ANIMATIONWorld MAGAZINE © GOOGLE SPOTLIGHT STORIES | SPECIAL SECTION: ANNECY 2018

JUNE 2018 ©

PIXAR’S INCREDIBLES 2 BRAD BIRD MAKES A HEROIC RETURN

SONY’S NINA PALEY’S HOTEL TRANSYLVANIA 3 BILBY & BIRD KARMA SEDER-MASOCHISM GENNDY TARTAKOVSKY TAKES DREAMWORKS ANIMATION A BIBLICAL EPIC YOU CAN JUNE 2018 THE HELM SHORTS MAKE THEIR DEBUT DANCE TO ANiMATION WORLD © MAGAZINE

JUNE 2018 • SPECIAL ANNECY EDITION

5 Publisher’s Letter 65 Warner Bros. SPECIAL SECTION: Animation Ramps Up 6 First-Time Director for the Streaming Age Domee Shi Takes a Bao in New Pixar Short ANNECY 2018 68 CG Global Entertainment Offers a 8 Brad Bird Makes 28 Interview with Annecy Artistic Director Total Animation Solution a Heroic Return Marcel Jean to Animation with 70 Let’s Get Digital: A Incredibles 2 29 Pascal Blanchet Evokes Global Entertainment Another Time in 2018 Media Ecosystem Is on Annecy Festival Poster the Rise

30 Interview with Mifa 71 Golden Eggplant Head Mickaël Marin Media Brings Creators and Investors Together 31 Women in Animation to Produce Quality to Receive Fourth Mifa Animated Products Animation Industry 12 Genndy Tartakovsky Award 72 After 20 Years of Takes the Helm of Excellence, Original Force Hotel Transylvania 3: 33 Special Programs at Annecy Awakens Summer Vacation Celebrate Music in Animation 74 Dragon Monster Brings 36 Drinking Deep from the Spring of Creativity: Traditional Chinese Brazil in the Spotlight at Annecy Culture to Schoolchildren

40 Political, Social and Family Issues Stand Out in a Strong Line-Up of Feature Films

44 Annecy 2018: The Short and Short of It

17 Nina Paley’s Biblical Epic Seder-Masochism 48 Marc James Roels and Emma De Swaef Return 21 Masaaki Yuasa with This Magnificent Cake 76 Dreamers Studio Takes Speaks in Many Colors an Innovative Approach 50 Google Spotlight to Animated Movie Stories Returns to Annecy Marketing, Merchandising 57 Cats & Peachtopia and Distribution 53 The Moneygoround: Looks at Father-Son Liu Jian’s Have a Nice Day Relationships from a 78 Silkroad Provides Feline Perspective Integrated Visual Services for a Booming Industry 60 Unconditional Love: Julia Pott Journeys to 82 Kre8tif! 2018: 24 New DreamWorks Summer Camp Island A One-of-a-Kind Festival Shorts Program Is for the in Southeast Asia Birds (and Marsupials) 62 DreamWorks Animation Television Spreads its Wings 85 Giggles from Asia

June 2018 2 ANIMATIONWorld Magazine awn.com 3 June 2018 PUBLISHER’S LETTER ANiMATION © s we gather again for the largest festival dedicated to the world of animation, the WORLD scope of the Annecy International Ani- MAGAZINE mated Film Festival continues to grow. JUNE 2018 - SPECIAL ANNECY EDITION With an ever-increasing number of big studio features, shorts and series; the CO-FOUNDERS & PUBLISHERS incredible work of a diversity of indie producers; and DAN SARTO & RON DIAMOND theA latest VR/AR and immersive media productions, the animation industry is more expansive and vibrant than EDITOR IN CHIEF ever. And, once again, creative director Marcel Jean and JENNIFER WOLFE Mifa director Mickaël Marin have done a superlative EDITOR AT LARGE job of bringing together a truly representative sampling DAN SARTO of this creative abundance in one beautiful place, and ASSOCIATE EDITOR ANIMATIONWorld Magazine is again proud to be an JON HOFFERMAN integral part of the celebration. With some 25 features screening in and out of competition, as well as a number of CONTRIBUTING WRITERS special events, this year’s festival is a delight for fans of long-form animation. In our CHRIS COLMAN cover story, we talk to Brad Bird about Incredibles 2, the long-awaited sequel to his SHARON KATZ 2004 hit, which premieres at Annecy on June 15. We also talk to director Genndy SCOTT LEHANE Tartakovsky about his return to helm the third entry in the wildly successful Ho- TOM MCLEAN tel Transylvania franchise, and take an in-depth look at both Nina Paley’s highly CHRIS ROBINSON personal biblical epic Seder-Masochism and Marc James Roels and Emma De Swaef’s JOE STRIKE anti-colonial epic This Magnificent Cake. Directors Liu Jian, Masaaki Yuasa, and SARAH VAN SCIVER Gary Wang talk about their latest features, while Joe Strike provides a rundown of all CONTRIBUTING WRITERS (China) the feature films in competition. RUDY CHAN This year’s guest country is Brazil, whose animation industry has experienced YANG JUNJIE explosive growth over the past decade. Brazil-themed screenings, curated by the EMMA WU founders of Anima Mundi, include three programs of contemporary shorts, the best of SOPHIA ZHU Brazilian TV series, a documentary about Brazilian animation, and special showings ADVERTISING & BUSINESS DEVELOPMENT of Ale Abreu’s Boy and the World and Luiz Bolognesi’s Rio 2096: A Story of Love and DONNA M. BULFORD Fury. For those interested in the business side of things, Brazil will be invading Mifa [email protected] with some 30 companies and more than 200 delegates. ADVERTISING & BUSINESS DEVELOPMENT Animated TV series are big and only getting bigger, with many major studios con- (China) tinuing to expand their offerings. Our stories on DreamWorks Animation Television EVEN CHAN and Warner Bros. Animation offer insider looks at two of these. We also talk to British RAYMOND D. NEOH animator Julia Pott about her new Cartoon Network series, Summer Camp Island. CLOUDY POON DreamWorks Animation also has a new shorts program, and their first two produc- STAN TIAN tions, Bird Karma and Bilby, will open and close the festival. In our shorts coverage, SOPHIA ZHU we also preview some of the outstanding films in this year’s competition, talk to first- time director Domee Shi about her new Pixar short Bao, and interview the creators at PRODUCTION Google Spotlight Stories about their latest VR projects, which will be—that’s right— ROCK N POP GRAPHIX spotlighted at the festival. ANIMATION WORLD NETWORK We also have pieces on festival poster designer Pascal Blanchet, Mifa Animation 13300 Victory Blvd. Suite 365 Industry Award recipient Women in Animation, and this year’s special “Music in Van Nuys, CA 91401 Animation” program. (818) 786-5402 So what are you waiting for? Start reading and enjoy ANIMATIONWorld’s celebra- www.awn.com • [email protected] tion of all things Animated @ Annecy! CG GLOBAL ENTERTAINMENT LTD. Room 414 InnoCentre, See you by the lake, 72 Tat Chee Avenue, Kowloon Tong, Hong Kong (852) 2111 1097 www.cggemedia.com

Dan Sarto © AWN, Inc. 2018. Co-Founder & Publisher, Animation World Network – AWN.com All rights reserved. No part of the periodical may be repro- duced without the prior consent of Animation World Network. The copyrights and trademarks of images featured herein are the property of their respective owners. ANIMATION- World Magazine acknowledges the creators and copy- right holders of the materials mentioned herein, and does not seek to infringe on those rights. June 2018 4 ANIMATIONWorld Magazine awn.com 5 June 2018 FIRST-TIME DIRECTOR DOMEE SHI TAKES esign elements that “ might look good on A BAO IN NEW PIXAR THEATRICAL SHORT D paper look really strange when you turn them The first Pixar short directed by a woman explores into 3D shapes.” loneliness, loss and the magic of dumplings.

to bring him into sculpting as quickly as possible, to see how that cuteness would translate into a 3D space. And one thing we discovered early on is that his arms actually cannot reach his mouth. And that gave us a lot of information and helped us identify cer- tain problems that we might run into downstream, in animation.” Pixar short Bao opens in theaters on June 15 with Incredibles 2. She added that they also struggled to make sure the mother’s charm comes BAO © 2018 DISNEY•PIXAR and Bao is no exception. It’s not only Shi reported that she was particu- through in the final film. “We did a Sri’s first time as a director, but Nei- larly influenced by Japanese animation, lot of research trips to Chinatown and man’s debut as a producer, and Rona like My Neighbors the Yamadas, as she found that we were seeing a lot of bold Liu’s as production designer. gathered up examples of animation fashion choices, and that’s when we Shi recalls that “after it got green-lit, styles as references for animation su- realized that we can actually use Mom’s I really started to dive deep into the pervisor Juan Carlos Navarro. “I loved outfits—her colors and patterns—to story... I always knew I wanted to cre- how squishy their character looked, support her emotional journey through- ate a story about a lonely empty-nester and how pushed their expressions are,” out the film.” mom who goes through this crazy she says. “We drew inspiration mostly “We wanted this short to be fun to BY SCOTT LEHANE Shi, who has worked on such films time, but, after getting an unexpect- dumpling fantasy in order to process from 2D animation, which became a watch, but also an accurate portrayal as Inside Out, The Good Dinosaur, edly positive response, she decided to her real son moving away. The core of challenge in 3D because of how big the of a Chinese mom’s life,” concludes n aging Chinese mother Incredibles 2 and Toy Story 4, drew bring the idea to Pixar, which has an that story was always the same, but in characters’ heads are, and how exag- Shi. “And I think the crew did an suffering from empty-nest inspiration for Bao from her upbring- in-house professional development earlier versions of the story, I had more gerated their limbs are.” amazing job of both.” syndrome gets another ing as an only child in a Chinese- program that allows employees to pitch characters.” But, says Shi, as they were going into chance at motherhood Canadian family in Toronto’s bustling ideas for shorts. She explained that drawing beat animation, they soon realized that some Scott Lehane is a Toronto-based jour- when one of her dump- Chinatown. She explained that bao has “I initially pitched the story to Pete boards—single images that capture of the expressions that worked well in nalist who has covered the film and TV lings springs to life in two meanings in Chinese: said one way, Docter, the director of Inside Out, just crucial story points— helped her refine 2D were not right for 3D at all. “3D is industry for over 25 years. Disney-Pixar’s new animated short it means “dumpling,” but said another to get his feedback,” says Shi. “But his the story and figure out the pacing of its own medium,” she explains. “Design A way, it means “treasure” or “something response was so positive—he encour- the whole film. elements that might look good on paper Bao. The film, directed by Domee Shi, will screen with the company’s Incredi- precious.” aged me to pitch it to the studio. With Then, as she progressed to story- look really strange when you turn them bles 2, which launches on June 15. “Ever since I was little, my mother his support and feedback, Bao got boards, she would send them to editor into 3D shapes. Cartoony eyeballs look has always treated me like her precious green-lit as the next Pixar theatrical Katherine Ringgold. “We would work like they’re popping out of a character’s little baby dumpling, always watching short in 2015. I couldn’t believe it got together in her dark office to cut the head. And so we really had to work over me, making sure I was safe, mak- picked. It was amazing.” storyboards together with temporary closely with the animators and model- ing sure I had a good education and got Producer Becky Neiman explained sound effects and music to give us a ers to translate our designs into 3D. into a good college,” says Shi. “Grow- that the shorts program at Pixar is a rough version of the short called a story But we eventually managed to land on PHOTO BY DEBORAH COLEMAN/PIXAR ing up, she’d always make dumplings place to try out new technology, as well reel. It’s kind of like the blueprint for a visual style that was pretty successful for me from scratch. Food was how my as give new leadership opportunities, what the short ends up being.” in combining 2D graphic design and mom showed her love, and we’ve al- According to Shi, these story reels 3D modeling.” ways had this special connection mak- are very useful in seeing the big picture Shi credited production designer ing dumplings together on weekends ood was how my mom and getting feedback on what’s work- Liu with coming up with “the friggin’ and holidays and Chinese New Year.” ing and not working. adorable look of Bao.” Liu explained Shi is the first female director to “ showed her love, and “So after we have a basic idea of that, as a Chinese immigrant to the tackle a Pixar short. She started work- we’ve always had this what the short’s going to be, we move U.S., she also had a special connection ing at Pixar right after school and, F on to other departments down the pipe- to the story. special connection making after two years as a story artist on line, the layout and animation,” she “Dumpling is our main character, Inside Out, she got the itch to make dumplings together.” adds. “Animation is especially critical and he has a wide range of personal- something of her own. Originally, she in Bao, because it’s really where these ity,” says Liu. “He worked so well in Director Domee Shi. planned to make the film in her spare characters come to life.” 2D and sketch form that we wanted June 2018 6 ANIMATIONWorld Magazine awn.com 7 June 2018 BRAD BIRD MAKES A HEROIC RETURN TO ANIMATION WITH THE INCREDIBLE INCREDIBLES 2 The two-time Oscar winner continues the adventures of everyone’s favorite superhero family in the long-awaited sequel to Pixar’s 2004 hit.

BY DAN SARTO thinking ‘I gotta think up new super powers.’ And after about a half hour, I ixar’s most beloved and realized every power has been done by “super” family, the Parrs, somebody, somewhere. Everything had blasts onto screens once been done. It was then that I realized again with the release I’m not very interested in the powers. of Incredibles 2, direc- What interests me is the idea of having tor Brad Bird’s follow-up a family and having there be a reason to his 2004 Oscar-winning animated to hide their powers.” Psuperhero adventure. Incredibles 2 As anyone who has seen and enjoyed will open in theaters in the U.S. and the end result of Bird’s deliberations have its French premiere at Annecy on knows, his insight was sound, and led June 15. It will not be a good day for to the highest opening-weekend gross raccoons. for a Pixar film up to that time. Much has changed at Pixar and in Fourteen years later, Incredibles 2 the animation business since 2004, picks up right where the original story when Bob, Helen, Violet, Dash and left off, a decision also rooted in Bird’s Jack-Jack first delighted audiences interest in the characters’ interpersonal worldwide with their superhuman pow- relationships. “I thought about aging ers and quintessentially human frail- everybody the way everybody does and ties. For starters, the studio is now part then I thought, ‘No, that sucks.’ The of the Walt Disney Company, no longer Parr family dynamic changes if the the upstart juggernaut that defined characters age. I’m not interested in CG animation. In addition, the studio a college-age Jack-Jack. It stays more is home again to prodigal sons Bird iconic if everyone situates themselves. and Andrew Stanton (Finding Nemo, I was on the first eight seasons of The Finding Dory), both of whom returned Simpsons and that’s worked out rather to write and direct sequels to hugely well for them, so I’ll stick with that.” successful animated films after leaving Bird also explains that the long hia- Pixar for the bright lights and big city tus was due to his wanting to wait until of the live-action world. he had the right story to tell. “The

THE POWER OF FAMILY The success of the first Incredibles hat interests me is movie can be credited in large part to an aha moment that Bird had more “ the idea of family.” than 20 years ago, long before he joined Pixar as its first outside direc- W tor. “When I first had the idea,” he recalls, “I went to a comic book shop June 2018 8 ANIMATIONWorld Magazine awn.com 9 June 2018 mal for a Pixar film. “We were talking want our crews to take joy in making ny film that is about a lot of things that were usually the film. So, we celebrate everybody’s further down the road. That’s not a abilities. We try to keep an open dia- “ ambitious has pain. comfortable or usual way to work, be- logue, so if people feel like something It just comes with the cause you kind of have to over-discuss isn’t going right, they have a way to A things early. But it also helps everybody voice that. And everybody feels invest- territory.” get clear. And then, when you get fur- ed in the movie. It’s their movie. Morale ther down the line, things move more is something that is never discussed, swiftly.” but has a huge impact on the budget. Ultimately, for Bird, the challenges of If morale is good, for every dollar you making a film as visually and narra- spend, you get $3 of value. And if it’s thing is, many sequels are cash grabs. tively sophisticated as Incredibles 2, are bad, for every dollar you spend, you get There’s a saying in the business that I INCREDIBLES 2 © 2018 PIXAR ANIMATION STUDIOS worth it when he sees the great work 25 cents of value. It all shows up on the can’t stand, where they go [in gravelly a dedicated and motivated production screen.” voice], ‘If you don’t make another one, team can accomplish under his direc- you’re leaving money on the table.’ It’s tion. “Any film that is ambitious has like, Jesus, money on the table is not pain. It just comes with the territory. what makes me get up in the morn- orale has a huge So, on these films, I think the pain ing! Making something that people reliever is the joy that you get from tell- “ impact on the are gonna enjoy 100 years from now is ing a story. And if you can make it so what gets me up.” budget. If morale it’s not a negative experience for your M is good, for every dollar you people… Listen, very good movies have A MISSION TO ENTERTAIN been made with miserable crews that spend, you get $3 of value.” Though the new film continues to had a horrible time making the film. address key themes introduced in the There are endless stories of hard shoots original film, ultimately, the focus is on that ended up making good movies. entertainment, making a film that au- “But, I think all of us agree that we diences want to see, not making some kind of statement. “We again explore the roles of men LOCKING DOWN THE STORY and women, the importance of fathers One of the production’s greatest chal- participating, the importance of allow- lenges was dealing with a significant The long-awaited ing women to also express themselves shift in the film’s release date; an entire through work, and that they’re just as year was lopped off the production Incredibles 2 picks up right vital as men,” says Bird. “There are schedule when Incredibles 2 swapped where the original left off. feelings about the difficulties of parent- dates with Toy Story 4. Bird has dealt hood, that parenting is a heroic act. All with such disruptive change before. of those things are in this movie. I don’t “The original Incredibles was like to talk about the ideas as if the supposed to come after Cars,” he reason I made the movie was to push remembers. “It was gonna be Nemo, some agenda. It’s more like you create Cars, then Incredibles. Our reels came something that hopefully is fun and together a little earlier than Cars, so we entertaining and then there are places moved up. The same situation hap- where you can put little ideas, here and pened here with Toy Story 4.” there, that add dimension. Bird also dealt with a highly com- “The most important mission of the pressed production schedule when first movie was to entertain the crap he took the reins on Ratatouille after out of people. The second thing was, Jan Pinkava left the production in ‘Oh, we have some other things that 2005. “When I got involved,” he says, we’d like to comment on and one of “there was a little over a year and a them is the role of men and women, half between my start and the finished fathers and mothers, how do teenag- film. And we only retained two lines of ers view the world, midlife crisis, that dialogue and two shots from all of the kind of stuff.’ So, there were a lot of previous versions that had been done. little things buried in the movie. But, So it was like running in front of a if I start to single one out and say, this train, laying down track, like Wallace movie is about that, it doesn’t give you and Gromit.” an accurate picture. It makes it sound But the tight schedule also forced like we’re having broccoli and not des- Bird to lock in main story elements sert.” much earlier in production than is nor-

June 2018 10 ANIMATIONWorld Magazine awn.com 11 June 2018 CRUISE CONTROL: The gags fly fast and furiously in the third iteration of the wildly successful Hotel GENNDY TARTAKOVSKY TAKES THE HELM OF Transylvania franchise. HOTEL TRANSYLVANIA 3: SUMMER VACATION The acclaimed director returns to cowrite and direct the third installment of Sony Pictures Animation’s ghoulish adventure comedy. HOTEL TRANSYLVANIA 3 © 2018 SONY PICTURES ENTERTAINMENT INC.

A HAPPY MARRIAGE Writing as well as directing actually which could be the funniest, and the While SPA President Kristine Belson made Tartakovsky’s job simpler, since most impactful. But generally, the film loved the idea and was ready to go he was able to lock in the main story is exactly the same as what we had at forward, Tartakovsky needed to know early and stick with it for the entire the start.” he would have the creative control he production. “There’s a very specific required to make the film properly. He style to my storytelling,” he explains, explains, “While Adam [Sandler, the “and because I was able to set the story ’ve always wanted to do voice of Count Dracula and a creative up early and get it signed off on, things force on the first two films] is still the were easier. We had the basic struc- “ a Dracula-falling-in- voice of Drac, he wasn’t involved as ture of the movie early. Then, we just love story.” much creatively on this film. Adam is changed some locations, always playing I amazing, very talented, and really fun- with pacing, playing with sequences… ny. But it’s frustrating when sometimes BY DAN SARTO hit animated series Samurai Jack made really good. It feels very natural to put I don’t get to do the gag that I want him even more determined to work them in this setting.’ And I’ve always to do, when other people’s sensibil- n 2011, after many years solely on his own material. “The Samu- wanted to do a Dracula-falling-in-love ity is different than mine. It’s like any stalled in development, the rai Jack experience was so rewarding story, because it felt like it was time for marriage, or collaboration—creatively, troubled Hotel Transylvania was because I could literally do whatever I him to have a different arc. After doing there are ups and downs. So SPA set taken over by acclaimed director wanted,” he notes. “The ratings were Samurai Jack, it felt like a good fit.” up a situation that was very favorable Genndy Tartakovsky—the sixth amazing, and the response was so to me, and I decided, ‘I’ve got a really director attached to the film. The great, that I realized, ‘Yeah, I’ve gotta good story idea, the situation is differ- following year, the film took everyone just do my own stuff.’” e wrote the script ent, so I’ll do it.’” Iby surprise by generating $358 mil- Inundated with requests to direct Creative control ultimately meant lion at the global box office against other creators’ work, Tartakovsky “ to spotlight the Tartakovsky assumed the writing a reported budget of $85 million. said no, until Sony Pictures Anima- animation. All the chores, something he didn’t do on the Hotel Transylvania 2, also directed by tion made him an offer he couldn’t W first two films. “I wrote the script with gags are more physical— Tartakovsky, fared even better in 2015, refuse—or, rather, embraced his idea Michael McCullers, and when we wrote grossing $473 million worldwide. of setting the film on a luxury cruise there’s a different feeling to it, we wrote it to spotlight the anima- Yet, despite the box office success, ship. “Honestly, it was that idea of the the film.” tion. So, all the gags are more physical. Tartakovsky proclaimed that he was cruise that made me reconsider,” he There’s a different feeling to the film. done with the franchise. Subsequent says. “I actually went on a big family I was able to control things and make work with Cartoon Network reviving cruise, and ideas started talking to me. the film much more from an animator’s his award-winning, immensely popular I started thinking, ‘Oh yeah, that feels perspective.” June 2018 12 ANIMATIONWorld Magazine awn.com 13 June 2018 could push the color, we could push ev- have to have this formulaic comedy, cess, or lack thereof, rests firmly on his otel Transylvania 3 erything, and have this be a really cool most likely because of the success of shoulders. “There’s a lot more pressure next chapter of Hotel Transylvania.” all the Disney and Pixar films. But on this one, because I am responsible “ is the kind of broad Tartakovsky believes that Hotel we have a much broader comedy. It’s for writing it with Michael,” he con- animated comedy Transylvania 3 is the kind of broad sillier. It’s more lighthearted. We don’t cedes. “So, if it fails, I can confidently H animated comedy many big animation take ourselves too seriously. If you can say it’s my fault. But at the same time, many studios have moved studios have moved away from in their get like five to ten amazing laughs, if it succeeds, then I can confidently away from in their quest quest for more “family-friendly” enter- and you’re watching a sequence and say, all the decisions were correct! Yes, for more ‘family-friendly’ tainment. He explains, “I always talk smiling, then it’s fun, and it’s money it was a challenge do a third film, to about tone in animation. In live-action well spent. Sometimes, you need a little make it feel fresh and new, but at the entertainment.” comedy, you can have a movie like Three Stooges to balance all the drama same time, retain the core and every- When Harry Met Sally or Airplane or and heartache in life.” thing that was successful about the first Dumb and Dumber. Those are all very Ultimately, Tartakovsky acknowl- two. But, I’m super-excited, and very different comedies, all equally good. edges that SPA’a trust in his creative happy, about this film.” But, for some reason, in animation, you decision-making means the film’s suc-

AN ANIMATION-DRIVEN than sitting in the car talking, or sitting APPROACH at a table, there’s a dancing sequence The director appreciated that Hotel or a swimming sequence. It makes it a Transylvania 3 gave him a chance to whole different experience.” focus his attention, and production The director was also able to enlist resources, on a more physical, cartoony one of his long-time collaborators, style of animation. “Many of the ani- Scott Wills (Samurai Jack, Clone Wars, mators worked on the first two films, Sym-Bionic Titan) as the production which was very helpful. By having designer, which enhanced the creative more scenes that are physical-gag-driv- dynamic and meant the animation en, and more visual, you have a chance could be pushed more than ever. “With for the animation to shine. Like, rather him, I knew we could push the look, we

Extremism in the pursuit of big laughs is no vice in Genndy Tartakovsky’s wacky high-seas comedy.

June 2018 14 ANIMATIONWorld Magazine awn.com 15 June 2018 WHY IS THIS FILM DIFFERENT FROM ALL OTHER FILMS? Nina Paley’s extraordinary second feature Seder-Masochism is a biblical epic that you can dance to. SEDER-MASOCHISM © 2018 NINA PALEY

BY SHARON KATZ isn’t earning a steady income. “He was also attracted to these stories because, just a frightened father worried about as part of the Old Testament, they are aving plumbed the his kids,” says Paley. But in the biblical foundational to Christianity and Islam, depths of the Indian context of the film, it isn’t always clear as well as Judaism. Ramayana in her 2008 exactly which patriarch Paley is refer- feature Sita Sings the ring to—especially since Paley’s father Blues, filmmaker Nina is depicted here as a God-like figure Paley sets her sights arising from a U.S. dollar bill. closer to home (cultural heritage-wise) As an artist, Paley doesn’t shy from Hin her new film Seder-Masochism. A raising thorny issues and generat- wild ride through the traditional Pass- ing conflict. In Sita Sings the Blues, over Seder, this splendid 2D animation her irreverence opened her to charges offers a cornucopia of rich graphics set of unwarranted cultural appropria- to musical themes ranging from liturgi- tion. While she felt strongly about the cal to pop, the whole as profoundly material and identified honestly with it, humorous and intellectually challenging critics accused her of exploiting deeply as the best of Monty Python. meaningful elements from a culture Knitting together the visuals is an with which she had no connection. informal dialogue between the film- No such conflict is inherent in Seder- maker and her terminally ill, atheist Masochism, which began as a search Jewish father, who is still annoyed that for meaning in a ritual event familiar Paley dropped out of university and to Paley from her childhood. She was June 2018 16 ANIMATIONWorld Magazine awn.com 17 June 2018 he most endearing “ characters are not T the patriarchs, but the dancing goddesses.”

at the foot of Mount Sinai. Instead of a calf, the molten gold takes the form of the ancient Egyptian deity Hathor, a fertile woman with the head of a cow. Was it she whom the Israelites were dreaming of while Moses climbed Mount Sinai in search of laws and rules? It’s an interesting and pro- vocative thesis, an invitation to debate, which of course is what the Seder is all and mane, presides in fatherly fashion Venus of Willendorf figurines, which about. over a family Seder table. Cultural appear only briefly, but are a joy to As if all of this were not enough food rather than religious Jews, her extended watch. Also, if you are not too busy for thought, Paley also challenges us family used the Seder to tell the exodus tapping your toes or snapping your on the issue of terrorism, finding a story and argue about which rituals fingers to Louis Armstrong’s rendition parallel between twenty-first century were morally proper to follow and of “Go Down Moses,” you might notice extremists destroying priceless artifacts which should be omitted in the name that the bouncing ball in some of the and the smashing of idols, as dictated of compassion. The father-daughter shots is actually tracking vowels and in Exodus. To add to the cognitive dis- conversation, and bits of family history consonants on the wall of hieroglyphs sonance, Paley sets this scene to the 70s that Paley interpolates, imbue the film behind the central characters, spelling pop hit “The Things We Do For Love” with a poignant personal component out the English words phonetically. by the band 10cc. that grounds the more outrageous and Coming in at just over an hour, Seder- s an artist, Paley The film’s most affecting narrative whimsical elements. Masochism is so full of visual, intellec- “ doesn’t shy from through line comes from the recorded Visually, the film offers a profusion tual and emotional stimulation that it raising thorny issues.” conversations Paley has with her of delights, with every scene provid- seems much shorter. In its own way, it’s A gravely ill father. In these sequences, ing its own pleasures. Among these are something of a Passover miracle. Paley visualizes herself as a small the marvelous use of light and dark as goat—a loaded image, considering the characters move from brightness and Author of the “Ambling Around” blog many references to the sacrificing of life to shadow and death; Escher-like on Animation World Network, Sharon DANCING GODDESSES goats in the Bible. Her father, in his negative-positive space reversals and Katz is an Ottawa-based visual artist After working on the film for three dollar bill skin and long flowing beard illusions; and the remarkable dancing working in animation. years, Paley had much of the Exo- dus story animated, but found she could not identify strongly with any of the characters in the original text. She wanted to incorporate a strong feminine presence, so she searched the texts, the myths, the commentaries, and the commentaries on the commen- taries. Where are the Jewish goddesses? In the biblical narrative, there is almost into place. Seeking something spiritual Perhaps not surprisingly, the most no mention of them. and existential that she could relate to endearing characters in the film are not At that point, she turned to other that was also supported by archeol- the patriarchs, but these dancing god- sources for inspiration, including ogy, Paley conceived of an introductory desses. Animating them to the gospel The Creation of Patriarchy by Gerda sequence based on 30,000-year-old standard “(Give Me) That Old Time Lerner and The Language of the God- stone goddess carvings. Redrawing the Religion,” Paley has them bopping in Like a good Seder, Nina Paley’s bibli- dess by Marija Gimbutas. While these carvings as vector images in the 2D and out of the story, giving her revi- cal epic is a stimulating provocation books were illuminating, Paley decided animation software Moho, it dawned sionist narrative an overall structure, as that invites debate. she wasn’t comfortable re-conceiving on her that Moho supports rasterized well as a delicious twist. the film from a radical feminist posi- images. She taught herself how to tion and chose to take a break, which animate the bitmaps, and once she got SMASHING THE IDOLS wound up lasting several years. them dancing, the pieces of the narra- Paley brings in another goddess ele- Only very recently did the pieces fall tive began to come together. ment by re-imagining the idol-making June 2018 18 ANIMATIONWorld Magazine awn.com 19 June 2018 MASAAKI YUASA SPEAKS IN MANY COLORS The fearless multi-award- winning Japanese director embraces all of animation’s many possibilities.

BY CHRIS ROBINSON

n 2017, Masaaki Yuasa, already something of a cult figure in the animation scene, added substantially to that reputation by releasing not one, but two, stunning and widely acclaimed animated features: Lu Over the Wall Iand Night is Short, Walk on Girl. The former — about a displaced young boy who befriends a local mermaid — grabbed the Cristal for Best Feature Film at the 2017 Annecy International Animation Festival, while the latter — set during a seemingly endless evening of insane alcohol consumption in Kyoto, where a young university student cre- ates some “chance” encounters to win over a woman — took home the Grand Prize for Animated Feature at the 2017 Ottawa International Animation Festival. Both films have been picked NIGHT IS LONG, WALK ON GIRL © 2017 GKIDS up for distribution in North America by animation powerhouse GKIDS. The contrast between these two love stories couldn’t have been much greater; yet anyone familiar with Yuasa’s work — which includes short films and TV series, along with the cult favorite feature film Mind Game (2004) — probably took the disparate themes in stride. Bursting with visual energy, rapid-fire color patterns, sudden shifts in character design, and elastic char- acter movements, Yuasa’s style might June 2018 20 ANIMATIONWorld Magazine awn.com 21 June 2018 uasa’s style is like a fusion of Tex Avery, “ LU OVER THE WALL © 2017 GKIDS Y Salvador Dali and Søren Kierkegaard.” A college student pursues the girl of his dreams during a seemingly endless night in Masaaki Yuasa’s Night is Short, Walk on Girl. be described as a fusion of Tex Avery, the very least, a meaningful connection. Over the Wall that I got the green light Salvador Dali and Danish philosopher It wouldn’t be stretching it to say that to start the Night is Short project. I Søren Kierkegaard. You’re never sure many of the characters who populate went into the preproduction phase while where you are in his kaleidoscopic dance Yuasa’s universe would be at home in still making Lu because we wanted to dreamscapes, but no matter what the the philosophical works of Kierkegaard, use the freelance animators who were of tone, style and intended audience, that is both innovative and appealing to genre, Yuasa is consistently imaginative, who similarly used shifting tones, voices, already working for us before they said both films are ultimately about love, people.” magical and original. In short, he seems names and styles as he attempted to sort goodbye.” kindness and acceptance—themes that Since Yuasa has worked in so many to get animation. out the question of how one should live. When I asked how difficult it was we all need to be reminded of in this mediums, it was only natural to ask if Unlike many animation artists, who “I love both Tex Avery and Salva- to shuttle back and forth between two erratic time of intolerance. “Lu Over he has a favorite, or if each offers its either don’t grasp or are perhaps fearful dor Dali,” Yuasa confirms. “I’ve been very different projects, Yuasa said that the Wall is a story about a mermaid own rewards. “I like to make features of the freedom inherent in animation, influenced by a lot of artists and I get their differences actually made it easier. who just wishes to make good friends because you can see vividly how the Yuasa gives us worlds and people that inspired by a lot of things I see, hear, “They were quite different in visual with human beings,” Yuasa says. “It’s audience sees your efforts,” he says. are stylized, exaggerated, distorted and smell, and touch in everyday life. I often style,” he explains, “and that saved me about overcoming an irrational sense “But I’m also enjoying making TV impossible. Yet his works tell us more derive inspiration even from really mod- from confusing their different move- of discrimination and prejudice, about shows because they allow you to develop truths about individuals, relationships est visuals—a commercial, a cut from ment styles of animation.” understanding and accepting alien crea- longer stories in more detail. Also it is and society than those animators who a movie, a movement from an anime, Although widely different in terms tures. Similarly, Night is Short is a fable pretty enjoyable to make a short piece endlessly recycle the same tired and as well as nameless flowers and grasses about how you’ll only be happy when once in a while because you can craft predictable tropes and types. blooming on the road, clouds, stars, and you wish for someone else’s happiness. them so elaborately.” moons in the sky.” Both movies depict how coming out of As for the future, Yuasa is—hardly a THE HEIR TO KIERKEGAARD? With regard to his stylistic choices, your shell can make things better. I love surprise—already finishing up his next Yuasa’s work lets the audience breathe. mixed techniques and wide palette of stories about opening up your heart.” project, Devilman Crybaby. Compris- There are mysteries unexplained, left colors, Yuasa said he had to be careful After the mixed success of Yuasa’s ing 10 thirty-minute episodes, the for us to ponder, to make sense of, or “not to get inclined to dark colors too last feature, 2004’s Mind Game—it was series premiered in January as a Netflix to walk away from. Every episode of, much, as both the movies are full of a critical success, but a box office fail- original series. “There’s lots of sex and for example, the extraordinary series shaded and night scenes. I believe that ure—Lu Over the Wall has the potential violence,” observes Yuasa. “I believe Tatami Express is a standalone work of things should be pleasant in principle to find a massive international audience. the story will make audiences cry and is art that rivals any indie animation short. and that is why shots get fresh and vivid It’s a gentle, soulful film that has many highly unsuitable for children because it In it, Yuasa takes the well-worn subject in terms of color design when characters of the hallmarks of a successful family is unexpectedly shocking.” of feckless college students and turns have a sense of pleasure in the story.” feature, but is much more inventive in I’d expect no less from this master of it into an utterly surreal, time-shifting terms of animation, story, character and delicious and sorely needed unpredict- portrait of youth, identity, community THE JOYS OF MULTITASKING technique. Unfortunately, though, it’s ability. and society. In fact, throughout all of Getting even one animation feature out unlikely that the film will make much of Yuasa’s work (whether it’s the bizarre is a significant accomplishment, but a dent in the North American market. A well-known figure in the world of 2006 Romeo-and-Juliet-meets-flesh- releasing two outstanding features in a “Orthodox narratives attract more independent animation, writer, author eating-monsters series Kemonozume, single year takes some kind of special moviegoers,” Yuasa notes. “Innovative & curator Chris Robinson is the Artistic or 2014’s Ping Pong), we encounter talent. Of course, Yuasa had no idea Japanese director Masaaki Yuasa has ones might not necessarily appeal to Director of the Ottawa International The award-winning Lu Over the Wall anxious, feckless people drifting through he’d be undertaking two features at won multiple awards for Lu Over the them. But I always dream of something Animation Festival. is a gentle fable about overcoming life in search of a worthy purpose or, at once. “It was when I was making Lu Wall and Night is Young, Walk on Girl. irrational prejudice. June 2018 22 ANIMATIONWorld Magazine awn.com 23 June 2018 NEW DREAMWORKS very time there was “ something that looked SHORTS PROGRAM E CG, we tried to make it look more handmade.” IS FOR THE BIRDS

quarry, the karmic consequences prove (AND MARSUPIALS) highly unfortunate for him. The short has a classic 2D look— The program’s first productions—Bird Karma there are ink and paint credits, and Bilby—will open and close this year’s folks!—and the rough, sketchy style is something Salazar says he has always Annecy International Animation Festival. admired. “As soon as [animation] was cleaned up, it lost something for me,” he says. “Keeping it rough allows the movie to have this handmade look, and that’s really important.” The studio had to create a pipeline for the short because it no longer had one for 2D animation, says Hermann. Despite the handmade look, the film

BIRD KARMA © 2018 DREAMWORKS ANIMATION is produced digitally, with the back- grounds painted on paper and then scanned into Photoshop. TVPaint was used for the animation, and Adobe After Effects for the rest. “Every time there was something that looked CG, we tried to make it look more hand- made,” Salazar says. The Indian music Salazar animated the short to turned out to be prob- lematic. “Our intention was to try to acquire the rights for that piece of music, and we weren’t able to,” says Hermann. “We had to replace it, and we were nervous because it had to be a different piece of music, but it had to BY TOM MCLEAN recognized that making blockbuster directed by Pierre Perifel, J.P. Sans and do the exact same job.” features was essential for the studio’s Liron Topaz. he 2016 transition bottom line, he also knew that an ani- from a publicly owned mation studio is deep down a creative THE BEAUTY OF 2D ANIMATION company to part of the endeavor. Bird Karma began life more than 20 Comcast-NBCUniversal “Our competitive edge going forward years ago, when Salazar made a minute From top: Bilby directors Pierre Perifel, family was rough and was going to be how innovative was our of animation of a bird dancing to tribal J.P. Sans and Liron Topaz. tumble for DreamWorks storytelling, how innovative was our music—just for fun. When the shorts TAnimation. Gone was founder Jeffrey technology, and how committed were program was announced, he boarded Katzenberg and in came a new wave of we to growing new artists and support- out a story to go with the animation management. Among them was a new ing some of the great artists we already and pitched it as a short. e did not leave this president of feature animation, Chris had working there,” he says. “It didn’t “It wasn’t a pitch; he played us a room for probably deFaria, tasked with managing the take long to realize that a shorts pro- reel,” says Jeffrey Hermann, the pro- “ studio’s feature slate, which included gram would do just that.” ducer of Bird Karma and the overall W two weeks…” sure-fire hits like How to Train Your A new shorts program opened, with shorts program. “It was gorgeous, even Dragon 3 and less certain projects like everyone at the studio eligible to pitch. in that early stage, and we just wanted The Croods 2 and Larrikins. Twenty-eight projects came in, and to help finish it right.” When both The Croods 2 and Lar- the first two finished have earned the Told over richly toned watercolor rikins were canceled (The Croods 2 has honor of bookending the 2018 Annecy textures, Salazar’s film features a long- since been restarted), deFaria needed International Animation Festival. Bird legged bird that becomes enamored something to boost the morale of an Karma, directed by William Salazar, of a gloriously colored fish. When he Bird Karma director William Salazar. idled creative workforce. While he will open the festival; closing it is Bilby, finally captures and eats his elusive June 2018 24 ANIMATIONWorld Magazine awn.com 25 June 2018 ANiMATION WORLD © MAGAZINE

SPECIAL SECTION: ANNECY 2018 FESTIVAL INTERNATIONAL DU FILM D’ANIMATION D’ANNECY BILBY © 2018 DREAMWORKS ANIMATION

LIFE AFTER LARRIKINS brainstorming. “We did not leave this Bilby evolved directly out of the room for probably two weeks, until t was really amazing canceled Larrikins feature, on which we pretty much had the whole thing Perifel, Sans and Topaz had been boarded,” says Sans. “ how the new technology animators. It was a painful process to They worked on a consensus basis, and the artists all kind go through, Parifel says, but the shorts ensuring that all three were in agree- I program gave them a way to re-chan- ment on everything. Their entry re- of came together.” nel their energy and ideas. sembled an animatic more than a pitch, “We felt that the characters were so and was the first project chosen to go appealing and had so much potential,” into production, with the artists given rounds, something DreamWorks plans says Topaz. “And one of the things full creative freedom. to do with all its shorts. Of the 26 origi- rom world premieres of highly anticipated animated features, to a bumper crop of exceptional we were thinking about is how can we “Short films don’t have as much nal pitches, eight are in some form of shorts, to a trove of historical and contemporary treasures from this year’s guest country Brazil, basically give a metaphor of what hap- scrutiny as the features,” says Perifel. production and the studio plans to roll the 2018 Annecy International Animated Film Festival offers something for every taste and pened to us.” “So we were left very free to tell the out a couple per year for the next few enthusiasm. Whether you’re a veteran or a first-time attendee of the world’s largest animation Bilby is about a small Australian story the way we wanted to.” years. festival, you’ll find that, when it comes to the art and the business of animation, Annecy has marsupial trying to survive in the harsh When others saw the passion the But the Annecy screenings will be no equal. desert of the Outback. When a fluffy, directors were putting into the project, the program’s arrival, and deFaria is FIn this special section, ANIMATIONWorld provides both an overview of the festival and an up-close look defenseless chick shows up, Bilby saves they wanted to join in. Among them thrilled to launch with so high-profile a at some of the key components that comprise the essence of Annecy. We begin with interviews with artistic it from a predator—only to find himself was producer Kelly Cooney, another platform. “It’s an acknowledgement of director Marcel Jean and Mifa head Mickaël Marin that offer an insightful perspective on this year’s festival, having to repeatedly defend his new Larrikins orphan, who handled the the accomplishment,” he says. “It’s also as well as what we might expect in the future. We also present comprehensive coverage of the special “Music friend from a wave of attackers, con- technical issues involved with Bilby. really an opportunity for our artists to in Animation” program and tell you everything you want to know about the Brazilian invasion of Annecy. cluding with a climactic confrontation “It was really kind of an amazing be among their peers and show off a (Hint: Get ready to samba!) with an eagle. experience how the new technology and little bit about what we can do.” Finally, veteran AWN writers Chris Robinson and Joe Strike preview the short film and feature competitions, The animators decided to pitch late the artists all kind of came together,” which are the heart of the festival, and there are also mini-profiles of 2018 poster designer Pascal Blanchet in the process, with only two weeks be- Cooney says. “The results speak for Tom McLean has been writing for years and 2018 Mifa Animation Industry Award recipient Women in Animation. fore the deadline. So they found a room themselves.” about animation from a secret base in Enjoy! in DreamWorks’ campus and started Bird Karma has been making festival Los Angeles. June 2018 26 ANIMATIONWorld Magazine awn.com 27 June 2018 ANNECY 2018: PASCAL BLANCHET STATE OF THE INDUSTRY EVOKES ANOTHER Annecy programmer Marcel Jean discusses the challenges of finding the right balance for a major international film festival. TIME IN 2018 ANNECY FESTIVAL POSTER Canadian illustrator and graphic novel artist channels the early twentieth century in his Deco-inspired design.

BY JON HOFFERMAN

Joining a long and illus- trious tradition, Cana- dian graphic artist and

IMAGE BY LOU SCAMBLE author Pascal Blanchet nnecy gives you a perspective has brought his con- siderable talents and “ on the past, present and future signature style to the of animation.” creation of this year’s A poster for the Annecy International Animated Film Festival. The poster, which features Marcel Jean, artistic director of the Annecy International Animation Film Festival. iconic elements of the picturesque French BY DAN SARTO town, is in Blanchet’s trademark streamlined, Marcel Jean took the helm as artistic director of the Annecy In- MJ: Well, when I took on this job at the festival six years ago, Art Deco style and ternational Animated Film Festival in 2012, ushering in an era my first impression was that it was an important place for the incorporates colors of change for the storied event held every June in the French city major studios, but that it was very hard to find a place for associated with 2018’s of Annecy, near the border with Switzeland. more experimental work. guest country, Brazil. Founded in 1960, the festival has grown to be a major stop on That is the reason that I created the Off-Limits section—as “Creating the Annecy poster was a superb opportunity,” the international festival circuit. It is one of the four internation- well as the Young Audience section and the Perspectives sec- says Blanchet, “especially as it evokes the classic travel posters al animated film festivals sponsored by ASIFA—the body that tion—to make sure that there was still room at the festival and seaside resorts of the 1930s. Everything was in place, with bestows the Annie Awards every year. for that kind of programming. To me, it’s very important to the superb lake, the spectacular mountains and the all-white AWN publisher and editor-at-large Dan Sarto recently spoke offer a big-picture overview of the situation in the animation Imperial Palace.” with Jean about the state of the industry and his plans for this world. A self-taught artist born in 1980 in Trois-Rivieres, Can- year’s festival. And I want the festivalgoers to be able to decide what kind ada, Blanchet has contributed illustrations to many leading of festival they want to have, because a festivalgoer like you publications, including The New Yorker, Wired, San Fran- Dan Sarto: Is it just me, or are we seeing a surge in indepen- and another festivalgoer can have two completely different cisco magazine, and The National Post, as well as Penguin dent animated feature production? experiences. and Tor books. His graphic novels, which are published by I think there is enough room in Annecy to offer that. La Pastèque, include the award-winning La fugue (2005), Marcel Jean: You’re right. There are more and more film- Rapide-blanc (2006), Bologne (2007), Nocturne (2011), and makers who are well-known in the world of shorts who have DS: So what do you have planned for the spotlight on Brazil? En voiture! L’Amérique en chemin de fer (2016). Blanchet also decided to work on features. It’s clearly happening. designed the album covers for Pierre Lapointe’s Paris tristesse I must say, also, that even the short films tend to be longer MJ: There will be Brazilian speakers in different conferences and La science du coeur. and longer. Every year we receive more and more 15-to- and roundtable discussions at the Mifa and the festival. On Currently, Blanchet is directing his first animation short 20-minute shorts. the festival side, we prepared a retrospective of Brazilian film with the National Film Board of Canada. Produced by animation with the people of the Anima Mundi festival. There Julie Roy, The Procession takes place at a woman’s funeral, DS: From a programming standpoint, how do you straddle will also be a celebration of the most important recent Brazil- “an endless afternoon during which the family, guests, friends, the line between the big studios and the independent world in ian animated features, as well as a program on Brazilian leave one by one to finally leave the bereaved alone in the face a way that works for both? television animation. of his loss.” The Procession is scheduled for release in winter Continued on page 32 of 2019. June 2018 28 ANIMATIONWorld Magazine awn.com 29 June 2018 GROWING MIFA MARKETPLACE WOMEN IN ANIMATION BRINGS MORE BUSTLE TO ANNECY TO RECEIVE FOURTH MIFA Mifa head Mickaël Marin details new offerings at this year’s edition of Europe’s largest animation marketplace and pitching forum. ANIMATION INDUSTRY AWARD

Women’s advocacy group is the first organization to

Women in Animation president receive the prestigious honor for contributions to the Marge Dean. industry.

BY JON HOFFERMAN “The Annecy International Animation of Annecy’s engagement to raise aware- think that more people are aware Film Festival/Mifa is the most important ness and put into practice a real sense of about what Annecy can do to help Women in Animation (WIA), an as- global gathering of the entire animation equality.” “ sociation founded in 1995 to advance the industry,” said WIA president Marge For the second year, WIA will also Iget a project produced.” interests of women in the field of anima- Dean. “It is a tremendous honor for co-host the Women in Animation World tion, has been named the recipient of the Women in Animation to be recognized by Summit with their French counterparts 2018 Mifa Animation Industry Award, Annecy for our work in opening the doors Les Femmes s’Animent (LFA). The day- becoming the first organization to be so of our industry to all people with a focus long symposium of panels and discussions IMAGE BY FRANCOIS BLIN honored. The award, which was created on diversity, inclusion and belonging.” will take place on Monday, June 11 at to highlight those “who have contributed Stated Mifa head Mickaël Marin, “We Annecy’s Impérial Palace Hotel. Based to the changes in the animation industry are delighted to give this prize to Women around the theme of “Inclusion,” the pan- through their achievements, investments in Animation and, through this associa- els include NextGen World View, What and reflections,” will be presented during tion, to all organizations who work for the 50/50 Means to Allies, A Conversation the Annecy International Animation Film equal status of women in the animation with Oscar-Celebrated Woman Directors, Market, taking place June 12-15. sector. This award is a demonstration and Developing Diverse Talent.

Mickaël Marin, CITIA managing director and head of economic development & Mifa.

BY SCOTT LEHANE

Over the last 10 years as head of Mifa—Europe’s only dedi- booths at major international film fests and markets in order cated animation marketplace and pitching forum—organizer to help smaller companies and startups get a precious little Mickaël Marin has guided the event through a period of sliver of floor space, is organizing an Eastern European pavil- enormous growth, especially internationally. The four-day ion that will be over 100 square meters. event, running June 12-15 alongside the Annecy Interna- “More than 40 professionals from Eastern Europe will tional Animated Film Festival, offers a global platform for participate in this pavilion,” says Marin. “And I think that’s financing, sales and co-production deals, as well as education, one of the trends this year—Eastern European animation is recruitment and, of course, networking. The event is expected booming. And it’s really important for us, because we really to draw more than 10,000 people, including 3,000 accredited want to see how we can help professionals from Eastern Eu- producers, distributors and broadcasters. rope participate in Annecy.” Last year, the market added 1,000 square meters, bring- He added that he expects to see more projects from Eastern ing it to a total of 4,200 square meters. This year, the exhibit Europe in the festival selections. area will grow by another 600 square meters, making room “The biggest difference from other events is that we for several new exhibiting partners, including delegations combine the Annecy festival and the Mifa market,” Marin from Cameroon, Bolivia, Ecuador, Peru and Georgia. In addi- observes. “We have all the creative people coming at the same tion, 2018 will see the return of an Irish pavilion. time, and so we can help develop connections.” Creative Europe, which organizes “Media Umbrella” He added that these connections can help newcomers meet investors, distributors, broadcasters and producers to launch new projects, or just recruit new talent. astern European animation is Overall, 468 projects were submitted to Mifa this year— booming.” compared to 325 in 2017—with 121 submitted to the “Ani- “ mation du Monde” category. E Marin explained that the surge in interest is probably because they have a better dialog now, especially with anima- tors in emerging markets. In fact, a key focus for Mifa is help- Continued on page 32 June 2018 30 ANIMATIONWorld Magazine awn.com 31 June 2018 MARCEL JEAN Continued from page 28 ANNECY 2018 SPOTLIGHT:

DS: What’s the biggest challenge of programming a big festi- from all over the world who represent the future. val like this? Almost every week I receive a message from somebody say- SPECIAL PROGRAMS AT ANNECY CELEBRATE ing, “I went to Annecy when I was a student and it basically MJ: I think balance is the most important criterion for the changed my life because this is where I found my first job. festival. We must find the right balance between the experi- Since then, I’ve worked for over 20 years in the industry and MUSIC IN ANIMATION mental films and the films from the major studios. I came back last year with a TV show that I directed or that I And there are more and more players every year. Many produced, which was in competition…” Screenings, a conversation with animator-composers, and a nine-film concert capture the years ago, Warner wasn’t a player, now they’re big. And If you ask me for one element, for one key ingredient, I multi-dimensional legacy of music in animated films. almost every year, there are important new studios. would say it’s the students. The students are the blood of It means that we need to make a place for all these different Annecy. players. DS: Have you thought about adding more screenings to ac- Jeu (Georges Schwizgebel, 2006) DS: What is it that makes Annecy so special within the ani- commodate more films in the future? mation community? MJ: I think there is already heavy pressure on the festivalgo- MJ: I think it’s the fact that Annecy gives you a perspective ers, because there are a lot of screenings in Annecy. on the past, present and future of animation. What I mean by What could happen in the coming years? We could pos- that is that there is the festival, the market, and more than sibly decide to open the festival on Sunday night instead of 2,000 students that come together at the same place, at the Monday evening, just to make sure that when we arrive on same time. Monday morning, the festival is already open and we’re ready So, while you have the retrospectives and tributes to the for a full day of programming. history of animation, there is also the present state of the We won’t do that this year, but this is the kind of thing industry with the market and with the different competitions. we’re always discussing. And then, there are all of these enthusiastic young people

MICKAËL MARIN Continued from page 30 ing talent from emerging markets like South America, Asia they are planning a similar event in South Korea, targeted for and Africa to break into the global industry, with an educa- August 2019, in an effort to break into the Asian market. tion program designed to give them a better understanding of Marin, who has served as head of Mifa since 2008, was re- how the industry is organized and what it takes to develop a cently appointed CEO of parent organization CITIA. He will © 2006 ONF/NFB project through to completion and international distribution. continue to oversee the marketplace, but when he assumes “I travel a lot with my team. We travel to a lot of festivals the new role July 1, he will also manage the Annecy festival, and markets,” he says. “Sometimes we are invited to meet the educational program and the Forum Blanc, as well as a talent in some countries, and what we do is work with local lot of the organization’s local events and activities. experts and film commissions to meet the talent, follow their Summing up, Marin explains that, in the past, when people project and then help improve the project. Then, the projects in the animation industry had to choose between going to are stronger when they apply for the competition.” Cannes or going to Annecy, they would drop Annecy. The BY SARAH VAN SCIVER Pink Panther are inseparable from longtime creative relationship between He explained that this network of worldwide contacts has difference now is that they go to Annecy. “I think that more Mancini’s signature saxophone melody; music and animation. grown as the market has grown, especially in the feature film people are aware about what Annecy can do to help get a rom the familiar (think a cheese-loving Englishman and his “Both are based on rhythm; in a industry. In fact, this year they’ve received a huge number of project produced,” he says. “Of course, we always need to Henry Mancini’s Pink Pan- faithful dog are instantly recognizable certain way, both are art of time,” says feature films for the festival. explain to people what they can do in Annecy, but it’s not like ther theme) to the esoteric from Julian Nott’s jaunty brass melody Jean of the special affinity between the Among other changes, Marin explained that, this year, the I remember 10 or 15 years ago.” (e.g., Georgy Sviridov’s pro- for Aardman’s Wallace and Gromit; two art forms. As he notes in the festival library—which includes roughly 500 titles selected for the pulsive “Time, Forward!” and serious sniffles are in store when announcement about the program, even festival, as well as projects that participate in Mifa—will mi- in Theodore Ushev’s Tower we hear Michael Giacchino’s bittersweet in the silent era filmmakers “dreamed of grate online, where the films will be available for up to a year. hese connections can help newcomers Bawher), this year’s Annecy Interna- melodies from Up. creating visual music by moving graphic Mifa will also put a spotlight on music in animation, setting F meet investors, distributors, tional Animation Film Festival shines a Catchy, classic theme songs and shapes according to specific rhythmic up meetings between filmmakers and composers. Meanwhile, “ broadcasters and producers to launch spotlight on music in animation. Music inconspicuous textural music form the dynamics … The greatest animators the expanded Mifa campus will offer workshops, master T adds integral dimension to the worlds fabric of films’ reality. Earworm melo- have made musical films and the great- classes and panel discussions. new projects, or just recruit new talent.” animation creates, helping to catalyze dies and emotional impressions echo est composers have written works for The organization has also been pursuing international ex- laughter, nostalgia, uncertainty, or ex- with lasting impact for audiences. In animation … We want to let the com- pansion. Marin said that they were very happy with the first citement. More, memorable musical mo- recognition of the essential role played posers speak for themselves, to endow ANIMATION IS FILM festival held in L.A. this past October, tifs reinforce the timelessness of some of by this non-visual element, Annecy them with a place of honor in our Festival which featured some of the films screened at Annecy, along the best-loved animated excursions: the Artistic Director Marcel Jean devised a programming, and to enable public and with others that were still works-in-progress. He added that hilarious antics of the aforementioned series of special events to highlight the professionals alike to meet them.” June 2018 32 ANIMATIONWorld Magazine awn.com 33 June 2018 he greatest animators

“ have made musical © 2017 VROOM PRODUCTION T films and the greatest composers have written © 2012 SAGAFILM

© 2018 MIYU PRODUCTIONS works for animation.”

sical music in reflective or fantastic fashion are Georges Schwizgebel’s Jeu Clockwise from top left: The Velvet Un- (2006), Koji Yamamura’s “Parade” de derground Played at My High School, Satie (2016), Michael Dudok de Wit’s Bjork’s Mutual Core, Le moine et le Screening in competition, Sébastien Laudenbach’s music video for Dominique A's "Toute Le moine et le poisson (1994), Norman poisson. latitude" will be in the spotlight at Annecy 2018 with a live concert performance. McLaren’s Sphères (1969), Michaela Pavlatova’s Le Carnaval des animaux (2006), and Patrick Bouchard’s Bydlo. Among the films to be screened are THE COMPOSERS SPEAK for animation in 2003, and he went on The composers include Serge Prokofiev, Winsor McCay’s Little Nemo (1911), Jean will provide this platform for to win the award two more times with Erik Satie, Arcangelo Corelli, Camille Dave Fleischer’s Jumping Beans (1922), composers when he moderates a panel Dehors novembre (2005)—based on a Saint-Saëns and Johann Sebastian Bach. James Stuart Blackton’s Haunted Hotel featuring three highly accomplished song by Les Colocs—and Bydlo (2012), The pop rock selections feature musi- (1907), Walter Ruttmann’s Lichspiel animator-composers: Rosto, Patrick inspired by the music of Mussorgsky. cal films with rhythms and themes dic- Opus 1 (1921), and Len Lye’s Tusalava Bouchard, and Vladimir Leschiov. Vladimir Leschiov, a Latvian anima- tated by songs. Notably, the songs tend (1929). Best known for his award-winning tor who studied at the Janis Rosenthal to take on new meanings when paired Asked what initiatives currently exist short film trilogy and online graphic Art School in Riga and Sweden’s Kon- with visuals. Selections include Are You or are planned for the future to continue novel Mind My Gap (1998–2014), stfack, is the founder of the animation Lost in the World Like Me? (Steve Cutts, to celebrate and strengthen the com-

Dutch artist Rosto’s work also in- studio Lunohod. His short films include 2016, music by Moby); Take Me Out © 1994 FOLIMAGE poser-animator bond, Jean emphasized cludes television, music videos, and the Insomnia (2004), Lost in Snow (2007), (Jonas Odell, 2003, music by Franz Fer- Annecy’s partnership with the Society animated musical The Monster of Nix Sparni un Airi (Wings and Oars) dinand); There, There (Chris Hopewell, of Authors, Composers and Publishers (2011). Most recently, he completed the (2009), Villa Antropoff (2012), and 2003, music by Radiohead); Mutual of Music (SACEM), saying, “We will last of a tetralogy featuring his music Rainy Days (2014), which was created Core (Andrew Huang, 2012, music certainly try to find ways to increase our project Thee Wreckers, Reruns (2018). with tea and ink. by Björk); Millhaven (Bartek Kulas, involvement in the promotion of music Canadian Patrick Bouchard’s sculp- 2010, music by Nick Cave); The Velvet as an important part of the aesthetic in ture-making brought him into anima- CLASSICAL, POP, OPERA AND Underground Played at My High School music by Puccini); Stromae “Car- tions. Among the selections are Virtuos animation.” tion, and playing in a progressive rock MORE (Robert Pietri and Anthony Jannelli, men” (Sylvain Chomet, 2015, music Virtuell (Thomas Stellmach and Maja band led him to soundtracks. His short The festival will also be presenting four 2017); and Steriogram “Walkie Talkie by Stromae/Bizet); La course à l’abîme Oschmann, 2013, music by Mertens/ film Les ramoneurs cérébraux (The screening programs—organized around Man” (Michel Gondry, 2003). (Georges Schwizgebel, 1991, music by Spohr); Angeli (Lejf Marcussen, 2002, Brainwashers) won the Jutra Award four thematic motifs—dedicated to From Chuck Jones’s incomparable Berlioz); La gazza ladra (Giulio Gianini music by Handel/Dvorák/Beethoven/ music in animated films. “Classical,” What’s Opera, Doc? (1957, music by & Emanuele Luzzati, 1964, music by Koppel); Bildfenster/Fensterbilder (Bert “Pop Rock,” and “Opera” gather films Wagner [sort of]) to Carlos Vogel’s Rossini); Opera Vox “Rigoletto” (Barry Gottschalk, 2007, music by Schubert); from the last half-century or so based on ineffable Une furtiva lagrima (2011, J. C. Purves, 1993, music by Verdi); and Bru Ha Ha! (Steven Woloshen, 2002, examples of those musical genres, while music by Donizetti), the opera selec- The Tale of How (The Blackheart Gang, music by Satie); Recordare (Leonardo “De Visu” offers a selection of more tions are as variegated as the musical 2006, music by Markus Wormstorm). Carrano and Alessandro Pierratini, abstract works that integrate music in genre itself. In addition to Jones’s and Finally, the “De Visu” category 2009, music by Mozart); and Tower different ways. Vogel’s small masterpieces, the films spotlights films that attempt to create Bawher (Theodore Ushev, 2005, music Among the films that interpret clas- include Aria (Pjotr Sapegin, 2001, something like visual music, parallel- by Georgy Sviridov). ing, interweaving, and/or opposing the soundtrack in a variety of permuta- OCTUOR DE FRANCE © 2016 YAMAMURA ANIMATION, INC. In a special live event, Octuor de France, an octet under the artistic direc- usic adds integral tion of clarinetist Jean-Louis Sajot, will perform new scores composed by Ga- “ dimension to the briel Thibaudeau for nine classic silent worlds animation films. Having a modern composer craft M scores for these films reinvents the silent creates, helping to catalyze film convention of live pianists or organ- laughter, nostalgia, ists creating on-the-spot film scores, and Sarah Van Sciver is a musician and uncertainty, or excitement.” offers a rare opportunity to hear a com- writer, crafting songs, scores, and poser’s complete compositional thoughts sound for film, theater, and studio Koji Yamamura’s “Parade” de Satie. crafted for a specific musical ensemble. album releases. June 2018 34 ANIMATIONWorld Magazine awn.com 35 June 2018 © 2013 FILME DE PAPEL

razilian animation “ has burned its star B status into Annecy’s firmament.” Ale Abreu’s Oscar-nominated Boy and the World. Opposite page: Annecy 2013 Cristal winner Rio 2096: A Story of Love and Fury, directed by Luiz Bolognesi.

but there was no continuity. Seeking to doing well right now began at Anima- ing a “Brazilian invasion” of Annecy

DRINKING DEEP FROM THE © 2013 EUROPA FILMES build something more permanent, the mundi.” this June, organized by four export quartet founded Brazil’s first festival, External factors also played a part. bodies and bringing 30 Brazilian com- SPRING OF CREATIVITY: Animamundi. First, the greater availability of com- panies and over 200 delegates. The first festival attracted 7,000 puters and software brought down the Leading the charge is Brazilian Con- attendees and grew rapidly from there, cost of production and put tools in the tent, which has managed the Brazilian stimulating a boom in independent hands of filmmakers. Then, in 2011, delegation at Mifa since 2012. Com- BRAZIL IN THE SPOTLIGHT AT ANNECY animation production in the process. In domestic producers urged the govern- prising more than 600 companies, of the early days, only one or two Brazil- ment to pass a law obliging all cable which around half are in animation, ian films were submitted each year. TV channels to reserve a three-hour Brazilian Content promotes indepen- From the country’s first recorded animation from 1917 to the vibrant contemporary scene, the 2018 Today, Animamundi annually receives block each day for Brazilian produc- dent TV and digital content production over 300 domestic projects and attracts tions, prompting the commissioning of abroad, enabling partnerships between Annecy International Animated Film Festival presents the best of a century of Brazilian animation. over 100,000 visitors to events in Rio swaths of new shows. Brazilian and foreign companies. de Janeiro and São Paulo. Alongside them will be Cinema do Empowered by such hefty numbers, THE BRAZILIAN INVASION Brasil, in charge of Brazilian film, and the festival has been able to wield In 2015, the creative industries in Bra- FilmBrazil, the largest advertising BY CHRIS COLMAN Honor” for 2018, with artistic direc- Brazilian artist in those days was influence among would-be investors, zil were worth US$47 billion, making network in Latin America, representing tor Marcel Jean declaring, “Brazilian “to be accepted at Annecy with an producers and government policymak- up 2.64 percent of the country’s total over 50 Brazilian production, interac- hen Brazil won animation has burned its star status animated short, then get a real job at ers, including enacting real measures GDP. With animation an increasingly tive, and postproduction companies. consecutive into Annecy’s firmament… We want to a bank, or become an art teacher. We like establishing a special line of credit important component, the Brazilian Another government-backed agency, Annecy Cristal show how this major territory is a pow- never thought this thing would last a for animation production. government is not missing the oppor- Brazil Music Exchange, will bring live Awards for Rio erful spring of creativity, how Brazilian lifetime… We were cavemen drawing “I think we are responsible in some tunity to showcase its industry on the bands in to perform around town. Ru- 2096: A Story of animators have drunk deep from these on the walls of a zoetrope.” ways for the growth of the industry,” world’s largest stage. ben Feffer, the maestro behind several Love and Fury waters to establish an unusual and In 1982, the government of Brazil says Zagury. “We created a venue The Brazilian Trade and Investment animated film scores, including The and The Boy and the World in 2013 striking expression.” brought Canadian animators over to where people could network, see new Promotion Agency, Apex-Brasil, whose Boy and the World, Tito and the Birds, andW 2014 respectively, the animation lead the nation’s first animation train- productions from other countries, and mission is to promote Brazilian audio- and at least eight TV series, will also world couldn’t help but take notice. THE BIRTH OF A FESTIVAL ing. Filmmaker Marcos Magalhães, learn. A lot of the young animators visual content abroad, is mastermind- appear on the “Music & Animation” But in truth the twin victories In tracing pivotal moments in Brazilian freshly back from a scholarship at the were just the icing on the cake for an animation, we might look to the coun- National Film Board of Canada, joined industry that has enjoyed remarkable try’s first recorded animation, O Kaiser, the project and set off on a nationwide he most important growth over the past decade. In 2008, in 1917, or to Tourbillon, by Bassano search for like-minded animators. milestone came in there were just two animated shows Vaccarini and Rubens Lucchetti, the Among those were Aída Queiroz, César “ in production in Brazil. Today 44 first Brazilian film to appear at Annecy, Coelho and Léa Zagury. T 1993, when four homegrown shows are being shown on in 1963. But probably the most im- The following years proved trans- frustrated animators decided Brazilian television and being exported portant milestone came in 1993, when formative. “We got this opportunity © 2018 BITS FILMES to more than 150 countries. Moreover, four frustrated animators decided to to come together, discuss films from to start a festival.” 2017 also saw the release of seven start a festival. all over the world and make our own feature films, with another 25 currently Back in the 1970s and 1980s, there work. We were opening our minds to in production, including numerous co- was no Brazilian animation industry. other possibilities,” says Magalhães. productions with Latin American and Ennio Torresan, now a story artist Their collective earned prizes at inter- European partners. at DreamWorks Animation, explains national festivals, including Magalhães’ Annecy named Brazil its “Country of that a realistic aspiration for a young film Meow winning at Cannes in 1982, Tito and the Birds, directed by Gabriel Bitar, André Catoto and Gustavo Steinberg. June 2018 36 ANIMATIONWorld Magazine awn.com 37 June 2018 © VITRINE FILMES

Cidade dos Piratas (City of Pirates) (1983) by Raúl Ruiz.

agalhães believes © 2015 COMBO ESTÚDIO “ Brazilian creativity M is its greatest asset: ‘We aren’t known as work-for- hire.’”

panel in Mifa. The team opted to focus on the vibrant feature Tito and the Birds, episodes There will also be a Brazilian ani- contemporary scene, rather than curate of the TV series Angeli the Killer by mation history exhibition curated by any specifically historical programs. Coala Filmes, and Copa Studio’s Jorel’s ABCA (Brazilian Association of Anima- Over the years, Animamundi has Brother, which Coelho describes as © 2014 ROSANA URBES tion Cinema), and a special book, film, screened all of Ale Abreu’s works, and “one of the best TV series in the world. website and advertising campaign will bring his Oscar-nominated Boy Very funny and at the same time very created by Apex-Brasil. and the World to the giant screen on Brazilian.” Annecy’s Pâquier lawn. There will also Brazil will also compete in the Short LIGHTS, ANIMATION, ACTION! be screenings of Rio 2096: A Story of Film category (Guaxuma, a Brazil- For the Brazilian festival content, Love and Fury and, if they can dig up France coproduction), Off-Limits Shorts Annecy has granted creative control a copy, Amazon Symphony, Brazil’s (Boy Transcoded from Phosphene and to the Animamundi founders. Along- first animated feature-length film from The Feather Pillow) and Commissioned Guida (2014) by Rosana Urbes. side screenings of the best TV series 1951. Films, for which Vetor Films is bringing episodes and a documentary about Bra- In addition to the curated program, two projects. Brazilian Fabio Yabu, who zilian animation—Luz, Anima, Ação— the Official Selection includes eight wrote the book-turned-animation Sea there are three programs of shorts. Brazilian productions, including the Princes, will be on the jury. GET READY TO SAMBA Brazil will organize the Mifa Opening

Party on June 12, while the 45-square- © 2017 O2 FILMES meter Brazilian pavilion will provide the venue for a caipirinha-soaked reception co-hosted with other Latin American delegations on the follow- ing Wednesday. For those seeking the scoop on Brazil’s production landscape Sob o Véu da Vida Oceânica (Unravelling the Ocean’s Veil) (2017) by Francisco Meirelles. and co-pro opportunities, there is the

© 2016 FASFAVOR DESENHOS ANIMADOS annual Territory Focus and a panel ses- sion featuring TV Pinguim, producers Brazilian,” he says, “We started by cre- ter, then went bad” says Zagury. “But of Fishtronaut and Show da Luna, Bra- ating our own IP characters and shows. Brazilians are very creative. It doesn’t zil’s most successful television property. We aren’t known as work-for-hire.” matter what happens, we’re always go- Brazilian Content Executive Man- Despite the large positive strides ing to be moving up.” ager Rachel Do Valle says that the in recent times, Brazil’s industry still goal is “to promote Brazil’s animation faces challenges. Domestic distribution industry and to generate new business, remains stunted, particularly for art partnerships and co-productions. It’s a house content, while recent political Chris Colman is a writer and step-by-step process to become more and economic turmoil has tempered producer based in Shanghai. He’s the international.” growth. Yet those involved in Brazilian founder of the China Animation & Magalhães believes Brazilian creativ- animation remain optimistic. Game Network, encouraging communi- ity is its greatest asset. “In co-produc- “We’ve always had waves in the cation in the industry via live creative Projeto do Meu Pai (My Father’s Project) (2016) by Rosária Moreira. tions, most of the creative parts are country where everything was bet- networking events. June 2018 38 ANIMATIONWorld Magazine awn.com 39 June 2018 Like Parvana, the male protagonist The French-language filmFunan of Brazil’s Tito and the Birds is a child might be considered the “flip side” n this year’s feature POLITICAL, SOCIAL AND FAMILY ISSUES in search of a missing father, but with of The Breadwinner: instead of an an extra challenge: trying to stop the adolescent girl searching for her father, “ competition, there’s no “fear pandemic” sweeping the country Funan follows a young Cambodian shortage of courageous STAND OUT IN A STRONG LINE-UP OF and transforming people into misshap- mother separated from her four-year- I en monsters. The key to a cure may lie old son in the midst of the Khmer children on view.” in his scientist father’s research into Rouge’s genocidal rampage. The film’s FEATURE FILMS cooing pigeons. strong visual style employs solid swaths Tito won critical financing in a com- of color, facial features rendered in From Belle Époque Paris to biblical Egypt, the films in this year’s feature competition petition held by Brazil’s National Bank thick black strokes, and sophisticated offer a bracing diversity of styles, themes and cultures. of Development to help fund animated shadowing. Funan is a semi-autobi- features. Its impressionistic design un- ographical, first directing effort by derscores its horror film premise—and 32-year-old Dennis Do, whose goal was BY JOE STRIKE kept its budget under control. Accord- to “explore complex relationships in a ing to co-director and screenwriter context of extreme oppression.” ne thing you can say Gustavo Steinberg, “It’s no use getting about Annecy this year: TITO AND THE BIRDS © 2017 BITS FILMES the perfect style if I cannot produce it, There’s no shortage of so we developed the look and concepts courageous children on to make it happen.” view. Multiple films in Director Mamoru Hosada’s previ- the feature competition ous films The Girl Who Leapt Through focus on adolescent kids finding their Time (2006) and The Boy and the THE BREADWINNER © 2017 AIRCRAFT PICTURES, O SALOON MELUSINE PRODUCTIONS, CARTOON way in the world, or coming to the aid Beast (2015) featured youngsters of their parents. as protagonists. Mirai’s hero Kun is The festival opens with Michel not quite yet a youngster, but rather Ocelot’s Dilili à Paris. Set in Belle a sensitive four-year-old who runs Époque Paris at the cusp of the twen- away when his baby sister Mirai joins tieth century, the film follows Dilili, a the family. His flight leads him to a young, dark-skinned Kanak girl from magic garden, where he encounters the southwest Pacific islands, as she his mother as a little girl, his great- tries to unravel the mystery behind grandfather as a young man, magical kidnappings of young girls. beings—and his now grown sister. The The film is rich in beautifully DILILI À PARIS © 2018 NORD-OUEST FILMS adventures help him accept his sister as rendered period detail, but its story of one of the family. Like The Breadwin- women victimized by men (“the main ner, Mirai is being distributed in the evil of the planet,” according to Ocelot) U.S. by GKIDS. gives the film a contemporary reso- nance. The director describes Delili as “something like a fairy tale, except the ‘fairies’ are historical people who have left us a rich and open civilization.”

A resolute girl is also the hero of The RAI CINEMA, BIG SUR SRL, SKYDANCERS, TRAMP LTD, O’ GROOVE Breadwinner, Ireland’s Cartoon Sa- loon’s third Oscar-nominated feature af- ter The Secret of Kells (2009) and Song of the Sea (2014). In regressive Af- GATTA CENERENTOLA © 2017 MAD ENTERTAINMENT, ghanistan, where women aren’t allowed to leave home unescorted by a man,

11-year-old Parvana disguises herself VIRUS TROPICAL © 2017 TIMBO ESTUDIO as a boy to help support her family and search for her arrested father. Angelina Jolie, who is familiar with

the plight of young Afghan girls from MIRAI © 2018 STUDIO CHIZ her charity work, joined the film as an executive producer. “She had a deep understanding of the problem,” says director Nora Twomey. “She articulat- ed subtleties of character and culture I was able to sew into the tapestry of the film.” The Breadwinner was financed in part by GKIDS, the film’s U.S. distributor. Top to bottom: Tito and the Birds, Dilili à Paris, Virus Tropical. Top: The Breadwinner. Bottom Left: Mirai. Bottom Right: Gatta Cenerentola. June 2018 40 ANIMATIONWorld Magazine awn.com 41 June 2018 BAC FILMS, WEBSPIDER PRODUCTIONS, ITHINKASIA FUNAN © 2017 LES FILMS D’ICI, LUNANIME BVBA, WALL © 2017 NATIONAL FILM BOARD OF CANADA

Above: Funan. Below: Seder-Masochism.

A graphic novel by Columbian- and teenage rebellion follow, as Paola sen’s animated documentary WALL. Ecuadorian cartoonist Paola “Pow- copes with moody sisters, a fortune- Scripted by Oscar-nominated screen- erpaola” Gaviria is the basis of the telling mother and a defrocked priest writer and playwright David Hare, who autobiographical Virus Tropical, a father, as she makes her way to adult- also appears on-camera, Christiansen’s first feature from Colombian filmmaker hood. film charts the impact of the 440-mile Santiago Caicedol. Its title comes from Also in competition is Seder-Mas- barrier Israel has built to protect itself Top to bottom: WALL, Okko's Inn, La Casa Lobo. the imaginary malady diagnosed by ochism, Nina Paley’s first feature since from (and isolate) adjacent Palestinian OKKO’S INN © 2018 DLE INC., MADHOUSE, INC. doctors who refuse to believe a tube- Sita Sings the Blues (2008). Her de- lands. the work of the Brothers Quay or Jan tied woman is pregnant. construction of the Book of Exodus and Using a muted palette, together with Švankmajer. Directors Cristobal Leon a Casa Lobo is easily The film’s finely drawn, black-and- the defeat of “the Goddess, human- a dreamlike and occasionally unsettling and Joaquin Cocina took their inspi- white style was provided by Gaviria, kind’s original deity” by the forces of combination of 2D, CGI and motion- ration from the history of a reclusive “ the most challenging who created some 5,000 original patriarchy echoes Sita’s feminist retell- capture techniques, the National Film Jim Jones-style Chilean cult, imagin- film in the competition, drawings for the production. A bravura ing of the cruel treatment of a prince’s Board of Canada production incorpo- ing the kind of movie the cult leader L sequence early in Tropical follows a wife in the Indian epic Ramayana. rates the experiences of people living might have made to keep his followers as much an art piece as a sperm cell on its way to fertilizing the Twenty-five hundred years after the on both sides of the controversial in thrall. (“What if he had been a sort narrative work.” egg that will eventually become the events explored in Paley’s biblical epic, structure. Producer Bonnie Thompson of Walt Disney, what story would he film’s protagonist, also named Paola. a different perspective on the Holy predicts that WALL will have a more have told?”) Assuming his perspective, The trials of childhood, adolescence Land is offered by Cam Christian- emotional impact on its viewers than a they weave a tale of a young woman conventional documentary. “Documen- who flees the cult, only to find herself taries often make you feel like you’re trapped in a nightmarish house. going to learn something,” she says. Unfortunately, not much can be said “But animation is a little bit seductive: about the final feature in the com- you’re pulled into a story.” petition, Okko’s Inn. At the time of While it sounds like it might be a writing, the film was still in production feline version of the classic fairy tale, and information about it was hard to Gatta Cenerentola (“Cinderella the come by. Its director Kitaro Kosaka is a Cat”) is actually a stylish crime thriller longtime Ghibli veteran, working with set in a dystopic future Naples. In this the legendary Hayao Miyazaki on Nau-

SEDER-MASOCHISM © 2018 NINA PALEY grown-up retelling of the glass-slipper sicaä (1984), Castle in the Sky (1986), saga, a pistol-packing Cinderella faces Spirited Away (2001), Howl’s Moving down her evil stepmother and not Castle (2004) and Ponyo (2008); with

merely two, but six, equally villainous credentials of that order, one can rea- LA CASA LOBO © 2018 ANTO stepsisters. sonably hope for a film with more than La Casa Lobo, or The Wolf House, a touch of Ghibli magic to it. is easily the most challenging feature film in the competition. As much an Joe Strike has written about anima- art piece as a narrative work (produc- tion for numerous publications. He is tion took place in art galleries and at the author of Furry Nation: The True public exhibitions in six countries), Story of America’s Most Misunderstood the stop-motion Lobo is reminiscent of Subculture. June 2018 42 ANIMATIONWorld Magazine awn.com 43 June 2018 TEARS OF CHIWEN (SUN XUN, CHINA) Though he’s better known as a painter and artist, Sun Xun’s animation work

ANNECY 2018: TEARS OF CHIWEN © 2017 PI ANIMATION STUDIO — as vividly demonstrated in Tears of Chiwen — is equally impressive. In dis- cussing the genesis of the film, Sun Xun says that he started with two words: BY CHRIS ROBINSON THE SHORT AND “tradition” and “mythic.” Chiwen is a mythological Chinese dragon that often here is the usual assort- appears as an architectural ornament. ment of old and new in Placed on rooftops or elsewhere on play in this year’s Annecy buildings, it is believed, according to short film competition. Feng Shui theory, to protect inhabitants Veteran animators Paul SHORT OF IT against fire, flood and typhoon. Chiwen Bush (Ride), Riho Unt Outstanding films from a diversity of countries highlight this year’s has also been described as “the dragon (Mary and the 7 Dwarfs), Gerd Gockell who likes to swallow things.” T(Not My Type), and the French duo shorts competition. Starting with a long tracking shot, of Alain Gagnol and Jean-Loup Feli- Tears of Chiwen takes us through an cioni (The Cat’s Regret) all have films assortment of Asian-inspired mythical competing this year. The competition imagery and landscapes before being subtly invade the screen. facile voices of modern Western cultures also features the long-awaited return of interrupted by an Abraham Lincoln-like Exquisitely animated, this beguiling that have infiltrated, effaced and David Fine and Alison Snowden, whose figure standing outside what appears to work explores — and laments — the increasingly silenced Asian traditions, filmAnimal Behaviour (about an assort- be a temple. Slowly but surely, images demise of Asian influence in the world, and, with them, cultural and individual ment of animals in group therapy) is the and icons from Western culture begin to pushed aside by the often brash and identities. couple’s first short film since the 1994 Oscar winner, Bob’s Birthday. Other highlights include new works from Vladimir Leschiov (Electrician’s Day), Marcus Armitage (That York- I’M OK © 2018 ONF/NFB shire Sound), Patrick Bouchard (The BICIKLISTI © 2018 LEMONADE 3D/KRUPNI KADAR, BAGAN FILMS Subject), Nikita Diakur (whose previ- ous film Ugly won numerous prizes in 2017, including the Grand Prize at that CYCLISTS (VELJKO POPOVIC,´ year’s Ottawa International Animation CROATIA) Festival). Then there’s John Morena, In a gorgeous Mediterranean seaside vil- a relative unknown on the animation lage, the final cycling race of the season circuit, who not only has an astonishing is about to begin. The two top racers five films in competition, but actually I’M OK (ELIZABETH HOBBS, envision not just a championship, but made 52 short experimental films in CANADA/UK) an erotic payoff from a local paramour. 2017. Now, that’s productivity. Following the end of a fiery and pas- As the race unfolds, the two rivals slip Beyond these films, there are a hand- sionate love affair with Alma Mahler into sensual daydreams about their ful of shorts that ignited a wee gleam (muse to many an artist of her time anticipated orgasmic payoff, unaware in my eye this year and should be — and the widow of composer Gustav that the woman of their fantasies has pending the always unpredictable and Mahler), Austrian expressionist painter other plans. occasionally mystifying tastes of juries Oskar Kokoschka enlists in the First — collecting a few ribbons, coins and World War. He suffers serious wounds in shiny trophies during the next couple of battle. As medics rush him through the years at festivals. forest of the Russian front, he encoun- ters a fever of memories, emotions, day- dreams and nightmares as he struggles Inspired by the paintings of Croatian to find himself and be, well, OK. artist Vasko Lipovac, director Veljko handful of shorts Highlighted by a lively operatic Popovic´ (Planemo, 2016) has created soundtrack and beautifully improvised a quiet, old-school piece, marked by “ that ignited a images taken from ink drawings, I’m OK gentle comedy and erotic beauty. Of wee gleam in my places us in a hazy, hurried, transient Lipovac he says, “He was an artist of A world that aptly mirrors the confusion the people, bridging that gap between eye should be collecting a and fragility of Kokoschka’s state of high art and your local fisherman or few shiny trophies in the being. Inspired by Kokoschka’s art, the port worker. He managed to create coming years.” images act like faint memories as they something that was poetic, complex and struggle to take shape, find form and of high artistic value, but was at the being — before vanishing as rapidly as same time accessible, funny and based they appeared. on simple everyday moments.” June 2018 44 ANIMATIONWorld Magazine awn.com 45 June 2018 III (MARTA PAJEK, POLAND) The much anticipated sequel to Pajek’s incredible Impossible Figures and Other Stories II (2016) is set in a similar dreamscape, but this time a middle- aged man and the female protagonist from Impossible Figures meet in some kind of waiting room. From there, they slowly begin to explore the floral garden III © 2018 ANIMOON SP. Z O.O.

landscapes of their bodies, organs and minimalist settings, sounds and designs faces. Their reactions shift between to explore a complex bouquet of themes: pleasure and horror, gentleness and unhealthy, stagnant relationships; the aggression, becoming increasingly more inevitable decay of the body; and the hostile as they continue their explora- impossibility, no matter how hard we tions. try, how deep we dive, of ever really Pajek, like Samuel Beckett, uses knowing or reaching the core of another.

A FLY IN THE RESTAURANT (XI Along the wall of the restaurant is a CHEN & XU AN, CHINA) slogan that translates as “Revolution is This mesmerizing cut-out film from the Not a Dinner Party.” unsung Chinese animator Xi Chen (The Mixing shades of red for the exteri- Swallow [2014], The Poem [2015]) and ors with dirtier, greyer interior colors Xu An (who co-directed The Swallow) (depicting a dreary daily existence), A is set in a local restaurant. Told from Fly in the Restaurant is a not-so-subtle A FLY IN THE RESTAURANT © 2018 CONGRONG FILM what seems to be the perspective of a critique of a complacent populace MR. DEER (MOJTABA MOUSAVI, rotating ceiling fan, the film follows the ensconced in a Chinese landscape in IRAN) interior and exterior action as a cook constant political and social flux. Normally, animation films that bor- chases a fly and a variety of patrons Ironically, the only character with any row the often exhausted hallmarks and (soldiers, hunters, artists, men, women) life and purpose seems to be the fly — tropes of live-action works are tedious, mingle, sleep, eat and come and go. and everyone wants to kill it. leaving you wondering why on earth the artist used animation to begin with. Mr. Deer is different. Set on a subway car during an apparent global catastrophe, this riveting, tense and creepy work touches on class, race and ethics, depict- ing a disturbingly familiar world where people have become vile beasts with no MR. DEER © 2018 RED STUDIO sense of morality or compassion.

June 2018 46 ANIMATIONWorld Magazine awn.com 47 June 2018 MARC JAMES ROELS AND EMMA DE SWAEF e try to use “ materials that RETURN WITH THIS MAGNIFICENT CAKE W walk the fine line between revealing what they The Belgian filmmaking duo employ stop-motion and multiple perspectives are and creating the illusion to critique the brutal effects of colonialism. of something completely different.” THIS MAGNIFICENT CAKE © 2018 MARC JAMES ROELS, EMMA DE SWAEF

This Magnificent Cake creates a wonderfully disorienting dreamscape in which we never quite know where we are.

a baker who has fled to Africa with the and its follow-up Fight, created as the initial boards). During the shoot, I am profits from his family’s bakery. The trailer for the 2013 edition of the Bruz also not too involved with the anima- other follows Louie, an army deserter National Animation Film Festival — tion, mainly keeping busy framing who escapes to Africa to avoid enlist- their distinctive “windy wool” look will shots and lighting sets while Emma ment or prosecution. be instantly recognizable. The materi- and her team set up the decors.” “The two storylines,” says Roels, als enhance the oddly dreamy and One of the most striking aspects of “were initially going to be part of one realistic atmosphere of their work. “We the film is the subtle and pleasantly story, in which a young Belgian in co- try to use materials that walk the fine minimalist use of sound and music. lonial Africa is terrified by the very im- line between revealing what they are So many films — animated or other- posing and promiscuous behavior of his and creating the illusion of something wise — too often rely heavily on audio next-door neighbor. Many drafts later, completely different,” explains Roels. effects to inspire emotional reactions this next-door neighbor with his odd “Most things are pretty obvious, there’s in an audience. In This Magnificent habits and excessive drinking morphed a lot of wool and fabrics involved. We Cake, the quieter moments (whether into the character of Van Molle, the travel around a lot to find the right it’s a slave speaking to the decapitated shady baker. Writing the film, we went materials — a clearance sale of Flemish head of a friend, a servant bathing the through so many different iterations we velvet in Roubaix, alpaca wool from king after he’s pissed himself, or the BY CHRIS ROBINSON This Magnificent Cake is an aston- “but I do remember both of us really sometimes wonder if one of those drafts Manchester, and horsehair from the extremely touching, albeit bizarre, mo- ishing, sensitive and original stop-mo- getting into Journey to the End of the lying somewhere in a drawer is the real horsehair capital of Rennes.” ments between the drunk and a snail) “I do not want to miss a good chance tion work that eschews time and subtly Night by Céline and being inspired by gem and this just a meek compromise. Working alone on any film obviously generate tension and, more often, com- of getting us a slice of this magnificent drifts between reality and illusion as it that. In one chapter, the main charac- As Emma often says, ‘Did we get off has its own challenges, but a collabo- passion for this sad lot of characters. African cake.” explores the crushed dreams and lives ter meets a black servant sitting in the one stop too late?’” ration could potentially create other “We’re very finicky about using – King Leopold II caused by the disastrous, brutal and kitchen of a manor making bombs. In The decision to make an anthology kinds of obstacles (administration, music,” admits Roels. “Finding the inhuman effects of colonialism on both another chapter, the main character film came quite late in the pre-pro- organization, egos). Not so, it seems, right music is always a long drawn- t’s a tad early to begin mak- the innocent and the guilty, the good describes going to an African colony to duction process. In early drafts of This for Roels and De Swaef. “Writing and out process that usually takes months ing bold predictions, especially and the awful. With dashes of magic work and how terrible that was. The Magnificent Cake, Roels and De Swaef developing is always a long period of of listening to various things. Every given the unpredictable nature of realism, Roels and De Swaef place us in one idea that stuck with both of us was had no specific storylines or consistent brainstorming together,” says Roels. now and then, a certain piece of music festival jurists, but for my money, a sort of dreamscape where we’re never that it was nearly always the very worst characters. “It was supposed to be a “During production our roles are kept will transform the scene, and that is This Magnificent Cake by Marc quite sure where we are, and never individuals that Europe had to offer fragmentary portrait of a period and pretty separate. While Emma oversees the best feeling. The film is actually James Roels and Emma De Swaef quite sure if what the characters are who ended up going to these colonies.” setting,” says Roels. “Then we real- set construction and puppet making, pretty dense in terms of sound. Our is one of the finest animation films of experiencing is real or not. It’s wonder- While two chapters focus on the ized we were getting stuck and actually I’m mostly gathering reference material sound designer Bram Meindersma was I fully disorientating. utterly devastating experiences of really missed following characters and working on the shooting story- constantly running out of the amount 2018. This complex, multi-layered 45-minute work is set in the late 19th slaves, the other storylines are tragic in through a longer narrative. Right up boards. (These are storyboards that are of layers he could use in his software. century during Belgium’s colonization of THE WORST INDIVIDUALS different ways. One involves Van Molle, until the start of the shoot, we were actually useful during the shoot instead There’s a lot going on in those quiet the Congo Basin in West Africa. Divided “I don’t really remember how or when cutting out characters and settings, of the impossible flights of fancy of our moments.” into five chapters, the film shows the we came up with the idea,” says Roels, some of which had already been built experience and effects of colonization (e.g., a manic Jesuit, a bereft ape). from a multitude of perspectives: a king We wanted to find a good balance of (based on Belgium’s King Leopold II), his Magnificent Cake drama, comedy, tragedy, absurdity and slaves, a crooked businessman, and an is an astonishing, plain stupidity, which might have been army deserter. “ a little too much for a single narrative T sensitive and original to handle.” stop-motion work that ROCKING THE WINDY WOOL eschews time and subtly drifts For those familiar with the duo’s between reality and illusion.” previous work — the widely adored and acclaimed 2012 short Oh Willy... June 2018 48 ANIMATIONWorld Magazine awn.com 49 June 2018 GOOGLE SPOTLIGHT STORIES RETURNS TO ANNECY Experimental storytelling is pushed to the limits with four new VR experiences, including a new short film directed by John Kahrs.

BY JENNIFER WOLFE

oogle Spotlight Stories is bringing four new Left to right: GSS creative director Jan virtual reality projects to Pinkava, executive producer Karen Dufilho Annecy this year: PIGGY, AGE OF SAIL © 2018 GOOGLE SPOTLIGHT STORIES and PIGGY co-director Mark Oftedal. Age of Sail, and Back to the Moon, as well as a behind-the-scenes look at the VR expe- new twist for VR, Piggy watches the probably the one that took us the lon- G gest, that’s been the most painful, that’s rience created for director Wes Ander- viewer right back. This interactivity ialogue is a new thing son’s new stop-motion animated feature, is achieved with the use of a trigger been the hardest to produce,” Dufilho Isle of Dogs. system that can be applied to objects, comments. “The character interactivity “ for us. We’re using A division of Google’s Advanced locations, and even entire scenes, along has to be so precise and so good. And actual voices and real Technology and Projects (ATAP) group, with improved eye-tracking technology. that’s really the trickiest part. Making D Google Spotlight Stories has won a “Piggy’s eyes really follow you in that something really hilariously interactive performances, so that makes slew of accolades for its experimental 3D space,” Pinkava notes. “If you’re is an art in and of itself.” it tricky, and a little risky.” shorts, which have paired top anima- wearing a VR headset and wandering tion talents with pioneering technology around the room, his gaze follows you. REAL-TIME GRAPHICS in order to push the boundaries of im- You have the feeling that he’s really Meanwhile, Age of Sail, directed by mersive, interactive storytelling. watching you. You’re watching him, John Kahrs and produced at Chromo- Partnering with VR@Annecy for the he’s watching you, and between you is sphere, is one of the longest and most of math to make it work and keep it third year running, Google Spotlight or watching the cake, he can’t have the just works. Regardless of what kind of the cake that he’s trying to get.” visually complex VR projects GSS looking beautiful.” Stories will be presenting a Studio cake. It’s as simple as that.” device you’re watching it on.” While PIGGY might appear to be one has undertaken to date. “Kevin Dart’s Focus Session on Wednesday, June How can Piggy avoid the viewer’s But the biggest development with of the more simplistic shorts to come shop, Chromosphere, is brimming with TO THE MOON AND BACK 13 at 6:00 p.m. Entitled “Anima- gaze? “Normally, you’d do such a thing PIGGY is the level of interaction out of Google Spotlight Stories, its talent,” Pikava asserts. “They’re a rare Described by Pinkava as “one of the tion Everywhere,” the session will be as a classic Warner Bros. series of gags between the character and the viewer. apparently straightforward minimal- place where they’re extremely collab- most richly realized and complex moderated by GSS executive producer in an animated short, and we wanted The viewer watches Piggy, and, in a ism belies the amount of research and orative. People come there to do good Google Doodles ever made,” Back to Karen Dufilho and creative director Jan that kind of feeling,” Pinkava explains. development the project entailed. “It’s work that they really care about. I can’t the Moon is an homage to Georges Pinkava with GSS directors Fx Goby, “But now it’s interactive and the timing think of a better place you’d want to go Méliès, the father of visual effects. “It’s Hélène Leroux and John Kahrs joining is up to the audience to some extent. if you want your show to look beauti- a fully interactive animation produc- in on the discussion. The question is, can you do something ful.” tion that is a Google Doodle,” he says. funny and comedic when you’re giving With production design by Céline Full of many of the iconic, classic stage HERE’S LOOKING AT YOU, PIG up a lot of the timing of the gags to the Desrumaux, Age of Sail employs an effects and gags that Méliès pioneered, PIGGY, directed by Pinkava and Mark audience?” illustrative style reminiscent of Patrick the new Google Spotlight Stories short Oftedal (Buggy Night), is essentially a The genesis of the project, accord- Osborne’s Academy Award-nominated is produced by Nexus, the studio be- set-up for an experiment in interactiv- ing to Pinkava, was wanting to explore Pearl (2016), yet also delivers a sweep- hind last year’s Rain or Shine, and di- ity. “It’s an allegory of desire,” Pinkava technical developments in the platform. ing, cinematic experience, and—in a rected by Fx Goby and Hélène Leroux. says. “Piggy is everyone who wants “What is it that we want to be bet- first for Google Spotlight Stories—dia- “Fx and Hélène even went to the something that they’re not allowed ter at? How can we push our tools to logue. “Dialogue is a new thing for us,” Cinémathèque Museum in Paris to to have. He wants this cake, but he’s do more?” he asks. GSS developed a says Dufilho. “We’re using actual voices talk to the world experts on Georges too embarrassed to eat it while we’re number of things for PIGGY, including, and real performances, so that makes it Méliès and show them the work, and watching. As long we’re watching him, for the first time, device-independent tricky, and a little risky.” got their blessings,” Pinkava recounts. viewing. Previously, each project had A tribute to a time before the Wright “We’re exploring new techniques, just to be tested extensively across multiple Brothers conquered the skies, Age of as Méliès was doing in his time. It’s e’re exploring new devices and optimized for each one, Sail takes place entirely on the open kind of fitting that we’re using this resulting in the production of multiple sea, which according to Dufilho, very new and innovative technology to “ techniques, just as versions of the same film. “One of the involved a lot of calculation. “The celebrate someone who was pioneering Georges Méliès was big improvements we made, under specifics of it feel real. It’s math, but it’s new technologies and techniques in his W the hood, was to make the technology lovingly done math,” she says. “And own time.” doing in his time.” more general, so it doesn’t matter what it’s just phenomenal. Water has been you use—a VR headset, small screens, done a lot; it’s not a new thing. But Jennifer Wolfe is editor-in-chief of big screens, whatever—our software water in real-time is new. It takes a lot Animation World Network. June 2018 50 ANIMATIONWorld Magazine awn.com 51 June 2018 THE MONEYGOROUND: LIU JIAN’S HAVE A NICE DAY The Chinese director’s violent, yet serene, film explores the contradictions of modern China through a colorful group of unsavory characters. HAVE A NICE DAY © 2017 STRAND RELEASING

BY CHRIS ROBINSON slightly different Tolstoy through rainy, dilapidated landscapes quote from the same in search of the bag of money—a prize Oh, but life goes on and on and no one novel opens Liu Jian’s they associate with freedom and a ever wins, and time goes quickly by acclaimed animated chance to finally escape their shitty just like the moneygoround… feature Have a Nice existence. – “The Moneygoround,” The Kinks Day, which, one year While there are also clear reverbera- after being pulled from the Annecy tions of Quentin Tarantino in Have a It was not this spring morning which AnimationA Film Festival by the Chinese Nice Day (e.g., ultraviolent, overlapping they considered sacred and important, government, is screening out of com- storylines, and a whole lot of happen- not the beauty of God’s world, given to petition this year. But the quote above stance), this is more than an entertain- all creatures to enjoy—a beauty which also serves as a nice summation of this ing, turn-your-brains-in-at-the-door ca- inclines the heart to peace, to harmony pulp-inspired crime feature that kicks per film. Jian’s story is a none-too-subtle and to love. No, what they considered off with a young man stealing a bag of commentary on problematic aspects of sacred and important were their own money from a crime boss to pay for his contemporary China, as well as a medi- devices for wielding power over each girlfriend’s plastic surgery. From there, tation on globalization, hypercapital- other. with echoes of Stanley Kubrick’s failed- ism, and our eternal hope regarding the – Resurrection, Leo Tolstoy heist classic The Killing, Jian (who promises offered by cold hard cash. also made the 2010 animated feature “The movie is set in a town outside a Piercing 1) takes us on a tense and small southern city in China,” says Jian. torrid chase, following an assortment of “And the trends of rapid urbanization feckless, no-good people as they wander and industrialization in the country June 2018 52 ANIMATIONWorld Magazine awn.com 53 June 2018 Have a Nice Day uses a multi-narrative structure to tell the stories of characters living on the edge.

mirror the inner state of the charac- hat some might ters, people who seem without hope, espite its violent without dreams, all trapped in a hellish “ call surrealism is world that seems right out of Dante. “ imagery and swift often the reality in “I use the minor actions and subtle pace, Have a Nice W movements of the characters to evoke D modern China.” their emotions,” Jian explains. “These Day is an unusually quiet, expressions, along with the vivid almost calm film.” landscapes and interiors in which the characters exist, constitute the poetic— and in some sense, sad and melan- choly—aesthetic philosophy of the film. change a small town like this in vivid, as The relation of human beings and the well as subtle, ways. I am fascinated by environment is coexistence. Without the same. We need higher IQs to invent all of these changes and by the people these people, this specific environment greater technological products. But us- whose lives are affected by them.” would not exist, and vice versa.” ing these products lowers our IQ at the Yet Jian, following Tolstoy, observes The tone of Have a Nice Day is also same time.” that while we keep on destroying each intriguing for its fusion of relatively Interestingly, despite its often wince- other and the landscapes in which we simple, stark designs with touches of inducing, violent imagery and swift live, the sun still comes up, the seasons magic realism. “My favorite artistic lived in the U.K. or U.S. during the last pace, Have a Nice Day is an unusually change, water continues to flow. There style (and in fact my artistic philoso- couple of years can attest. quiet, almost calm film. The silence is all this beauty around us that we just phy) is plain and simple,” Jian says. Technology also takes some punches adds a feeling of claustrophobia and can’t seem to see anymore—an idea “The elements of magic realism are in the film. Everyone is glued to their reinforces the sense that these people in a calm storytelling style, with the does one break free of a network in seemingly referenced by a surprisingly born out of simple reality. What some phone, some like zombies. Then there are all trapped in some sort of hell. simplicity of animation film language. which we are so severely and complexly serene, intermission-like scene of water might call surrealism is often the reality is the character Yellow Eye, who is “I was very serious about the music Indeed, it was my intention to create entwined? calmly flowing that opens chapter three in modern China. There are so many constantly coming up with new innova- and soundtrack,” Jian relates. “I would the cold, yet powerful, atmosphere.” Jian doesn’t know. of the film. Echoing the film’s Tolstoyan uncertainties and possibilities in such tions, invariably for unsavory purposes. rather not use any music if there is no The downside of the film is that, I don’t know. epigraph, the river just flows and flows, a dynamic and lively space. Magic Clearly Jian seems to be suggesting that best fit. Fortunately, we found great while it succinctly pinpoints many of But, hey, have a nice day. unnoticed by anyone, except us, the realism is happening around us almost reliance on technology has also played music [including two songs courtesy of society’s shortcomings, in the end it audience. every day. Life at times can resemble a role in creating this hopeless society. the Shanghai Reclamation Project, a offers no solutions. But of course there Throughout the film, the characters a surreal comedy filled with both jubi- “Everything has two facets,” he says. group that, aptly, combines traditional are no easy answers. We have dug are engulfed by littered, broken and lance and self-paralysis.” “Even very great things can have side Chinese instruments with hip hop and ourselves into a very deep hole, with abandoned buildings and landscapes. Sadly, this daily tragic farce isn’t effects. But the level of the side effect electronica]. Have A Nice Day is the potentially destructive systems to which Jian effectively uses those images to limited to China, as anyone who has depends on other factors. Technology is kind of film that explodes its energy we are inextricably attached. How June 2018 54 ANIMATIONWorld Magazine awn.com 55 June 2018 CATS & PEACHTOPIA LOOKS AT FATHER-SON RELATIONSHIPS FROM A FELINE PERSPECTIVE The third feature by Beijing start-up Light Chaser Animation combines old and new to tell a universal tale of love, growth, and airborne hijinks. CATS & PEACHTOPIA © 2018 LIGHT CHASER ANIMATION STUDIOS

BY CHRIS COLMAN is being screened out of competition at Wang said at Annecy in 2017, but was Annecy this year, Light Chaser’s second also based on the recognition that they s China’s box office film in two years to be presented on the couldn’t compete on an international began to hit unprec- world’s biggest animation stage. scale against the likes of Pixar, Dream- edented heights in 2013, Works or Disney. Light Chaser Animation THE TYRANNY OF THE MARKET While more realistic, focusing emerged amid the hype Despite the company’s considerable solely on China was still a challenging declaring its intention technical accomplishments, however, undertaking. After years of subpar, to build a world-class studio capable of box office performance has been well childish content, the domestic audi- producingA Hollywood - quality anima- below expectations. After a modest ence had grown jaded and skeptical tion, only at a fraction of the cost. gross of RMB78 million (US$11.4 mil- that a homegrown studio could produce It was a highly ambitious project, lion) for their debut effort Little Door quality animation for the whole family. particularly in an immature market Gods (2016), ticket sales have declined With this in mind, Light Chaser set a like China. Four years on, though, with each subsequent production. Cats maximum budget of $12 million per the Beijing start-up founded by Gary & Peachtopia was released in China production, less than one-tenth the cost Wang, Zhou Yu and Yuan Ye has deliv- on April 5 and earned just RMB17.75 of a typical Disney feature. ered on many of its promises. million (US$2.82 million) in its first That cautiousness was counterbal- Light Chaser has assembled a team week, with little hope of climbing much anced by Wang daring to write and of 170 passionate young Chinese artists, higher. direct the first three movies, despite developed a suite of proprietary produc- That reality poses serious questions having no prior experience in either tion tools, and released, on schedule, for a studio whose stated target has discipline. Indeed, while many large three technically and visually accom- always been the domestic market. The studios in China look overseas for expe- plished CG-animated features in a decision to focus on China was partly rienced creative guidance, Light Chaser little over two years. The latest of those a desire to tell “authentic Chinese is resolutely powered by homegrown releases, Cats & Peachtopia (2018), stories that will touch our hearts,” as talent. Wang places particular impor- June 2018 56 ANIMATIONWorld Magazine awn.com 57 June 2018 street views and effectively capture an THE ROAD AHEAD RMB523 million), online comics (One Like Light Chaser’s previous films, Cats & Peachtopia is set in authentic Chinese city. Many more contenders in China’s cur- Hundred Thousand Bad Jokes 2 took Light Chaser engaged Xi’an rocker rent animation feature film gold rush RMB31.7 million) and online games China and employs distinctly Chinese elements. Xu Wei and old school Taiwanese pop are set to emerge in the coming two (the sixth film of the Seer series, Invin- star Emil Chau to pen theme songs, or three years. Companies including cible Puni, made RMB101.6 million). and worked with Skywalker Sound Tencent, Enlight Media-backed Colo- Despite the continuing challenges, and a local studio for the sound design. room, and Huayi Brothers are making Light Chaser is forging ahead with its Zhou also mentions that, in an effort to significant investments in talent and fourth feature, a fantasy love-story maximize audience appeal, the studio small studios in an effort to produce prequel to the well-known Chinese held more test screenings for Cats & the next Big Fish & Begonias. Yet Light Legend of the White Snake. Developed Peachtopia than it did for previous Chaser’s plight offers a warning about in-house by the Light Chaser team and productions. the uncertainty of the domestic market. skewing to a young adult audience, it is Longtime Nanjing animation studio scheduled for release in early 2019. Original Force has encountered compa- Right now, Light Chaser is looking ats & Peachtopia rable financial difficulties with its debut forward to seeing how the international feature Duck Duck Goose, reaping just audience at Annecy responds to its lat- “ is a father-and-son RMB37 million (US$5.9 million) in est effort. If Cats & Peachtopia is the story, about growth, its first month. Meanwhile, the biggest hit they hope it will be, they may have C domestic animated film successes in to reconsider their belief that only the adventure and dreams.” China in the past two years remain big American studios can compete in those based on established TV series the world market. (the latest Boonie Bears movie made tance on culture and language. “The “HOME AND AFAR” The official press kit elaborates very minimum requirement is to speak For Cats & Peachtopia, as with Little further on the film’s themes and goals: Chinese fluently. If you work in L.A., Door Gods and Tea Pets (2017), Wang “Fathers plays an important role in you have to speak English. In France, has penned an original story set in cultivating their child’s social develop- you have to speak French. That’s a China, employing distinctly Chinese ment, self-awareness, and sense of se- very big barrier, especially for artists.” elements. Co-founder and executive curity. We hope this father-son adven- producer Zhou Yu says, “Gary was ture can alert people to the importance inspired by the cats in his house, and of fatherly love and accompaniment, our years after by the concept of ‘home and afar.’ It’s so fathers can care more for and spend a father-and-son story, about growth, more time with their children.” “ declaring its intention adventure and dreams.” The entire film was produced over to build a world-class Cats & Peachtopia tells the story of four years by Light Chaser’s in-house F father and son cats, Blanket and Cape, team in a converted warehouse on the animation studio, Light living a carefree life in a tower block in outskirts of Beijing. They used the Chaser has delivered on many the southwestern Chinese megacity of studio’s own rigging system, hair tools, of its promises.” Chongqing. Curious about the outside large-scale building auto-modeling world and longing for his deceased system and vegetation systems. The mother, Cape sets off in search of the image quality is characteristically high, cat heaven Peachtopia. Blanket goes and the attention to detail impressive. after his son and adventures ensue. The city scenes were modeled on actual

June 2018 58 ANIMATIONWorld Magazine awn.com 59 June 2018 friends. I’ve made some really, really e wanted to have good friendships here and that’s been great. I think learning not to be so living. I don’t think there’s any glory “ a best friendship critical of yourself, or learning how to in doing something for free, or not col- that was just take criticism with a grain of salt, has laborating with people who can fund W been a great learning moment for me. your work. I always felt like that was unconditional friendship

SUMMER CAMP ISLAND © 2018 CARTOON NETWORK STUDIOS SUMMER CAMP ISLAND © 2018 CARTOON Getting a thicker skin.” kind of an immature stance. Everyone love.” can do whatever they like, but I dunno. LETTING GO AND SELLING OUT I think ‘selling out’ has pushed my For Pott, one of the biggest lessons of work so much further, and it means Summer Camp Island has been “learn- I can keep doing what I want. If you definitely developed,” she says. ing how to let stuff go when it’s not work with the right brand and the right “A lot of the team comes from perfect,” while still being able to love people who want to retain your vision, Adventure Time, so it’s been a very it. “I met up with [Adventure Time that’s good, it’s collaboration. People collaborative process,” Pott continues, creator] Pendleton Ward right after the give artists a hard time for selling out, noting that she developed the series show got picked up, and he said that but it’s better than not being able to in a “little black box” for nearly two if you can find one thing in the episode make your work.” years on her own. “Now that there are that you really love, that’s a victory,” all these people involved, they’re all she recounts. “There’s been a lot of putting their stamp on the characters hurdles, but I would say the biggest met up with Adventure and growing it together, which is really hurdle is getting over my own self-crit- lovely.” icism or not feeling terrible if you feel “ Time creator Pendleton In addition to adding new characters, like something is slipping through your Ward right after the collaboration also brought changes to fingers a little bit.” I show got picked up, and he the relationship between the two origi- At a talk delivered at last year’s nal characters. “In the pilot, originally, Ottawa International Animation said that if you can find one Oscar had a crush on Hedgehog, and Festival, Pott spoke approvingly of thing in the episode that you as we developed it into the show we what she called “selling out,” tracing took that off the table completely,” Pott the path of personal projects she had really love, that’s a victory.” recounts. “We wanted to have a best developed into commercial viability. UNCONDITIONAL LOVE: friendship that was just unconditional And, although she’s quick to note, “for friendship love with nothing romantic the record,” that she doesn’t consider there, just these two people that really working at Cartoon Network selling JULIA POTT JOURNEYS TO support and love each other no matter out, Pott is just as keen on the concept what.” as she was in 2017. Now living in Los Angeles—follow- “There’s this stigma to selling out, SUMMER CAMP ISLAND ing a stint in Brooklyn, NY directing and when I was, like, a cocky mid- spots for the likes of Oreo, Toyota and twenties person, I felt very strongly MTV’s Liquid Television via prodco With a new series in production at Cartoon Network about selling out too; but how are you Hornet—Pott is fully immersed in the supposed to make money?” she asks, Studios, the Adventure Time alum reflects on learning world of production. Making the pilot rhetorically. “You’re doing this so that allowed her to observe all the stages of Summer Camp Island director Julia Pott. you can sustain yourself and make a to collaborate and the benefits of selling out. television production first-hand, from storyboards and animatics through BY JENNIFER WOLFE very sort of soft humor. It’s gentle. It’s a through pitching and development and editing and sound design. That’s a gentle show.” on into production at Cartoon Network long way from her solo undergraduate ummer Camp Island, the Pott, who was named one of Variety’s Studios with a team of roughly 30 film, My First Crush (2007), and her new 2D-animated television “Ten Animators To Watch” in 2017, artists. “At its core it’s still the same early collaborative efforts at the Royal series from British animator will be presenting a special sneak show, but aesthetically it’s changed College of Art, where she completed her and illustrator Julia Pott preview of the series this month at An- quite a lot,” Pott acknowledges. “The thesis film, Belly, in 2011. making its debut on Car- necy as part of the “Cartoon Network backgrounds are completely differ- Fans of Pott’s work might recall toon Network this summer, Celebrate Women in the World of ent, and, coming from an illustration Oscar from Belly. Her visual style is is about two best friends, Oscar and Animation” panel to be held at 4:00 background, it’s more in tune with my unmistakable, filled with whimsical SHedgehog, at a magical summer camp p.m. on Thursday, June 14. Meanwhile, illustration style. The characters have characters and a soft, muted palette run by three teenage witches. the pilot for Summer Camp Island has that evokes the serious side of be- “It’s kind of like Buffy the Vampire been rounding the festival circuit, with ing young. Her storylines are equally Slayer for children,” Pott explains. “It’s screenings at Ottawa, TIFF, the AFI really love being in the thoughtful and earnest, recalling the got werewolves and witches and magic, Fest and Sundance, among others. tough lessons of childhood. and it taps into that feeling from when “ writers’ room. I feel like “I really love being in the writers’ you’re a kid and you think everything A TEAM EFFORT I’ve made some of my room,” she enthuses. “I feel like I’ve is possible, everything has the potential An alumna of the Adventure Time writ- I made some of my closest friends in closest friends in there.” to be magical. It’s got a kind of Charlie ing room, Pott has shepherded Summer there. It’s like going to work to sort Summer Camp Island taps into the childhood feeling that everything has the poten- Brown vibe; it’s very sincere, with a Camp Island from original concept of hang out with three of your closest tial to be magical. June 2018 60 ANIMATIONWorld Magazine awn.com 61 June 2018 THE BOSS BABY: BACK IN BUSINESS © 2018 DREAMWORKS ANIMATION TELEVISION “This show is unapologetically treaming gives the driven by three distinctly different girl EXPANDING UNIVERSE DREAMWORKS characters,” adds executive producer DreamWorks is also developing a “ studio freedom to Aliki Theofilopoulos. “We were grate- She-Ra series for Netflix, reviving make the shows it ful that the studio wanted to do this. the 1980s girls’ version of He-Man ANIMATION S We’ve made really great stories with the and the Masters of the Universe, with wants to make.” characters, and it just so happens that Eisner-winning cartoonist and anima- the boys love it too.” tor Noelle Stevenson at the helm. And TELEVISION Hay says his experience on Harvey Fast & Furious, based on the popular Street Kids and Dawn of the Croods movie series produced by DreamWorks’ and schedule is daunting, Cohn says, has been more fun than broadcast, new owner Universal Studios may be SPREADS but the studio’s upcoming shows—a where the stop-and-start nature of the first of many visits to that studio’s mix of originals and series based on making a pilot, halting while it gets vault. features—demonstrate it can be done. sold, and then going back into produc- “It will be family friendly, of course,” ITS WINGS The Boss Baby: Back in Business tion can radically change the original says Cohn of the series. “We’re going to dropped its first 13 episodes on April nature of a show. push the envelope, but keep it more in In creating multiple family-friendly 6, following up on the hit feature with With a commitment to a certain line for a general audience.” stories focused on the relationship number of episodes right from the With the streaming world still series for Netflix streaming, the studio between the titular character and his start, “you get to learn a little more awaiting details of Disney’s long- finds an exhilarating creative freedom. brother, Tim. as you go,” Theofilopoulos says. “On promised service, Cohn says she’s not Executive producer Brandon Sawyer the one hand, there’s the scary part, too worried about it, thanks in part to says producing for a streaming audi- because you’re trying to build a train DreamWorks’ shows being on mul- ence offered creative freedom in sur- while you’re driving it. But the fun part tiple platforms. The studio has The prising and simple ways. For example, is we also have that room to figure out Adventures of Rocky & Bullwinkle and he says, the relationship between Tim things ourselves. We can try things with Kung Fu Panda: The Paws of Destiny and Boss Baby’s assistant Staci changes a character and find what works.” in the works for Amazon Prime Video, BY TOM MCLEAN Since then, 12 DreamWorks series that we maintain our quality and that from antagonistic to respectful after an Where’s Waldo for Universal Kids, and have streamed exclusively on Netflix, we’re developing everything to be its episode in which they work together. a Mr. Magoo series co-produced with ittle has had a greater among them: TurboFAST, All Hail best possible version of itself.” “We tried to track a lot of little Xilam for France 3 and CITV in the impact on television King Julien, The Adventures of Puss in things like that,” he says. “If you United Kingdom. And the studio just animation in recent years Boots, Dinotrux, Dawn of the Croods, NEW PRODUCTION DEMANDS were paying attention—or even if you signed a huge deal with Hulu to pro- than the expansive deal Voltron: Legendary Defender, Spirit Producing animated series for stream- weren’t—you subconsciously felt this duce original programs that will begin between Netflix and Riding Free, and Guillermo del Toro’s ing is slightly different from produc- thing where these characters have an streaming in 2020. DreamWorks. Signed in Trollhunters, the first in a trilogy of ing them for broadcast or cable. With actual relationship with each other “We’re not exclusive to Netflix and 2013, the deal called for the studio to series the Oscar-winning director has Netflix dropping blocks of 13 episodes beyond just the story of the day.” we’re expanding where we place our L at a time, viewers can watch an entire produce 300 hours of exclusive content created for the studio. DreamWorks has For The Epic Tales of Captain shows,” she says. “There are very few for the streaming service. won 17 Emmy Awards in that time, season at any rate they want and with- Underpants, executive producer Peter people making quality animated series While DreamWorks had made series and there are six more shows on the out commercial interruption. Hastings says the 2D show is more for kids and family, and we’re one of before, the scope of what was required way this year to Netflix, and more for This more immersive experience inspired by Dav Pilkey’s hugely suc- the few untethered ones who are doing for Netflix was beyond anything it had other outlets. lends itself to serialization and to more cessful book series than last year’s it—maybe the only untethered one. So produced to date. Veteran animation Cohn says the studio has 20 shows complex—and meaningful—storylines. animated feature. “The movie and the we believe that there’s going to be a lot executive Margie Cohn was brought in in production right now, and there’s Cohn cites as an example Trollhunters, TV show are separate properties based of demand for our content.” to be president of DreamWorks Anima- still room for more. “We have a limit,” del Toro’s mythology-laden series set on the same material,” he says. tion Television, quickly hiring staff to she says. “I don’t think we’ve reached in the mystic town of Arcadia. “I think handle the load. it quite yet. But we want to make sure there’s nothing like that on television CREATIVE FREEDOM Left: DreamWorks Animation Television for families now,” she says. “It just Streaming shows also are not beholden President Margie Cohn. kind of really re-invents what people to advertisers in the same way, giving are expecting from animated television. the studio freedom to make the shows It’s definitely more like reading a book

it wants to make. “It’s really changed THE EPIC TALES OF CAPTAIN UNDERPANTS © 2018 series or enjoying a series of movies.” HARVEY STREET KIDS © 2018 DREAMWORKS HARVEY the business and what can be made Developing content that meets that because it’s not a finite schedule to be standard on a television-like budget filled,” Hastings says. “It’s more about DREAMWORKS ANIMATION TELEVISION what we want to make, and what we want to see.” e want to make Blurring the line between original ANIMATION TELEVISION sure we’re and revival is Harvey Street Kids, a “ comedy that stars Little Audrey, Little W developing Dot and Little Lotta from the old everything to be its best Harvey Comics line as regular kids in a neighborhood that executive producer possible version of itself.” Brendan Hay describes as “the best place in the universe to grow up and be a kid.” June 2018 62 ANIMATIONWorld Magazine awn.com 63 June 2018 WARNER BROS. ANIMATION RAMPS UP FOR THE STREAMING AGE WBA series VP Audrey Diehl reveals what she looks for in new talent and what gives a pitch that special spark.

BY SCOTT LEHANE

udrey Diehl, a 14-year launch later this veteran of Nickelodeon, year in partnership joined the creative team with Warner Bros. at Warner Bros. Anima- Digital Networks. tion last summer as vice She explained that president, series, report- the show is targeted dif- ing directly to WBA president Sam at adults, and they are ferent Register.A In this role, she shepherds new planning “a completely kinds of projects into development and fields different kind of show that I audiences.” pitches for new ideas, while looking for think isn’t out there right now, She added properties in the Warner Bros. collection especially in the superhero space. that the proliferation with the potential for a reboot. It’s been really fun to push the charac- of new streaming services and outlets “When I started, I was thrown right ter into a place where she can really be “allows people to spread their wings into the deep end, working on the new both a badass antihero, but also funny, in animation and show that animation Animaniacs reboot—helping them to and the heroine of her own story.” isn’t a genre, it’s a tool.” staff up, find the right cast, and bracing As for the future, Diehl says, “We’re some of our current clients, because A NEW GOLDEN AGE OF really looking at making all different obviously it’s a very satirical show, so TELEVISION kinds of projects, and we’re leaning ex- we’re finding ways to talk about what’s The bustling studio currently has 17 tensively into our existing Warner Bros. happening now,” she says. series in production, with several new library. And then, in addition, we are Slated for release in 2020 on Hulu’s projects in the pipeline. looking at original pitches, so I’m also over-the-top (OTT) streaming service, “It’s a really exciting time in anima- building this small original slate that the series is currently in pre-production tion,” says Diehl. “I think the con- we’re working on as well.” on the first and second episodes. “We’re tent still has to be great, because the As we enter an era that some have just getting going, establishing the style, consumer is super-demanding and they called a new “Golden Age” of television, finding the voice and figuring out how have so many options. But I think the with new streaming services competing we’re going to honor the characters and great thing about working at a place for content and talent cropping up on a make sure that it’s as beautiful and as like Warner Bros. is that we can sell weekly basis, Diehl says it’s an especial- fun and as groundbreaking a show as it everywhere, and so we have the oppor- ly exciting time in animation. “Twenty was when it came out in the 1990s.” tunity to make kids shows for Cartoon years ago, most of the animation was The reboot was announced in Janu- Network, and also make shows for going for the kids networks, and now ary as part of a two-season, straight- Netflix and Hulu and for other digital I think it’s opening up so we can make to-series order that also brought the platforms. It’s an opportunity to do all animation for other audiences… but entire original series to Hulu’s video- kinds of different types of shows for all we want our content to break through, on-demand service. Steven Spielberg is and show that animation can work for returning as executive producer of the any genre and any audience. It’s not just series. nimation isn’t a kids. It’s not just families. It’s not just Diehl is also currently developing a college students. Which means that we new animated series based on the Har- “ genre, it’s a tool.” need to make sure we’re making things ley Quinn character from DC Comics’ that are smart and interesting and Batman for a new direct-to-consumer A engaging so that audiences will want to DC Comics streaming service slated to spend their time on them.” June 2018 64 ANIMATIONWorld Magazine awn.com 65 June 2018 A new series based on the Harley Quinn character from DC Comics’ Batman is part of a new streaming service slated to launch later this year.

THAT SPECIAL ELECTRICITY “I think it’s important to have a Overall, she reported that the studio really interesting and specific point of is looking for talented people and new view from the person pitching, whether ideas. “Jobs tend to shift around in it’s a take on an existing Warner Bros. animation and right now there are a lot property or an original idea—just some- of jobs here at Warner Bros. and we’re thing that feels inspired by the person interested in bringing in talent that who wants to make it,” she says. “That wants to take a crack at the characters comes from their own unique perspec- we have here.” tive and has their own unique take on it. Diehl explained that when it comes to That’s the thing that always gets me the hiring new talent, the most important most excited. thing she looks for is skills. But beyond “Usually when people are expressing that, “I’m looking for people who really themselves in that way, there’s an elec- connect with these characters. Maybe tricity to the pitch and a passion that’s they fell in love with animation because coming through from them that I feel of these characters and then built a could possibly translate to the screen. I career in it. I’m looking for that level think I can just tell when people are ex- of passion. And then I’m also looking cited to be making a show and it makes for people who are inspired to try new them excited too.” things with Warner Bros. content and Warner Bros. characters. “We all fell in love with Looney Toons robably everyone and a lot of the Hanna-Barbera char- acters. Probably everyone who works “ who works in in animation connected with them. So, animation fell in we’re hoping to bring in people who P are really inspired to work with those love with Looney Toons characters and make something really and the Hanna-Barbera special out of them in a way that’s really characters.” going to break through and blow every- body away.” Audrey Diehl, Warner Bros. Animation So what does she look for in a pitch? vice president, series. June 2018 66 ANIMATIONWorld Magazine awn.com 67 June 2018 CG GLOBAL ENTERTAINMENT OFFERS 360 IP DEVELOPMENT CGGE will help their clients tailor a 360 IP development strategy and execution plan that includes concept design, IP development, product manufacturing, licensing, merchandis- A TOTAL ANIMATION SOLUTION ing, feature film and TV series production, games and VR/ The Chinese media company integrates project financing, development, content AR/360 Immersive experiences. production and distribution within China and throughout the world.

BY RUDY CHAN CHILDREN’S CHARITIES CGGE is planning to partner with Hunan Zhangjiajie’s “Glass CG GLOBAL ENTERTAINMENT LIMITED (CGGE) is a Bridge” in China, along with Haim Dotan, the bridge’s archi- Hong Kong-based holding company with offices in China and tect, to organize a charity concert, tentatively set for 2020, to the United States, with partner studios throughout Asia.The benefit children’s charities around the world. As CGGE’s main company focuses on several areas: business is providing entertainment for kids and families, there is no better way to show support for our world’s next generation than through this fundraising effort. A non-profit subsidiary CONTENT CREATION – FROM IDEA TO SCREEN with committed funding is being established to assist organiza- CGGE provides original IP creators with a total solution that tions that specialize in helping children all around the world. include: CGGE welcomes companies to join this effort to provide care and support for children in need across the globe. • Securing financing • Story development • Script development • Pre-production • Chain of titles and legal support • Production and outsourcing partners • Original music and scoring • Production control • Post-production

CGGE is currently investing in the CG animated feature film, Dreamehs, to illustrate the company’s capabilities and commit- ment to developing and producing a movie project from start to finish. We encourage you to find out more by visiting CGGE at MIFA booth G401 at the Annecy International Animation Festival 2018.

CGGE head Raymond D. Neoh (left) and architect Haim Dotan.

CONTENT DISTRIBUTION CGGE helps Chinese companies secure inter- national distribution for their feature film and TV series projects. Content is trans-created into English and/or other languages from its original OUR VISION Chinese language version. In addition, CGGE can help foreign companies distribute their IPs • Build a world-class global digital media platform in China and other Asian markets—CGGE will • Connect the best creative and technical people together through our digital platform Provide the best professional help foreign studios get the necessary Chinese service for our global members government approval to distribute their shows on various theatrical, broadcast and digital plat- • Produce projects with teams of leading professionals from around the world forms in China. • Invest in education to nurture talent and train future industry leaders • Continue Research & Development to push technology and creativity to new heights • Create the environment and opportunity for the next generation to shape the future and change the world

June 2018 68 ANIMATIONWorld Magazine awn.com 69 June 2018 LET’S GET DIGITAL: GOLDEN EGGPLANT MEDIA BRINGS CREATORS A GLOBAL ENTERTAINMENT MEDIA AND INVESTORS TOGETHER TO PRODUCE ECOSYSTEM IS ON THE RISE QUALITY ANIMATED PRODUCTS CG Global Entertainment and Animation World Network are developing a global digital Company helps incubate properties, bringing together creative talent and financiers communications platform and membership program to connect the entertainment media world. to produce content for international distribution.

BY RUDY CHAN grams, R&D projects, business financing BY SOPHIA ZHU company. “Discovering high potential With its extensive connections to and more. properties is the first step; bringing in artists, producers, production studios, he CGGE-Global Digital The CGGE-Global Digital Entertain- lose to 200 professionals the right creative team with a profes- movie theater chains, and marketing Entertainment Media ment Media Platform is also building from the film, animation sional director and producer to develop and distribution partners in China, Platform’s objectives a global digital media industry “big and media industries at- the property is the second. From there, Golden Eggplant Media is committed are to support, educate, data” system for our members to tended a unique conference we will present the properties with the to joining the ranks of the top creating, lead, guide and finance access. The “Global Digital Media In- at the Beijing International team to film investors for production producing, marketing and distribution the growth of the global dustry Directory - China Edition 2018” Film Festival this past fundraising.” companies in China. digital entertainment media industry. has just been published, with a North CApril 2018, exploring and discussing Golden Eggplant Media acquires the T and South America Edition, Europe strategies for promoting the creative in- rights to published books and online The CGGE global membership program is set to service educational institutions, Edition, and Global Edition—cover- cubation of properties in China. Among properties, as well as initiating projects t is key to make the industry organizations, production ing regions from Africa to Japan—set the projects attracting the most atten- through exclusive agent agreements or right match between studios, students and individual profes- to follow in the coming years. The tion were those presented by Golden joint ventures with artists or writers. “ sionals—as well as other related groups “Global Digital Media Industry Direc- Eggplant Media (Beijing) Co. Ltd. New properties currently in develop- I the property and the and individuals—across the globe. The tory - China Edition 2018” provides Established by veterans of China’s ment include the feature films Snack creative team.” platform will eventually be the hub of access to more than 10,000 entertain- animation and film industries, Golden Kingdom, King of Lion Dance, Dragon a global digital media ecosystem, so ment media studios, game develop- Eggplant Media is dedicated to incu- Print, The Legend of Maya, Detective that members can find key resources ers, academic institutions and related bating potential properties, as well as Panda and The Pianist in the Forest, they need for their creative projects organizations instantly. The directory producing fine animated film and TV and the feature film/TV series Little and business development efforts. The The CGGE-Global Digital Entertain- is filled with insightful and pertinent series for both domestic and interna- Mushroom Girl. platform will also provide online access ment Media Platform is establishing information about the digital media tional markets through collaboration Golden Eggplant Media is looking to educational programs and vocational regional networks to both bring regional industry in China, a valuable asset for with professional teams and financial to collaborate with property owners, training materials for self-improvement content and information to the global anyone wanting to enter the Chinese partners. animation talent—including directors, and professional qualifications. community, as well as localize interna- entertainment media market. “It is key to make the right match animators, designer and writers—and In addition, the platform will estab- tional content into different languages. Please see the “China Edition 2018 between the property and the team,” investment agents and film funds from lish a development fund to support The platform will feature and promote Directory” advertisement for full details. says Joan Ge, cofounder and CEO of the all over the world. creativity, invest in productions, and local digital media development and sponsor scholarships for members. The production in various native languages, platform also will organize and support together with English and Chinese ver- Dragon Print professional conferences and events, in- sions, to link the two most important cluding the Global Entertainment Media markets together. In 2018, the platform Industry Awards, and will establish a will launch a portal website that cov- Digital Media Hall of Fame “to honor ers all of Southeast Asia, followed by the past and present, and inspire the regional site coverage in Korean and future.” As a part of this campaign, the Japanese. In 2019, coverage will be platform will produce an online video extended into French, German, Italian, series, “Who to Watch in Global Digital Spanish and Portuguese. Entertainment Media,” starting this The CGGE global membership pro- summer, to document the excellence of gram services will include an extensive top industry professionals. member information directory, recruit- ment services for both employers and job seekers, access to information on co-production development and financing opportunities, service work outsourcing, specialized educational pro-

June 2018 70 ANIMATIONWorld Magazine awn.com 71 June 2018 against the villain. In the same year, Original Force was he reason that Original AFTER 20 YEARS OF EXCELLENCE, selected as the exclusive CG creator of Guo Jingming’s L.O.R.D: Legend of “ Force can spend 20 Ravaging Dynasties. As the very first years realizing a ORIGINAL FORCE AWAKENS CG/live-action film in China, L.O.R.D. T began a new chapter in the studio’s de- dream is that we are extremely CEO Harley Zhao continues to lead creative and technological achievement velopment. With only a little over a year patient in developing talent.” at China’s largest and most acclaimed animation studio. to finish the production, Original Force put nearly 500 artists on the project, providing a strong support for the in- Equipped with a complete industrial- dustrialization and sustainable develop- ized production pipeline, Original ment of the animation industry. Force has forged long-term relation- In August 2017, Original Force’s very ships with studios like DreamWorks, first original 3D animated family film Sony, The Third Floor and Lion Stage Duck Duck Goose was screened at the in its core business, feature anima- Cannes Film Festival and scored the tion production. So far, Original Force highest overseas sales among Chinese has set up independent subsidiaries in animation films, restoring the confi- Beijing, Chengdu, and Wuhan, as well dence of China’s animation industry. On as in the U.S. and Thailand. March 9, 2018, Duck Duck Goose was Building momentum from past studying the application of 3D technolo- released in China. and received praise achievements, Original Force keeps gy in animated films, TV shows, games, from audiences of all ages. moving forward, an innovator with and VR. Ultra-realistic 360° scanning So far in 2018, Original Force has global, ecological, industrial and techno- technology, which can capture even a worked on Monster Hunt II, completing logical perspectives. pore in detail, has been applied to the 30% of the film’s CG shots, including Industrialized animation production production of several of Original Force’s multiple sequences that successfully requires efficient pipeline and technical projects. In 2017, Original Force was management. Original Force’s artistic authorized to develop Avatar motion BY EMMA WU present the performance of Huba and Force, boosting the company for further stir in the animation industry, with one Benben, the two main CG characters, team works to ensure that intensive capture technology in Asia, and began development. One year later, Original media outlet even reporting, “This is making robust contributions to the tasks are completed on schedule through research on Ncam real-time technol- eadquartered in Nan- Force was chosen over five world- the best presentation of Journey to the visual effects of the film. industrialized management. To ensure ogy. Artists were sent to Beijing and jing, the capital of six famous animation studios to produce West ever!” After continually sharpening its pro- pipeline efficiency, Original Force has Shanghai to investigate possibilities for historical Chinese dy- Dragons: Riders of Berk, a TV series Original Force later participated in fessional competence over two decades, set up the Pipeline Development Depart- VR photography technology R&D. After nasties, leading anima- spinoff of DreamWorks Animation’s the production of Monster Hunt, a 2015 Original Force is now renowned in the ment to develop and improve pipeline many days working around the clock, tion studio and content Oscar-nominated hit feature How to Chinese box office smash hit. The studio industry. With more than 1,200 artists, management systems suitable for indus- the team finally overcome significant creator Original Force Train Your Dragon. The whole Chi- created the thrilling scenes of a human including senior animators who have trialized production. technological barriers and found a Hwas founded by CEO Harley Zhao, a nese animation industry exploded with vs. monster war at the beginning of the worked at world-famous animation Knowing that all its efforts depend solution for the application of the new super-fan of the Star Wars franchise. excitement at the news—it was the first film, together with a series of amazing studios like Disney and Pixar, Original upon people, Original Force has spent technology, perfectly incorporating real- The company name is derived from the time a Chinese animation studio became panoramic views of villages and moun- Force has grown into an ecosystem considerable energy and resources on time live action into the visual world of core concept of Star Wars—exploring a major player in a world-class interna- tains. Original Force also took part in that integrates IP development, project talent training, which plays a key role Unreal Engine 4. and realizing one’s own potential. tional project. the 2D drafting of some monsters, and investment, content innovation, R&D, in the company’s success. Harley Zhao Through industrialized production In 1999, Harley left his secure bank The DreamWorks Animation series the shaping of the main animated char- IP licensing, and talent training. believes that the biggest problem facing reform and technological research, job and set up Original Force in a small proved to be a big success, scoring 8.4 acters Huba, Pang Ying, and Zhu Gao, the animation industry is not the lack Original Force has been striving to office in the Nanjing Jinpeng Hotel, out of 10 on the Chinese social network- which were adored by the audience. of talent, but the lack of patience to de- transform itself from an animation where his dream of animation first ing service Douban. Two animators from In 2016, Original Force participated velop talent. He says, “The reason that producer into an international content set sail. In 2001, Harley became an Original Force were nominated for An- in the production of the UAE film Original Force can spend 20 years real- creator. In the future, Original Force will Autodesk Maya Certified Professional, nie Awards for “Outstanding Character Bilal, the first CG feature from the izing a dream is that we are extremely stick to the production of high-quality taking on the additional role of mentor Animation.” The whole industry mar- Middle East that later earned an Oscar patient in developing talent, which can original animation and entertainment to animators at his young studio. veled at Original Force’s achievements, nomination for Best Animated Feature. hardly be done by others.” content and strive to continue in its role Before long, Original Force received but the company set its goals towards From layout to final rendering and High-quality CG output requires as an industry leader. With animation, RMB5 million of angel financing, which even higher accomplishments. compositing, Original Force produced not only industrialized production, Original Force is always serious! enabled Harley to acquire three anima- That same year, Original Force cre- the scenes of the hero’s final revenge but also advanced tech- tion companies in Beijing and Chengdu. ated the CG teaser for Tencent’s hit nologies. For many years, Later, Original Force secured orders online game Asura, presenting magnifi- Original Force has devoted from renowned companies in China and cent fighting scenes with exquisite visual he whole industry considerable resources to beyond, including Microsoft Studios, effects. Asura was a gaming milestone technological research. In EA, 2K, Tencent, Warner Bros., and The for Tencent, their most heavily invested “ marveled at Original 2015, together with Nanjing Third Floor, further expanding its busi- game at the time. Combining arche- Force’s achievements, University, Original Force ness abroad. T typal Asian elements with Hollywood- but the company set its set up an Ultra-Realistic 3D At the end of 2010, Walden Inter- caliber visual effects, the Asura trailer Body Scanning Laboratory, national, a well-known venture capital was the very first Chinese commercial goals towards even higher one of the few laboratories firm in the Asia-Pacific region, invested animation selected for SIGGRAPH’s accomplishments.” jointly established by private tens of millions of RMB into Original Electronic Theatre. This caused quite a enterprise and academia for June 2018 72 ANIMATIONWorld Magazine awn.com 73 June 2018 includes Chinese elements, educational animated property—it really has had a TV channels in China and other regions storylines and interesting intonations positive impact on families. What makes around the world. The production of and dialogue, has helped schoolchildren me proud is that various partners have Season 2 has been completed and is learn about traditional Chinese cultural since come to us for consumer products ready for distribution. We are hoping values—as well as develop good man- and themed experience licensing rights. to work with local agents from various ners and behavior—in a pleasant way. Dragon Monster has truly become a part countries for the overseas market. Last year, AWN had a chance to of children’s and their parents’ everyday interview Mr. Liu Chang, the creator of life. Kids can watch Dragon Monster, Dragon Monster, who shared his experi- wear the branded clothes, play with the ences working on the project. dolls and games, and stay in themed rooms during travel. AWN China: How do you assess the world’s IP market for children’s content? AWN China: Because it includes many traditional Chinese elements, do you Liu Chang: Disney, once called the have any trouble with the distribution of “children’s IP empire,” has gradually Dragon Monster overseas? become an entertainment empire cover- ing all ages with its series of Pixar and LC: We haven’t encountered any cul- Marvel hero IPs. Currently, Disney has a tural issues yet. The storyline of Dragon strong IP industrial chain supported by Monster centers on daily life, which five businesses: media networks, theme inspires children about how to think parks, studio entertainment, consumer and solve problems. It also helps them goods and interactive media. However, establish a positive world view, concept with the increasing global export of and value of life. Like the idea of “jus- Chinese culture, we believe more and tice” central to Marvel heroes and The more original Chinese children IPs will Monkey King, these are common values have success in international markets in around the world. The concepts of fam- the coming years. ily, friendship and faith that Dragon Monster promotes are also universal. AWN China: Can you share with us the most satisfying part of Dragon Monster’s AWN China: What’s the next step for DRAGON MONSTER successful launch this past year? Dragon Monster?

LC: Since the animation launched, more LC: Frankly speaking, it is not yet time he concepts of family, BRINGS TRADITIONAL CHINESE CULTURE TO and more parents and children have for full commercial development and “ friendship and faith expressed their love of Dragon Monster consumer product licensing of Dragon that Dragon Monster on WeChat and Weibo and what they Monster. Our most important task now T SCHOOLCHILDREN hope to see in Season 2. That made me is to further promote the distribution promotes are universal.” realize Dragon Monster is not just an and cooperation of the show on other BY SOPHIA ZHU to distribute Dragon Monster in other national animation programs during regions around the world. With the the period of Spring Festival and winter ith the support of ever-increasing Chinese cultural influ- vacation in China. It has been broadcast a series of recent ence on the international stage, Dragon on over 20 key Chinese TV channels government policies, Monster provides a great opportunity and viewed on mainstream video web- an increasing num- for increased distribution across Europe, sites including Tencent, Youku, Sohu, ber of animations America and Asia-Pacific regions. Wasu TV and Mango TV over 300 mil- featuring themes The series targets children 6-9 years lion times. Distributor SpaceToon Kids Wand stories based on traditional Chinese old and integrates Chinese totem TV is also promoting localized versions culture are being developed in China. culture—the divine dragons, qilins, of Dragon Monster in the Middle East Dragon Monster, an animated TV series phoenixes, tortoises and other sacred and North Africa. by Xanthus Media Shanghai, is among animals from the traditional Chinese Dragon Monster is especially popu- the best and most influential of those text The Classic of Mountains and Riv- lar among young children and their targeting schoolchildren. ers. Dragon Monster tells the story of parents. The animation style, which Dragon Monster has become a key these sacred animals from heaven enter- project supported by the State Admin- ing the human world, meeting destined istration of Press, Publication, Radio, little friends, and running for the totem. ragon Monster Film and Television (SAPPRFT) and it Dragon Monster has been described “ centers on daily will be introduced to the Middle East as a Chinese version of the Japanese life, which inspires and North Africa through China’s One Digimon. D Belt and One Road Initiative within First broadcast on CCTV-14 in prime children about how to think two years. Xanthus Media Shanghai time on Feb 26, 2018, Dragon Mon- and solve problems.” is also actively seeking opportunities ster was ranked in the top 10 among June 2018 74 ANIMATIONWorld Magazine awn.com 75 June 2018 Their marketing department has been doing crossover marketing for numerous animation projects; the teams compre- hensively integrate rich and diversified channels and customize marketing plans using multi-dimensional communica- tions to promote animation movies. The studio also has vast experience in working with new media, including nu- merous apps with millions of users, over ten thousand KOLs, and web celebrities with Chinese fan bases in the mil- lions. Dreamers Studio fully mastered hundreds of famous public accounts on WeChat and Weibo. Through long-term training and preparation, they can now directly approach and influence millions of netizens, effectively promoting and marketing animation movies even when they are still in production. Dreamers Studio customizes market- ing and promotion strategies for all of its clients. Depending on the target au- dience, the company employs different media with highly focused messages to DREAMERS STUDIO ensure maximum brand exposure. Based on accurate, real-time age and gender data collected from theatre screenings, TAKES AN INNOVATIVE APPROACH they analyze different platforms and, if necessary, will adjust the execution and increase effort and exposure to TO ANIMATED MOVIE MARKETING, underperforming segments to make sure maximum results are achieved. Dreamers Studio will continue to MERCHANDISING AND DISTRIBUTION contribute to the development of China’s animation industry, expanding coop- The company specializes in real-time, data-driven promotion based on audience eration on Chinese and international animation projects, and hopes to create choices tracked in China’s largest theatrical ticketing system. more and more popular IPs and content with all parties in the future. BY YANG JUNJIE ment, marketing and promotion, and Dreamers Studio uses extensive data distribution in China, to copyright trad- analysis to bring the most effective and reamers Studio, owned ing within and outside of China. Using precise approach to the target audience, by Weiying Technol- an Internet integration strategy, the stu- maximizing marketing performance for ogy, is committed to dio has helped companies establish their every animation movie. developing the value of brands and increase company value. Since Dreamers Studio is a part of animation and comic Dreamers Studio has three teams Weiying Technology, which owns Chi- movie properties through working on animation development, na’s biggest online ticketing platform, Dexcellence in innovation. Since it began, each specializing in Chinese, European/ they can provide a one-stop experience Dreamers Studio has specialized in American and Japanese animation, for users that integrates content promo- developing domestic and foreign anima- respectively. They are widely recognized tion, ticket sales and merchandising. tion movie projects, providing project by the industry thanks to their thorough The studio’s marketing arm teams investment, development, production, understanding of the Chinese market, with a wide array of media partners, promotion and distribution, as well as customized marketing strategies for including mainstream websites, variety merchandising, game production, stage targeted audiences, and outstanding shows, newspapers, TV, magazines shows and theme park licensing. production capabilities. and professional journals. They The company has been involved in The company selects the best anima- have resources covering 318 cities in many famous animated films—includ- tion projects from around the world China—29 first-tier cities, 48 second- ing Boruto: Naruto The Movie, A Silent to invest in and help secure financing, tier cities, 137 third-tier cities and 104 Voice, Kunta: The Floating Planet, Tofu, then helps local and foreign animation fourth-tier cities. They own thousands The Wind Guardians and Dinofroz—in companies with fund management. of class A media resources and are al- roles ranging from copyright invest- To secure the best promotion results, ways one step ahead of the competition. June 2018 76 ANIMATIONWorld Magazine awn.com 77 June 2018 SILKROAD VISUAL MASTER CONFERENCE SILKROAD PROVIDES The company also organizes an inter- national technology conference, the Silkroad Visual Master Conference and INTEGRATED VISUAL SERVICES Visual Creative Competition, now in its fourth season. Attendees include aca- demics and professionals from a wide FOR A BOOMING INDUSTRY range of creative industries, includ- ing Pixar artists, SIGGRAPH creative The China-based technology company is a one-stop shop for all things CG producers, Autodesk Research scientists, creative directors from leading Korean digital content studios, senior execu- tives from top Chinese creative studios, BY RUDY CHAN VR/AR RENDERING and leading university professors. The With its extensive strength in VR/AR In cooperation with Alibaba, Silkroad conference aims to introduce state-of- ilkroad Visual Technology technology, Silkroad has created a mul- has developed a global cloud render- the-art visual technology and artistic Co., Ltd, a digital services tiplayer VR system, “Silkroad Environ- ing service platform and has quickly practice to local Chinese markets to provider based in Shenzhen, ment 1.0,” for their real estate clients. become a leader in global cloud comput- help companies raise their capabilities China, specializes in CG This system can create a virtual sand ta- ing and cluster rendering in China. The and expertise to world-class standards. applications, using state-of- ble, city planning tour, sand table tour, company has clients from over 50 coun- In addition, Silkroad hopes to build an the-art computer graphics mock-up flat, IMAX cinema, conference tries and regions, including a number interactive communication platform technology to produce innovative visual room, etc. Based on their clients’ needs, of Oscar-winning studios. Silkroad has for visual-technology industry profes- S they can set up customized parameters provide rendering services for Chinese designs and other creative properties. sionals in China and abroad, as well as Established in 2000, Silkroad combines to offer them an immersive experience mega-hits, including Wolf Warriors II help promote local Chinese companies technical strength with forward-think- of moving between the different rooms. and Monkey King: Hero Is Back. globally. ing creative design capability, provid- ing its customers with a wide variety of integrated digital visual services in architecture, design, exhibition hall ANIMATION AND DYNAMIC somatosensory technology, and virtual/ design, advertising, animation, games, VISUAL SERVICES augmented reality— to construct highly movies, sports, entertainment events, Silkroad employs CG technology to artistic and personalized display scenes and related areas. help clients realize their creative vision with a strong experiential component. Today, Silkroad, which was the first through animation, dynamic visual These projects are often combined with visual technology company to be listed effects, and related digital applications. scenery and various forms of perfor- on the Chinese stock market, employs Primarily, they provide services for mance and stage machinery to create a more than 1,700 employees across the movies, commercials, and multimedia more powerful and immersive viewer country. The company’s services are exhibition and display projects that experience. based on years of expertise in various promote clients’ work and services. A recent project was an animation for areas of visual technology, and Silkroad Their multimedia projects incorporate the National Museum of China based is rapidly becoming a global player in a wide variety of technologies—includ- on the famous series of paintings “The the field of digital visual technology and ing holographic imaging, phantom Qianlong Emperor's Southern Inspec- its applications. imaging, air imaging, interactive touch, tion Tour.”

June 2018 78 ANIMATIONWorld Magazine awn.com 79 June 2018 THEME PARK WINSING LIVE SHOW With the theme of “GG Bond,” Party Launched in 2014 by WinSing Perfor- Map is a comprehensive IP theme park mance, WinSing Theatrical is a parent- specially designed by WinSing's engi- child theater focusing on parent-child live neers. Based on WinSing's animation shows. Taking children's live shows as assets, Party Map has integrated with the core, WinSing Theatrical is the first more than 60 growth entertainment proj- in China to build an animation entertain- ects, including theme parties, parent-child ment ecosystem centering on WinSing's stage interactions, and training programs animation brands. for children's drama performances and other events. THE LION LEARNS TO LION DANCE CG feature animation— seeking co-production partner YOUR CHINESE MEDIA for global distribution LICENSING PRODUCTS Big Star is a lion who lives comfortably PRODUCTION PARTNER Collaborated with hundreds of well- in the zoo, but his heart is suffering be- known domestic and international enter- cause he likes to dance. The other lions ignore him or laugh at him. However, the Guandong Winsing Company Limited prises, WinSing has licensed merchan- dise in 50+ industries, including toys, festive lion dance held in the zoo offers has been specializing in 3D animation an opportunity to rekindle his confidence production, program distribution, mer- home supplies, daily chemicals, etc. The products are well received both at home in himself. He feels that learning the lion chandising and brand marketing since dance is a new way to realize his dream. 2003. As a major children's entertain- and abroad, with annual revenue in ex- cess of US$45,000,000. In his journey to become the lion dance ment and educational content provider, champion, he learns about friendship, hu- WinSing has been involved with animat- miliation and hard work. The Lion Learns ed films and TV series, live shows, indoor to Lion Dance is a heartwarming coming- theme parks, and product merchandising. of-age comedy/adventure story for the whole family to enjoy. Having created a raft of well-known animation characters represented by GG Bond, WinSing has successfully built a rich library that comprises more than 20,000 minutes of original work, win- ning a number of awards for their out- standing quality. With the corporate phi- losophy, “Colorful Animation, Wonderful Life,” WinSing devotes itself to providing the best cultural content and products for families and strives to be the best in its field.

THE AWAKENING CG feature animation— seeking co-production partner for global distribution

IIn ancient China, there are beasts hidden inside the Earth which have not been conscious for hundreds of millions of years. With the accidental triggering of a curse, the beasts have been awakened and the Earth thrown into chaos. Clued into a conspiracy to awaken the beasts, our hero gathers talented youngsters from all around the planet to help fight against Visit WinSing at Mifa booth 4B06. evil and thwart this horrific plot. For more information, contact Zhibin Gu at [email protected]. June 2018 80 ANIMATIONWorld Magazine awn.com 81 June 2018 Kre8tif! 2018: A ONE-OF-A-KIND FESTIVAL IN SOUTHEAST ASIA Kre8tif! ENTERTAINMENT XPE- The annual event in Cyberjaya, Malaysia features conferences, RIENCE is being introduced for the a business exchange, a multimedia festival, and more. first time this year. This exciting new segment encourages attendees to observe and interact with the latest applications from mobile VR to haptic technologies, 3D printing, and immersive realities. BY RUDY CHAN

o help develop the creative re8tif! aims to spark content industry in Malay- “ innovation and sia, the Malaysia Digital exploration across Economy Corporation K (MDEC) has organized the creative sector.” Kre8tif! @ SCHOOL is an anima- Kre8tif!, an event that tion program that enables students to aims to spark innovation and explora- develop artistic skills that can lead to T Kre8tif! SHORTS SCREENING college admissions and lucrative careers tion of major trends across the creative sector. Taking place August 6-12, 2018 is a showcase of the year's best works using the industry ICT tools. It is a in Cyberjaya, Selangor, Kre8tif! will from students and professionals from all two-day intensive hands-on animation include conferences focused on key over the world. This screening provides workshop targeted at secondary school areas in creative industries, business attendees with an in-depth exploration students. Upon completion, all partici- networking between local and interna- of the world of animation, visual effects, pating students will be invited to submit tional companies, pitching and match- and scientific visualization. their animation clips of not less than 30 ing, exhibitions of new technologies and seconds to the Kre8tif! Young Anima- IPs, hands-on VR/AR and 3D printing Kre8tif! CONTENT FESTIVAL tor Competition. The top four will be experiences, screenings of movies and celebrates creative technology, art and showcased at Kre8tif!. shorts from all over the world, music design, and music by bringing together concerts, talk shows and more. creative studios, professionals, artists, Finally, if you want to get animated and students—as well as communities— physically, you can join the Kre8tif! Kre8tif CONFERENCE is a gathering to share and shape experiences that COSTUME FUN RUN on Aug 4. This of leading minds in animation, licens- educate, challenge and inspire. exciting event is aimed at encourag- ing & merchandising, visual effects, The festival’s programs and activities ing people of all ages and backgrounds and digital technology programmed include: to improve their mental and physical into business and technical tracks. The health through running and exercise. No conference will offer the following: • Screenings of Local and Interna- ordinary run, the Costume Fun Run is tional Features designed to appeal to pop culture fans • Knowledge sharing in creative • Mascots and Celebrity Appearances and health enthusiasts alike, allowing content-related business and techni- • Talk Shows participants to enjoy a scenic run, while cal tracks • Community Booths showing off their best costumes. The • Interactive panel sessions sharing • Food Trucks Kre8tif! Costume Fun Run is open to experiences and views from industry • Concert everyone aged 7 to 60. leaders • Meetings between international, regional and local industry players • Business matching sessions with international buyers Kre8tif! BUSINESS XCHANGE is Kre8tif! XHIBITION is open to • Vibrant networking events across the an ideal platform for creative compa- all creative and technology companies Kre8tif! Content Festival nies looking to dramatically impact the to showcase their IPs, current hard- industry and the world. This session is a ware, software and services to Kre8tif! Animation developers, animators, networking and value-creation plat- delegates and the public. With its strong visual effects artists and designers, form designed to help business leaders Kre8tif! branding, the Xhibition is an licensors and licensees, broadcasters and expand their businesses to the next level. ideal venue for companies to reach out students from all parts of the world will It brings together international, regional to existing and new customers. It is also gather together to share and showcase and local buyers of the industry to a place where creative companies are their work and bring out new ideas to exchange thought leadership, business able to meet with hundreds of job seek- inspire others. insights and trends. ers from around Malaysia.

June 2018 82 ANIMATIONWorld Magazine awn.com 83 June 2018 GIGGLES FROM ASIA Malaysia’s Giggle Garage Animations brings creativity, passion and fun to kids and family entertainment.

BY RUDY CHAN

ith a name like “Giggle Garage”, the mis- sion of this Malaysian animation company is fairly self-evident—to bring laughs and fun to kids around the world. Established in 2010, Giggle Garage Animations creates original character brands and high-quality Giggle Garage Wanimated content for children and families. The studio has has also proven to created more than 60 hours of content for television and digital be one of the most platforms, with global partners including BBC Kids, ABC reliable and cost- Australia, Netflix, Media Prima, Astro Malaysia, SK and EBS effective partners Korea. Giggle Garage also provides CGI animation services, for co-producing post-production, VFX, and content commissioning for multiple television series. digital platforms. The company was named “Most Admired Recent successful Animation Company in Malaysia” by Top10 Asia Media in co-productions in- 2014. clude Kazoops, Cam “At Giggle Garage, we believe that we can help people to & Leon, produced have more fun and to feel good,” says Zeno Gabing, executive with Astro Malaysia, director and co-founder of Giggle Garage Animations. “We use and Boing the Play our creativity and passion to create beautiful CGI animated Ranger, produced content, so we can continue entertaining you.” with Crazy Bird Stu- Original CGI projects produced by Giggle Garage include dios, SK Broadband the preschool TV series Origanimals. The show was completed and EBS from South entirely by the studio with financial support from Malaysia’s Korea. Kazoops is Ministry of Finance. In 2016, Origanimals won the Grand a top rated Austra- Prize for Best 3D Animation in Television Programming at the lian show launched Asian Television Awards. Currently, the show is available in on Cbeebies in the more than 100 countries and the company is actively seeking UK and Kids ABC licensing partners to further develop and expand the Origani- in Australia in July 2016, and subsequently streamed to the mals brand. rest of the world on Netflix in over 18 languages. Consumer products and publishing launched in Australia and the UK in late 2017. In April 2018, the studio partnered with Primeworks Studio to develop Fridgies, a slapstick, non-dialogue comedy series featuring refrigerator magnet characters. Giggle Garage is also developing a new preschool show called Salad Bunnies, in which a group of special bunnies use their inherent strengths— their salad power—to help the residents of Sunnyville. Salad power encompasses special abilities gained from consuming vegetables and fruits, including enhanced vision and brain performance, speed and agility, strength and endurance, and a healthy heart. Giggle Garage will be bringing Fridgies and Salad Bunnies to Mifa/Annecy 2018 for meetings with interested co-produc- ing partners, distributors and investors. June 2018 84 ANIMATIONWorld Magazine awn.com 85 June 2018 INTRODUCING THE GLOBAL DIGITAL MEDIA INDUSTRY DIRECTORY CHINA EDITION 2018 In both English and Chinese

Today, China is one of the most important markets for the global digital media industry. China is also the fastest growing market in the world for the consumption of digital media, whether animations, games, VR/AR, streaming media, comic books or related content. In 2017, the Chinese animation market size was estimated to be US$25 billion dollars and is expected to reach US$36 billion annually within the next 3 years. With more than 200 million people under the age of 24, the Chinese market for digital media consumption will soon be the biggest in the world. China has more than several hundred thousand companies involved in the so-called “Culture Industry.” Many are inactive or not involved in the digital media industry. The Global Digital Media Industry Directory China Edition 2018 gives you instant access to more than 3,000 significant and important companies including animation studios, game developers, academic institutions and related organizations in China. These companies are all genuine and active in the industry. They are looking for co-production partners, service work outside China, and international businesses looking to expand into China. The Global Digital Media Industry Directory China Edition 2018 is more than just an industry directory. It is also an up-to-date industry report, full of insightful and helpful information about the Chinese media industry, covering government policies, China’s relationship and perspective on the digital media world, and creative development efforts in animation, games, interactive and peripheral sectors. It also features detailed digital media sector assessments and analysis, touching on the difficulties the industry is facing, sectors expecting the greatest amount of growth, and what shape that growth is expected to take. One chapter is dedicated to each covered sector. The objectives of this directory are to help our industry decipher and better understand China’s digital media industry and the government’s role in its oversight.

How This Directory Will Benefit You! If you want to develop a mobile game, have an idea about creating an animation series, or are looking for Chinese partners that can co-develop technology and products with your company, this directory is made for you. If you are new to China’s digital media industry, the Global Media Industry Directory will provide comprehensive information about what to do and what to avoid in China. If you are already seasoned in China’s media industry, you will find the directory an up to date resource to find new production partners or developers inside China. Whether you are from China, or want to start your business in China, this directory is for you. The directory is being published in both English and Chinese and will be available on a USB thumb drive at the CGGE MIFA Booth 4G01. Or, order online at www.CGGE.media. June 2018 86 ANIMATIONWorld Magazine awn.com 87 June 2018