no matter how detailed or was used in a music video. The ______simple, and quit cranking out link is http://www.momentumani- garbage just to watch things mations.com/bardot.mpg After having read Chris move with sound. While this does Lanier’s “The Aesthetics of Internet constitute a cartoon it does not Thanks, Animation” (Lanier, 5.5), I would justify itself as animation. If you Tim Flora like to offer the following: look up the definition of the word Producer, Momentum Animation There is a lot of truth in you will see it means to give life, Studios what Chris writes regarding style not just bandwidth. 157 Eastern Rd, South Melbourne and crudeness as it relates to Victoria 3205 MUCH of what is going on out Thanks for listening, Australia there. I feel part of the reason for S.M. Casper [email protected] this is that there are large numbers www.momentumanimations.com of people who have simply toyed around with the medium, or have Lanier Proved Insightful been much too influenced by a lot When I saw Chris Lanier’s of the crude garbage on TV (I article, “The Aesthetics of Internet won’t mention actual titles but you Animation,” (Lanier, 5.5) featured know who they are), or lastly, and (as well as his fine character on the probably the most pertinent rea- cover), I realized that I never son, is everyone is rushing to the “shook his hand” so to speak after Web as fast as they can get there, winning the same category in the much like the gold rush of ‘49. World Wide Internet Animation I myself am an animator Competition sponsored by and along with a fellow program-
ANIMATION WORLD MAGAZINE September 2000 7 A Conversation With Larry Lauria: How’s everything The New going? Don Bluth: I think it’s going very, very well. For us, it’s basically find- Don Bluth ing new ground to plough. What really helps us is the contacts by Larry Lauria we’ve made over the years. Right now, I’m kind of excited — more few months ago, I inter- than I’ve been in a long time. viewed Fox Feature direc- tors, Gary Goldman and A LL: Is there any particular area you Don Bluth for Animation World are interested in pursuing — Magazine. The topic of the con- whether it’s feature animation or versation was the upcoming the Internet? release of Titan, A.E. Part one, the interview with Gary Goldman was run in the June issue. Part two, the interview with Don Bluth, was never printed because the events which transpired at Fox Feature Animation made the interview irrelevant. Bill Mechanic, head of the Fox Studio, and the Fox organiza- tion parted ways; Fox Feature Animation was shut down; Don Don smiles for the camera while Bluth and Gary Goldman were Mrs. Brisby (The Secret of NIMH) gone; and Titan, A.E. (which relaxes between takes. Courtesy of debuted at number five at the box Don Bluth’s Toon Talk. office in its first weekend of article inferring that “2D animation release) was sent into animation was dead” ... or extremely sleepy. oblivion. Recently, I tracked down The closure of Fox Don Bluth and Gary Goldman at Animation has sent shockwaves the Bluth Group in Phoenix. Don at work. Courtesy of throughout the industry. One I spoke with Don about their Don Bluth’s Toon Talk. major newspaper even wrote an future plans. DB: It’s probably a combination. I know we [Gary Goldman] will stay in the feature business. We do have a couple of things we are developing. Foremost, is a Dragon’s Lair feature — which we have been scripting now for maybe six months. It’s a comedy and very funny. So we’re pursuing that right now with everything we’ve got.
Titan A.E. © 2000 Twentieth Century Fox. LL: Gary Goldman mentioned
ANIMATION WORLD MAGAZINE September 2000 8 something about lessons? Animation. There we will do most just recently, the pictures that have of the lessons and show most of been pulling in box office — we’re DB: I’m going to go out on the what we are doing. Hopefully, we talking about Antz, A Bug’s Life, road. I’m going to go to Los will be able to stream a lot of Toy Story 1 & 2, Dinosaurs. All Angeles, Chicago and New York animation. You can see it live, those are pulling in money. Talk starting the first three weeks in respond live and ask about the 2D animated films that November. I’m going to do some questions live. have been out there, like Iron seminars out there, but, they’re Giant, Prince Of Egypt, Titan...all not quite a seminar. They have a LL: Have you had much feedback the 2D films are not really pulling lot of stuff in them. It’s more like — regarding The New York Times in the money, so I imagine that is a little show — like a musical article? where The New York Times is show. I talk about all the things I’ve getting the idea. learned in animation and things DB: Not a lot. that I think might help other peo- LL: Well, they really made it sound ple who are the future of anima- LL: Have you seen it? like a very dire situation for anyone tion. I’m going to do that for three who does 2D animation. months and see what happens. If DB: No. it works really well, and I under- DB: If you were to stand up right stand what the audience is trying LL: They kind of made it sound now, Larry, at a podium and tell to learn, I will use it as a precursor like 2D animation was dead. I everyone there’s a great future in to go online and do classes on don’t know if you read that... 2D animation — exactly how the Internet. would you sell your case? DB: What do you think? Is it? LL: I’d say, if you want to do the LL: Oh no, I don’t think it is at all. 3D stuff, you have to learn the 2D stuff, first. DB: Do you know anyone doing it? DB: Correct! But they say, ‘I don’t want to do the 3D stuff. I want to LL: Anyone doing what...2D? do the 2D stuff.’ Can you build a case? DB: Yes, 2D. LL: I actually think — and this may Dragon’s Lair. ©1983 Bluth Group Ltd. LL: Not strictly 2D! I think it’s one change in the next couple of years All Rights Reserved. of those things where you use the depending on the bandwidths of LL: Who would it be directed right tool for the right job. the Internet — that the Internet toward — students in junior high, Sometimes the 3D stuff works real- can be a great place for 2D high school and college? ly well, but I don’t think you get animation. the exaggeration, or at least, I DB: Yes, students, all of the above. haven’t seen the exaggeration in DB: That’s where I have arrived People who are aspiring to be in the 3D stuff that you can get with myself! But that’s the only place I animation. There will be two the 2D. can see it for now. Although I Websites, DonBluth.com, and in a think it goes with the trends and few weeks, Toontalk.com. DB: Well you know, when it all eventually 2D will probably swing Toontalk is more like the instruc- comes down to it, it probably has back and become popular again. tional area. It is where we concen- to do with what the audience will Everybody will watch 3D anima- trate on the learning experience, pay a ticket to see. What they’re tion until they get tired of it and the teaching. There will be a room willing to pay a ticket to see nowa- then they’ll say, ‘Oh, let’s look for in Toontalk, where, if you join that days, seems to be either Disney — something that’s a relief from this.’ room — which will cost you a which a lot of it is 2D — or 3D ani- But it’s probably going to be a monthly fee — it’s the Academy of mation. If you look at the history little while.
ANIMATION WORLD MAGAZINE September 2000 9 Right now, we are not on top. 2D is not on top. It’s definitely 3D on top! Even if you look at the signs — what did Fox just do? They put their 2D studio out of business and invested — invested a lot of money — building a whole new studio with a three picture deal in New York to do 3D animation.
LL: What do you think of the ani- mation art form today? Layout artist Larry Leeker listens while Director/Producer Don Bluth explains DB: A lot of the animation that I some finer points in laying out the scenes for The Secret Of NIMH. Courtesy of see nowadays, in 3D and 2D, is Don Bluth’s Toon Talk. very stiff-looking to me. It doesn’t DB: You know what? The business duction? Will the Bluth Group look very fluid and it definitely hasn’t worked out that way. I’ve become an independent studio? doesn’t have the “soul” in it. It always tried to protect the employ- looks like it moves about, but that’s ees. To protect them, you really DB: It is right now! When we go the extent of it. I really don’t see a have to give everything away. into production, we will go in great artistry there right now. And this is definitely true: if under our terms or we won’t Maybe this has happened as a you’re not in the distribution busi- make the film. We have two proj- reaction to all the studios entering ness, you’re not in the motion pic- ects in the works right now the business. It’s turning into an ture business. And if you think you besides Dragon’s Lair. Both of the industry instead of an art — where are going to be an independent parties involved have agreed that everything is measured in terms of animator and go out there and if we can’t get the distribution deal time and money. The artist’s part form your own company and be we want then we will go to the somehow got eclipsed in the mid- independent — and make money Web. By the time we finish a pic- dle of all of that. at it — you’ve got a great realiza- ture (in two years), the Web will be tion coming at you. fully capable for the distribution of The only way it could hap- feature films. pen is if you get into the distribu- tion business — which could be LL: Are a lot of folks from the for- the NET! You could possibly distrib- mer Fox Studio waiting for ute something on the Net, even a your projects? motion picture. If people have the ability to have it streamed to their DB: The “folks” — as you put it — TV sets, if that happens, you can are gone. by-pass the major studios and you Space Ace. ©1983 Bluth Group Ltd. can get your own picture distrib- LL: What will you do? All Rights Reserved. uted...THEN YOU ARE IN THE LL: Will the Bluth Group develop BUSINESS!! As long as you have to DB: You just start over. You go out other properties besides Dragon’s go to the major studios and have and find young talent who are Lair and Space Ace? to ask them if they will give you a interested in doing animation, you distribution deal to get to the the- bring them into the mix and train DB: Yes. atres — they will take everything them. I mean, that’s what Gary that you have and you will and I have done most of our LL: You said in The Times article, get nothing. careers anyway — is train people. you were bound and determined So, you train them, and then you to do your own characters from LL: What will you do when your take another shot at making a fea- now on. next project is ready to go into pro- ture. Only this time, hopefully, you
ANIMATION WORLD MAGAZINE September 2000 10 just don’t throw the feature at the LL: What do you say to the Don studio, you go out a little differently Bluth and Gary Goldman fans in your distribution process. out there? Fox laid off three hundred or so of the three hundred-and- DB: I think animation [2D] is here eighty people at the studio a full to stay. I don’t think it’ll go out of year before Titan was released. fashion entirely. But the only way to stay in the feature animation LL: So you had about seventy business — is to be sure that people left, correct? there’s a market for it. The only place I know where you can sup- DB: That’s right, there’s no way in port that market, is probably on the world they could have made a the Net. The world will change feature with seventy people. A within the next year and there will year ago everyone should have be a lot of things going on known that it was over...with Fox the Net. Don Bluth. it was over. The best thing about ani- cating yourself make sure you It’s very weird because all mation to me is that it [both 2D have something to say. the people who make a picture and 3D] requires that you find the put their hearts into their disks. most exciting ideas and things LL: Thanks for your time Don. They work really hard, and they going on inside of your own self think, “We’re really going to make and figure out a way to get those DB: You’re welcome. something really wonderful.” They ideas out through an exit portal — tried so hard. Then, the ruthless through the end of your pencil — Join Larry Lauria in his part of this is, the people who so that it makes some sort of state- “Animation Tools and Techniques” have control of the distribution - ment, so that you’re not just ani- discussion forum. Go to that’s the ruthless part. mating an assignment within a http://creativeplanet.com/ studio. Lots of times at a studio, a communitycenter and click on LL: I used to tell my students, don’t film is made by committee, and “Animation Tools and Techniques” ever forget that it’s a business. the committee endeavor is not under the Animation/Graphics/ very good. Although they say FX category. DB: Yes, but they will... there were two directors on Titan, I’d say there were twenty. With Larry Lauria is an animator/ LL: Where do you see yourself in that many people, you don’t get educator with 25 years in the a year? the best artistic endeavor. industry. When not working on his Animation will not go away current millennium animation DB: Within a year, funded and — but you need to school your- project, 2KJ, Larry keeps himself building a feature again. self, educate yourself, and in edu- busy working as a freelance ani- mator and classical animation instructor. He can also be found designing animation curricula, or traveling around the world giving animation workshops and master classes. His Website ”The Toon Institute” is part of the AWN family.
Note: Readers may contact any Animation World Magazine contributor by sending an e-mail Titan A.E. © 2000 Twentieth Century Fox. to [email protected].
ANIMATION WORLD MAGAZINE September 2000 11 Shaping the Future of Television Business
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Reed Midem Organisation, 11 Rue du Colonel Pierre Avia, 75726 Paris Cedex 15, France Summer’s Sleepers and Keepers by Martin “Dr. Toon” Goodman
hat do a chicken, a imagine American cinema bereft continuity. Recognized the selling dinosaur, and a hun- of animated features; after all, it potential of dinosaurs to a young Wdred-foot high wave was this country that first exploited audience, but shrewdly picked up all have in common? Filmgoers their mass appeal. The fact that on those adults who had their would have an easier time with the vast majority of animated fea- appetites to see “real” dinosaurs this question than any ornitholo- tures tend to fade well before whetted by Jurassic Park. No gist, paleontologist or oceanogra- reaching the $65 million mark in Broadway numbers. Made over pher who might be looking for the profits has not deterred any pres- three million hours of computer answer: All three were premiere ent or future efforts to give us time show on screen without animated stars of the Summer more of them, and at present, detracting from character develop- 2000 box office. Filmgoers who broad-banding is not prevalent ment. Developed tie-ins and ancil- are also animation aficionados, enough for Web technology to co- lary products without the promo- however, might be able to answer opt the form. Unless one counts tional overkill typical of early- our riddle in more depth: None of on audiences to spend seventy- nineties Disney. the above were produced five hours downloading an entire through the method of traditional feature film (or believes they will cel animation. This fact alone be content to view it in endless makes the past year an interesting five-minute segments), we will one for animated feature films, continue to file into our local and in this month’s column we will multiplexes to enjoy animated discover a few other facts that may features, silo-sized soft drinks and hold clues as to how these films cavernous tubs of popcorn. will be animated, produced, mar- And now, without trailers, Two lemurs, the elder Yar and his keted and finally received by the commercials, or reminders to daughter Plio, from Dinosaur. public in the future. In doing so place trash in the proper recepta- © Walt Disney Pictures. we will explore the “do’s” and cles, let’s go to the movies and see What they didn’t do right: “dont’s” of building a successful what some recent features have to Characters were fine but the script animated film based on some teach us. (All grosses are current was a rehash of common Disney of the major offerings of the through July 21, 2000 due to my themes including a misfit hero past year. deadline structure.) with one or more missing parents, Let me begin by averring comic relief characters with that animated features will always Dinosaur (Disney Studios) anachronisitc speech, a sadistic be with us. The tradition is a long Current gross: $133,051,394 and arrogant villain who falls to his one, and the public seems to sup- What they did right: Paid death (Is this a prerequisite for port these features with enough attention to the fact that virtually every Disney villain of late? Do dollars to make the effort lucrative. every feature completely animated they audition by bungee jump- There are now enough skilled ani- in CGI broke the hundred-mil ing?), and an all-too familiar mators available to give any studio mark. Took their time in develop- romantic subplot. However, one a decent shot at making a feature ing a project that originally began must realize that Dinosaur is very film, and we expect to see at least in 1994. Did all the work in-house much a product of the Disney sta- two or three quality efforts per at the new TSL (The Secret Lab) ble and would strongly bear its year. In fact, it would be hard to digital studio to ensure quality and stamp. At least we’ll probably be ANIMATION WORLD MAGAZINE September 2000 13 spared Dinosaurs on Ice. What they didn’t do right: What we learned: Digital Pulled it before it hit the $100 mil- rules. Between Pixar and Disney lion mark. This feature should have proper, one formula for an animat- stayed in the afternoon matinee ed blockbuster has now been firm- market in smaller theaters for ly established — go CGI and another month or two, supported watch the profits fly. Study the past by tournaments. successes of other studios that What we learned: Timing is have used a certain genre and everything. Develop a film script at A brand new plan, from Chicken Run. determine how to best embellish the first sign of popularity and job © DreamWorks SKG. upon them. Research the tastes of it out to a dozen animation studios makeshift flying machine manned your target audience and develop need be to get the speed factor. by chickens manage to hoist a full- a concept that just can’t lose. Don’t worry about editing or con- grown human so high into the air Finally, play within your audience’s tinuity too much; millions will roll for such a distance? Who cares? expectations and don’t take any in regardless. Kids will hardly THEY ESCAPED! undue risks unless they involve pause to consider mise en scène What we learned: There is spectacular visual effects; if people or proxemic patterns, and adults room out there for a wide range of expect a Disney story, give ‘em a are well resigned to opening their animated styles and mediums. The Disney story. wallets on cue. Team Rocket three top-grossers above represent should work half as hard. CGI, cel and stop-motion respec- tively. A small studio can flourish Chicken Run (Aardman creatively under the auspices of a Animations/DreamWorks much larger one without the need SKG) for a tight leash. This unmistakably Current gross: $84,080,147 British feature, along with Pikachu What they did right: Used and company, may be sending two experienced directors, Nick the strong signal that American Pokemon. © Warner Bros. No other uses are permitted without the prior written Park and Peter Lord. Capitalized audiences will be more receptive consent of owner. Use of the material in on the popularity of a previous to imported animated features in violation of the foregoing may result in success, Wallace and Gromit. the future. Anybody ready to civil and/or criminal penalties. DreamWorks took a strictly hands- distribute Help! I’m A Fish? Pokemon: The First Movie off approach and let Park and Lord (Distributed by Warner Bros.) shape their own vision. Stop- Fantasia/2000 (Disney) Current gross: $85,744,662 motion process looked fresh and Current gross: $58,653,569 (IMAX What they did right: different compared to recent cel and theater receipts combined) Managed to get hold of a pre- and CGI features. Strong script What they did right: existing film while the product was built on cinematic references (pris- Advanced Walt’s original vision at its hottest. Does anyone remem- oner-of-war films) which are not sixty years later. Left “The Sorcerer’s ber The Power Rangers or recycled often in American movies. Apprentice” segment in the film. Teenage Mutant Ninja Turtle Distinctive, grand musical score Showcased the latest digital tech- movies that finally appeared more which contrasted amusingly with nology extant, including the over- than a year after most kids had the silly animation (as in the South powering particle generator. dumped their action figures into Park feature). Likeable characters Proved in the outstanding the local landfill? Didn’t pay a backed by strong voice acting. “Rhapsody in Blue” segment that, Squirtle’s worth for the labor-inten- What they didn’t do right: given fifty years, Disney could sive work of an animated feature, (Only for those who like to quib- finally grasp what UPA had been guaranteeing almost pure profit. ble.) A few conundrums in the trying to do. Better musical selec- Ditto for publicity; this feature liter- plot. How could the circus, which tions than those of the 1940 film, ally sold itself due to the prolifera- seemed to value Rocky immensely, with no radical alterations needed tion of product into the pre-teen shoot him off-course for what in the scores. No major embarrass- market. seemed to be miles? How could a ment like the “Pastoral” among its
ANIMATION WORLD MAGAZINE September 2000 14 sequences. Benefited from revi- sionist histories that now judge the original Fantasia to be among animation’s greatest masterpieces. What they didn’t do right: Weak and distracting host seg- ments. Released it to the general theaters while their other feature Dinosaur was still red-hot. Restricted it to IMAX theaters for far too long; even if this was a test run Miguel and Tulio, from The Road to El Dorado. © DreamWorks SKG. prior to making a bid for IMAX, the buster/holiday season wars. Used the Russian princess in it? Come experiment cost Disney consider- con-artist rapscallions as heroes on, you know which one I mean... able profits. Some unconvincing rather than clean-cuts, and a What we learned: animation in the “Pines of Rome” female lead as sharp and crafty as Recycling both talent and ideas sequence. “Steadfast Tin Soldier” her male foils. Great chemistry will only get a studio so far, even if sequence was not even up to between Kevin Kline and Kenneth the talent is awesome and the Pixar’s standards. Production prob- Branagh. Hired proven success original idea is a sound one. In this lems and changes in direction tied from Disney: ex-animators, ex- case, it got DreamWorks as far as this feature up in the studio for screenwriters, and the duo of the $50 million mark, but it could over a year past the originally Elton John and Tim Rice for have turned out better. Much. planned release date. the tunes. What they didn’t do right: Titan A.E. (Fox) The idea should have been to Current gross: $22,004,799 compete with Disney, not become What they did right: them. If Katzenberg wants to raid Impressive integration of 2D and studios, he might try some of the 3D animation. bigger and more successful enti- What they didn’t do right: ties in Europe, Canada and Asia. The Titan Project may have had Despite the film’s sassy attitude, the power to create a planet, but too much of El Dorado is reminis- it ended up sinking a studio. cent of Disney circa 1994. Oh, Produced while Fox was already and didn’t an evil master of sorcery considering personnel cutbacks. “The Firebird Suite,” from Fantasia/2000. © Walt Disney Pictures. also create a climactic set-piece by Chaotic creative changes while in turning a massive bunch of stone production backed the film up a What we learned: New into a savage attacking animal in year. Bluth and Goldman seemed entertainment formats may be a that other movie? That one with to be just a step behind the times major draw in the future. An increased number of theaters using IMAX-type technology may be a major showcase for anima- tion. In this case, the format made a good, if not outstanding, feature a special event.
The Road to El Dorado (DreamWorks SKG) Current gross: $50,802,661 What they did right: Released the feature in late March, avoiding the summer block- Titan A.E. © Twentieth-Century Fox.
ANIMATION WORLD MAGAZINE September 2000 15 on this one. Publicity could have buster. A warning to plagiarists: been better. Too many visual and I’m copyrighted this time! cinematic references to other sci-fi Chickasaur Run A.E.:The Road to films. Massive market research the First Movie 2000 missed the mark on teen audiences. This imaginative film fea- What we learned: Nice tures a herd of CGI-animated guys can indeed finish last, and dinosaurs who help a desperate best efforts aren’t always reward- flock of stop-motion chickens ed. This film deserved a kinder fate The Adventures of Rocky and Bullwinkle. escape from an evil cadre of cel- from audiences, but sci-fi anima- © Universal Pictures. animated mutations called the tion features (and there haven’t to adapt to screen since most of it Pokedrej. The escapees flee Earth, been many) may have become was verbal and made up for poor- escorted by a school of flying obsolete due to VFX break- ly animated visuals in the original space whales who help them throughs in live-action sci-fi films. series. Original format of “meller- reach the planet New El Dorado. Besides, one important piece of drama” serial at odds with feature- There, the chickens and dinosaurs research was missing: When did length film concept. Fans of show are nearly fleeced of their meager sci-fi animated features last score a tend to be fanatic, detail-oriented supplies by two slacker con artists, hit with the moviegoing public? and tough to please. Highly topi- but they all eventually unite Heavy Metal? Even Bluth’s first cal characters probably played against the pursuing Pokedrej, attempt at something like sci-fi, much better in 1960s; updating who all fall to their deaths from a The Secret of NIMH, only grossed them posed problems. Director great height at film’s end. about $10 million. Des McAnuff and scriptwriter Or, we could just animate a Ken Lonergan were not animation single white mouse (Stuart Little, The Adventures of Rocky and people. $140,015,224....) Bullwinkle (Universal) What we learned: Current gross: $21,754,375 Nostalgia won’t always pull them Martin “Dr. Toon” Goodman is a What they did right: Well, in. Stay true to the original spirit of longtime student and fan of ani- at least they didn’t animate your source material. When doing mation. He lives in Anderson, Piper Perabo. revisionist work, check the adapt- Indiana. What they didn’t do right: ability of the characters and the Sorry, but only Jay Ward, Bill Scott, series in the first place. Note: Readers may contact any Lloyd Turner, Chris Hayward and Having reviewed these Animation World Magazine Allan Burns could have pulled this films, we are now ready to pro- contributor by sending an e-mail off. Unique Ward humor difficult duce our own animated block- to [email protected]. “The Animation Flash is my number one contact with what's going on THEANIMATION in the world of animation. I often FLASH quote whole passages from it in Weekly Email Newsletter my official reports to DreamWorks.” Sign-up for a free trial subscription. Get the complete industry news -Shelley Page delivered directly to your e-mail address every week. European Representative for Feature Animation DreamWorks www.awn.com/flash Animation World Network, 6525 Sunset Blvd., GS 10, Hollywood, CA 90028, USA, tel (1) 323 468 2554, fax (1) 323 464 5914, Email at [email protected]
ANIMATION WORLD MAGAZINE September 2000 16 AAnniimmee TThheeaattrriiccaall FFeeaattuurreess by Fred Patten
n July 21, Japan’s second series. They have seen that the annual (1999) Pokémon Pokémon TV series has spun off at Otheatrical feature was least two Pokémon theatrical fea- released in America as Pokémon: tures. The TV industry’s dash to The Movie 2000, placing number cash in on the Pokémon mania 3 in the weekend nationwide box has resulted in the importation of office ratings. Coincidentally the such similar Japanese TV cartoons third Pokémon feature, Pocket Vampire Hunter D. © Hideyuki as Digimon, Monster Rancher and Monsters: Lord of the Unknown Kikuchi/Asahi Sonorama/Vampire Hunter Cardcaptors. And there are appar- Tower, hit Japan’s theaters on July D Production Committee. ently theatrical features of these as 8 to also rank number 3 in that came a few adolescent and adult well. Digimon: The Movie hits country’s weekend ratings. animated sci-fi and fantasy dra- America’s theaters on October 6. Japanese animation matic features like Akira and Meanwhile, the kids are bringing (anime) has exploded into the Vampire Hunter D on cable TV’s home new videos of at least three American consciousness over the Cartoon Network and Sci-Fi Sailor Moon movies that were the- past three or four years. There has Channel, and young teen TV atrical releases in Japan if not here. been animation from Japan in series like Sailor Moon and Dragon America since the 1960s with Ball Z, while anime videos began A New Question movies like Alakazam the Great to appear in general video shops. How popular is theatrical and TV programs like Astro Boy, Then Pokémon hit America animation in Japan? Can those but anime as a distinct cultural in 1998. movies also be popular in genre was not noticed until the By now most Americans — America? This is no idle question, 1990s. First came the anime video most American parents whose chil- especially considering the results cult market (“Japanese animation dren watch TV, at least — know of this summer’s American theatri- isn’t just for kids!”) in the early that while Pokémon may have cal animation releases. Only 1990s, available only by mail order originated as a Japanese video Chicken Run — a British produc- and through comic-book specialty game, its most visible and popular tion, but strongly supported by its bookshops. Then in the mid-’90s incarnation is as a TV cartoon American distributor, DreamWorks — has been really successful. Most American theatrical animated fea- tures so far this year have not earned back their production costs. Pokémon: The Movie 2000, released July 21 as I mentioned, had grosses of over $40,700,000 as of August 13, while 20th Century Fox’s Titan A.E., released over a month earlier, only had grosses of $22,640,000 by that same weekend (statistics from the Internet Movie Database). Will it be more practical for the American
Pokemon. © Warner Bros. No other uses are permitted without the prior written movie industry to start importing consent of owner. Use of the material in violation of the foregoing may result in civil Japanese animated features in a and/or criminal penalties. big way, at much lower produc- ANIMATION WORLD MAGAZINE September 2000 17 established on American TV. For Nobita, are gentle teaching experi- example, the Japanese TV series ences framed around Japanese Card Captor Sakura just began as ethnic customs (including commu- Cardcaptors in June on the Kids’ nal bathing), Japanese holidays, WB! network in the U.S. and Japanese folk tales and Japanese Teletoon in Canada. This may historical events, which young make the Card Captor Sakura: The American children would not Movie feature (August 1999 in understand. Sore Ike! Anpanman Japan) viable as an American the- (roughly Go Get ‘Em, Anpanman!) atrical release, if the TV series is a superhero comedy for young Sailor Moon. © DIC Entertainment. develops sufficient popularity. children in which most of the char- All Rights Reserved. Another Japanese TV cartoon acters are Japanese toys, fairytale tion costs for just dubbing and series with a theatrical feature in characters and anthropomor- minor editing, than to continue to reserve, Meitantei Conan (Conan, phized candies and sweets. support the productions of com- the Great Detective, about a boy (Anpan is a sweet pastry.) The pletely new American animated super-detective), is reportedly in weekly TV series began in October features? development for the Fox 1988; episode #576 aired on It is true that there are Kids Network. August 4, 2000. The annual the- many more theatrical animated atrical features started in 1995; this productions in Japan than in Most American year’s, released on July 29, was America. A few of them certainly Sore Ike! Anpanman: Ningyo Hime warrant serious consideration for theatrical animated no Namida (Go Get ‘Em, the American theatrical market. features so far this Anpanman! Tears of the Mermaid But on the whole, Japanese pro- Princess). These and others such ductions are not easily transferable year have not earned as Crayon Shin-chan add up to a to American theatergoers’ tastes. back their production large quantity of Japanese theatri- An average of three or four cal animated features that would animated theatrical releases costs. have little American audience appear in Japan every month. appeal. These fall into three main cate- The Differences There is a similar subclass of gories: 1. Movies based on popu- But not all Japanese TV car- children’s theatrical features which lar TV/young children’s cartoon toon series have potential for are blatantly Japanese corporate series. 2. Original dramatic fea- American release. Two notably promotion. Two examples both tures for older audiences, usually frustrating examples are released in July are the 2000 Nen based upon comic books and sci-fi Doraemon and Sore Ike! Natsu Toei Anime Fair (Summer novels. 3. Foreign imports. Anpanman, both for young chil- 2000 Toei Animation Fair) and the TV animation for children is dren. Doraemon is about a blue 2000 Nen Natsu no Kadokawa extremely popular in Japan, even robot cat, a toy from hundreds of Manga Taiko Susumeru (Summer more so than in America. There is years in the future, which is sent 2000 Kadokawa Cartoon also a much greater prevalence of via time travel to a comically clum- Masterpiece Presentation). Toei a popular TV cartoon series spin- sy 20th century schoolboy. Animation Co., Ltd. is the largest ning off a theatrical feature. This is Doraemon began on TV in April animation studio in Japan, and how the Pokémon, Sailor Moon 1979; the TV series is up to almost one of the largest in the world; and Dragon Ball Z theatrical fea- 1,600 episodes to date. There has both Dragon Ball Z and Sailor tures came to be made. However been a mid-March annual Moon are Toei productions. movies of this nature are like the Doraemon theatrical feature since Kadokawa is a major Japanese Star Trek theatrical features: they 1980. The American movie/TV publishing company; its children’s are really designed for the fans of industry would love to cash in on book division is comparable to the TV series. Movies of this nature these. But many of the stories Scholastic Inc. or Golden Press in will not have much box-office about Doraemon the robot-cat America. Movies of this type are potential until their TV series are and his human owner/playmate, 80- to 90-minute compilations of
ANIMATION WORLD MAGAZINE September 2000 18 from two to four new featurettes Jin Roh (The Wolf Men), a of the company’s currently most taut political thriller about the plot- popular TV cartoons — in Toei’s ting at high governmental levels case, its own studio’s productions; for jurisdictional control of a new in Kadokawa’s case, licensed TV paramilitary police unit, was cartoons based upon its juvenile designed for the art-theater circuit literary properties. These movies in the first place. It played at inter- give Japanese children the chance national film festivals in Germany, to see their favorite TV cartoon Canada, the U.S. and other characters in adventures of higher nations for a couple of years animation quality than the TV before its general release in Japan series. Often these featurettes are this February. A similar example is closely tied to the current TV story Alexander, an American-Japanese- lines, introducing new characters Korean co-production of a fantasy and subplots to the TV series. The based upon the 3rd-century B.C. Digimon theatrical feature just Macedonian king who conquered released in America is actually edit- most of Western civilization, elevat- ed from three Digimon featurettes ing him to mythic stature similar to in Toei’s Spring and Summer the demigod Hercules. This pro- Akira. © Akira Committee. Animation Fairs of the past couple duction, with character design by of years. These are popular in are usually romances and dramas American animator Peter Chung Japan; The Summer 2000 Toei based upon popular novels, comic (Aeon Flux), has also played at Animation Fair ranked number 7 books, TV programs for older international film festivals. It will be overall among its week’s theatrical viewers, especially popular direct- released theatrically in Japan as releases in Japan. But for obvious to-video productions, and video Alexander Senki (roughly The reasons, they would be meaning- games. Akira and Ghost in the Military Exploits of Alexander) in less to children outside of Japan. Shell, adapted from adult sci-fi October. In 1985 Vampire Hunter novels in comic-art form, are two D, a low-budget direct-to-video well-known examples of Japanese feature based upon the fantasy popular movies that had limited thriller novels by Hideyuki Kikuchi, art-house theatrical releases in proved unexpectedly popular, but America before going to video. dissatisfaction by Kikuchi over
Digimon. © 2000 Fox Kids. All Rights Reserved.
Another Demographic More suitable for American importation are the theatrical fea- tures for adolescents and adults. Best-known in America are the fea- tures created by master animators Hayao Miyazaki and Isao Takahata, based upon their original stories through their Studio Ghibli since the mid-1980s; but these are a Alexander Senki, a U.S.-Japanese-Korean joint anime-styled production. special case. Movies of this type © Alexander Committee.
ANIMATION WORLD MAGAZINE September 2000 19 changes in his story held up any directly into the same anime video current theatrical release in Japan movie sequels. The movie has also market as the TV episodes and the may help with its sale in America. proven popular as an American OAVs. A Final Fantasy theatrical feature, anime release since 1992 in art This also may change with loosely based upon the Japanese theaters and on video and cable the growth in popularity of anime video game series, is currently TV. The legal problems in Japan for older viewers in America. The being publicized in both nations were recently resolved, and a Japanese animation industry is as an expected Japanese summer new, high-budget remake of eager to sell more of its product to 2001 theatrical hit. This CGI sci- Vampire Hunter D is just finishing America. Take for example the ence-fiction drama is being pro- production, by one of Japan’s top 1996 teen girls’ romance TV series moted heavily over the Internet anime directors, Yoshiaki Kawajiri, The Vision of Escaflowne, a 26- with downloadable trailers and and with lots of CGI enhance- episode serial about a high school graphics, to excite America’s ment. Any of these would seem to girl who is transported to a fanta- action-adventure movie fans. Final be potential American theatrical sy world. Escaflowne’s continuing Fantasy is a Japanese production releases of at least as much com- popularity with teens in both being filmed at a studio located in mercial validity as Miramax’s Japan and the U.S. through video Honolulu, with dialogue being release of Princess Mononoke. sales has resulted this year in both recorded in Los Angeles for release There are many Japanese an American TV release (Fox Kids in both countries. This could be popular teen romantic fantasies, Network, premiering in August) the movie that will take Japanese roughly comparable to I Dream of and a Japanese theatrical feature, theatrical animation from the art- Jeannie or Sabrina, the Teenage Escaflowne: A Girl in Gaea (June theater circuit into American Witch. These usually begin as release). This movie was also general theatrical releases. comic books and graduate to ani- rushed to America for a preview at mated TV cartoon series or direct- the Anime Expo 2000 fan conven- Visit this article online to see a clip to-video productions. (The tion (10,000 attendance) in from Vampire Hunter D 2000 at: Japanese created their own Anaheim, California over the July http://www.awn.com/mag/issue English abbreviation for these, 4th weekend, to help build a pop- 5.06/5.06pages/pattenfeatures. OAVs for Original Anime Videos, ular demand for an American the- php3. which the American anime market atrical rather than direct-to-video has adapted.) Especially popular release. The above-mentioned Fred Patten has written on anime titles spin off theatrical sequels. A new Vampire Hunter D feature in for fan and professional maga- current example is Oh! My production was also promoted at zines since the late 1970s. Goddess: Eternal Ties, in which Anime Expo 2000 with a the ongoing romance between a theatrical trailer. Note: Readers may contact any shy college student and a virginal Animation World Magazine con- young goddess is finally resolved tributor by sending an e-mail to — or is it? Japanese theatrical [email protected]. audiences will find out this autumn. Oh! My Goddess is popu- lar among American anime and comics fans through translations of the comic book soap-opera romances by Kosuke Fujishima Vampire Hunter D 2000. © Hideyuki Kikuchi/Asahi Sonorama/Vampire Hunter and the OAVs. But would this D Production Committee. popularity extend to a theatrical release of a sequel for a general Another evolutionary devel- American audience that is not opment is the increase in interna- already familiar with the relation- tional co-productions. The U.S.- ships among its cast? This is why Japanese-Korean Alexander is the many Japanese theatrical fea- designed to be shown as either a tures of this nature have gone TV series or theatrical feature. Its
ANIMATION WORLD MAGAZINE September 2000 20 Just the Right Amount of Cheese: The Secrets to Good Live-Action Adaptations of Cartoons
by Gerard Raiti artoons and live-action into the cinema by making child- films are extremely differ- hood cartoon characters more Cent. Any established “real” by inserting them in a three- movie critic or five-year-old can dimensional, live-action world. attest to that. Yet strangely The result is the creation of bad enough, within the last decade movies. Nevertheless, studios cre- studios like Walt Disney, Universal ate more lackluster movies than and Warner Bros. have produced blockbusters in any given year; it is a growing niche of live-action the nature of the industry. adaptations of beloved, nearly Adaptations of cartoons should iconic cartoons. So in keeping not be exempt from this trend. with the new millennium, now is Consequently, a few poorly made the germane time to ask, “Why adaptations should not cause the sully cartoons by adapting them to entire genre to be labeled live-action?” Batman, the dark knight. © Warner Bros. “cheesy.” For most in the entertain- the early ‘90s, they were branded ment industry, the answer is as “cheesy” or “B-rated” despite What About the Good Movies? twofold: to make money and to sometimes enormous budgets. Numerous live-action adap- entertain audiences. The catalyst The box-office figures generally tations have been phenomena. and culprit for the recent trend of speak for themselves as far as Look no farther than 101 live-action adaptations is none these adaptations are concerned. Dalmatians, Casper and Inspector other than The Dark Knight him- For example, consider the domes- Gadget. However, there are also self, Batman. Warner Bros.’ 1989 tic totals (in millions courtesy of some befuddling statistics. Take film starring Michael Keaton and Box Office Report) for the follow- the Teenage Mutant Ninja Turtle Jack Nicholson garnered over ing motley crew of films: Richie franchise for example: The first $413.2 million worldwide and Rich ($38.06), The Flintstones in movie from 1990 raked in $135.3 launched a franchise. Batman Viva Rock Vegas ($34.92), Dudley million domestically and $202 mil- proved how something as zany Do-Right (<$10), The Jungle Book lion worldwide. Its sequel and unrealistic as a comic book or ($44.34), Teenage Mutant Ninja decreased to $78.58 million a cartoon could effectively be Turtles III ($42.27), The Phantom domestically, and the aforemen- molded into a blockbuster. (<$10), Steel (<$10) and The tioned third movie plummeted to (Granted, there were earlier live- Adventures of Rocky and $42.27 million domestically — action Batman movies, not to Bullwinkle ($25). nearly $100 million shy of the orig- mention Christopher Reeves’ Contrary to the beliefs of inal. So what caused this decline Superman films, but none reached certain individuals at Walt Disney over a four-year period? The pri- the box-office stature of 1989’s Pictures and Universal Pictures, the mary reason was the waning pop- Batman.) cause for these disasters is the ularity of the characters; they had Unfortunately, the sweet greedy expectation of a huge been over-marketed and had lost peach that was live-action adapta- guaranteed box office haul. The their appeal. However, many tions quickly became rotten. By studios hope to shepherd viewers movie critics claim the third movie
ANIMATION WORLD MAGAZINE September 2000 21 was “cheesy” — a statement cessful live-action adaptation of a fiscal disaster grossing less than which is clearly erroneous. The cartoon is Disney’s George of the $10 million domestically. Universal third movie used the smartest yet Jungle starring Brendan Fraser. Pictures’ attempt to make the next- most trite scripting technique The 1997 movie adapts the Jay best-thing to a George of the imaginable — time-travel. Rather Ward cartoon, which is fittingly Jungle sequel apparently lacked than force the life-size turtles to similar to The Rocky and Bullwinkle some “Disney magic.” It had com- combat the Shredder again, New Show. George of the Jungle made ponents for a successful sequel; Line Cinema sends the Turtles back $105.3 million domestically and however, it lacked two essential in time by means of a mystical $174.3 worldwide. “It was an attributes for a good movie, name- antique lantern. Time-travel in films unanticipated success,” according ly a good story and character is typically the ultimate sophistry to to Walt Disney Pictures. George of depth. Hugh Wilson is mostly realism, yet when dealing with the Jungle was a winner not only responsible for this catastrophe talking ninja turtles, how can time- because girls flocked by the thou- being both the writer and the travel be the touchstone of sands to see Brendan Fraser in a director. Nonetheless, Dudley Do- cheesiness? loincloth (as opposed to a certain Right’s failure is unfathomable. It movie about a sinking ship starring consequently became the bête Leonardo somebody), but noire of my writing this article: because the movie was “cheesy.” How could a movie so poised for This is a movie critic’s worst night- success be so pathetic? mare: rather than let cheesiness Shockingly, Dudley Do-Right is devour the sanctity of a vintage not alone. cartoon, Walt Disney Pictures embraced it. The film’s narrator An Expert Opinion acknowledges the wackiness of In what is most likely bad the movie, and his tongue-and- luck for Universal Pictures, this Inspector Gadget deserves a hand. cheek demeanor is established year’s The Flintstones in Viva Rock © Walt Disney Pictures. from the opening credits, which Vegas was an incredible disaster Most importantly, while coincidentally overlap a short compared to its predecessor money is an important factor in animated segment. which earned a whopping $358.5 determining a movie’s success, million worldwide. This statistic lucrative movies are not necessari- attempts to debunk this entire arti- ly good. Returning to the catalyst cle. As poor a movie as Dudley Do- Batman, Batman Forever and Right is, Viva Rock Vegas is not. So Batman and Robin performed well what caused The Flintstones’ enough in the domestic box- sequel to make $90 million less office, making $184 and $107.3 domestically than the original? I million respectively. However, did not know, so I approached a these two Joel Schumacher films George of the Jungle was a pleasant veritable pundit of movie produc- surprise for many doubtful critics. are disgraceful. They became © Walt Disney Pictures. tion who is more than adept at more about fluorescent props, adapting cartoons to live-action endless arrays of vehicles, batsuits, There is nothing perplexing films. This is none other than gadgets and a surfeit of sidekicks about George of the Jungle’s suc- Academy Award-winning produc- than about the true Batman cess because it exemplifies what er Bruce Cohen. In addition to mythos — a man tortured by the live-action adaptations should be. winning an Oscar for American murder of his parents, waging a The enigma regarding the film Beauty, Cohen produced both battle against death so that no arrived in 1999 when Brendan Flintstones movies — one a block- child would again suffer a loss like Fraser again flaunted the vest- buster, the other a flop. By dint of his. Something noble, serious and ments of a Jay Ward character, this, he is the perfect person to perhaps even dark became a playing the leading role in comment on this anomaly. “cheesy” means to sell toys. Universal Pictures’ Dudley Do- The most surprisingly suc- Right. This movie was a complete Gerard Raiti: What was the dif-
ANIMATION WORLD MAGAZINE September 2000 22 anything about Viva Rock Vegas BC: That is a very tricky question that would have made it more because there are many small fac- successful, what would you have tors that contribute to a good changed and why? Also, did you adaptation. This is because what suspect at anytime it was of a works in a cartoon does not nec- lower caliber than its predecessor? essarily work in LA [live-action]. Being faithful [to a cartoon] is not BC: No, not at all! In fact, every- good. It’s about finding a balance. one involved in [Viva Rock Vegas] The movie needs to be loyal felt it was better than the original. enough to the cartoon for the Bruce Cohen. The only thing I would have sake of the fans, but it also needs ference between producing the changed is the way it was market- to do everything that a good live- first and second Flintstones ed and reviewed. For whatever action movie should. Think about movies? reason, people never gave the the story arc for a second. The movie a chance. On our end, we average story for a cartoon is Bruce Cohen: Well, there are lots tried to make the best sequel pos- twenty-two minutes. The stories of differences, but that’s intention- sible, and we thought we suc- are not designed with enough al. We wanted to make the sequel ceeded. So, no, there’s really noth- depth to interest an audience for as different as possible from the ing I would have changed two hours. More character depth original. Then the idea of making because I’m satisfied with how is needed. 2-D versus 3-D takes on a prequel arose — to make the [Viva Rock Vegas] turned out. an entirely new meaning. The 2-D sequel occur before the original, characters are flat — not just on and before even the TV show. So the paper. the logical decision was to have a The real challenge is the new cast in a place other than “real” versus the “unreal.” Cartoons Bedrock. This is where Rock Vegas don’t lend themselves to reality came in. very well. Everyone wears ridiculous costumes; the sets are GR: Why was the first Flintstones absurd and larger than life. The movie more successful? challenge is to make it look realistic The Great Gazoo comes to earth to without taking away from [the study the mating rituals of humans in BC: That’s hard to say. It was prob- The Flintstones in Viva Rock Vegas. cartoon’s] charm. ably the novelty of the film. People © Universal Pictures. had never seen Bedrock brought to life before. This was huge! It’s GR: Why did the international always fun for fans to see their audiences take to Viva Rock Vegas childhood characters come to life more than the Americans? for the first time. BC: The international audience is GR: What originally enticed you less review dependent. They knew to produce the first Flintstones they enjoyed the first film and movie? assumed the second would be equally good. And the new cast BC: I’ve always been a fan. It’s a was mostly British, which created How the Grinch Stole Christmas,from tremendous challenge to under- a lot of hype in England. The inter- director Ron Howard, looks promising. © Universal Pictures. take. At the same time, it’s the per- national audience is also less cynical. fect opportunity to entertain mil- GR: Why are many live-action lions of people. The Flintstones GR: Now for the crux of what I’ve adaptations cheesy or poor in personifies family entertainment. been getting at: What makes a quality? Who is to blame — the good live-action adaptation of a writers, directors, producers, GR: If you could have changed cartoon? actors, studios?
ANIMATION WORLD MAGAZINE September 2000 23 BC: The main reason is that many cartoons don’t lend themselves to live-action. The stories and charac- ters are not deep enough to sus- tain a motion picture. In the case of the Flintstones, they were created as a spoof of The Honeymooners. It’s a cartoon version of a wacky world with two suburban couples. It’s relatable to Americans. That’s [The Flintstones] appeal. The studios are responsible for selecting cartoons that are transferable to live-action.
GR: Do you plan to produce other live-action adaptations in X-Men was a successful, faithful adaptation of the comic. © Twentieth Century Fox. the future? try yet another Hanna-Barbera excerpt is from Hamlet’s mono- adaptation in Josie and the logue in Act II, Scene 2: BC: I wouldn’t say “no,” but prob- Pussycats, for which I have low “Confound the ignorant, and ably not. All the good cartoons expectations. amaze indeed/The very faculties of worth adapting have already been The future of live-action eyes and ears.” Good cartoons done. At this stage, there would adaptations of cartoons looks have always attempted to mystify have to be some cartoon I’ve over- hazy. There will certainly continue the senses through catharsis, intro- looked, and the story would have to be a mélange of successes and spection or humor. Successful live- to be extraordinarily good. failures. It boils down to Bruce action adaptations should follow a Cohen’s belief that most of the suit- similar route. Studios should learn Who Knows What the Future able cartoons have already been not to adapt a cartoon strictly for Holds adapted. The good adaptations monetary or nostalgic reasons; the Despite several box-office will be those which have non-car- cause for a live-action adaptation failures, the industry is planning to toon affiliated production crews should always be to enhance the produce more live-action adapta- like X-Men’s director Bryan Singer. cartoon’s ability to entertain. Any tions of cartoons. This summer’s X- other reason is a disservice to Men found the balance to which Despite several the standard that the vintage Bruce Cohen referred; it was loyal cartoon represents. enough for fans yet substantive box-office failures, enough for general moviegoers. the industry is With the success of X-Men, Marvel Gerard Raiti, a resident of Enterprises has finally received the planning to produce Baltimore, has reported on ani- green light for projects like Spider- mation, Broadway musicals and man, The Incredible Hulk, Captain more live-action comic books for various publica- America and Daredevil. This is adaptations of tions including all in addition to the X-Men AnotherUniverse.com and sequel that is already in early cartoons. Newsweek. development. Furthermore, this In short, an out-of-context November brings Disney’s 102 phrase from Shakespeare’s Hamlet Note: Readers may contact any Dalmatians, in which Glenn Close always comes to mind when think- Animation World Magazine con- reprises her role as Cruella Deville. ing about cartoons and their live- tributor by sending an e-mail to Next year, Universal Pictures will action adaptations. The following [email protected].
ANIMATION WORLD MAGAZINE September 2000 24 Indie Animated Features: Are They Possible?
by Amid Amidi or years, theatrical animated features have primarily been Fin the domain of big stu- dios. Producing a quality animated film requires a significant amount of talent, time and especially money; resources that smaller independent producers usually don’t have. But times change, and there are currently more inde- pendent animated features being produced than ever before. Falling technology prices and a unique system of production have driven this growth, but the proliferation of these indie films doesn’t belie Carnivale. Photo courtesy of TerraGlyph Productions. the fact that they face an incredi- until now that is. During the past animation studio in Ireland with ble uphill battle when it comes to decade, the smaller studios have over forty-five full-time employees, finding an audience. Here, we’ll finally landed upon the ideal and another fifteen in their examine just how these independ- method of producing an animated Madrid, Spain studio. They have ent producers are able to chal- feature: the international co-pro- completed two features recently, lenge the big boys of theatrical duction model. Using this model, Carnivale and Help! I’m a Fish, and animation, and more importantly, studios located all over the world will finish their third feature, Duck do they stand a chance? combine their resources to create Ugly, in 2001. “All of the feature an economically budgeted film productions have been co-produc- The Name of the Game is Co- ranging anywhere from $5 to $20 tions with other European part- Production million. Currently, the majority of ners such as A-Film from Denmark, The traditional means of these films are coming out of Munich Animation and EIV Film producing an animated feature is Europe because most govern- Production from Germany, and that a major production studio ments abroad offer various fund- Millimages from France,” says such as Disney, DreamWorks, Fox ing schemes for filmmakers such Gerry Shirren, executive producer or Warner Bros. will finance an as subsidies and tax refunds. Even of all three features. “Production in entire picture, and then release it so, producing a feature in such a this manner is the only conceiv- through their own powerful the- manner requires a substantial able way in which these films atrical distribution channels. Such amount of cash equity up front could be financed and produced. a film can cost anywhere from $40 because of the rarity in finding a This in not a disadvantage in that to $100 million, and beyond. distributor who will pre-buy a film it allows a studio of our size to However, with neither the cash prior to production. produce feature films on the scale flow nor production facilities of One particularly busy of the major studios in the U.S. these larger studios, more modest- European studio is five-year-old and avoids the necessity to create ly sized operations have been TerraGlyph Productions, which an unmanageable production locked out of the theatrical game, has grown to become the largest facility.”
ANIMATION WORLD MAGAZINE September 2000 25 films are made. Due to the lack of lem is compounded as “media government support and the companies continue to vertically higher wages that artists receive in integrate, owning the means of the States, independent produc- production, distribution and exhi- tion is something of a rarity, with a bition.” He recalls, “When I was notable exception being first in the film business there were Tooniversal’s recently completed hundreds of distributors, inde- Marco Polo: Return to Xanadu. pendent theaters, TV stations and Tooniversal co-produced the film buyers. How the independents Duck Ugly. Photo courtesy of with studios in Slovakia and China, will survive having no place to sell TerraGlyph Productions. after receiving a substantial finan- or show their films is a major Steve Walsh, producer of cial investment from a film-funding obstacle to overcome, and frankly, another pan-European co-produc- entity called Druzba Film I’m not sure it’s possible given the tion, A Monkey’s Tale, says that Associates. The studio is currently current state of things.” Add to twenty-six different sources of planning their next feature, that the high costs associated with finance were needed to produce Dinosaurs of the Wild West. . . marketing and promoting a the- the $10 million feature, ranging When the West Was Really Wild! atrical feature, and the fact that from broadcasters such as Sky TV many distributors are more wary in the UK and Canal+ in France to of buying animation than live- the NRW Film Fund in Germany action, and it becomes a very and Eurimages, the Pan European tough situation. funding agency. Walsh comments, “Without doubt the main prob- lems with this kind of financing are: the obligation to do a certain quota of the work in each country, and the dilution of creative con- trol. Set against those drawbacks is the fact that films do get made.”
Ron Merk, director of Tooniversal’s Marco Polo.
The Film’s Completed...Now What? Marco Polo: Return to Xanadu. “Theatrical distribution is © 2000 Tooniversal Company. the greatest challenge a producer has to face,” says Steve Walsh. This Still, with the persistence is a sentiment echoed unanimous- and dedication that these inde- ly by producers interviewed for pendent producers have shown, a this piece. While filmmakers have theatrical release is quite possible, Steve Walsh, director of A Monkey’s Tale. discovered a way to produce ani- if not always on the grand scale of mated films, distribution is increas- Hollywood releases. “If you look at Ironically, the United States, ingly difficult as today’s multiplex the financing of A Monkey’s Tale, the country where the most big cinema chains are dominated by the only theatrical distributor who studio animated features are pro- the big studios. Ron Merk, director got behind the project was duced is also the country where of Marco Polo: Return to Xanadu, Germany’s Jugendfilm, but that the least independent animated believes that the distribution prob- contract was cancelled when the
ANIMATION WORLD MAGAZINE September 2000 26 Fish will release a major sound- track album featuring top European recording artists and a 26-episode TV series in support of the film. While a U.S. theatrical release can help propel a film toward success, it is no longer an absolute necessity. Help! I’m a Fish has set up theatrical distribution deals all over Europe without first closing a U.S. commitment, some- thing Russell Boland, producer of Help! as well as TerraGlyph’s two previous features, says, “is to the immense credit of the independ- ent distribution sector in Europe A Monkey’s Tale. © Steve Walsh Productions, Les Films du Triangle, Cologne Cartoon, and to the efforts of our sales Entertainment Rights Plc, France 3 Cinema. agents PID/Hanway.” Boland con- film was delivered late,” explains Leonard Nimoy and Mark Hamill. tinues, “The domination of the Walsh. “The fact is that the theatri- This resulted in the film being English language territories by the cal market for animated films has picked up for U.S. distribution by U.S. majors makes distribution dif- been so dominated by Disney Trimark, although it is unclear ficult in these territories and the (and now other U.S. studios) that whether it will receive a theatrical U.K. is a good example here. there is built-in resistance to non- release as originally intended or However, the success of Pathé’s studio product. The only way this head directly to video. Tooniversal release of Chicken Run will hope- is going to change in most coun- will produce an accompanying fully give a new confidence to the tries is if non-U.S. product does Marco Polo TV series that will help market there and help the inde- well at the box-office.” This past generate further awareness in the pendent sector take some bigger May, the $10 million-budgeted A animated feature as well as open risks with animation. The market in Monkey’s Tale did receive a release the doors to merchandising deals. Europe is very receptive to anima- in the United Kingdom, which is The co-producers of Help! I’m a tion. While having a U.S. distribu- often considered the most difficult tion deal would be great and no of all European markets, and per- doubt makes things easier in other formed quite respectably despite territories, the nature of discus- the fact it didn’t play in the large sions with U.S. majors, including multiplex chains. This bodes well the slow decision making process for Harvey Entertainment, who with the involvement of market- has acquired A Monkey’s Tale for a ing, home video and merchandis- U.S. theatrical release in early ing departments, means the local 2001. European deals can be made Filmmakers are increasingly much faster, if the film is good adapting conventional gimmicks enough.” used by the larger studios to Even from the distributors increase their chances of securing perspective, there is a definite chal- quality distributors. For example, lenge in placing animated features the recent motion-capture feature into the current marketplace. Sinbad: Beyond the Veil of Mists Manga Entertainment is a distribu- produced predominantly in India, tor that acquires already produced featured a celebrity voice cast Help! I’m A Fish. Photo courtesy of Japanese animated features and headlined by Brendan Fraser, TerraGlyph Productions. theatrically releases two to three of
ANIMATION WORLD MAGAZINE September 2000 27 these films annually. Manga’s Most obviously, it affords the film- recent theatrical releases such as maker an opportunity to create a Perfect Blue and X have each film that doesn’t necessarily fit into screened in a couple hundred the- the conventional Hollywood aters throughout the US and mold. Russell Boland comments, Europe. “Our films are mostly “With the budget restrictions, favorable to art house theaters every dollar has to be on the because in most cases, we’re screen and in fact you have to be launching the films without main- inventive in such a way as to make stream public backing,” says your $15 million film look like it has Marvin Gleicher, President of the production values of the $40 Manga Worldwide. “You wish that million film coming from the major theaters would give some of these studios. Of course, this will cause independent films a chance to creative tensions but nevertheless build the word of mouth.” Unlike allows the studio and the creative studio pictures which can play for production team genuine freedom months at a theater, Manga’s films within the limitations of the Bill Plympton’s next independent feature, only play at each theater for one budget.” Mutant Aliens, is based on his book of the week or less, making it difficult to In the case of filmmaker Bill same name available in AWN’s online build an audience. Additionally, Plympton, by producing inde- store via www2.awn.com/awnstore. the films are released on a stag- pendently he is able to create Pixar and Aardman Animations gered schedule rather than a sin- extremely unorthodox animated wanted to try their hands at creat- gle opening date throughout the films such as The Tune and I ing animated features, majors like country, thus eliminating any Married A Strange Person, and still Disney and DreamWorks quickly opportunity for a nationwide mar- stand a chance of making a profit stepped in to finance, market and keting campaign. because of the films’ low produc- distribute their projects. The end tion costs. Plympton’s films don’t results were Toy Story and Chicken have to gross $100 million or spur Run, two high-caliber entries with sequels to be considered a an independent spirit that were financial success. both critical and financial success- “There is less external pres- es. With or without Hollywood’s sure,” Ron Merk points out as involvement, it definitely looks like another advantage. “Generally independent filmmakers will con- time schedules are more flexible tinue producing unique animated when there is no definite release features for many years to come. date. You don’t have executives Now, if only there was a way to breathing down your neck as you see them in theaters. . . push your pencil. Time gives you the opportunity to reflect on your work, make changes, improve Amid Amidi is the publisher character and story.” and editor of Animation Blast Magazine (www.animation- X. © Clamp Studios. Photo courtesy of Only a Matter of Time blast.com). He lives in Los Manga Entertainment. While it’s unlikely that the Angeles, where he enjoys steal- Why Bother? independent animated features ing sand from the local beaches. With limited budgets and being produced now will pose a even more limited distribution, it’s serious threat to the traditional stu- a wonder that filmmakers even dio fare anytime in the near future, Note: Readers may contact any bother to pursue the independent there is no doubt that Hollywood Animation World Magazine con- route, yet such endeavors offer is taking notice of their work. tributor by sending an e-mail to their fair share of rewards as well. When independent studios like [email protected].
ANIMATION WORLD MAGAZINE September 2000 28 Pitching Perfect: A Word From Development by Heather Kenyon evelopment executives sit through pitches each and Devery day and have seen it all — from the dull reading off sheets of paper to action-packed pitches complete with singing dogs, marching bands and Aunt Rosemary singing the national see. I want to see the idea that anthem. Everyone knows a great seems like it might be a little too pitch starts with a great series con- outrageous or a little too over the cept, but in addition to that what top, because that’s gonna proba- do the executives from top net- bly be different than what every- works like to see? What makes Kevin Kay,Vice President/Executive one traditionally walking in the them cringe and what impresses Producer, Development, Nickelodeon. door thinks I want to buy. So, them? Here they let us know given that, the other thing is tell which elements are really impor- “I want to see the me a story. We’re in the kid’s busi- tant and surprisingly, the bottom idea that seems like ness, and the family business is line turns out to be pretty casual – built on good storytelling. So, if professional, but casual. So leave it might be a little somebody comes in and pitches the singing dog at home and take too outrageous or me a story that sort of gets me some of their advice: from A to B to C and lets me know a little too over that they know how to tell a story, ______the top…” especially, for a young writer that I don’t know or a young artist that I Kevin Kay — Kevin Kay haven’t met. If you can come in Vice President/Executive Producer, gonna get my attention. Nothing and tell me a story that’s going to Development, Nickelodeon that looks like the other stuff that capture my attention and keep me we do. I think the biggest mistake riveted or laughing for five min- Kevin Kay: I think shorter is better, people make is they say, ‘I got the utes, then, I can kind of get the especially for the first go-rounds. next Rugrats.’ I already got the sense that you can do that on TV It’s more about selling an idea than Rugrats. I’m fine. If I need the next too. I think that’s the key. it is about selling a series, because Rugrats I’ll call up Klasky-Csupo I think you don’t know whether and they’ll give me the next one. Heather Kenyon: How would you have a series or not until you I’ve said this before, but I think it you want artwork presented? really get into the whole bible and sort of hits the nail on the head. the designs and the stories that That picture you drew on the nap- KK: I think it doesn’t really matter. you’re going to tell. But shorter is kin at the bar last night where you It’s different for everybody. It’s great always better. I’d rather see two woke up the next morning and to see some character designs and pages than twenty. Funny pic- you looked at it and you thought, some background designs. Or a tures. That’s the key to me. There’s ‘What was I thinking? No net- key frame, a great scene, that’s in got to be something that makes work’s ever going to buy this. I the story. The best way and the me laugh. Something that I can should stop drinking.’ Then you ultimate would be to come in and look at right away and it’s visually put it in the bottom drawer of tell me the story of your pilot and either hysterical or different. That’s your desk. That’s what I want to show me a couple of key frames ANIMATION WORLD MAGAZINE September 2000 29 that go along with it that show me idea it will be natural to spend a the characters and what the few minutes talking about it, oth- world’s going to look like. But, it erwise limit yourself to 10-15 doesn’t really require that. Some minutes. people are not artists and some Second, figure out who the artists are not good writers. I think show is about — who the stories it’s up to the network or the devel- will revolve around and what opment executive to be able to those characters want. (As well as have the vision that there’s some- any weakness that may keep them body in front of me that has part from attaining their goals.) of the skills and knows how to do Linda Simensky,Vice President enough that we can help them do of Original Programming, the things that they can’t do. Or Cartoon Network. that they don’t yet have the talent ______to do. It would be great to see some boards in whatever condi- Linda Simensky tion, whether it’s the drunken bar Vice President of Original napkin, or the big presentation Programming, Cartoon Network boards. That’s great to see, but I think it’s different for everybody. When some people ponder The other part is it’s also about per- pitching to a network, I think they sonality. The best example is when imagine themselves standing in Stephen Hillenburg pitched me front of huge foam core blowups Jonathan Rosenthal,Vice President, SpongeBob. He had a whole Development, Fox Kids Network. of their characters, pitching to a board. He’s an artist and he’s a film- boardroom full of serious network maker. He had boarded out the Third, don’t ever just read executives. When others tell me whole story. That would have from your materials. As one of my about the pitches they think we been great in and of itself, but he colleagues here is fond of saying, want at the Cartoon Network, took me through the board play- “If that’s what you’re going to do, they suppose that we want to see ing all the characters himself and you might as well have just sent it wild acting and jumping around. doing the voices and singing the in the mail. I can read.” Tell a story Some people apparently think that songs. And it was hilarious…it was (a short one). It should feel like I’m we’d like them to come in and like, ‘Wow. This guy is funny. He being pitched an episode of a read their pitch out loud to us… gets what’s funny and he has all show that already is on the air. the other skills to go along with it, Fourth, do your research. “The artist should just but he understands these charac- Don’t pitch inappropriate things to ters and he knows this world.’ I inappropriate people, even if you be able to come in and think that’s part of it. You’ve got to are doing so just to get the tell us about their idea sell yourself. pitching experience. As far as having art or and what they want to ______something written to leave behind do.” – Linda Simensky — this is always a plus, but not Jonathan Rosenthal critical. And as far as written leave The truth is none of those is Vice President, Development, Fox behinds go, keep it short and quite the right situation for pitch- Kids Network sweet. ing to Cartoon Network. Other things I would sug- Sometimes I just tell people not to First of all, don’t deliberate- gest would be to rehearse the even call it a pitch, just to come in ly take a long time — you are pitch at least a few times, and just and show us their artwork and tell pitching a concept for a television to have fun. Best of luck and see us what kind of cartoons they’d show, not a novel. If the person you in the conference room. like to make. That’s how we like to you are pitching responds to your start the development process.
ANIMATION WORLD MAGAZINE September 2000 30 As for what to bring, a it’s funny. Don’t tell me it will be person looking to make a cartoon hilarious — convince me! If the for Cartoon Network should have idea is for an animated series, it is an overall idea of what the show is best to have artwork attached, but about, some characters designs be careful… Designs can make or and descriptions, and about four break a pitch, so don’t come in or five story ideas. The material with the rough drawings you did can be rough, there can be sever- at home hoping I’ll “get the idea.” al versions of the designs, and there can be Xeroxed pages from ______sketchbooks. Just these few simple items usually can tell us if the idea John Hardman is right for us. No need for theme Kim Christianson,Vice President, Director of Development, Kids WB! songs, storyboards, scripts or let- Programming & Development, ters of recommendation. The artist Fox Family Channel. John Hardman: First and fore- should just be able to come in and ______most, I think the most important tell us about their idea and what thing for us is that we can’t accept they want to do. Kim Christianson any unsolicited submissions. All of Vice President, Programming & our submissions have to come “Don’t tell me it Development, Fox Family Channel through either an entertainment will be hilarious agent or an entertainment attor- What I look for in a pitch is ney who we have a relationship — convince me!” clarity and brevity. I love it when with. — Kim Christianson the verbal pitch is concise and to- the-point, i.e. a log-line that gives Heather Kenyon: Is there a case What helps more than any- me an instant picture of the kind of where you also have release forms thing is if an artist can bring along show, followed by a brief run- artists could sign? something that communicates his down of main characters and or her sensibility to us. That intan- what a typical episode might be JH: We do, but our legal affairs gible sensibility is what makes one about. In order to keep verbal department really discourages us show about two dogs seem bril- pitches short, this usually means from doing that. The exceptions liant, and another show about that the person pitching will come that we make, for example, may two dogs seem boring and pre- with a 7-10 page treatment (leave- be a creator who has ended the dictable. Artists have been able to behind) that describes the show relationship with their agent. We communicate their sensibility and main characters. I am always may know them, they’ve had a TV through their personal films, thrilled when a person trusts me to show on the air in the past, so we Websites, comics, sketchbooks, read the material on my own know they’re professional and it’s etc. Even if something has nothing rather than feeling the need to just that they no longer have an to do with the show being take me through every detail agent. Otherwise, I would have to pitched, it’s still helpful. including a long, drawn-out back- say certainly keeping it brief, focus- Since we deal almost exclu- story. A pitch that has confidence ing on the core concepts, the sively with artists, our goal has in its content rather than its pack- main characters, their relation- been to keep the process relaxed aging also impresses me. It is ships, giving us a sense for the and casual. And someday, when extremely obvious when the pitch tone, the setting and the breadth we change the name of pitching spends too much time trying to of the series is what I’m really look- officially to “just come in and show wow me with inflated predictions ing for. Come in with half a dozen us your designs and tell us what about merchandising possibilities episode ideas so you can talk kind of cartoons you’d like to and “break-out hit potential” with- about how it actually plays out, as make,” then everyone will be able out the content to back it up. If the opposed to just the conceptual to relax a little more. show idea is a comedy, the pitch stage. Ideally it would be great if should cite examples of how/why you had a leave-behind of some
ANIMATION WORLD MAGAZINE September 2000 31 sort. That can be anywhere from a whether it’s on an 8 1/2 x 11 piece appreciate it when they go couple of pages, a brief overview, of paper, or a cocktail napkin? through that extra effort, but it’s to a mini-bible of sorts which just not necessary. For me and for might be 10 to 15 pages long “It’s a big warning us here, the idea is king. where we get all of those key ele- Presentation is secondary. Sure it ments that we’ve already talked sign to me when gives you some extra bonus points about. Artwork isn’t necessarily somebody comes in if it looks nice and it’s spelled cor- required, so don’t feel you need to rectly, but if you came in with do that, and don’t come in with and starts pitching Pokemon on one piece of paper the music for the main title. While me how great the with no artwork, we would still we appreciate the thought and look at it very seriously. effort that goes into considering toy is going to be The most important thing is merchandising, we’re a TV net- before they pitch me the story, characters and relation- work and we’re most concerned ship. The other thing that is very with the TV series itself and not the the series.” important for hopeful creators is to ancillary product. That’s a great — John Hardman pay attention and study where bonus, but it’s a big warning sign they’re going. Try to watch what’s to me when somebody comes in JH: It doesn’t concern me. It cer- on their air. Understand what their and starts pitching me how great tainly wouldn’t bother me if they basic philosophy is and don’t the toy is going to be before they Xeroxed that napkin onto an 8 1/2 come in with something that’s pitch me the series. x 11 leave behind just so I don’t totally inappropriate for my target lose anything. That way I can put audience and demographic. By HK: And if people do have art- the whole package together in watching our air you can get a work, what sorts of artwork do one paperclip and be done with it. strong sense of the direction that you like to see? Do you like to see I would prefer the artwork to be we’re headed and the types of more situations that the characters on 8 1/2 x 11 for those reasons. If series that might be of interest to might find themselves in, or just you have a big board, what am I us. But then, you can also do straight character design? going to do with that board? some additional homework and Where am I going to store it? And find out what the target audience JH: Both are great. Certainly, the if I have to return it to you, that’s is and what the demographic is. If character design is very important just a further hassle. Having it all you’ve got an agent, that agent and if they were in situational art, so that I can pass it along to the can certainly do some preliminary you’d still need to see them clear- next person to take a look makes it checking as well, as to what the ly. A lot of times what happens much more convenient if it’s in one needs are as far as genre, and when they give you a set up, the package. It doesn’t have to be whether we are looking for live- action is in the forefront and the bound professionally. A staple in action or only animation. characters are in back. So you the corner is fine. They don’t need don’t really know what the focus is to go to the extra effort to get a Heather Kenyon is editor in chief in the series. Is it the characters or three-ring binder or spiral bound. of Animation World Network. is it the explosion? But, also, there Some people have even come in has to be a willingness to develop. with book binding! Chances are Note: Readers may contact any This is development and changes I’m going to have to rip that up to Animation World Magazine con- to the artwork might be request- Xerox it for everybody who needs tributor by sending an e-mail to ed. They should come in with the to get a copy. A staple is just [email protected]. knowledge that anything and pos- as convenient. sibly everything could change as we move forward and they should HK: So there’s a whole production be open to collaborating with us. process that people need to be aware of. HK: If they do bring in art to their pitch, do you have any preference JH: Exactly. The thing is you really
ANIMATION WORLD MAGAZINE September 2000 32 ¨
CartoonNetwork.com better artist or writer, and it won’t get you an agent or a deal — but DRAWING ATTENTION it will help you learn the names and faces you need to know in — How to Get Your Work Noticed order to get ahead in your chosen field. Third: Getting Out There: by Janet Ginsburg One of the best ways to secure an fter years of hard work agent, according to and practice, it’s finally Animanagement’s Aaron Berger, “is Atime to draw attention to to have someone who the repre- what you’ve been drawing. So sentative knows and trusts recom- what do you have to do to get mend you. That’s the quickest your foot in the door? One route.” If you’re just starting out, method is to gain representation you probably don’t know too — easy enough to do if you’re many people in the industry — so established, but a little more diffi- the importance of networking cult if you’re not. Luckily, if you’re can’t be underestimated. By talented, serious — and patient — attending industry conferences it’s easier than you think to get and events, you’re more likely to your work noticed. meet people who will take an First: Location, Location, interest in seeing your work. Talk Location: If you wanted to be a to people who have the jobs lobbyist, you’d find a wealth of job tion you need to plot your course you’d like to have, and find out opportunities in Washington, D.C. of action. It’s important to be how they got there. And talk to If it’s animation you’re interested informed about who’s who and others like yourself, just starting in, your place is in Southern what’s where in your field. There out — you never know where California. Of course, it’s possible are a number of animation and/or they’ll go or who they know. They to get work in other parts of the entertainment-themed publica- just might know about opportuni- country — there’s plenty of work tions and directories (Daily Variety, ties that would interest you. for computer animators in Animation World Network, The Northern California, for example Hollywood Creative Directory, Beyond the Basics — but as in any field, it’s important etc.). Read and reference them. While having an agent, to be where the action is. And as Keeping current won’t make you a lawyer or manager negotiate on far as animation is concerned, that place is Los Angeles. Other hot spots are the Bay area and New York City. Outside the U.S. there are numerous major animation centers as well, such as Paris, Toronto, Vancouver, London, etc. For instance, if you want to be involved in stop-motion, then you’d better get yourself to Bristol! Second: Being in the Know: Once you’ve arrived in town with your portfolio under your arm, you’ll have plenty to do before you go knocking on agency doors. The first major task is research — getting the informa- The Iron Giant. Courtesy of and © 1999 Warner Bros.
ANIMATION WORLD MAGAZINE September 2000 34 having a rep who believes strong- ly in your work as an established talent are much clearer. Greg Emison has worked as a storyboard artist on shows including Rugrats, Hey Arnold! and Cow and Chicken. He is cur- rently producing two of his own original ideas on the web at stick- yflicks.com. “I had a show optioned by a major network, and needed someone to broker the deal for me,” explains Emison. “Getting an agent has allowed me time to concentrate on the cre- ative aspects of my creations and stop worrying about the business The Powerpuff Girls. © Cartoon Network. end. To get an agent you have to your behalf is certainly desirable, it Draft, concurs that an agent isn’t open a few doors of your own at isn’t imperative for a person new an absolute must for a new talent first, but it’s worth the ones that to the field — or in many who’s seeking work. “Our hiring are open for you later.” instances, even one with experi- process is open to everyone. Randy Myers agrees that ence. What is resoundingly impor- People drop off portfolios, and there are definite benefits to tant is that you focus on honing based on these portfolios, they are obtaining representation. “Having your skills, breaking into the busi- invited to take a test...[We] hire someone represent me not only ness on any level, and building a people based on the results of opened some new doors for me, solid reputation. these In fact, having an agent but also made it more attractive “It’s not necessary for every tests. The application process is so financially to walk through those artist or animator to have an agent open, an agent isn’t providing you doors. I’ve found that the larger negotiate for their salary or posi- any entry you couldn’t seek on studios tend to give an artist more tion,” says Randy Myers, who is your own.” credibility if they have someone repped by John Goldsmith of the In fact, having an agent representing them.” Irv Schecter Company. Myers is a can occasionally work against a When you are ready to character animator/animation new artist’s best interests. “During seek representation, there are director who’s worked in anima- our first season [working on smart and not-so-smart ways to do tion for more than a decade, on Futurama], an agent for a layout it. “Sound out people in the busi- both features (Iron Giant, Quest artist who was fresh out of school ness, and get their recommenda- for Camelot) and television. He is called to demand a two year con- tions,” suggests Adam Lane, a cre- currently directing episodes of The tract with salary and promotion ator/producer currently develop- Powerpuff Girls on Cartoon guarantees. This artist’s test was ing a project at Fox Kids. Lane is Network. “If someone is just start- borderline, but we were willing to represented by Aaron Berger at ing out in the industry, it’s not take a chance on him until these Animanagement. “[Aaron] is an important to have an agent. All demands were made. In this case, invaluable source for professional that should matter is getting work his agent cost him the opportunity advice, and a great sounding and doing the best you can. If you to find out whether he would board for ideas. Make sure your do that, eventually the bigger have worked out.” agent has good personal relation- deals will come to you — then you ships in the business — deals get should think about finding The Next Level done that way.” representation.” While the necessity of pur- Ultimately, the benefits of Claudia Katz, producer and suing representation when start- seeking representation at the early Senior Vice President at Rough ing out is debatable, the merits of stages of one’s career vary from
ANIMATION WORLD MAGAZINE September 2000 35 artist to artist. It’s a highly personal if you are talented and work hard, choice, and one should take many you will have no trouble finding factors into consideration when work.” making the decision — but for many inexperienced artists, it can Janet Ginsburg is a writer and be a bit like putting the cart before producer based in Los Angeles. the horse. Agents want to repre- Her work has appeared in VIBE, sent talented, experienced individ- LA Weekly and on the E! uals with solid reputations and Entertainment Television work histories. At that point in Cow and Chicken. © Cartoon Network. Network. She fraternizes freely one’s career, representation is nat- agent isn’t going to get [you] any with talented animation types, urally easier to find, and generally more money [than] someone occasionally collaborates with a lot more useful. else...you’re getting the same them, and has several animated “When a company is sign- salary as the person next to you, projects in the works. ing you to a multi-year contract, I only you’re handing over 10%.” can see an agent or at least a “In animation,” Katz contin- Note: Readers may contact any lawyer being quite helpful,” says ues, “good people find good jobs, Animation World Magazine con- Claudia Katz. “However, at Rough with or without agents. We are in tributor by sending an e-mail to Draft, our budgets are set, and an an industry and a market in which [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: • The Power Behind Atomic Cartoons Bob Miller talks with Rob Davies, one of the founders of Vancouver’s Atomic Cartoons, which from pre-production to Flash, is making a name for itself. Quicktime clips at: http://www.awn.com/mag/issue5.06/5.06pages/milleratomic2.php3
• Anime Theatrical Features Fred Patten offers a glimpse inside the Japanese film scene. Take a look at the Vampire Hunter D QuickTime clip at: http://www.awn.com/mag/issue5.06/5.06pages/pattenfeatures3.php3
• Getting Started in Your Home Town At Animation World Network we frequently hear from folks who want to start in animation from their hometown. Here are a few featured AWN links to get you started: http://www.awn.com/schooldir/, http://www.awn.com/village/, http://www.awn.com/village/associations.php3, http://creativeplanet.com/community- center/
ANIMATION WORLD MAGAZINE September 2000 36 Where The Recruiters Go by Heather Kenyon art of the trick of getting hired is knowing where to Pbe seen by the recruiters. We asked several studios, ranging from many different areas of ani- mation, to reveal where they are most likely to find a new hire. Get networking because across the board…it looks like word of mouth wins by a landslide. People hear about us from have on our company’s Website. ______other people who work here. 3) Response to job listings we It really is that simple! have placed on other Internet First and foremost when Word of mouth and per- sites. searching for talent I ask around sonal recommendations are the among my colleagues for people best way for us to find people. Not The Recruiting Department they have either worked with only does it open doors faster, but Pixar Animation Studios before or know of from other stu- when you are hiring on a recom- dios — that gives me a great start- mendation of someone you know ______ing point. When recruiting from and respect, then you have more schools I rely on alumni or faculty information about the new per- 1. By word of mouth — from cur- to give me pointers about the lat- son’s work (i.e. strengths and rent employees, former employees est crop. I check industry Websites weaknesses, etc.). and colleagues in the animation mainly to see where the competi- We do accept resumes business. tion is regarding current recruiting cold, and we keep an active 2. From the show reels that are efforts. If a candidate sends me resume file, but for the most part it sent in. some material but also asks me to is personal recommendations that 3. By meeting people at animation check their Website I do try, but I are the best for us. Without the events, like festivals. find it rather time-consuming. A personal connection, then we CD of their work is preferable. need to see a reel of work that lets Jonas Odell us gage the level of the person Filmtecknarna Shelley Page and we would use that reel to Feature Animation European inform our hiring decision. ______Representative, DreamWorks, SKG Ashley Postlewaite As for recruitment results, ______Renegade Animation we find festivals and job fairs the best for attracting experienced ani- The two recruitment strategies ______mation artists. The exposure is that work best for us are: great, as we seem to have been a We hear about people from 1) Employee referrals. well-kept secret up until the other people who work here. 2) Response to job listings we release of Simba’s Pride.
ANIMATION WORLD MAGAZINE September 2000 37 The other side is identifying 3. Recommendations from the cur- These methods have local talent through newspaper rent staff, i.e. word of mouth. worked out well for both studios. advertisements, where we recruit 4. Internships (non-paying). talented artists with no animation Andrea Romero experience and train them Word of mouth is the best method Virtual Magic in-house. though! ______Debbie Cramb Julie Shevach Recruitment and Training Managing Director, Click 3X How Humongous Entertainment Manager, Walt Disney Animation, would go about hiring an anima- Australia ______tor...
______The primary way we find 1. Job listing on AIGA’s Website talent is from our current staff rec- (American Institute of Graphic We really try to cultivate ommendations. Without excep- Artists). relationships with not only the stu- tion, every key position has been 2. Posting through GAG (Graphic dent services and placement filled from referrals. We also run Artists Guild). heads at great art schools in the ads in regional newspapers for 3. Word of mouth and networking U.S. and Canada, but we also try entry level to mid-level talent. within the design community. to get to know some of the teach- ers personally. When we first Bill Dennis Jen Martin began the company in 1996, we Toonz Animation Humongous Entertainment would teach “Acting for Animators” workshops at the stu- ______dio, where we would find a lot of great and talented animators. Essentially, we hire staff for Heather Kenyon is editor in chief As we grow, we always try our LA studio through word of of Animation World Network. to be creative and fresh in our mouth. Although we don’t solicit search for talent — we send our resumes, we sure do receive tons animators to life drawing classes, on a regular basis. Also, the digital where they will meet other poten- side of the business is relatively Note: Readers may contact any tial candidates or we will guest lec- small and there really are only a Animation World Magazine con- ture on Flash animation at various handful of places where digital tributor by sending an e-mail to schools and get to spend some artists can hope to find work. I [email protected]. quality time with some potential have developed a friendly rapport candidates. with the digital heads of other stu- And lastly, outside of buy- dios and we often trade info on ing advertising, we go to a lot of performance and availability. film festivals, conferences and surf As for the studio in the to see who is creating fresh and Philippines, our first attempt at hir- original content. ing was through paid ads. The animation community is small in Andrea Drougas Manila and soon everyone knew President, Unbound Studios that there was a new studio in town. Also, we resigned ourselves ______to the fact that there were not going to be many “trained” digital 1. Job fairs at major animation artists and that we would have to events. pick people based on work ethic 2. Advertising in the local anima- and attitude and simply train tion Union newsletter. them.
ANIMATION WORLD MAGAZINE September 2000 38 Getting Started in Your Home Town by Heather Kenyon ere at Animation World other art teachers or outlets in the cies. Many design firms use the Network we frequently area that might offer some oppor- same 3D software and hardware Hreceive desperate e-mails tunities. Also, check out our School as animation productions. from folks who want to start their Directory online at www.awn.com Then call businesses that animation training prior to attend- /schooldir/ for additional anima- might be closely related to anima- ing college or want to test out the tion schools in your area. tion. Perhaps an art gallery or animation waters without moving Also, try alternative places comic book store knows about an to a major city. While these folks of education like adult education animation screening that is hap- swear that no animation exists for centers or extension centers, pening or the art supply store on miles, we have been very sur- which sometimes offer specialized Main Street might offer some life prised many times by where ani- courses. drawing classes. Who knows? But mation does exist. I don’t claim Call your town’s Chamber it is worth a try. Always start your that animation exists in every cor- of Commerce or equivalent. They inquiry with a broad question as ner of the globe but here are a can help you in a number of ways. opposed to a narrow one. few suggestions to try to seek out They will be able to tell you if there some animated help in your area. is a small animation studio hiding Get ready to e-mail, call in your town and put you in touch and hunt… with the city’s arts branch. Here again, these folks might know of animation alternatives going on locally or special yearly festivals and events. The town library is also a good resource. Not only can they hook you up to the system’s books and resources regarding anima- tion but they might also know about special events and activities going on that are animation relat- ed. Libraries always have bulletin boards and librarians are pretty in Seek Further… tune with local events, groups and Did you know there is an Let Your Fingers Do The government. ASIFA chapter in Mongolia? And Walking… Call the local television, did you know that in Start with the phone book. public access or cable station. Do Worthington, Ohio there is a stu- Call your local colleges and they need an intern? It might not dio that has done work for almost schools. Do they have any anima- be animation directly but if you every major Hollywood studio and tion courses or do they know of can start helping out in graphics it been in the running for Oscars? any local workshops and courses? is a good place to start. Other The most cutting edge CGI feature Often times, even if animation isn’t related businesses might be: art in production today? Japan? included in the official curriculum supply houses, architecture or Silicon Valley? No, Honolulu! With the art professors might know of product design firms and ad agen- a little research you might find that
ANIMATION WORLD MAGAZINE September 2000 39 you are pretty darn close to an tions if you ask nicely. Volunteer Techniques.” With the Internet one animation hub. for the arts events in your local is never completely disconnected. Go to Animation World’s town. You might meet someone If you post questions here you are Animation Village who knows someone, who has a sure to get a response from a pro- (www.awn.com/village) to find a brother-in-law who knows… fessional who can actually give few places to start hunting. In the you solid advice from experience. Associations Directory You can also meet others and (www.awn.com/village/ share ideas. The Web is home to associations.php3) for instance, many online classes as well and you can find ASIFA-International’s more are always popping up. Website (asifa.net) and see if there The lesson to learn is to be is an ASIFA branch in your area. If resourceful. To find one lead and there is one relatively close (i.e. an follow it to another. An e-mail sent adjacent state, province or coun- off to an organization might take a try), contact them anyway. They few months to get a reply, but in might know someone in your the meantime continue to search neck of the woods. and find new roads. While it will Also, check our Career take some time, if you search the Connections.(www2.awn.com/ Internet, read animation sites, and career). You can search for jobs by contact the organizations dis- location and post your resume. cussed you are sure to become You might be able to find a busi- Get ready to e-mail, more in tune with the animation ness in your area. Another great community at large. resource is Creative Planet’s anima- call and hunt… Have you had success find- tion portal (http://creativeplanet. ing animation in your area com/cp/0,5411,5,00.html), which Do It Yourself… through a method not discussed is another collection of links and Finally, you can do it your- here? Please, let us know and we’ll information. self. These days a computer set-up include it next time. The same goes for festivals. with the proper software to do Check our Calendar of Events simple animation is possible. In (www2.awn.com/events) fre- fact, in an interview with Paul Heather Kenyon is editor in chief quently. If there is an event some- Fierlinger (Issue 4.2, May 1999) he of Animation World Network. what close by, call. Ask about vol- makes the suggestion that instead unteering. Some festivals, like SIG- of paying tuition one should get Note: Readers may contact any GRAPH, have whole student vol- software and buckle down to do Animation World Magazine con- unteer packages that will pay for some serious self-learning. While tributor by sending an e-mail to plane fare and hotels. Not saying this approach might not be right [email protected]. every festival has such luxuries but for everyone it certainly is an again it is worth a try. There are option. Plus, you can post anima- plenty of students who arrive at tions and get feedback almost the Annecy festival and camp immediately thanks to the Web. nearby for the week. And maybe You can also jump into dis- while you are talking to the festival cussion forums like the ones on director they will mention the Animation World for help and great animated short they received advice. Our parent company, from the independent animator Creative Planet, has an entire com- living one town over from Ettrick, munity center (url: creativeplan- Wisconsin where you live. et.com/communitycenter) com- Independent animators often plete with many discussion need help painting cels, or might forums. One of the most helpful is at least answer a few of your ques- Larry Lauria’s “Animation Tools and
ANIMATION WORLD MAGAZINE September 2000 40 Jewish Rabbits Tsvika Oren Speaks with 3 Prominent Israeli Animators
was a calculated risk. Financially, he knew, he would at best break even, most likely ending up in the red. Still, pulling it off against all odds would be extremely valuable for the studio’s reputation. In addi- tion, working internationally has been every Israeli studio’s dream. These reasons justified the tremen- dous effort — wild drives up nar- row mountainous roads on stormy nights included! Tsvika Oren. “It proved to be an impor- Noam Meshulam tant step toward our getting into Noam Meshulam. As the story goes, several the international animation mar- under the late Pierre Ayma. After episodes of Nickelodeon’s ‘97 Sniz ket,” reflects Noam Meshulam. “An graduating in 1985 he opened a & Fondue series were actually arduous process which takes years small studio in his father’s house in broadcast from the Middle East. of marketing your studio, initiating old Jaffa; a beautiful structure One can safely assume that all projects, constantly supplying which was built in the 19th centu- involved were too busy being pan- proof of your creativity and recent ry and designed to serve as the icked to make any PR use of the achievements at important mar- Italian embassy to the Ottoman story. The story begins with the kets such as MIP… Thus, inch by Empire. Careful interior changes Anima Studio in Tel Aviv signing a inch, you get in and become rec- were made to adapt it to the contract to supply animation serv- ognized, so that when you have a needs of the major animation stu- ices for 13 episodes of the series. good project to offer you can gain dio it now houses. With a core Running into difficulties, there was access to the right people”. staff of 15 and dozens of experi- a delay in production and finally Noam Meshulam studied enced artists joining in when there the studio closed down. Noam animation at Gobelins in Paris, is need, Pitchi Poy Studio is, at Meshulam, head of Pitchi Poy Studio, in Jaffa, came to the res- cue, gathering a team of 60 for nonstop work to redo the first episodes. Completing each episode dangerously near airing time, Meshulam had to drive dar- ingly with the only copy to the main sattelite transmitter antenna, Eitanim, way up on top of a mountain near Jerusalem. Somehow he made it on time for all 13 episodes. According to Meshulam it King Solomon. © Pitchi Poy Studio.
ANIMATION WORLD MAGAZINE September 2000 41 long last, treading on solid commissioned work allowing cre- 1977, he then went to work for ground. ative adventures. It often gives me IBA national TV. He then received The studio is now busy an opportunity to work with the his post-graduate in animation at with Israel’s 13-minute episode of most advanced, most expensive the Royal Academy, Amsterdam, in the international Animated Tales of talent and equipment. Luckily, I 1980. Opening a studio in the World series, entitled “King enjoy the pressure. The sleepless Jerusalem, he employed up to 10 Solomon.” Recently they complet- nights. The outrageous last minute artists doing commercials, Sesame ed the 26-minute TV special changes. By paying me a lot of Street segments, TV spots, etc. Children of Chelm, a Canada-Israel money they get the right to apply Later, after moving the studio to co-production likely to be devel- mild torture,” explains Kaminski. Tel Aviv, he pioneered the trend of oped into a series. Nowadays Kaminski can kids straight to video in Israel by allow himself this light-hearted atti- producing musical variety shows tude toward the hardships of mak- by mixing animation and live- ing animated commercials in action. Over one million copies of Israel. He enjoys the unique posi- these shows have been sold tion of being a successful interna- to date. tional feature animation director. “In 1985 I started develop- Living in Tel Aviv, he travels to ing a script based on Bashevis- work on commercial flights. His Zinger’s stories of Chelm, the town two features, The Real Sclemiel of fools,” recounts Kaminski. “In ‘93 (1995) and Pettson & Findus I closed down the studio, put a (1999), were made in Hungary, few drawings I did for Chelm in a Anna and David, from Children of Chelm. © Pitchi Poy Studio. Sweden, Belgium, Canada, big cardboard file and went to do Estonia and Bulgaria. Recently the rounds in Europe, in search of Pitchi Poy’s many projects added to his flight route is the partners and backing for a Chelm include the developing of two U.K., where he is working with feature. What happened next was pilots. One is a co-production with legendary TVC, London-based quite a Cinderella story. In contrast TelAd TV and the other is producer John Coates (Yellow to the sceptic, at times mean, Dumplings in Space, an interna- Submarine) on The Fantastic response the project got in Israel, tional series, which is scheduled to Flying Journey series. Europe seemed to be eagerly start production in September. awaiting my arrival. With gener- And, naturally, commercials. ous budgets and enthusiastic pro- “Commercials are the main source fessionals we got into production of income for an animation house and ended up building a studio in here,” says Meshulam. “The budg- Budapest, employing 100 to 300 et per second is usually $1,000 to artists in a Germany-France- $2,000. When animation and Hungary production. Completing backgrounds are limited it can the 77 minute feature in ’95, the drop down to $500. A studio can studio was already busy with manage with such budgets. The another feature and a lot of com- problem is one can’t count on a missioned work.” Yellow Pages advertisement. regular flow of commercials. That’s © Claytoons Studio. In ‘96 Kaminski was invited what makes series work so to co-direct, with veteran director- important. It’s a studio’s bread and Hanan Albert Kaminski was illustrator Yossi Abolafya, the new butter.” born and raised in Belgium, where animation unit at Bezalel he joined a socialist Zionist youth Academy, Jerusalem. Teaching in Hanan Kaminski movement and moved to a kib- Israel while working international- Director Hanan Kaminski of butz in Israel when he turned 18. ly gives Kaminski a special observa- the TV Loonland studio, Budapest, Graduating Bezalel Academy of tion post over Israeli animation: regards commercials with more Art & Design with a degree from “Israel is overflowing with talent. enthusiasm. “It is the only kind of the graphic design department in Many creative people are keen on
ANIMATION WORLD MAGAZINE September 2000 42 brothers visited from France. and Camera Obscura, Tel Aviv. The Still, the film industry in latter is in a rather peculiar situa- Israel was very limited until 1970, tion. Its Digital Media department when Educational TV and IBA offers a 4 year animation program. national TV started influencing the Yet second year students already local scene. The most dramatic TV get tempting job offers from the influence came after commercial industry. and cable TV started operating in 1993. It gave quite a push to com- puter graphics, including anima- tion and special effects, as well as video productions. As a result, the last film lab in Israel closed down in 1996. Post-production houses, such as Gravity, which completed Raoul Servais’ Taxandria, Broadcast and JCS, all in Tel Aviv, became a central creative force, each devel- oping a strong animation unit rely- ing on Silicon Graphics and Mac Yoram Gross, during the 1950s and now. computers with the most Photos courtesy of Yoram Gross. advanced software. The demand getting into animation. Quite for animation talent has been many innovative young artists are steadily growing in the last testing Internet and computer pos- decade. The production of educa- sibilities. The main obstacle they all tional CD-Roms, games, multime- face is that of immature — anima- dia and to supply various Internet tion wise — clients and commis- needs is on the increase. Tel Aviv’s sioning editors. With more knowl- multimedia and software house Ashley Lazarus, director and edgable ones who understand producer, Rashi:A Light After the Disk-In even opened an animation Dark Ages. © Disk-In. the medium there is no telling unit when Dudu Shalita closed how far Iaraeli animation artists down Anima Studio and offered Thirty years ago the only will get.” This explains Kaminski’s his services. They now do interna- animation training available in plans to do his next feature, now tional co-productions of TV Israel was a six month course in development, in Israel. specials and series, in addition offered by the late TV Arts College to commercials. in Tel Aviv. It was a private body Yoram Gross taking commercial advantage of It will not be the first ani- the void. Only two of its hundreds mated feature to be made in Israel of students became professional however. Yoram Gross, now head animators. Then, most of the of a busy studio in Australia where young animation industry consist- he has made 14 full-length fea- ed of self taught artists. Prominent tures and 8 television series to among these was, and still is, Roni date, made the biblical puppet Oren, director of the Claytoons feature Joseph the Dreamer in Studio in Binyamina. Admired as 1961-62. His studio in Tel Aviv, Joseph the Dreamer. © 1961 Yoram Gross. an excellent plasticine animator, established in the early ‘50s, was he has managed for years to cre- the first animation house in Israel, There are three art schools ate, almost by himself, at least an although films were first shot in which could be considered the hour of full character animation Israel in 1897, when in April of major suppliers of trained talent: every year. His work consists of that year, the notorious Lumiere Bezalel, Jerusalem; WIZO, Haifa; many commercials and TV
ANIMATION WORLD MAGAZINE September 2000 43 Another kind of new tech- nology is about to hit Israel — sat- telite TV is due to start operating soon, already influencing TV pro- gramming. Israel is about to get exposed to new channels, includ- ing Cartoon Network and Fox Kids, with the latter using Saban International’s library. In a way bringing Haim Saban’s empire in closer contact with the local scene. “There are no plans yet to get into production in Israel,” says Varda Saban of the Israel branch. “Our production facilities are well established and very satisfactory. The only involvment we have with Roni Oren. Israeli productions is when we do specials, as well as four TV series. creative independence and effi- here promos, merchandizing com- The latest of which, Grabbit the ciency offered by computers mercials or sell rights of a property Rabbit, is a 13 X 8 minute series makes it possible. We are using of ours.” They may have second co-produced with IBA TV. The Crater’s CTP and DPS’ thoughts. A delegation of top series premiered last month and Reality/Velocity cards, easily get- executives from a giant U.S. cor- has already been bought by more ting a lot of good work done fast poration has been in Israel in than 20 TV stations worldwide, in broadcast quality. And this is August, checking possibilities. from Channel 4 in the U.K. and only the beginning of dynamic Optimists and dreamers alike will Fox Kids France to Asia TV Hong computer visuals development, be glad to assure anyone of plen- Kong and Transworld Association, with the Internet still in diapers. ty of promising possibilities in the Japan. True, it is now a hungry monster Promised Land. His professional track swallowing everything; not able record includes his own studio in to discern between good and bad Tsvika Oren is a veteran animator, Jerusalem, where top international [and with] lots of vulgar, stupid or film critic, lecturer and animation artist Gil Alkabetz started his career sloppy stuff. Yet, I expect it will not missionary. He is also Director of in ‘84. He has had two other stu- take long to mature into sophisti- The Animation Center in Tel Aviv dios since. One was for a Danish cated work taking advantage of its and the International Creative company owned by a U.K. busi- unique limitations to create Filmmaking festival. nessman and the other was in exciting new ways of expression.” California (1988), doing commer- Note: Readers may contact any cials and TV specials. What he is Animation World Magazine con- most excited about now is: “The tributor by sending an e-mail to possibilities offered by easily avail- [email protected]. able electronic means are mind- blowing,” says Oren. “I am work- ing now with two Bezalel gradu- ates who every day are doing a 15 to 30 second Flash animation for a commercial Website. Every day a new film! And it is done while we work on a second episode of a cartoon series, do commercials and develope new projects. The Grabbit the Rabbit. © Claytoons Studio.
ANIMATION WORLD MAGAZINE September 2000 44 Israel’s Film Festivals by Tsvika Oren curious phenomenon in Israel is that of an outburst Aof creativity in the wake of each war. Most noticeably evident in increased numbers of pregnan- cies and arts events. A few of these events have developed into a tra- dition of international celebra- tions. The major ones concerning film take place in the three major cities, situated in a triangle 45 to 90 minutes drive from each other. The international festival in Haifa, up north on the Carmel Mountain, started in 1983. The Jerusalem fes- tival started in 1984. Both are annual and include one or two compilations of animation shorts. Occasionally a couple of anima- tion features are also screened. The annual Creative Filmmaking festival in Tel Aviv is dedicated mainly to animation and started in 1994. Currently it is on hold how- ever, awaiting budget allocation. This year’s International Student Film Festival cover. These festivals do not feature ani- mation in competition. The only world, they managed to get will last for years. competitive festival awarding ani- enough blessings, films, support This year’s festival (May 27 – mation is the student film festival. and visiting students, lecturers and June 3, 2000) included in its com- The following may give an idea of professionals to make the first festi- petition some 50 screening hours what this unique festival is like: val a success. Since then, every composed of 164 films, selected two years, the Tel Aviv University by 61 schools from 40 countries. 8th International Student Film film department becomes the festi- Twenty-two of the films competed Festival,Tel Aviv val’s headquarters. Its graduates in an “Animation and The year is 1986. Two grad- direct and produce the event, Experimental” category*, which uating students at Tel Aviv while students from all the schools will be separated next festival. The University keep bothering every- in Tel Aviv host the visiting foreign festival represents schools’ atti- one with the idea of an interna- students. A lively crowd joins the tudes rather than a worldview of tional student film festival, to be students in a week long celebra- student creativity. Festival regula- run by students and focusing on tion of films, workshops, lectures tions limit participation to mem- students. Using all of their savings and parties, yielding friendships bers of the international CILECT to travel to schools around the and working relationships which association, which is an associa-
ANIMATION WORLD MAGAZINE September 2000 45 minutes. NATFIZ, Sofia, Bulgaria. l Man on the Moon, Chris Stenner, 7 minutes. FABW, Ludwigsburg, Germany. l Silent Saviour, Ekuba Kyiamah, 5 minutes. NAFTI, Akra, Ghana. l It’s Your Turn, Alessia Milo, 6 minutes. SNC, Roma, Italy. l The Telephone, Ekaterina Visnapou, 6 minutes. VGIK, Moscow, Russia. l Spirit of Flight, Soh Wee Lian, 3 minutes. Ngee Ann Polytechnic, Singapore. l Hourglass, Matthew Hood, 5 Gil Kenan’s Shoot the Moon, with its limited cut-out style of animation, tells the disastrous story of a community forced to build a giant gun in order to shoot minutes. NFTS, Beaconsfield, UK. the moon. © Gil Kenan. l Last Waltz In N.Y., Avi Katz, 6 tion of film schools. Each school is time while having a sandy off- minutes. SVA, N.Y., USA. allowed up to 50 minutes of spring. The film is an impressive l Shoot the Moon, Gil Kenan, 5 screening time. These rules, how- display of computer 3D and 2D minutes. UCLA, L.A., USA. ever, have a decisive influence on animation combined with draw- l 3 films from FAMU, Praha, the animation selection as very ings. Czech Republic: F.I.S.H. 073, few art schools join CILECT. l Gil Kenan’s Shoot the Moon. Vaclav Svankmajer, 7 minutes; The Therefore, most film schools prefer From UCLA in the USA, this 5 Magic Bell, Aurel Klimt, 15 min- sending two impressive 25 minute minute monologue is of a child utes; Mumps, Maria Prochazkova, documentary or fiction films, telling the disastrous history of his 7 minutes. rather than short animated films. community, a kingdom forced to l 2 films from Camera Obscura, build a giant gun in order to shoot Tel Aviv: Scenario, Omer Makover, the moon. The film is black and 7 minutes; These Things Never white, limited animation created Happened But Are Always, Linor with cut-outs. Fonseca, 7 minutes. l Aurel Klimt’s The Magic Bell l 2 from VSMU, Bratislava, Slovak from Praha’s FAMU in the Czech Rep.: In the Box, Vladislav Stuhar, Republic is a 15 minute fun musi- 6 minutes; Doble Voice Invention cal with intentionally sloppy cut- A-Minor, Vlado Kral, 2 minutes. out animation. The film tells the l Plus, 5 films from Bezalel Matthew Hood’s Hourglass — a sand ani- rather wild story of a village made Academy of Art & Design partici- mation of the life cycle of a woman con- happy by a special bell. When an pated in a separate competition fined in glass. © National Film and Television School evil army steals the bell and molds for Israeli student films. it into a canon, a rescue mission by An international nine mem- a little girl and a lost circus Tsvika Oren is a veteran animator, ber jury, composed of directors, elephant succeeds in bringing a film critic, lecturer and animation students and lecturers — none of happy end. The film was awarded missionary. He is also Director of which involved in animation — the prize for best animated film. The Animation Center in Tel Aviv selected three films as prize and the International Creative nominees: * Animated films selected by Filmmaking festival. l Matthew Hood’s Hourglass. schools for the competition: Made at the NFTS, in Beaconsfield, l Like Drowning, Cath Murphy, 8 Note: Readers may contact any U.K., this 5 minute film tells the life minutes. VCA, Melbourne, Animation World Magazine cycle of a “sand woman” confined Australia. contributor by sending an e-mail in glass, who is running out of l Extra Terrestrial, Ivan Russev, 3 to [email protected].
ANIMATION WORLD MAGAZINE September 2000 46 THIS YEAR'S INTERNATIONAL GUESTS: WENDY TILBY, BRUNO BOZZETTO, KONSTANTIN BRONZIT, PAUL DRIESSEN, KOJI MORIMOTO, JULIAN NOTT, JAN PINKAVA AND MANY MORE…
THE 4TH EDITION OF THE INTERNATIONAL COMPETITION WITH THE BEST SHORT FILMS FROM ALL OVER THE WORLD!
THE NEWEST ITALIAN ANIMATED SHORTS IN THE NATIONAL COMPETITION!
THE FIRST COMPETITiON FOR ANIMATED WEB SITES!
PRESTIGIOUS PREVIEWS OF BRAND NEW PRODUCTIONS: FEATURES, SHORTS, TELEVISION SERIES AND COMMERCIALS!
SPECIAL EVENTS, CONFERENCES, LIVE PERFORMANCES AND… SURPRISES!
FOR FURTHER INFORMATION PLEASE CONTACT: I CASTELLI ANIMATI - PHONE: +39.06.93955108 FAX: +39.06.9391577 E-MAIL: [email protected] - WWW.CASTELLIANIMATI.IT "It's easier said than done. But if you're willing to put in the time and the energy that it The Power Behind requires, you can do it. That's excit- ing. It's a positive that's being squeezed out of a negative situation. "I say that to anybody," Davies says. "Get out there and by Bob Miller give it a try. If you got nothin' to lose, go for it." © Atomic Cartoons, Inc. hat if you were a pro- to the situation that we all found Davies’ Background fessional animator ourselves in. Born in Vancouver in 1968, Wand a studio laid you "Now I feel like I'm back to Davies grew up in Canada and off at a time when other studios where I started, because there Mexico, drawing ever since he were downsizing and job oppor- wasn't a big boom when I started could hold a pencil. "Drawing tunities were scarce? What would in animation. That helps all of us seemed to be the only thing I you do? at Atomic, 'cause we know what could do with any success," he (1. Quit the business alto- it's like to have to beg and borrow says. "The bottom line is, I can't do gether and seek another career. to survive. anything else." (2. Try to find work in a "With the downsizing that's According to dwindling market. going on, a lot of people have Davies, the anima- (3. Start your own studio. ended out on the street. Artists are tion industry in In the case of Rob Davies, now going to have to somehow Vancouver was what began as "2" ended up as band together and very small, with just "3." For years he had worked for do it for them- a few houses doing other studios; supervising story- selves, because commercials and boards and layout at Vancouver's there's no corpo- cel painting. He Olaf Miller. Studio B Productions, designing rate umbrella to "warmed up" his characters for DIC, Warner Bros. protect them. They pencil by doing posters and T-shirt and Disney TV, and doing story- have to get togeth- designs, then landed his first ani- boards and directing for Warner er and pull off mation job at Gordon Stanfield Bros. Then when Warners slashed what we're trying Rob Davies. Animation. There, he did produc- its TV production staff in 1998, to do, and start tion layouts for Beetlejuice: The Davies was forced to return to their own shops." Animated Series. When layout Canada, where he teamed with Davies recalls, "I could have supervisor Blair Peters joined Chris other talented artists to form their come home and worked freelance Bartleman to start Studio B, Davies own studio, Atomic Cartoons. but thought, ‘There's no real joined them along with Trevor "I'm not an expert on sur- power in doing that.’ The power is Bentley and Olaf Miller (who vival tactics, but something that getting together with like-minded would become Davies' partners in I've learned from the Canadian individuals. One freelancer can forming Atomic Cartoons). environment is survival," Davies pull off a board here and there, Davies worked at Studio B says. “In Canada we've always but what if four freelancers got for six years, developing his skills had adversity and we've always together? What if 20 freelancers as a storyboard artist and director. had to scrape to get work, to sur- got together? Pretty soon you He briefly worked in West Berlin vive up here. We haven't had the have a studio. Now, with the (behind the Iron Curtain during advantage of having large studios Internet, it allows people who the Cold War years) at Hahn Film to become secure in. We've band together and have the same on the feature Asterix Comes to always had smaller shops scraping sensibilities to produce their own America. Davies returned to by over the years. That lends itself content. Canada to art-direct the series
ANIMATION WORLD MAGAZINE September 2000 48 Action Man, then render character n't have a lot of time to think the show at Studio B. Studio B, at designs and storyboards for DIC's about things. the time, had three of their own Street Sharks and Disney's The "So I was forced to come shows in production, and they just Mighty Ducks series. home and overnight make a didn't have the capacity at that "I had a lot career decision on what to do. I time to take on another 26- of good years at directed at Warner Bros. I go back episode series. Studio B," Davies to Vancouver. Now what do I do? Sunwoo was left recalls. "They were "I thought I could freelance without anybody, good guys. I and do boards and go back to so I just phoned learned a lot and Studio B. I don't know if I would've Jae up and said, hopefully con- gotten a chance to direct. I like to 'We'll put a crew tributed to their stu- think that I would have. I didn't together for you Trevor Bentley. dio. But I reached know what to do at that point in and do the 26 the point where I needed a my life. Mauro Casalese. episodes of Milo.'” change. And I wanted to get out "As luck would have it, I got Davies teamed with his old of the Vancouver scene. It's a a call from Jae Moh, the executive friends Olaf Miller and Trevor good scene, but it's small. And I producer at Sunwoo. He called Bentley, who were art directors at just wanted to go down to L.A. to me at home -- he had gotten my Studio B, specializing in back- the animation hub and see what it name from a mutual friend, John ground and set design. A fourth was all about.” Kafka -- and said, 'I need a studio partner, Mauro Casalese, was an Fortunately for Davies, in Canada to do 26 episodes of a animator and character designer, Warners offered him the opportu- show for us, Milo's Bug Quest. whose credits include The Ren & nity to work on Pinky & the Brain Could you recommend any stu- Stimpy Show and Woody as a storyboard artist. dios?' Woodpecker. Together they "Every kid who likes anima- "I said, 'Sure, I worked for formed Atomic Cartoons in early tion grows up with Warner Bros.' Studio B for years. Why don't you 1999. shield stamped on their head," he guys try them?' "Everything fell into place, says, "so I had to test those waters. despite the awkward situation I I had a chance to work there and was in," Davies says. "I think just I couldn't turn it down." the four of us alone when we Eventually Davies was pro- started the Milo show were a moted to directing the show and strong team. Now we're surround- its follow-up series, Pinky, Elmyra & ed by a lot of talent. At the present the Brain. His work would later be time I'd say we've got 25 other recognized with an Emmy nomi- people working with us. So we nation in 1999, and an Emmy win surround ourselves with a lot of in 2000. But the series was not good, ambitious talent to support renewed, and in 1998, Warner us. That's what our company is Bros. began downsizing its crews based on. throughout its TV animation divi- "Sunwoo was a very good sion. company to work with. We helped "The decimation of talent at each other in that situation. They Warner Bros. was a clear-cut," helped our studio grow and we Davies says. "Somebody came helped them get a show done," through with a chainsaw and cut Davies says. all the trees down. I was one of Milo’s Bug Quest. © Sunwoo Once Milo's Bug Quest was the trees. Entertainment Group. finished, Atomic pursued other "I had ten days to get out of Choosing Another Route projects. Phil Roman offered them the States literally because of my "My feeling was if Studio B pre-production work on a 44- work visa. They said, 'Here is your takes the show, maybe I'll have a minute Christmas special based on pink slip; you're out of here.’ I did- chance to go home and direct on the song Grandma Got Run Over
ANIMATION WORLD MAGAZINE September 2000 49 by a Reindeer, produced by Fred tional animation and Flash. ed. We can actually keep some of Rappaport. They also rendered sto- Says Davies, "We contacted the animation in North America. ryboards for Courage, the Honkworm in Seattle and they "That's another exciting Cowardly Dog for Stretch Films came up here for a visit. They liked thing about Flash -- Everything and Molly O for Sunbow some of the ideas that we had. doesn't get sent away. We've got a Productions. Atomic also worked One idea was Dog in a Box with lot of animators that have come with Danny Antonushi on a.k.a. Two Wheels. It was just a sketch of from Disney and DreamWorks and CARTOON’s Ed, Edd, n’ Eddy. the dog. They wrote a script commercial backgrounds in our Film Roman around it. They came back to us studio that are now getting the provided Atomic and we're co-developing and co- opportunity to animate again. A the opportunity to producing the series. lot of stuff that we do in produc- do five months of "They contribute with the tion and layout allows us to do key production layout script and the final edit, and they posing, [but] now we get to ani- on The Oblongs. also share in the directing of the mate again," Davies says. During that time, show. We do everything from the studio expand- script to boarding and design, Staying Competitive ed its staff and had Samantha Daley. right to [almost] final edit. They do "There's a lot of originality to move to a larger the final tweaks to it, and put the and a real hunger in our studio to space. voice tracks and music to it. So it's get out there and compete, and In late 1999 the staff was a real 50-50 effort. bring the work to a higher level joined by producer Samantha because the industry is competi- Daley, who had previously pro- tive. We're up to the challenge. So duced Ed, Edd n' Eddy. a client that comes to us gets a real "We were able to get an strong 'artistic hunger.' We're really experienced producer who's also aggressive that way. We want to a very good people person," do the best job possible. Davies says. "The four partners can "We'll work night and day, now concentrate on the creative 24 hours a day. We've got the side of things a little bit more, night shift going. We work on the while she deals with clients and Dog in a Box with Two Wheels. weekends. Whatever it takes. I staff. It worked out really well © Honkworm/Atomic Cartoons. hope that comes across. We're for us." pushing real hard to be competi- "It's worked out really well," tive, and to produce a higher qual- Davies says. "We've got a ten- ity of cartoon." show deal for the Internet. I Atomic is a "full pre-produc- believe we're the first studio in tion" house, offering its clients "full- western Canada to get our own service fright from the script," Internet series, so, that's pretty Davies says. This includes tradition- happy for us." al and Flash animation, as well as On other internet projects, designs, storyboards, layouts, Atomic has done animation for mouth positions, exposure sheet Sticky Flicks, The Romp, and timing and design/background Mondo Media. color. "Now that we've gotten Although Atomic is a small Dog in a Box with Two Wheels. into Flash," Davies says, "we can operation, Davies sees that as an © Honkworm/Atomic Cartoons. actually take a script and make a advantage. "We're not executive Welcome to Flash full cartoon for a client right from top-heavy in our company," he In October 1999, the stu- scratch. So Flash has allowed us to says. "We're right in the trenches dio opened its own website, take our skills and push it one step with everybody. Our overhead is www.atomiccartoons.com, to further, where the cartoon isn't standard. I don't think there's a lot offer its services both in conven- being sent overseas to be animat- of mismanagement and waste. If
ANIMATION WORLD MAGAZINE September 2000 50 there's any money being wasted, care in the world -- until it gets excited about what they do for a we see it right away. That allows taken away from you. Suddenly living, instead of sitting at home us to be cost-efficient, as well. you're right back to where you with no job complaining about it. "But that shouldn't be the started. And, the spark's gone. We've got to keep that drive going prime motivator for anybody com- "People are going to have and it's not easy for anybody to ing to us," Davies says. "When a to start rekindling that spark -- that do that." client comes to us, they should same thing that got them to suc- At Atomic Cartoons, Davies expect that they're going to get ceed and got them into the indus- says, "We're trying to get some the experience that we have in try in the first place. People are good service jobs. We're trying to producing cartoons. going to have to reach down and do the best job possible with "The four partners each get that spark back, and go, 'OK. them. Then when we can squeeze have over a decade of experience. I'd forgotten, but I'm an artist and out an hour here or a couple I'm a creator. I have a talent and a hours there, we're trying to do our desire, and I'm going to have to own cartoons, as well, to keep start using that desire right now, that spark going. because nobody's there support- "That's our prime motiva- ing me with a regular paycheck tion right now, is to: any more.’ (1. keep the paychecks "Maybe the Internet's not coming in, but From left to right: Olaf Miller, Mauro Casalese, Rob Davies and Trevor Bentley. the answer, but this creative spark (2. do something for our- is a symbol of what people can selves, and not just for somebody "We have a lot of artistic accomplish on their own, some- else. Because that's not working pride in our studio. That's what thing that artists may have forgot- any more." separates us from a lot of places. ten (being part of a big company We're not driven solely by money. or having the union support for See some QuickTime clips of We're driven first by the content, many years). They'd forgotten Atomic Cartoons’ work at: being that we're an artist-run stu- what it's like to make their own http://www.awn.com/mag/issue dio. So the content is the number cartoons, to get together with 5.06/5.06pages/milleratomic. one motivator. And then the pay- their friends in a basement some- php3. checks," Davies says. where, and make their own comic book or their own cartoon. Bob Miller is an animation Keeping the Spark professional who has written As for individual artists seek- extensively about the industry for ing opportunity in today's climate Starlog, Comics Scene, Animation of studio downsizing, what advice Magazine, Animato!, Animation does Rob Davies have to offer? Planet, Comics Buyer’s Guide and "When you get out of APATOONS. He served on the school, or first get into animation, first season of Courage, the Producer Samantha Daley everybody's got that creative – work, work, work. Cowardly Dog as storyboard spark. The world is your oyster. supervisor and is currently work- You're going to take on the world. "We're forced to get the ing at Film Roman storyboarding Nothing can stop you. You've got creative spark back. The market- episodes of The Simpsons. that drive and ambition. You're place isn't the same as it was willing to do whatever it takes," before. We can't just sit back and Note: Readers may contact any Davies says. have people knock on our doors Animation World Magazine con- "Then you've been in the and say, 'Here's a cartload of work tributor by sending an e-mail to industry for awhile, and you've for you.' That's not happening any [email protected]. gotten complacent. You're com- more. fortable. You're in your cubicle and "We've got to generate our you've been there for ten years, own make-work program. To keep and this is your position and not a people energized. To keep them
ANIMATION WORLD MAGAZINE September 2000 51 password, providing their gender, Making Money Online: zip code and birth date. The sign-in process also requests, but does not require, a player’s name and e-mail address and provides enlistees the Game Creators opportunity to request only family safe games and to either ban or accept tobacco, liquor or adult in by Jacquie Kubin nature ads. daboy(www.adaboy.com) Guaranteed Target has teamed up with gam- Advertisers investigating Aing Web sites to create a this new broadcast arena might be new revenue stream for game cre- surprised to learn that forty-eight ators — advertising dollars. percent of online gamers, accord- Working within the gaming envi- ing to Forrester Research, are ronment, Adaboy technologists women; and more than 60% of use patented Targeted Message that number are between the Technology (TMT) to put ads into ages of 25 and 44. For advertisers, the texture, or face, of online Adaboy-enabled games work as a games. targeted vehicle, sending specific An advertisement incorporated into the Located in Pittsburgh, messages — such as GNC gaming environment of The Matrix. Pennsylvania, Adaboy is relatively Vitamins for Women — to this fast “We refer to each game new to the Internet space with the growing online group while player as a qualified lead,” says September 1999 release of the pro- showing other product ads to Pearson. “We target the advertis- prietary TMT platform. Still in the youth, male and teenage players. ing based on gender and sex, not early stages of growth, the compa- by the game. Two people — one ny has so far brought advertisers to male, one female, but each play- only a handful of games, but it is ing Matrix — are going to see actively working on agreements different ads.” with developers and entertainment This type of delivery chan- destinations, such as online malls nel is extremely effective in that the and gaming sites. advertisement cost is based on the The company is unique in number of qualified views by a tar- that it promotes a win-win situa- geted audience demographic. tion for all parties involved, partic- Adaboy claims that advertisers are ularly the game developer looking not charged just on views, but to establish a name, and the An example of ads tailored to the user in views by individuals meeting spe- advertiser looking for a specific an online card game.All photos courtesy cific demographics. In addition, audience. of Adaboy, Inc. Adaboy provides post-delivery “Traditionally, smaller and This is accomplished when a authentication reports including independent game developers user signs up for free games from the viewer breakouts, and length and have had a hard time making a liv- Adaboy Web site or Adaboy host frequency analyses allowing the ing as the game goes to the shelf gaming sites like Free Play USA advertisers to know which games and then is sold for a limited peri- (www.freeplayusa.com), Real Games their demographic plays most. od of time,” says Barbara Pearson, Free (www.realgamesfree.com), Best As with other Internet com- Director of Marketing, Adaboy, Women’s Game Site (www.real- panies paving new ground, Inc. “Adaboy gives the online freegames.com) and the College Adaboy has yet to establish a firm game developer a revenue stream Free Stuff site (www.college- cost per thousand or commission that goes beyond play-value, pro- freestuff.com). The Targeted structure but initial plans called for viding ongoing revenue for Message Technology is triggered a $40-per-thousand-views charge the creator.” when those users create an ID and to the advertiser. Those dollars are
ANIMATION WORLD MAGAZINE September 2000 52 searching for sites to carry Adaboy- enabled games, including action games that could, for example, show a player a real advertisement on the side of a tunnel in a racing game. Not only does this make the game more real to life, it also pro- vides a landmark for the player with- out being a distracting element. In addition to negotiations with a known teenage girl’s site, the company also hopes to place Adaboy advertising messages within well-branded game sites and popular virtual mall destinations. “Behind the scenes we are a young company working to establish relationships with brand- Never a solitary moment when it comes to marketing. ed game companies,” explains then divided between the game Interscope Technologies Pearson. “In a way it is a bit like the creator, the “host” Website and (www.dfdis.com), which provides chicken and the egg, they want to Adaboy, who expects to take Internet Solutions for Pathologists. see the success, which we are approximately 20% depending on Following the game, I was given experiencing, before committing.” the quality and life expectancy of the opportunity to view the spon- Adaboy is looking for new, the game. sors of the advertisements includ- original games in which to embed “For game developers, ing (in addition to those men- their Targeted Message both the shareware and retail tioned) Tickets.com, Star Gate Technology. Game developers earnings models can be less than Internet Service, e-spotmarket.com, interested in an alliance with reliable and highly seasonal,” says Heinz foods, Commer Builder.com, Adaboy should contact Neil Pearson. “When games are Boston Market, Carrier.com, GNC Morrow at [email protected]. Adaboy-enabled, the developers Vitamins for Women and College receive part of the advertising rev- Inn Soups. Jacquie Kubin, a Washington, enue every time a game is played, DC-based freelance journalist, thereby producing an ongoing enjoys writing about the revenue stream.” electronic entertainment and edutainment mediums, including Check It Out the Internet. She is a frequent Taking the games for a test contributor to the Washington run, I ran into problems with both Times and Krause Publication The Matrix and the children’s Look magazines. She has won the and Listen games. Solitaire from 1998 Certificate of Award Free Play USA, and Poker from granted by the Metropolitan CardFun (www.cardfun.com) Billboards virtually everywhere. Area Mass Media Committee of however, loaded easily. Hoping to make Adaboy- the American Association of Opening my first solitaire enabled games the pastime of University Women. game, an ad for Fuenth Coffee choice for online gamers, the site (www.fuenthcoffee.com) hovered plans to offer high-scorer pro- Note: Readers may contact any unobtrusively over the left hand grams, giveaways, sweepstakes Animation World Magazine con- side of the playing table. Two and prizes. tributor by sending an e-mail to games later that ad changed to At present, the company is [email protected].
ANIMATION WORLD MAGAZINE September 2000 53 StraightStraight fromfrom thethe Moose’sMoose’s MouthMouth book review by Karl Cohen ell-researched books about animation are Wrarely published, but fortunately two outstanding vol- umes have come out recently. Michael Barrier’s Hollywood Cartoons (Oxford University Press, New York, 1999) is an exceptional contribution to our understanding of the development of theatrical animation, and now Keith Scott’s The Moose That Roared honors people who pioneered limited ani- mation made for television. Fortunately J. Ward’s studio pro- duced some of the funniest TV car- toons ever made, so the book is not only an authoritative account, it is also a delight to read. Scott’s book bears almost no resemblance to a coffee table book about Rocky and Bullwinkle that was published in 1996. The first book barely mentioned some of Jay Ward’s productions and omitted others completely. It filled up the pages with illustrations, triv- ia and plot details. It only men- tioned Bill Scott (not related to Keith Scott, the author of the book) three or four times even though he was Ward’s co-produc- er, head writer, the voices of Bullwinkle and other characters, More moose for your money: 480 pages from veteran voice artist and animation and did a thousand other things historian Keith Scott. © 2000, St. Martin’s Press. for the studio. It also failed to outside the U.S. to reduce labor tic and focused on Ward and his explain that much of the show costs and that resulted in numer- most famous show. It never men- was produced in Mexico, making ous mistakes, headaches and tioned Alex Anderson, the man it the first animated “run-away” other problems. who created Rocky, Bullwinkle, production. The show was made The 1996 book was simplis- Crusader Rabbit, Dudley Do-Right
ANIMATION WORLD MAGAZINE September 2000 54 and other characters. Ward was a but in 1949 they decided not to show’s concept to the almost producer with a business degree go ahead with their plans to make instant success of the show when from Harvard. It was Anderson, it a network show. Jerry Fairbanks, it first aired November 19, 1959. Ward’s partner and life-long friend, who had a 5-year exclusive distri- There is also excellent coverage of who conceived and developed a bution deal with NBC, decided to other parts of the program includ- form of animation that could be release the 5-minute program on a ing Peabody’s Improbable History made within the financial con- station-by-station basis. It took and Fractured Fairy Tales (Aesops straints of television. Working another year before Crusader and Son replaced Fractured Fairy together they pioneered limited Rabbit aired anywhere on a regu- Tales for one season). animation. In 1950, Crusader lar basis. Production stopped after Rabbit became their first show to 195 episodes (1951) and the be broadcast on a regular basis. I studio eventually closed. consider the development of limit- In 1957 William Hanna ed animation a major develop- (without Joe Barbera) joined Mike ment, yet the author of the 1996 Lah, Don Driscoll and Don book saw no reason to mention it. MacNamara to form a company to continue production of the show. Newer is Better They were not told that there was The new publication is a an ongoing legal battle over the concise history. After a brief rights to it. The rights had become Author Keith Scott and his cartoon overview and introduction, the available when Jerry Fairbanks crony, Bullwinkle J. Moose. Photo book provides a detailed chrono- went bankrupt. Hanna and his courtesy of Keith Scott. logical account of the life and associates had started production Details, Details, Details times of J. Ward, his associates, when they were informed Ward Anyone fascinated with the their work, fun, follies and a few did not own all the rights to the industry should enjoy the account major blunders. While it is lovingly show. The litigation not only of how Rocky and his Friends written by a life-long fan who ended the project, it resulted in ended up being animated in became the world’s foremost Ward and Anderson being forced Mexico (the original plan called for scholar on the studio, it is honest, to sell their interests in the show to the production to go to Japan). The insightful and sometimes unflatter- Shull Bonsall who had purchased show’s first production budget was ing. It is so thorough, it not only Fairbanks’ rights. miniscule compared to the cost of a provides detailed information Hanna-Barbera production from about the studio’s major accom- The text also the same time. Keith Scott inter- plishments, it also covers unsold viewed the Americans who over- pilots, the production of commer- covers Ward’s later saw the production in Mexico and cials, wacky publicity stunts, biog- productions their accounts explain the numer- raphical information about every- ous problems that resulted. His body involved with the produc- including George detailed account even hints at an tion, problems with contracts, net- of the Jungle, under-the-table deal that resulted in works, agencies, labor and cen- the show going to Mexico in the sors, plus a great deal more that Super Chicken, first place. (Apparently people with you probably didn’t expect to find Dudley Do-Right, the show’s ad agency and/or in a book about people making sponsor owned shares in the humorous cartoons. Hoppity Hopper, Mexican facility.) The book provides the Tom Slick… The text also covers Ward’s longest and best account of the later productions including Ward-Anderson collaborations The story of Ward’s next George of the Jungle, Super including some of the problems project, one that starred a moose Chicken, Dudley Do-Right, they faced trying to get Crusader and squirrel, is just as carefully Hoppity Hopper, Tom Slick, Rabbit aired. NBC approved the recounted. It covers everything Fractured Flickers, numerous com- proposal for the project in 1948, from the development of the mercials and much more. As the
ANIMATION WORLD MAGAZINE September 2000 55 story unfolds you also get a extensively from those who best person he is quoting, but he does delightful picture of the good knew the man and he reveals not say how he obtained informa- times at Jay Ward Productions. uncomfortable incidents that help tion not in quotes. Had there been There are accounts of zany parties explain this man’s unusual psyche. footnotes, Bliss would have and publicity stunts, surprise com- The statements sometimes contra- known from where the informa- pany outings to unusual places dict each other, but the confusion tion about her came. and other unexpected moments. helps explain who this wonderful We are fortunate that St. Anderson, who had gone into man was. Martin’s press was willing to pub- advertising, occasionally re- lish Scott’s account of the studio. It appears as do several other life- As the story is an exceptional contribution to long friends of Ward. our knowledge of early TV anima- Trivia fans will enjoy much unfolds you also tion, a subject ignored by most of the information in the text. My get a delightful authors. Fortunately Scott got to favorite “stupid” fact is that when interview almost everyone con- Action for Children’s Television picture of the good nected with the studio (several of (ACT) pressured TV into adopting times at Jay Ward the key figures are no longer alive) politically correct guidelines/cen- and is an excellent writer. sorship in 1977, Cap’n Crunch, a Productions. The Moose That Roared: 500-year-old pirate, could no The Story of Jay Ward, Bill Scott, A longer wear a sword. One fact Proof is in the Pudding Flying Squirrel and a Talking overlooked by the author is: who When I finished reading Moose, by Keith Scott. New York, sang the George of the Jungle the book I wondered how accu- New York: St. Martin’s Press, 2000. song? He gives us the names of rate it was so I called two people Approximately 460 pages with the composer and song writer, but who worked closely with Ward. 35 or 40 black and white not Donnie Brooks, who sang, Alex Anderson said, “It was pretty illustrations. ISBN: 0312199228 “George, George, George of the much the way I remembered it.” (hardbound $27.95). Jungle, watch out for that tree.” (I Lucille Bliss, the voice of Crusader saw him sing it at a county fair in Rabbit, enjoyed the book and said Karl Cohen is President of ASIFA- the 1980s.) The book also explains Scott came close to guessing her San Francisco. His first book, why several non-Ward produc- age when he writes “circa 1927.” Forbidden Animation: Censored tions were once included with Bliss said the date is wrong, “but I Cartoons and Blacklisted Rocky and Bullwinkle episodes on can live with it.” (June Foray, the Animators, is published by TV. This led fans to believe voice of Rocky, like Bliss never McFarland Publishers. He also Underdog, Tennessee Tuxedo, reveals her age. Scott made no teaches animation history at San King Leonardo and His Short attempt to guess it.) Bliss felt Scott Francisco State University. Subjects, Go Go Gophers, simplified the complex history of Commander McBrag, etc., were Crusader and that he didn’t fully Note: Readers may contact any produced by J. Ward Productions. capture the negative personality of Animation World Magazine con- They were actually made by Total the man who ended up with the tributor by sending an e-mail to Television, a company owned by rights to the show. She was also [email protected]. Peter Piech. Piech also had an surprised at how much he knew interest in the distribution of Ward about her, yet they had never met products on TV. or talked on the phone. As I read the text I kept My only negative criticism noticing that the book didn’t give of the book is minor. It would have a clear picture as to what Ward been better had there been a few was like as a person. Scott saved well-placed footnotes. Scott was this complex subject for the next not present when most of the to the last chapter. His account of events in the book took place, so who Ward was is an excellent footnotes would have been use- piece of research. He quotes ful. Scott identifies in the text the
ANIMATION WORLD MAGAZINE September 2000 56 Animation World News Compiled and written by Rick DeMott
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Awards Call for Entries l Family Guy Creator Wins Emmy l San Luis Obispo Festival Spots Short Talent! l JoeCartoon.com Wins Best Animation Site At NetAwards 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 Charlex Lights Up Spots For British Petroleum l Stan Lee Teams With Venture Soft To Tackle Asia l Eyeball Dances With New PBS Series Open l Animation Stock Ticker For Tuesday, August 15, 2000 l hey! Animates Musical DVD For Arista Records l Eyetronics Opens In Los Angeles l ATTIK Animates Preview Of Sony’s Digital Network Recorder l Creative Planet Rounds Up Another $38M In Financing l Class-Key Chew-Po’s Voltaire Heats Up PopTarts Ad l Animation Stock Ticker For Wednesday, August 9, 2000 l Sony’s Walkman Invades Ring Of Fire l Lions Gate Set To Purchase Harvey l Eyeball Says Presto For Nike l netGuru Expands Into Animation l Curious Production Of The Bob Clampett Show Open l SGI & Intergraph Form Strategic Alliance l Wild Brain Passes The Test For Sony Music l 3dfx Interactive Merges With GigaPixel l TOPIX/Mad Dog Sets Stunts For Clearnet Mike l Cinar Sale Next Possible Option In Light Of Delisting l Ring of Fire Rises To The Challenge For Suntrust l Go Is Gone, Walt Disney Internet Group In l Spontaneous Combustion Ideal For Estee Lauder l Rainbow Studios Acquires Motional Realms l hey! Raps Bumpers & Opens For The History Channel l China Slashes Cartoon Imports’ Airtime l Ring Of Fire Lights Up Unisys Commercials l Animation Stock Ticker For Tuesday, August 1, 2000 l Spontaneous Combustion Spruces Up Aube Cosmetics Ads l Pulse and Exmachina Sign Distribution Deal l Eyeball Flows With Forum Credit Union Spot l New Tinkerbell Inc. Sues Disney Over Fairy Rights 4http://www2.awn.com/mag/news.php3?item=Commercials l Prima’s Widow Sues Disney l Sony In The Red, PlayStation 2 & New Accounting Rules Education l Are Factors l Rocky Mountain College Of Art & Design Adds Animation l Vivendi, Canal + & Seagram Merger Approved In France 4http://www2.awn.com/mag/news.php3?item=Commercials l Avid Second Quarter Revenues See Some Increase l Animation Stock Ticker For Wednesday, July 26, 2000 Video l Amid Talks With Nasdaq, Cinar Sued Again l Franklin Feature Hits Home Video l Intel & Macromedia Partner To Bring 3D Graphics To l Slingshot Shoots Brilliant Net Shorts On DVD l Shockwave Player l Heavy Metal Two-Pack Arrives On Video l Macromedia Revenue Up 85% Over Last Quarter 4http://www2.awn.com/mag/news.php3?item=Video 4 http://www2.awn.com/mag/news.php3?item=Business
ANIMATION WORLD MAGAZINE September 2000 57 Events In Passing l NFB Is Holding An Open House l Disney Animator and Game Pioneer, Gene Portwood Jr. Passes l ASIFA General Assembly Held In North America For The First Time l Eyvind Earle, Disney Artist & Painter Passes l Plympton’s New Film To Screen At Ottawa 4http://www2.awn.com/mag/news.php3?item=Licensing l Cartoon Forum Brings Europeon Grace To Co-Productions l MIPCOM: The Hub For Television Buyers And Sellers Internet and Interactive l VFX 2000 Takes Place In A Growing Hot Spot For Special Effects l Toon In: Web Animation Guide For Friday, August 18, 2000 l AnimeOnline Festival Animates The Web In September l Bluth & Goldman Announce Next Move! l Festival of New Film Isn’t Your Mother’s Kind Of Film Fest l Chuck Jones To Create Original Webseries l SAS Conference Tackles The Technological Topics Of The Future l Toon In: Web Animation Guide For Friday, August 11, 2000 l F/X Guru Douglas Trumbull Speaks At Windows On The World l AniVision Transports Net Players Into College Football Games l Hollywood Shorts Celebrates The Art Of Animated Shorts l Shockwave Rolls Out Shockmachine 2.0 l Don’t Miss Ottawa 2000: North America’s Premiere Event l Toon In: Web Animation Guide For Friday, August 4, 2000 l Breakthrough Conference Centers On Marketing For l Mondo Media To Distribute Honkworm’s Fishbar l Top Demographic l Studios USA To Syndie Brilliant Digital Xena l Matita Film Festival 2000 Features A Retrospective Of Yuri Norstein l Harvey Characters Coming To ThinkBox’s Kid Portal l Golden Marble Awards Honors Kid At Heart Advertising l DEN’s Last Minute Fire Sale Puts Them In Hot Seat l SPIFF Shines With Shorts From Around The World l Toon In: Web Animation Guide For Monday, July 31, 2000 l Star Wars Exhibit Comes To Chicago l Adam Sandler and MediaTrip To Create Shnorff.com l Cartoonist’s Union Presents A Free Portfolio Lecture l Toon In: Web Animation Guide For Tuesday, July 25, 2000 l Spike & Mike’s Sick & Twisted Fest Invades Southern California 4http://www2.awn.com/mag/news.php3?item=Commercials l Atomic Sushi Serves Up Raw Anime Art l Rushes Soho Festival Quickens Shorts Recognition People l MadCat Fest Sinks Its Claws Into Top Women Filmmakers l Cinar Founders Refuse To Leave 4 http://www2.awn.com/mag/news.php3?item=Events l Winder Winds Up VP At Fox Animation l Cinar Founders Fired Films l DAA To Represent ID4 & Total Recall F/X Supervisors l The Cell Captures The Top Spot At The US Box Office l Smarterville Appoints Peter Doctorow As CEO l Batman Beyond Descends Into Theatres l Zdenka Deitchova To Head Kratky Film l X-Men Scribe Brought Onto Pitch Black 2 & Hulk l Entertainment Vet Shields At AtomFilms l Disney To Restore The Thief And The Cobbler To Original Version l Honkworm Moves To Vancouver With New Prexy l Groening Confirms Plans For A Simpsons Feature l Rhythm & Hues Adds Scribe To Staff & 3D Kroyer Pic l Harvey Acquires Monkey Tale Feature l Four Top Level Changes At Alias|Wavefront l Hollow Man Barely Beats Out Cowboys To Remain #1 l Rhinoceros Raises Digital CG & Design Artist Staff By Five l Mission & Patriot Still Strong At The International Box Office l face2face Adds New Directors Of Business Development & Marketing l The Movie Star Is Dead! CGI Actress To Star In Pacino Drama l Jedi Producer Joins Board At Cornerstone Animation l Monsters, Inc.’s Voice Cast Announced 4http://www2.awn.com/mag/news.php3?item=People l A Hollow Box Office Sees Cowboys Ride Into #1 l Revolution Pimps Out Flash-Animated Feature Television l Cartoonist Breathed Brings Next Book To The Screen l Sammy Sacked After Two Episodes l Patriot Wins The Battle For International Box Office Supremacy l The PJs Makes WB Debut During Olympics l Hollow Man Far From Invisible At The Box Office l TOPIX/Mad Dog Brings Home The HDTV Prodigal Son l Perfect Storm Shakes Up The International Box Office l Tale For Expo 2000 l Nutty Klumps Up The US Box Office Charts l Filmtecknarna Animates Madonna l Disney’s New Hawaiian Feature Goes Into Production l Nelvana Nets Two New Series l Lucasfilm To Make Anime Flick l Sammy Stumbles Out Of The Starting Blocks l Mission & Storm X-cite The International Box Office l Nickelodeon Reaches Record High Ratings 4 http://www2.awn.com/mag/news.php3?item=Films l Mattel Interactive To Turn Oregon Trail Into TV Movie l Showtime Nets Yet-To-Be-Aired Icebox Webtoon 4http://www2.awn.com/mag/news.php3?item=People
ANIMATION WORLD MAGAZINE September 2000 58 Next Issue’s Highlights Holiday Product and Licensing and Merchandising, October 2000
t is already October and time to start predicting which toy will be this Holiday seasons’ Furby. Martin Goodman is back with a look at what Santa will – and will not – have in his sack this IYuletide. Co-director Robert Ramirez of DreamWorks’ first animated feature-length direct to video Joseph: King of Dreams is going to write on his experience. AWN’s Rick DeMott is going to look at The Powerpuff Girls phenomenon and the building of a franchise. Who are the brains behind the marketing of Pokemon in America? Meet 4Kids, the company most recently called the “Fastest-Growing Company in America” by Forbes Magazine. Brett Rogers explores. So, what comes first – the successful show or the licensing and merchandising deal? Michael Hurwicz studies this modern day “chicken vs. the egg” question. Finally, Michael Mallory reveals some for- gotten advertising studios. Think you know everything about animation history? You’ll want to read this one…
We are also going to have a focus on Bulgarian animation and a profile of Rene Joudin by Chris Robinson. Glenn Vilppu is back, as is Lee Dannacher with her Web company profile. Jacquie Kubin is taking Humongous by storm to learn about the newest and latest in children’s software. We also have book and event reviews so come on back next month for another informative and fun issue.
Upcoming Editorial Calendar
Licensing and Merchandising October 2000 Television November 2000 Location-based Entertainment December 2000 The Year In Review January 2001
ANIMATION WORLD MAGAZINE September 2000 59