Vol.Vol. 33 IssueIssue 88 NovemberNovember 1998 1998 Feature Films and Licensing & Merchandising
A Bug’s Life
John Lasseter’s Animated Life
Iron Giant Innovations The Fox and the Hound Italy’s Lanterna Magica Pro-Social Programming Plus: MIPCOM, Ottawa and Cartoon Forum TABLE OF CONTENTS
NOVEMBER 1998 VOL.3 NO.8 Table of Contents November 1998 Vol. 3, No. 8
4 Editor’s Notebook Disney, Disney, Disney...
5 Letters: [email protected]
7 Dig This! Millions of Disney Videos!
Feature Films
9 Toon Story: John Lasseter’s Animated Life Just how does one become an animation pioneer? Mike Lyons profiles the man of the hour, John Las- seter, on the eve of Pixar’s Toy Story follow-up, A Bug’s Life.
12 Disney’s The Fox and The Hound:The Coming of the Next Generation Tom Sito discusses the turmoil at Disney Feature Animation around the time The Fox and the Hound was made, marking the transition between the Old Men of the Classic Era and the newcomers of today’s ani-
1998 mation industry.
16 Lanterna Magica:The Story of a Seagull and a Studio Who Learnt To Fly Helming the Italian animation Renaissance, Lanterna Magica and director Enzo D’Alò are putting the fin- ishing touches on their next feature film, Lucky and Zorba. Chiara Magri takes us there.
20 Director and After Effects: Storyboarding Innovations on The Iron Giant Brad Bird, director of Warner Bros. Feature Animation’s The Iron Giant, discusses the latest in storyboard- ing techniques and how he applied them to the film. Licensing & Merchandising
23 In the Belly of the Beast:The Advertising to Kids Conference Buzz Potamkin attended New York City’s first serious look at the increasingly complex and important world of taping into the kids’ market. He was pleasantly surprised by the insightful panels and discus- sion. 28 The 1998 Golden Marble Award Winners were announced at the event as well.
29 Also included is, Are Kids Following Little Bo-Peep’s Sheep?, a sidebar discussing the continuing ero- sion of audience numbers that will, in time, lead to a lag in advertising dollars...
30 The Tanglefoot Chronicles:A Case Study A little known Disney character, a clumsy but well-meaning horse named Tanglefoot, became a licensing sensation by not being in a film - twice! J.B. Kaufman explains.
34 The Ingredients of Prosocial,‘FCC Friendly’ Animation What elements does FCC friendly programming need to keep kids paying attention and tuning in for more? Jennifer Kotler outlines the musts. OVEMBER The Student Corner
38 Here’s A How de do Diary:August Barry Purves is nearing completion on his Channel 4 film about Gilbert and Sullivan. Follow along as
N principal shooting almost comes to a close.
© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.
ANIMATION WORLD MAGAZINE November 1998 2 TABLE OF CONTENTS
NOVEMBER 1998 VOL.3 NO.8 Festivals, Events
46 The 1998 Ottawa International Animation Festival:A Nice Mix of Films, Business and Fun Deborah Fallows relates her experiences at the 1998 Ottawa International Animation Festival, a well-run, well-organized event that managed to stay fit and trim in a crowded year on the festival circuit.
49 The Ottawa ‘98 Scrapbook features pictures sent in by Animation World Magazine readers of them- selves, animators and others enjoying the 1998 Ottawa International Animation Festival.
51 A Look Back at MIPCOM ‘98 Sony Wonder’s Loris Kramer relates her MIPCOM ‘98 experience by discussing market trends, the purpose of the event and what you should know before attending with a project.
53 The Cartoon Forum: More Advancements for Europe The 1998 Cartoon Forum, held in Greece, gave Europe a grand opportunity to put productions into motion. Marie Beardmore reports.
Films 56 The Golden Cartoon 1998 Upon hearing the news that L’Enfant au Grelot/Charlie’s Christmas won the Cartoon d’Or, Animation World Magazine asked director Jacques-Rémy Girerd to share his thoughts. Available in English and French.
60 67 Aluminum Plates Oscar winner Jan Pinkava and a group of animators spontaneously collaborated to make a stop-motion animated film in one day during the Ottawa International Animation Festival. Wendy Jackson reports.
Books 62 Principles of Three-Dimensional Computer Animation: Revised Edition Mark Christiansen reviews the next evolution of Principles of Three-Dimensional Computer Animation, an academic textbook on computer graphics that is worth the read. Hidden Treasures
64 A Frame By Frame Chronicle of a Unique Collection:Animation at the Cinémathèque Québé- coise Jean Hamel discusses the wide range of delights housed in Canada’s archive, The Cinémathèque Québé- coise. Available in English and French. News
70 Animation World News Tom Sito joins Warner Bros., Chung Designing For Samsung, Antz II Marching On, ASIFA-Hollywood’s Annie Noms and more...
102 On A Desert Island With....Cartoon Characters OVEMBER Speed Racer and the Pocket Dragons reveal their favorite animated films.
103 Next Issue’s Highlights
8 This Month’s Contributors N 1 Cover: A Bug’s Life. © Disney Enterprises, Inc./Pixar Animation Studios. All Rights Reserved.
© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE November 1998 3 by Heather Kenyon Disney, Disney, Disney... ularity in comic strips Disney was too good It is true. One cannot dis- and books led to a at doing what they cuss animation without discussing licensing campaign do. By creating such Disney. From early marketing on a limited number profits, “everyone” plans to today’s newest animated of items in the 1930s. wanted a piece of the feature, Disney has played a major Jennifer Kotler also animated feature pie, role in our industry. While many offers kudos to Dis- and the resulting L&M may wrinkle their nose at the ney Television in her earnings. Eisner and monolith, one must admit that the article, “The Ingredi- Katzenberg’s rejuve- impact of this one man and his ents of Prosocial, nating approach was company is amazing. ‘FCC Friendly’ Anima- so well executed and In our Feature Animation tion.” defined that now Dis- section, Tom Sito discusses the tur- Furthermore, ney finds themselves moil at Disney Feature Animation in this month’s “Dig This!,” Zahra competing with the likes of in “Disney’s The Fox and the Dowlatabadi relates how power- DreamWorks (now helmed by Hound: The Coming of the Next ful the home video market really is. Katzenberg, of course), Fox and Generation.” The Fox and the Yes, we all know Disney sells a lot Warner Bros. Hound was a film made during of video tapes...but have you ever As late November and the transition between the Old stopped to think about how many December unfold we will have a Men of the Classic Era and the video tapes that really is? Think of better idea of whether or not Dis- newcomers of today’s animation the last household you entered ney will hold onto this title against industry. While the film was made with children. Didn’t they have a the onslaught. Perhaps one day during the doldrum years, it slew of Disney videos? Now, think we will remember the Eighties and helped spawn a generation of ani- of all the households worldwide early Nineties as when Disney mators that would reinvigorate with kids — that’s millions of reigned supreme, before other the field. We hear from two of households and millions upon mil- companies, like DreamWorks, these “young newcomers” who lions of Disney tapes. Zahra begins joined them in the secure posi- are now the grand poo-bahs of to put numbers and scope to this tions that the market has grown to animation. Brad Bird discusses thought and it is mind-blowing. support. Certainly, something will “Director and After Effects: Story- So almost all roads, surpris- always be special about Disney’s boarding Innovations on The Iron ingly, lead back to Disney in this well-crafted “brand.” Giant,” the film he is currently issue. I’d like to say I was very Another article well worth directing for Warner Bros. Feature clever and had planned this to reading this month is Buzz Animation. We have a very special show the long standing superiori- Potamkin’s review of the “Advertis- treat as Mike Lyons interviews A ty of Disney in the realm of this ing to Kids Conference.” Buzz Bug’s Life director in “Toon Story: issue’s two themes, Feature Anima- makes heads and tails about a cru- John Lasseter’s Animated Life.” tion and Licensing and Merchan- cial shift that is happening in tele- Concerning Licensing and dising. Instead, it is what they call vision viewing. Always insightful Merchandising, J.B. Kaufman has a happy accident that proves a and witty, Buzz’s article will be sure treated us to a very well- point — Disney has been the to prompt quite a few conversa- researched and interesting case absolute leader in feature anima- tions in coffee shops and confer- study in “The Tanglefoot Chroni- tion and licensing and merchan- ence rooms. cles: A Case Study.” He sheds light dising, pushing us toward the hey- on a relatively minor Disney side day we are currently experiencing. Until Next Time... character, Tanglefoot, whose pop- In fact, one could make a case that Heather
ANIMATION WORLD MAGAZINE November 1998 4 [email protected]
The Thief and the Cobbler the studio. The project was never in pubs. That’s why Williams didn’t Sorry, but the article by Alex going to be finished; not with want to finish it. He knew that Williams, son of Richard, regarding scenes being rejected at the rate when the world saw it, even if his father’s intended masterpiece they were by Williams, who was there was box office, it would be The Thief and the Cobbler being described as a manic obses- forgotten in a month. He was (Williams 2.12), is full of doggy sive, unhappy with anyone’s work right of course. Realistically speak- doo. His piece was way over-the- but his own. Thief was losing its ing, it never saw the light of day. top in praising his old man’s vision. cache in the industry. People who Stillborn. Not fully formed. A “magnum opus” it certainly is, used to say the name with awe, Alex Williams recommends but those of us who’ve tried to sit now spoke it in disaffected tones, that those of us “courageous” through it and failed, tend not to as if talking about a retarded old enough to sit the film out should blame the fourth-rate vandalism uncle. “Best if it just slipped away watch with the sound turned perpetrated by Fred Calvert, but quietly...” down. It’s an intriguing comment. the obvious and all-pervading Williams had the chance he I wonder if his father always, in his hand of Williams himself. This film wanted to get the project finished heart of hearts, intended it that is, it’s true, full of spectacular and on time. He blew it. His son’s lion- way? Animators usually think that brilliant animation. The trouble is, izing of his old man’s reputation is it’s their wonderful imagery that it seems to be there purely for the understandable. I love my dad makes a film. In truth, even the sake of it, and therefore, is only too. But the language he uses in undeniably stunning visuals in appreciated by the art house fra- describing Williams and the great- Thief would only make up half a ternity. The visuals sometimes cas- est White Elephant in animation’s film. People need the whole expe- cade almost out of the screen, but history is too florid and one-eyed rience — words, music and all to no end. Those of us anima- to be taken seriously. He asserts action. I feel that Williams left too tors who also like a story are left that Thief didn’t meet the deadline many big holes in his “magnum with a jumble; a confusing slurry because of Williams’ “perfection- opus,” and the rats don’t need a of criss-crossed plot points which ism.” Bull muffins. Try megaloma- second invitation to come in. end up going nowhere. We are nia. Try compulsive obsessionism. left wide-eyed and bored at the Alex insists that the project was Malcolm McGookin same time, mouthing silently, pulled out from under his father Exec. Producer, Bandicoot Produc- “What the f**ck’s going on?” with only another 10-15 minutes tions As an animator in the U.K. I of animation to go. Going by Brisbane, Australia had the opportunity to work on Williams’ previous efforts that Thief. I was tempted. The pre- equates to about five more years! Roger Rabbit Williams already had Disney would have had three fea- We Got The Amiga Blues a reputation in the business, and tures out in that time. Get real. The I was just inquiring why in Thief was already a legend — the Thief and the Cobbler was a leg- your article, “Small Studio/Home 20-year project that was going to end only while it was being con- Studio: An Overview of Low-End be the “Best Thing Ever.” Then the structed piece by painful piece, Computer Aided Animation Choic- reports came back from insiders in and gossiped about by animators es” by Michelle Klein-Häss (Klein-
ANIMATION WORLD MAGAZINE November 1998 5 Häss 3.5), you didn’t mention the tion filmmaker and still use the moved to UPN for reruns. In addi- incredibly cost effective and (still) Amiga and Take2, plus other soft- tion, the Fantastic Four and Iron regularly used in television 3D and ware for compositing and color- Man cartoons from the Marvel 2D production, computer system ing. I even shoot my Mag monitor Action Hour will alternate with known as the Amiga? There is an with a Bolex 16mm, all slaved by UPN’s The Incredible Hulk to create abundance of animation and my Amiga 3000, 25mhz, 18m the new Incredible Hulk and video production products avail- RAM with a 1G HD, and drawings Friends show. These will also be able for the low-end user on the scanned with an Epson. reruns. UPN will also have some Amiga — yet it seems to be Your writer should research kind of Disney block for reruns. (All ignored by your article! all avenues. these bits of information appeared in Mania’s online magazine.) I’m Yours Sincerely, Pierre Sylvestre sure this material will be too late Chris Andrews Scratch Productions when the next issue comes out, but I think it should be mentioned. Just as a side note, I would More Amiga Blues Changes to the 1998 Season love to see Corto Maltese in the Yo! In your recent article I think since the piece, States, but I don’t know if any stu- “Small Studio/Home Studio: An “Tooning in the 1998 Season” dio or distributor here would take Overview of Low-End Computer (Bevilacqua 3.6), was written, that kind of chance. Continued Aided Animation Choices” by there were a few changes with success with your great online Michelle Klein-Häss, you forgot the the Fox network schedule. Appar- publication. animation program used on ently due to Marvel Comics’ finan- Amiga computers and now ported cial problems, both Silver Surfer Sincerely, on PCs: Take2. It’s even and Captain America have been Neil A. Hansen announced on your site!!! shelved. The X-Men and Spider- I’m a professional anima- Man cartoons from Fox are being Animation World SStore http://www.awn.com/awnstore/vilppu Never before available!!!
Glenn Vilppu’s drawing techniques manual and video tapes, used worldwide as course material for animation students.
ANIMATION WORLD MAGAZINE November 1998 6 by Zahra Dowlatabadi he home video market’s Adventure A similar trend exists in the enormous success has 9. From All Of Us To All Of You U.S. market in the domain of video Tplayed a key role in trans- 10. U2: Rattle and Hum sales. Video Store Magazine’s To p forming the world into a global vil- Source: 1990 International Televi- 100 Sell-through Titles between lage. You may find yourself travel- sion and Video Almanac 1992-1997 covers the genres of ing to far and remote vil- family, drama, comedy, lages where standards of romance, sci-fi, action and living may be radically dif- animation. The dominating ferent to what you are category is the family pic- accustomed to, but even in tures classification with 35 such places, you are very titles. Animation comes in a likely to come across the close second with 30 list- one and only neon sign ings. Disney’s animated fea- that advertises “VIDEO.” tures account for 25 of these This rapidly growing multi- titles. However, out of these billion dollar industry is in 25, six are in the all time top desperate need of a system ten. Here is the U.S. Top Ten to track the top-performing Sell-through List of Videos: video rentals and sales on The Jungle Book is the U.K.’s all time # 1 video rental. © an international basis. The Disney. All Rights Reserved 1. The Lion King limited data that exists indicates 2. Snow White and the Seven that animation — specifically Dis- Even though this survey is Dwarfs ney’s animation — has consistently almost ten years old (prior to Dis- 3. Aladdin placed among the top video ney’s recent series of hits starting 4. Independence Day rentals and sales. According to the with Little Mermaid), it attests to 5. Jurassic Park 1995 International Television and the studio’s consistent track record. 6. Toy Story Video Almanac, children’s videos As if the nine out of ten titles being 7. Beauty and the Beast account for 41% of the Australian Disney features in Italy is not 8. (tie) Men in Black home video market. Screen Digest impressive enough, see the U.K. 8. (tie) Pocahontas (Dec. 1997) cites animation cor- List of All Time Top Rental Videos: 10. Star Wars Trilogy nering 64% of the European Source: Video Store Magazine home video market. A survey of 1. The Jungle Book (July 11, 1998) the 1989 Italian Top Ten Video 2. The Lion King Sales lists the following titles: 3. Fantasia According to the Daily 4. Snow White and the Seven News (June 7, 1998) over half of 1. Who Framed Roger Rabbit? Dwarfs the Disney Studio’s overall revenue 2. Pinocchio 5. Beauty and the Beast is generated by home videos. This 3. The Sword in the Stone 6. Aladdin fact is only confirmed by the 4. Goofy’s Vacation 7. Bambi above lists. All over the world Dis- 5. Donald Duck and His Ugly 8. River Dance - The Show ney is selling millions of video Ducklings 9. Peter Pan tapes. A significant second is 6. Mary Poppins 10. The Aristocats MCA/Universal projects such as 7. Mickey Mouse Source: 1997 International Televi- the Land Before Time original and 8. Chippendale [Chip And Dale] sion and Video Almanac sequels, and An American Tale
ANIMATION WORLD MAGAZINE November 1998 7 ANIMATION WORLD NETWORK 6525 Sunset Blvd., Garden Suite 10 Hollywood, CA 90028 Phone : 323.468.2554 Fax : 323.464.5914 Email : [email protected]
[email protected] PUBLISHER Over half of the Disney Studio’s overall revenue is generated by home videos.The lat- Ron Diamond, President est sure-fire money-maker is The Lion King II:Simba’s Pride, which was released direct-to-video on October 27. © Disney.All Rights Reserved. Dan Sarto, Chief Operating Officer EDITOR-IN-CHIEF series which have had their share sending an e-mail to: Heather Kenyon ASSOCIATE EDITOR of success as Best Selling Holiday [email protected] Wendy Jackson Videos. Hopefully, we can explore CONTRIBUTORS It would be illuminating to further into this territory and bring Marie Beardmore compare the U.S., U.K. and Italian you updates as we uncover new Brad Bird data with that of other countries. grounds. Mark Christiansen A comparison with Japan would Zahra Dowlatabadi be of particular interest since that What else should we dig? Every Deborah Fallows month, Animation World Maga- Jean Hamel country has its very own lucrative zine will highlight the most inter- Wendy Jackson and thriving animation industry. esting, exciting happenings in ani- J.B. Kaufman Presently, most articles addressing mation, in “Dig This!” Send us your Heather Kenyon the international market tend to ideas, suggestions, videos, prod- Jennifer Kotler focus on specific areas such as the ucts or works-in-progress today. You dig? Loris Kramer country’s population, number of Mike Lyons TVs at home, number of VCRs Editor Chiara Magri ,video prices, average number of Animation World Magazine Buzz Potamkin titles released, number of legal 6525 Sunset Blvd. Garden Suite 10 Barry Purves Home Video Distributors and an Hollywood, CA 90028 U.S.A. Jacques-Rémy Girerd E-mail: [email protected]. estimated piracy level. Indeed, it is Tom Sito TRANSLATION very difficult to track any informa- Zahra Dowlatabadi is currently French: William Moritz tion without first ascertaining the co-writing a book with Catherine French Language Editor: Annick Teninge answers to these questions. This Winder entitled How To Produce OPERATIONS information may be readily avail- Animation. Zahra’s most recent Annick Teninge, General Manager able in some countries, and simply credit is that of associate produc- WEBMASTER require translation. We would like er on Warner Bros. Feature Ani- Jeff Williams to invite readers who have access mation Quest For Camelot. DESIGN/LAYOUT to reliable sources that list a coun- Jeff Williams / Steve Small / Danita Clark try’s top performing rental and Note: Readers may contact any ADVERTISING SALES video sales information to partici- Animation World Magazine con- North America :Dan Sarto tributor by sending an e-mail to Germany :Thomas Basgier pate in our fact-finding mission by [email protected]. UK: Alan Smith
ANIMATION WORLD MAGAZINE November 1998 8 by Mike Lyons films really touch people.” jointly five movies over the next With Toy Story, we were ten years. The first of these is A not only introduced to the amiable Bug’s Life, a re-telling of “The pull-string cowboy doll, Woody, Grasshopper and the Ants” fable the supercharged Buzz Lightyear for a new generation. The film hits action figure, and such familiar theaters this month, as the second faces as Mr. Potato Head, Slinky-Dog and green Army men, but we also got a true milestone - the first all-computer animat- John Lasseter. Photo courtesy of Disney. ed feature.
t was late 1995 and Toy Story The Story Supreme was the big story. The film was Best of all, Toy Iruling the box-office, critics Story wasn’t just all were tossing out four star reviews about the technolo- Toy Story. © Disney.All Rights Reserved. like confetti and animation histori- gy; it was a solid story ans were dubbing the film’s direc- with memorable characters, that of this fall’s computer animated tor, John Lasseter, the “Walt Disney just happened to be told with “insect epics.” The first was last of computer animation.” computer imagery. As one of the month’s Antz from chief competi- pioneers of the medium, as well as tor DreamWorks, SKG. vice president of creative develop- You cannot base a whole ment for Pixar Animation Studio, movie on just the imagery co-producer of Toy Story with Dis- It had never dawned on me alone. - John Lasseter ney, this is what John Lasseter that you could do this as a strives for over any photo-realistic career. - John Lasseter Lasseter knew he had done effect that computers can provide. well, but wasn’t sure just how “You cannot base a whole movie well, until he and his family were on just the imagery alone,” he Getting An Early Start returning from a vacation at Walt says. “It has to be the story and the Audiences may be just Disney World. “We stopped and characters.” beginning to latch on to comput- changed planes at the Dallas-Fort Audiences liked these ele- er animation, but for Lasseter, it’s Worth airport,” he remembers. ments of Toy Story so much, that like an old friend, with roots that “Getting off the plane, my son the film went on to generate over go back to childhood. “I loved car- said, ‘Daddy! Daddy! Look!’ And $350 million in ticket sales and toons,” admits Lasseter. “I would there was a little boy, about four also brought a Special Achieve- get up at the crack of dawn on years old, with his mom, clearly ment Oscar to Lasseter. Saturday, get my bowl of cereal waiting for his dad, he was so The Walt Disney studio and watch cartoons from when excited...and he was holding a liked Toy Story too, so much so they started until ‘Bowling for Dol- Woody doll. It all came home at that, last year, Disney and Pixar lars’ came on.” that point. I realized how these signed an agreement to produce Coupled with this was the
ANIMATION WORLD MAGAZINE November 1998 9 fact that Lasseter’s love for artistic Edwin Catmull, now Pixar’s vice creation was fueled by his high- president and chief technology school art teacher mom. “She officer, was starting up a computer would bring home extra paint, division. In 1986, Steve Jobs, co- paper and markers,” adds Lasseter. founder and chairman of Apple “So, I was constantly doing little art Computer, Inc., purchased the projects.” computer division of Lucasfilm and incorporated it as an independent Over the next decade, the company, under the name Pixar, Pixar studio, would lead the where he now serves as chairman computer animation industry and chief executive officer. Luxo Jr. © Pixar. both technically and aestheti- Over the next decade, the cally. nascent technology of computer Pixar studio, located in Point Rich- animation. It was called Tron. Las- mond, California, would lead the Years later, while a high seter was able to get an early computer animation industry both school student himself, Lasseter glimpse of the film’s “light cycle” technically and aesthetically. Las- discovered Bob Thomas’ book, sequence and says, “It absolutely seter directed the studio’s first short The Art of Animation, which took a blew me away! A little door in my film, 1986’s Luxo, Jr, which starred behind-the-scenes look at the mak- mind opened up. I looked at it and a desk lamp and its precocious ing of Sleeping Beauty. “I realized said, ‘This is it! This is the future!’“ child. Two years later, another of that people make cartoons for a Lasseter talked the Disney the studio’s shorts, Tin Toy, also living. It had never dawned on me studio into letting him do a thirty- directed by Lasseter, would tell the that you could do this as a career.” second test that combined hand tale of a destructive baby and a Lasseter began correspond- drawn animation with computer nervous wind-up toy. The short ing with the Disney studio and backgrounds. “It was exciting,” subject would make history as the during his high- school senior says Lasseter, “but at the time, Dis- first computer animated film ever year, they sent him a letter stating ney was only interested in com- to win an Academy Award. The that they were initiating a charac- puters if it could make what they short subject sprang from Las- ter animation program with the were doing cheaper and faster. I seter’s love for toys (he still has his California Institute of the Arts (Cal said, ‘Look at the advancement in entire Hot Wheels car collection Arts). Lasseter enrolled and spent the art form. Look at the beauty of from childhood), which was taken four years learning the craft from it.’ But, they just weren’t interest- to greater heights with Toy Story. Disney’s masters of the medium. ed.” A Bug’s Life A Disney Beginning The Birth of Pixar Now, both Pixar and Dis- In 1982, the young artist The studio may not have ney hope that computer generat- was hired at the Disney studio as been interested, but Lasseter still ed lightening indeed strikes twice an animator. A dream job? Yes, but had an incredible thirst for this with A Bug’s Life. In the film, a mis- for Lasseter, something was miss- burgeoning medium, which led fit ant named Flik (voiced by News ing. “I was always feeling that ani- him to Lucasfilm Ltd., where Radio’s Dave Foley) tries to save his mation had reached a plateau with 101 Dalmatians,” he says. “Somehow, I felt that the films after that, while they had wonderful moments and characters, overall, they were just the same old thing.” Lasseter knew that anima- tion needed something to help it rise to another level. Then, he heard about a film that the Disney studio was producing using the A Bug’s Life. © Disney Enterprises, Inc./Pixar Animation Studios.All Rights Reserved.
ANIMATION WORLD MAGAZINE November 1998 10 colony from a group of greedy acter Heimlich, Joe, who is just a grasshoppers, led by the villainous very funny person, did this hilari- Hopper (Kevin Spacey). Flik ous, high-pitched, German, recruits a group of insects he mama’s boy voice. We were just thinks are mercenaries, but instead cracking up.” turn out to be inept performers While casting the voices, from a flea circus. the filmmakers searched for anoth- er, “permanent” Heimlich, but none seemed to match Ranft’s per- Both Pixar and Disney hope formance. Then, Lasseter brought that computer generated light- a rough-cut, “story reel” home to ening indeed strikes twice with show his wife and five sons. “Every A Bug’s Life. time Joe said Heimlich’s line, my wife giggled,” he says. That’s all it “Part of what makes a great took, Lasseter told Ranft the next movie is character growth,” says day that he had the part. Lasseter, who co-directs A Bug’s Flik, star of A Bug’s Life is described as “an original thinker out-of-step with the Life with Andrew Stanton. “With Next? rest of the more traditionally-minded Flik, he grows quite a bit, but As a follow-up to A Bug’s bugs.” Sound like someone we know? © more importantly, everyone Life, Disney and Pixar will release Disney Enterprises, Inc./Pixar Animation Studios.All Rights Reserved. around him, because of his influ- Toy Story 2 next year. In the ence, also grows a tremendous sequel, Woody is stolen by an Bug’s Life enters theaters. “I always amount. In your own life, you overzeleaous toy collector and equate it to having a child and don’t realize all the people that Buzz and the other playthings then raising it,” he says. “At a cer- you come in contact with - your must venture out to save their tain point, your son or daughter friends, your loved ones - how friend. Lasseter, who will serve as graduates from high school and much you affect them. It’s a really the film’s executive producer with goes to college. You give them to apt emotional core to the film that animators Ash Brannon and Colin the world and hope that you did fits with everyone’s everyday lives.” Brady directing, says he had no okay. That’s very much like these In addition to Spacey and qualms with handing his charac- movies. When we get to the Foley, Bug’s Life also features a ters over to other people. “They release date, we realize that the stellar voice cast that includes Julia are my ‘babies,’ but they are also movie doesn’t belong to us any Louis-Dreyfus as the ant Princess our ‘babies.’ Everybody helps cre- more. It belongs to the world and Atta, Denis Leary as Francis, a ate these characters and films. you just hope that you did okay.” male lady bug with a “chip on his They’re in very capable hands.” No doubt “proud parent” wing,” Jonathan Harris (Dr. Smith Lasseter is now watching Lasseter will be hoping for a from Lost in Space) as Manny, the another “off-spring” grow up, as A strong showing at the box office, a praying mantis magician, the late warm reception from critics and, Roddy McDowall as the ant Mr. most importantly, a child some- Soil, and Phyllis Diller as the where hugging a Flik doll. Queen of the ant colony. There is another member of the cast that many outside ani- Mike Lyons is a Long Island-based mation circles may not recognize. freelance writer, who has written Joe Ranft, a veteran Disney story over 100 articles on film and ani- man, provides the voice of Heim- mation. His work has appeared lich, the always-hungry caterpillar. in Cinefantastique, Animato! and During the early days of produc- The Disney Magazine. tion on Bug’s Life, Ranft provided the voice for Heimlich on the film’s Note: Readers may contact any Animation World Magazine con- temporary soundtrack. Lasseter © Disney Enterprises, Inc./Pixar Anima- tributor by sending an e-mail to remembers, “In creating the char- tion Studios.All Rights Reserved. [email protected].
ANIMATION WORLD MAGAZINE November 1998 11 by Tom Sito ilms can be important for beginning. The names not men- Henry Selick, Don Paul, Jerry different reasons: block- tioned are as interesting as those Reese, Richard Rich, Brad Bird, Fbuster box office, the cre- that are. Randy Cartwright, Ed Gombert ative apogee of a particular per- and Dave Spafford, and the first former, the first to debut a new American women animators since If ... you could get a full innovation. The Walt Disney Stu- the days of Retta Scott, such as personnel roster of The Fox dio’s 1981 release The Fox and the Linda Miller, Heidi Guedel and and the Hound you would Hound is probably not on many Lorna Cook. Bill and Sue Kroyer see ... a veritable who’s who lists of top ten animated films of all met on this film. The dean of Hol- of current Hollywood ani- time but it has an importance lywood life drawing Glenn Vilppu mation power. unique from other animated films. did layout. Animation union heads It marked the turning point, when Steve Hulett and Earl Kress were the Golden Age artists of Pinno- If through some form of writers on it. Future Beauty and chio and Bambi yielded their torch prestidigitation you could get a full the Beast producer Don Hahn was finally and forever to the Baby personnel roster of The Fox and a low-level production person. Boom generation. the Hound you would see Also at Disney, but on another pro- It was the last major work unveiled before you a veritable ject, was a newly arrived animator of the legendary Nine Old Men: who’s who of current Hollywood from Germany named Andreas Frank Thomas, Ollie Johnston and animation power, including: Glen Deja. Woolie Reitherman. Milt Kahl, Keane, Don Bluth, Tim Burton, Marc Davis and Ward Kimball had John Musker and Ron Clements, In Need of Rejuvenation moved on from feature animation future Pixar head John Lasseter, Disney Animation had or otherwise retired, been in a slow and Eric Larson had decline since 1959’s focused on training Sleeping Beauty. In incoming talent. John 1958 the studio Lounsbery and Les Clark downsized it’s staff had died. The Fox and from 500 to 125 the Hound would be and this reduced the first animated film staff level continued with which Walt Disney into the mid-1970s. had absolutely no If they hired at all it involvement. was a very, very Run the video selective process. today and you’ll notice From 1970 to 1977 something interesting Disney animation about the screen credits. had hired only 21 It is the last Disney film people, and most with no complete roll of these were in the credits at the end. Cred- last year, 1977. To its were for a select few the young artists and moved to the long The Fox and the Hound. © 1981 Walt Disney Productions.All Rights then beginning Reserved. set-up sequence at the their careers it
ANIMATION WORLD MAGAZINE November 1998 12 seemed easier to attain Nirvana short pencil tests over a four- until the hard drinking hunter’s then get into Disney. month period and if judged wor- importance was supplanted by a Art does not require youth- thy they would be assigned to a sweet, pudgy old lady, and friend ful energy. Hokusai and Titian did veteran artist to do production. and foe all became pals at the some of their best work at a very end. This grated on a lot of the old age. Animators like to brag younger story people. that they’ll never retire, but draw From 1970 to 1977 Disney ani- Chief the dog gets hit by a until they “hit the disk.” The Disney mation had hired only 21 peo- freight train and drops a thousand artists who visualized Walt’s ple, and most of these were in feet into a gorge, yet in the last dreams in the 1940s were gener- the last year, 1977. sequence appears okay with a lit- ally the same men and women at tle bandage on his paw. Story vet- the desks 30 years later. However, eran Vance Gerry argued for the by the mid-1970s it was obvious An Era of Change department: “But he gets hit in the that if something wasn’t done The studio had gone from kisser with a freight train!!” To soon, Disney Animation would die Walt’s death in 1966 to Roy Sr.’s which Ron Miller and co-director out with its creators. Walt Disney death in 1970 to be led by Dis- Art Stevens countered: “Geez, we had planned an extension of his ney’s son-in-law Ron Miller. In 1971 never killed a main character in a training school to be built in Valen- they had bought the rights cia, California and it became the to The Chronicles of Prydain California Institute of the Arts (Cal which would become The Arts). By 1976, its first graduates Black Cauldron. All through were taken on as trainees. the 1970s trade publications The trainees were brassy, announced its development bell-bottomed, long-haired and by a new generation of iconoclastic. They rode bicycles “Nine Young Men” but through the hallways. For the always with the same hedonistic Disco Era, they were a accompanying artwork well-behaved bunch, but for a done by old master Mel sleepy studio whose policy forbid- Shaw. The truth was the ding women to wear pants only elder statesmen felt their changed in 1977, they were a young charges just weren’t breath of fresh air. ready for such a difficult and Yet the elder statesmen dark story. kept them aware of who was After The Rescuers boss. These men and women had (1977) Milt Kahl retired. The learned their craft the old fash- studio did Pete’s Dragon ioned way — tough, no non- and a Christmas special sense, butt kicking. This would be called The Small One. Pro- their method of teaching their duction on Cauldron was young ingenues. Many animators again put off while the staff The Fox and the Hound. © 1981 Walt Disney Pro- have stories of a Milt, Frank or began work on a film based ductions.All Rights Reserved. Ollie chewing them out for their on Daniel Mannix’s 1967 mistakes. One animator told of book The Fox and the Hound. Disney film and we’re not starting being made to stand before his The story of Tod the fox now!” Besides, Ollie had done director while he rifled through who befriended a hunting dog some neat test animation of Chief scene folders mumbling, “Hmmm, named Copper was originally hobbling around in a cast. They you’re not good enough for this much more realistic. It ended with then made young animator Randy one yet...you’re not good enough a hunter nailing Tod’s lifeless pelt Cartwright go back to the scene for this...hmph...maybe you can to the wall then euthanizing Cop- where Copper finds Chief’s body manage this one.” per with his shotgun. The story and had him animate Chief’s eyes The trainees produced two department “Disneyfied” the tale opening and closing so the audi-
ANIMATION WORLD MAGAZINE November 1998 13 ence knew right away he was not The room where Bill Kroyer, Brad Glen Keane began a reputation dead. Bird, Henry Selick and John for himself by re-storyboarding Another controversy was Musker worked was dubbed the and animating the bear fight when 70 year-old director Woolie “Rat’s Nest” by their detractors. sequence. I’ve been told the origi- Reitherman wanted to add a They had a meeting with Ron nal storyboards were even more sequence three quarters through Miller about the future of the stu- dramatic but were toned down by the movie where Phil Harris and dio that Bluth may have interpret- the directors for fear of losing their Charro, playing two whooping ed as a challenge to his authority. family “G” rating. However, even cranes, would sing a silly song Finally, Don decided the Keane left the studio for awhile. called, “Scoobie-Doobie Doobie films he desired to make couldn’t Will Finn was an inbe- Doo, Let your Body Goo, be done at Disney. On his birth- tweener who was let go after ani- err...Go.” Just about everyone but day, September 13, 1979, Don mator Linda Miller left to go with Woolie hated the idea and he was Bluth, Gary Goldman and John Bluth. He asked the personnel at last compelled to scrap it. The Pomeroy entered Ron Miller’s office director who was firing him, “Are director of Jungle Book walked and tended their resignations. there ever cases of someone who into a friend’s office and said One third of the staff followed suit. was fired ever coming back?” The dejectedly, “I dunno....maybe this Miller was outraged. He felt per- old man smiled, “Well, yes, but I is a young man’s medium...” He sonally betrayed by these artists, don’t think so in your case.” moved over to developing Catfish all of whom had been nurtured Despite that he did return eight Bend and in 1985 was, unfortu- and painstakingly trained to take years later as a master animator, nately, killed in a car accident. their role as Disney lifetime creating Cogsworth, Iago and By early 1978 veteran ani- employees. Gimsby for Disney. He is currently mators Frank Thomas and Ollie Miller ordered all of the co-directing DreamWorks’ El Dora- Johnston had completed their resigners off the studio property by do. handling of Copper and Tod and noon that same day. Gathering had begun to think of their book the remaining staff he began a The Disney artists who visual- projects like Illusions of Life. Veter- speech with: “Now that the can- ized Walt’s dreams in the an story artist Larry Clemons had cer has been excised...” The Bluth 1940s were generally the same written and recorded the dialogue group went on to build their stu- men and women at the desks of Copper and Tod as pups with dio and be Disney’s chief competi- 30 years later. the child actors, then retired. tion for the next decade. Miller pushed the release The Exodus in Mid-Stream date for The Fox and the Hound By 1979 the field was clear- back from Christmas 1980 to sum- The Next Chapter ing for the Young Turks, but fac- mer 1981. New artists were hired The Fox and the Hound tions had developed in their ranks. and promoted to fill the ranks. To finally opened to not spectacular, It’s one thing to give complete make up for the lack of experience but good box office and critical obedience to a silver haired leg- of the new animators much of the acclaim. The studio moved on to end who created Captain Hook, quality control would rely upon a Black Cauldron which at one point quite another when someone corps of veteran assistant anima- was slated to be the directorial who sat in class next to you is now tors (clean-up artists) — Tom Ferrit- debut of John Musker and Ron a supervisor demanding the same er, Walt Stanchfield, Chuck Clements, however the older unquestioning discipline. Williams, Dave Suding and more. directors Art Stevens, Ted Berhman There was a group devoted Like master sergeants their solid and Richard Rich convinced Miller to Don Bluth and his vision for reliability would bring the project and producer Joe Hale to keep revitalizing the studio. They to completion. them as the directors. Musker and worked after hours in Don’s Still more young talent not Clements went on to develop Basil garage on an independent short associated with Bluth but tired of of Baker Street. Black Cauldron Banjo the Woodpile Cat. Another the infighting left the studio. Andy failed disastrously in 1984. group worried about his influ- Gaskill, Bill Kroyer, Dan Haskett, Disney Chairman Ron Miller ence. Bluthies vs. Mouseketeers. Brad Bird and more. Animator was ousted in the famous 1984
ANIMATION WORLD MAGAZINE November 1998 14 Creator of Don Bluth Animation, director of The Secret of Nimh, An American Tale and Anastasia. Cur- rently a director at Fox Feature Ani- mation in Phoenix. • Lorna Cook (animator): Prince of Egypt story head and director of DreamWorks’ Spirit project. • Jerry Reese (animator): Director of The Brave Little Toaster and live- action film The Marrying Man. • Brad Bird (animator): Currently, director of Warner Bros.’ The Iron Giant and previously of The Simp- sons and Amazing Stories’ Family Dog. • Chris Buck (animator): Director of Disney’s Tarzan and A Wish for Wings That Work.
The Fox and the Hound. © 1981 Walt Disney Productions.All Rights Reserved. Bibliography/Acknowledgments takeover that spawned the Roy King — a new Golden Age sprung Enchanted Drawings by Charles Disney-Eisner-Katzenberg era. from the seeds planted in 1976. Solomon. Today, Miller and his family own Mouse Tales by Eric Koenig. Silverado Vineyards in Napa Valley A Sampling of Then and Now Special thanks to: Steve Hulett, and make a nice chardonnay. John Musker and Ron Dan Haskett, Glen Keane, Bill Kroy- Richard Rich opened his own stu- Clements (story artist and anima- er, Lorna Cook, Linda Miller, Dorse dio and created The Swan Princess tor): Producer-director team of The Lanpher, Don Paul, Randy in 1995. Little Mermaid, Aladdin and Her- Cartwright, Earl Kress, Will Finn, cules. Dave Spafford, and Bruce Morris. By 1979 the field was clearing • Tim Burton (assistant & develop- Thanks to Howard Green for for the Young Turks, but fac- ment artist): Producer of The images. tions had developed in their Nightmare Before Christmas and ranks. director of numerous live-action films like, Batman, Batman Returns, Ed Wood, Edward Scis- Tom Sito is a 20-year animation Don Bluth scored a major sorhands, Mars Attacks! and Pee veteran and teacher who’s credits hit in conjunction with Steven Wee’s Big Adventure. include He-Man and the Masters Spielberg with An American Tail in • Glen Keane (animator): Anima- of the Universe, The Little Mer- 1986. This success is referred to by tion creator and designer of char- maid, Beauty and the Beast, animators as the “Wake Up Call” to acters Ariel, Beast, Aladdin and Aladdin, The Prince of Egypt and the new Disney management to Pocahontas. Paulie. He was elected president the potential of animation. Basil of • Bill and Sue Kroyer (animator of the animator’s union M.P.S.C. Baker Street, renamed The Great and assistant): Director team of FernGully: The Last Rainforest, 839 in 1992 and has served in Mouse Detective, marked Disney’s plus an Oscar nom for Technolog- that capacity ever since. first step in the road back to domi- ical Threat. nance. • John Lasseter (animator): Oscar The rest of the story is well- winning CGI pioneer; creative Note: Readers may contact any known: Who Framed Roger Rab- director of Pixar and director of Animation World Magazine con- bit?, The Little Mermaid, Beauty Toy Story. tributor by sending an e-mail to and the Beast, Aladdin, The Lion • Don Bluth (animation director): [email protected].
ANIMATION WORLD MAGAZINE November 1998 15 Lanterna Magica: The Story of a Seagull and a Studio Who Learnt To Fly
by Chiara Magri ucky and Zorba: A Fortu- happy occasions try that has pro- nate Encounter where a valid idea duced little or comes at a favor- nothing for many, L A good story is at the heart able moment when many years. This is of every good film, therefore, Enzo it is in tandem with why I jumped for D’Alò didn’t have any doubts the market’s require- joy when Mikado, when, two years ago, he came ments. However, it a relatively small across the Luis Sépulveda novel was certainly not by but prestigious Ital- The Seagull and the Cat Who chance. The Lanter- ian distributor, Taught Her to Fly and decided to na Magica, found- took on our film. make it into a film. He didn’t even ed in Turin in 1983, The market pene- hesitate when he presented it to has slowly built up a tration wasn’t Vittorio and Rita Cecchi Gori, some wide range of ani- strong and distrib- of Italy’s leading producers, who mation experience ution investments have produced amongst other in advertising pro- were meager but programs the Cannes Festival duction, social infor- Enzo D’Alò. Photo courtesy of the film cut out an Lanterna Magica. Grand Prix winner La vita è bella mation with strong important space by Roberto Benigni. In addition to involvement in the education and on the quality film circuit. It was the vitality of the characters, training sectors, as well as with these positive results we got from strong narrative and visual poten- specials and short TV series. The Blue Arrow that gave us cred- tial of the short story, Sépulveda is ibility. I’m not talking commercial almost a household name after a results, but rather those from crit- What is lacking is a distribu- string of publishing successes in ics and the media. Cecchi Gori tion strategy capable of over- Italy and Europe. Furthermore, it is saw the film twice. We signed the coming linguistic and cultural a tale with a moral, a fable, calling contract in three months and differences. for respect for both nature and Lucky and Zorba was financed man’s differences. The story, fea- with 10 billion lire. Cecchi Gori has turing a gang of cats and a seag- Above all, they had a pre- shown great sensitivity but I also ull, has a straightforward mes- cious ace up their sleeves with The think there is a lot of interest from sage, with explicit moral values Blue Arrow, a full-length animated investors for full-length animated which are accessible and enjoy- film released in 1996 and pro- features today. We have a good able for all readers from children to duced with Monipoly and Fama relationship with Cecchi Gori adults. Film. As Maria Fares explains, “As which will continue after Lucky As a result, Enzo D’Alò and with the majority of European ani- and Zorba. We are looking at executive producer Maria Fares mated films, possibly worse still for other projects both for cinema had a strong proposal, both in the Italian ones, we had enormous and home video.” film’s story and their ability to pro- problems with the distributors. We duce an animated version with had the usual complications of set- Distribution and Production their Lanterna Magica company. It ting up the necessary financial Difficulties seems that it was one of those backing and producing in a coun- As Fares stated, the real
ANIMATION WORLD MAGAZINE November 1998 16 obstacle for European duction ability. Italian features is the distribu- animation from the tion. Relations between ‘50s to the ‘70s was animation producers predominantly used and distributors are not for publicity, with a structured well enough wide variety of to guarantee adequate unusual and imagi- promotion of the film. native characters, According to Cartoon, and animated mini- the animation division series. Then for a of MEDIA, a good 70 long period features have been between the ‘70s made in Europe in the and ‘80s it under- last seven years. There is went a severe crisis no lack of talent, pro- due to the with- jects or even investors. The Blue Arrow has been very successful, and will be distributed on drawal of advertising The demand is there. video by Miramax. © Lanterna Magica. funds and a near What is lacking, howev- total disinterest on er, is a distribution strategy capa- lem to solve — the offer. What I the part of both TV and cinema ble of overcoming linguistic and mean is that the production forces producers. Market growth, MEDIA cultural differences. The Blue aren’t up to it yet in Italy. Our com- Program’s actions and, above all, Arrow’s outcome is symptomatic: pany has a strong ‘art workshop’ the awakening interest of the State in Italy it was mediocre because of feeling dealing predominantly television has started a regenera- restricted showings, in France (dis- with features, even though we tion in the productive tissue and is tributed by Gebeka) it fared better also do TV productions. We’ve set bearing its first fruits in TV series as and sold 110,000 tickets in 5 up a solid and well-tested team for well. Lanterna Magica’s features months. high quality productions, so in are at the forefront of this reawak- This obstacle seems to be addition to D’Alò’s films, we are ening. overcome with Lucky and Zorba moving ahead with other projects since the producer can also guar- from other important Italian The Lanterna Magica Approach antee cinema, TV and home video authors. First of all, we’ve got a A 20-minute promo of distribution themselves. The aim is film by Guido Manuli shown suc- Lucky and Zorba was officially pre- for an international market and cessfully to Cecchi Gori. The script sented at the Venice Film Festival the prospects look promising as is ready and we are developing in September, with excellent deals are underway with Miramax. the characters. A second project is reviews from the media, producers Demand does certainly Juanin Padan, by Giulio Cingoli, and distributors. The screenplay is exist as Lanterna Magica is now one of the great veterans of Italian by Umberto Marino and Enzo working on two new films under animation, together with Dario D’Alò. The adaptation has been D’Alò’s direction. Momo from a Fo, actor, writer, jester and Nobel approved by Sèpulveda himself Michael Ende novel for the Ger- Prize winner for literature in and his voice will be used in the man producer Taurus in conjunc- 1998.” Italian version. The music has an tion with Trickcompany, the Ger- extremely important role and has man animation company known been entrusted to Peter Gabriel’s for their two successful films based Lanterna Magica’s features are Real World organization and com- on the Werner comic strip (gross- at the forefront of this Italian posed by David Rhodes. Presti- ing $20-31 million). The second reawakening. gious, classic, but innovative, film is for the Italian state televi- choices have been made for this sion, RAI, and will be, at last, an film. Italian version of Pinocchio. In other words, Fares “Whether to release Lucky Maria Fares claims, “You underlined a problem which the and Zorba at Christmas against see, for Italy there’s only one prob- Italian sector is facing: that of pro- Disney and Spielberg or more pru-
ANIMATION WORLD MAGAZINE November 1998 17 dently in January? I don’t know, it’s think it’s simply a choice a decision for the producer,” says of software. We have to Enzo. “I only know that I want to find solutions to prob- finish the film for Christmas. This lems continually as they means we will have produced a come up. The quality of feature in record time: one and a the film requires this. half years. I won’t do it again ... Working with Enzo is but it had to be in the cinemas this stimulating and lends a year, two years after The Blue new experience but at Arrow. We’re doing this because the same time a service our relations with the producer company can’t be tied are very good and the team is to only one producer. experienced, plus dealings with Cartoonia is working a Cartoonia [the company for color- lot for TV series for Italy ing and shooting services] have and Europe.” got better and better. Even exter- nal help, that for The Blue Arrow Enzo’s Mix of Message was a multitude of free-lancers, and Entertainment has become more structured and Enzo is now an organized with real animation ser- animated feature spe- vices.” cialist and after fifteen With Lanterna Magica’s years with Lanterna help the Italian production indus- Magica he has more try has grown and is becoming a than a passing knowl- consolidated structure. Cartoonia, edge of animation and a computer services company in — something of a rarity Zorba the cat from Lucky and Zorba. which Lanterna Magica has a in the European game © Lanterna Magica. share with one of the leading — he is not an anima- child’s imagination. It’s a story of video production and post-pro- tor but rather comes to animation cats, real cats even if they can duction companies, Roman Etabe- as a director. “I wanted to do Lucky speak. We’ve tried to make them ta, can now, thanks to the feature and Zorba, like The Blue Arrow, as credible even though they are experience, offer high quality ser- a film and no more. It doesn’t mat- always and only cats. No glasses vices on a par with the competi- ter that it’s animation, I want, on the nose, or paws used as tive Far East. above all, for it to be cinema, that hands. Even the animation has fol- communicates with audiences as lowed this principle — it’s fluid, but cinema does.” D’Alò loves story- never over the top or caricatured. With Lanterna Magica’s help telling and animation is the best In this way we’ve been able to get the Italian production industry means. While this film is for family cats that are completely different has grown and is becoming a audiences, his films are usually a from the Aristocats, even if it consolidated structure. long cry from both noisy special- meant driving Walter Cavazzuti, effects and fussy élitist authors. “I the creator of the characters, try to use a cinema language but mad.” Marco Massa, managing ensure that the pictorial element The theme of the film is dif- director of Cartoonia, explains, of the image remains intact. The ferences — the job of hatching a “There has been an enormous scenography was done in water- seagull egg falls to Zorba the cat, effort on the graphic elements of color and that’s how I want them who adopts the chick and brings it the Lanterna Magica films. We to appear. Indeed, for the whole up in a community of cats. Once have found solutions to give both film there’s a strong element of all obstacles are overcome, Zorba the characters depth and the children’s drawings because the must then teach her to fly. To do backgrounds a multitude of film came from a rhyme told by a so, the characters have to accept shades. We use Pegs but I don’t poet to his daughter and from the
ANIMATION WORLD MAGAZINE November 1998 18 one, single, clas- mation,” explains Enzo. sic hero. As Enzo Behind Enzo’s modest remarks, “I don’t tones there lies a lot of hard work really like heroes. Heroism, for me, is overcoming It doesn’t matter that it’s ani- one’s own limits, mation, I want, above all, for it awareness of your to be cinema. — Enzo D’Alò own mistakes and creating your own identity. and strong productive involve- Maybe we are a ment. It seems that Lanterna Mag- little ‘understated’ ica, Enzo D’Alò and Cecchi Gori compared to have succeeded in delicately creat- some animation ing a balance between style, a because I wanted strong message and entertain- to stick to reality, ment. Both European and Italian but I liked the idea animation is eagerly waiting to see of choosing the how high the Seagull will fly. cat’s point of view. There are human Translated from Italian by Guy beings but they Watts. work in terms of the cat’s world, just like in feline Chiara Magri has worked in ani- reality. Concern- ing the stylistic mation since 1984. She was choice, I don’t responsible for the programming really like special of the International Festival of Lucky the seagull from Lucky and Zorba. © Lanterna Magica. effects. I use them Animated Film of Treviso. Since if the film requires, 1993 she has been teaching a their obvious differences and learn but if not, I don’t use them. Our course in animated film history at to understand the value of differ- stories don’t need special effects. the Istituto Europeo di Design in ences and their beauty. Enzo We have used 3D but only to solve Turin. Since 1989 she has edited explains, “Compared to the origi- complex animation problems.” and published the monthly ASIFA nal story, I played down the strong D’Alò did use special animation ecological theme to play more on techniques, however, in three par- newsletter, the only specialized the relations between the charac- ticular parts of the film: in the publication on animation in Italy. ters, like the one between the opening sequence, a dream She is secretary general of ASIFA seagull and Pallino, the kitten; sequence and for the vision of a Italy. In 1997 she carried out an their conflicts, including the less dying seagull. Michel Fuzellier, the in-depth survey on the produc- obvious ones, that help the grow- film’s background designer, Mario tion sector of animation in Italy ing up process.” Addis and Valter Cavazzuti all for RAI, the Italian national broad- However, there is no short- worked on Enzo’s storyboard caster. age of spectacular conflicts like the using their independent free- one between the cats and some styles, creating a few intensely horrible mice, disgusting creatures imaginative minutes of pure ‘art’ Note: Readers may contact any who march to a decidedly rock animation. “If it had been a live- Animation World Magazine con- rhythmed song. There are a vari- action film, I would have used ani- tributor by sending an e-mail to ety of characters, but the film is mation, but as things were I used [email protected]. about the community of cats, not a different and freer form of ani-
ANIMATION WORLD MAGAZINE November 1998 19 by Brad Bird Editor’s Note: Due to the sensitive neously imagining how the idea introduced, medium shots any- nature of the material in develop- was staged. “Why separate it?” I time someone was moving ment, Warner Bros. was unable to challenged. “If someone comes up around, close-ups whenever the provide artwork from The Iron with a better way to do a scene, characters were talking — all ren- Giant or photos of the studio. So, you can always change it!” dered at a consistent, and dull, readers: use your imaginations While staging is no substi- eye-level. and wait for the release in 1999! tute for story, I felt then, as I do It quickly became clear that now, that the camera is an unseen the ambitious nature of The Simp- character, the eyes of the audi- sons scripts, where the average any years ago, I had an ence. It can assume a million dif- half-hour contained an hour’s argument with a fellow ferent natures: a restless child, a worth of twists and turns, Manimator (now a Disney cold killer, a fly on the wall... demanded more elaborate stag- director) about the way animated ing than the delightful “one-min- features were storyboarded. This utes” for The Tracy Ullman Show artist had been trained in the Dis- He asked me if I wanted to from which they sprang. The ney method, as I had, and was “see something cool” and script’s wild veerings between the convinced that it was the most proceeded to show me a lowest butt-crack jokes and Noel effective way to plan an animated “moving storyboard”... Coward references demanded a film. Simply put, the Disney visual equivalent, and I started method is to develop the “busi- pushing the storyboard artists, ness” of the story (gags, situations, Developing Story and Scene many of whom had trained on emotions, etc.) completely before I had no idea at the time “Saturday morning animation,” to dealing with how the business is that my impatience with the think of each episode as a movie, to be presented. To consider the process would save my hide a few and to look toward Hitchcock, staging of a scene at this early years later when working on The Welles, Kubrick and Scorcese for point was seen as a straight jacket; Simpsons, with its demanding mix- inspiration rather than other ani- a restriction of possibilities and a ture of priceless material and mer- mation. liability to the healthy growth of a ciless schedules. In almost every story. episode there was a gag that was I began to imagine how I While I believed in the difficult to stage as written, plus, could use this fabulous effectiveness of the Disney the comedy was more complex technology in animation method (it’s hard to argue with and the show’s pace more acceler- and now, with The Iron Walt’s results), my insatiable ated than any other comedy, live- Giant, I’ve finally gotten appetite for well-directed movies action or otherwise, on television. the chance. had begun to have an effect on At the time, all animated my own thought process. It shows were staged in the same Many of the techniques became increasingly harder for me boring way: a wide establishing these master filmmakers used to to have an idea without simulta- shot every time a location was heighten drama could also be
ANIMATION WORLD MAGAZINE November 1998 20 used to heighten comedy. We also animation. Then, however, I was several years ago, when I was up tried to push the pace; doing long tied to a schedule that allowed us North visiting a friend of mine, takes (a tremendous hassle when only to fill a few boxes with draw- Matthew Robbins, who, when not one is filming one frame at a time) ings and detailed instructions writing or directing feature films one minute and then, going into before we had to send it overseas. often directs commercials for a rapid series of jump cuts (also a Fortunately, with The Iron Industrial Light & Magic. hassle) the next. Giant, Warner Bros. has offered Camera movement is me my first opportunity to do It gave us a chance to try always kept to a minimum in TV something in feature animation things that were more animation (pans are discouraged, outside of “the familiar tale set to ambitious than our sched- except to follow a character in a Broadway music” formula, but ule and budget really walk or run cycle), but I felt cam- with a budget sufficient to execute allowed. era moves were an important it here, in this country, under one story-telling tool, especially roof and in full animation. Still, our He asked me if I wanted to because we had to keep our parameters are tight. With a pro- “see something cool” and pro- drawing count down. I pushed duction schedule a year shorter ceeded to show me a “moving the use of short pans to get more and a budget less than half the storyboard” that had been execut- movement into the shows, and as size of our friends at either of the ed just the night before by I.L.M. a way to reveal information in a two D’s (Disney and DreamWorks), effects supervisor John Knoll, co- comedic way. We had no time to our margin for error is minuscule. author of Adobe Photoshop. ponder how a show was to be However, we are determined to Using only the pre-existing story- depicted, we had to get it out tell our story as effectively as we board drawings Matthew had now because another episode can. been faxed by the ad agency, a was coming down the conveyer Macintosh computer and the pro- belt. gram he’d co-created, Knoll had added tremendous dimension A Perpetual Battle and motion to the sketches, quick- While I’m very proud of ly transforming them into real having been part of The Simpsons movie shots. for so many years, I missed the Tree limbs swayed in the finesse of full animation, on which wind as leaves blew through the all of my early training had air. Camera moves turned flat focused. Many of my ambivalent drawings into dimensional multi- feelings about the animation busi- plane shots. I was hooked. I ness spring from a Sophie’s Choice began to imagine how I could use between: this fabulous technology in anima- A) the project with plenty of time, tion and now, with The Iron Giant, money and resources to execute I’ve finally gotten the chance. beautifully a narrow range of tired Macromedia’s Director was first used as Using camera moves on the storyboard software on The Iron old material...or... Giant, which explains why that depart- pose test reels is certainly nothing B) the project with almost no time ment at Warner Bros. Feature Animation new, (we even used them on The and money to execute fresh and is called “Macro.” Simpsons to try to get our timing exciting material. down before we shipped the Given this awful choice, Enter the New Technology shows overseas), however, they I’ve reluctantly chosen the latter, One of our most useful have significant limitations; the art- and found myself in television (i.e. tools has been the use of After work is semi-transparent, and has The Simpsons), more often than Effects, an off-the-shelf software to be carefully registered on ani- not with material superior to any- technology by Adobe. My first mation paper. thing I’d encountered in feature exposure to this technology was Traditionally in feature ani-
ANIMATION WORLD MAGAZINE November 1998 21 mation, camera moves were No, but it gave us a chance developed much later in the to try things that were more ambi- process, most often after anima- tious than our schedule and bud- tion was complete, and if the idea get really allowed. We could imag- of the shot wasn’t solid, much ine the pace and the unfolding of more time and money had been our film accurately with a relatively wasted. small expenditure of resources. We What is unique about After were free to make the big mistakes Effects, and another comparable in the cheap part of the process. program Macromedia’s Director We were only able to (which we actually began with implement partially the process I before switching to After-Effects imagined on The Iron Giant, but full-time), is the speed and flexibili- based on my experience, I’m com- ty of the program. One can simu- mitted to implement it completely late complex camera moves with on the next opportunity I’m remarkable accuracy, using sim- offered. ple, unregistered artwork that is Adobe’s After Effects is becoming a key Will other people adopt this tool for a variety of stages in animation opaque like finished animation. production. It is now used as the main process? Who knows? Maybe my storyboarding software on The Iron Giant. old Disney friend is reading this Applying It To The Giant article right now... Led by Jeff Lynch, our Iron ear editing machine like an AVID, which can easily speed up or slow Giant story team quickly grasped Brad Bird started his first animat- down moves, lengthen holds or how to prepare storyboards for ed film at age 11, finishing it at pluck out frames. Director and After Effects shots. In age 13. The film brought him to fact, once they got it down, it was the attention of Walt Disney Stu- actually less work for them than We solved many timing and dios, where, at age 14, Brad was conventional storyboards. Soon, staging problems before the mentored by Milt Kahl, one of thanks to our gifted Macro (by the scenes even started layout. Disney’s legendary Nine Old time we switched from Director to Men. In addition to working as After Effects, we had already an animator at Disney and other Working with Jeff, who coined this new department studios, Bird has written screen- was part of that early Simpsons ‘Macro’ after the software manu- plays for both live-action (*batter- storyboard team, and his stellar facturer and somehow that never ies not included) and animation. crew, we solved many timing and changed!) artist Andrew Jimenez, He has since served as executive staging problems before the some surprisingly effective shots consultant on The Simpsons and scenes even started layout. This were dropping into our story reel. King of the Hill and was the new process also occasionally This was a very useful tool, not writer, director and co-producer influenced my editing decisions, only for explaining the film to of the original Family Dog for where the kinetics of certain shots Warner Bros. executives, but also Steven Spielberg’s Amazing Sto- suggested their marriage, the way to our own crew, which was ries. Currently, Bird is the director it often does in live-action films. growing rapidly. and co-writer of The Iron Giant, Many were skeptical of this Because it allowed us to an animated feature being pro- technique, seeing it as an extra introduce much more movement duced by Warner Bros. into our story reels, which can and unnecessary step. Others become almost painfully static, it were slow to embrace its useful- enabled us to get a much better ness as a tool, preferring more Note: Readers may contact any approximation of the finished film familiar methods. Animation World Magazine con- at a much earlier point, particular- Did this process save us tributor by sending an e-mail to [email protected]. ly when combined with a non-lin- tremendous amounts of money?
ANIMATION WORLD MAGAZINE November 1998 22 In the Belly of the Beast: The Advertising to Kids Conference by Buzz Potamkin iscuss kids advertising erally ignored - except when it dling meetings of up to 500 or so, with an adult-centered ad impinges on the political con- Pier 60 is a delight, with three Dmaven, and you get a sciousness (e.g., Joe Camel). So, large well-appointed rooms, two statement like, “Selling to kids is when the Advertising to Kids Con- of which face right on to the River. like taking candy from a baby.” ference was announced for early The combination of the setting, Surely, the argument goes, the lit- September in New York, my ears light, weather, and mass of avian tle tykes are so open, so trusting, perked up. Was someone really life swirling around outside com- so wanting to believe, that those trying to bring an intelligent exam- bined to lift my spirits and perk up little minds are wide open to the ination onto Madison Avenue — my interest in the two days to wiles and ruses of any self-respect- into the very Belly of the Beast? come. ing snake oil salesman. Everyone On a bright, crisp, spring- tells you it’s easy, and then you try like late Summer morning, I Day One - Part One it. And then you try it again. And strolled across Manhattan to The first day was chaired by again. And then you begin to Chelsea Piers, over where the City Paul Kurnit, President/COO, Griffin understand just how hard it is to drops off into the turgid waters of Bacal, one of the “old hands” in take candy from a baby. the North River. The long-deserted the kids biz. He opened the pro- piers, once the busiest in the ceedings by giving a rousing Advertising is the greatest world, bustling with trade and speech - a call for the outside art form of the 20th excited passengers, have been world to take kids advertising seri- reborn as the largest indoor health ously: “You should all be proud to century. club in Gotham, perhaps the be part of this industry. [M]any of -Marshall McLuhan largest in the world. Spread across the captains of industry don’t see the old structures along the river our work. They don’t understand Because kids advertising from 17th to 24th Street are facili- it. They don’t respect it. Kids adver- has always been a minor portion ties for every form of athleticism tising has blazed many communi- of the ad game (just like animation known to urban life - gyms, rinks, cation trails... This is a sophisticat- - which needs kids advertising for fields, cages, alleys, rings, courts, ed industry we’re in. There’s a lot life support - is a minor portion of walls, pools, and ranges - each less room for error in the kids Hollywood), there have been very with its own set of joyfully sweat- industry than many others. We few serious attempts to explore it ing adherents. have to catch the wave...no, stay within the overall advertising ahead of the wave....” Paul then industry. There have been “think Advertising is of the very took us on a quick tour of the cur- tank” retreats (at great expense) to essence of democracy. rent kids market, outlining the two help those already in the industry main points supporting the brief stay abreast of the latest in the - Bruce Barton for bringing respect to kids adver- tricks of the trade; there’s usually a tising, both of which came back panel or two at most of the major In the midst of this paean repeatedly throughout the entire ad conventions; and recently, to hard bodies, snuggled down conference: Kids are an important there have been a few books on on the end of a pier, right under and powerful separate market, the subject. (See AWM, “The Enter- the ice hockey rink, and several which is growing by leaps and tainment/Marketing/Exploitation hundred feet out into the River bounds; and kids ad-supported Relationship: Two Takes,” May towards the Jersey shore, the media are spreading like weeds 1998 issue.) But for the most part, developers carved out space for across the landscape. kids advertising has been over- one of the nicest meeting venues The rest of the day built on looked, misunderstood, and gen- I’ve ever seen. Capable of han- Paul’s start. Michael Cohen, Ph.D.,
ANIMATION WORLD MAGAZINE November 1998 23 gave us a quick Kids 101 - what expect? Actually, before the launching a product is tough makes them tick. Precise, witty, lawyers call, I will admit that no enough without launching a char- and informative, Cohen explored one said anything about squash- acter at the same time. the same territory elucidated so ing upstarts, but it sure was strong Whew! Quite a full day, well by Dan Acuff (see AWM, “The sub-text. This panel also provided good information, but very Entertainment/Marketing/Exploita- my highlight reel with the, “Did I straight and not too variegated. It tion Relationship: Two Takes,” May really hear that?” quote of the day: began to look like no one would 1998 issue) and Gene Del Vec- “This year we slimed some nuns. ever contradict anyone else, more chio, among others, adding time- The kids loved it.” like a ‘60s Love-In than cutting ly information from his ongoing edge. The Conventional Wisdom research. The main update: media Day One - Part Two was weighing heavy on my head; is pushing kids into the world After lunch, we segued the kid biz really is a small busi- more quickly, and kids are getting over to product brand territory. ness, and I guess we all know older younger - even more so than For those of us interested in ani- each other too well. Even when a few years ago, with strong phys- mation, this was perhaps the most we suggest something new, it ical indications that puberty has compelling part of the first day, appears that we collectively sug- advanced two years! (An interest- but not because it told us any- gest the same new thing. Almost ing subject for another venue: thing new. There was very little to underscore the familiarity of it What was the age of puberty in about actual brands, but lots all, as I wandered back down the the past? Was mid-20th century about characters in brand building pier past “The Highlander” (the puberty held back by the Victorian advertising. It was mostly very old large Forbes yacht anchored at nature of society, or is this advance - old products, old characters, old the pier), I couldn’t help noticing a major turning point in evolu- campaigns. The Trix rabbit was the that its helicopter looked just like tion?) Furthermore, Cohen spoke touchstone (both in cereal and - a one we had used in SWAT Kats. before the Starr Report hit the new product - yogurt), with a mass media with shock waves that strong supporting role for Ronald Day Two - Part One must have accelerated this trend. McDonald, and multiple parts for The weather held for the Fred and Barney in Pebbles cereal second day, and again we got off Advertising [is] a judicious advertising. Through a panel and to a rousing start. Joan Chiara- a separate presentation (by one of monte, VP, Roper Starch World- mixture of flattery and animation’s biggest fans, Alice Ger- wide, gave us an overview of the threats. -Northrop Frye manetti, Senior Partner & Creative macro economics of kid spending Director, Ogilvy & Mather), it came - it’s big, and it’s getting bigger. The Following on was a panel through strong and clear that it’s population bulge coming in the 2- discussion on media brand build- becoming more and more difficult 11 market is not only the biggest ing (product brand building came to launch a new character. In fact, since the Boomers, it’s actually big- later), featuring representatives nearly every speaker told the audi- ger. More kids, with more purchas- from everyone’s favorite vertically ence that the best way to use a ing power. Why? 62% of kids are and/or horizontally integrated character was to go out and in families where both parents media conglomerates: Time Warn- license one (either animated or work, and 31% are in single par- er (Cartoon Network), Viacom real, i.e., either Bugs or Michael ent households; both these figures (Nickelodeon), News Corp. (Fox Jordan), with the obvious warn- are the culmination of secular Family Worldwide), Disney (Dis- ings about making sure the trends that haven’t peaked yet, ney/ABC Radio Networks), and licensed character fits the brand and both push kids far more into Time Warner again (Sports Illustrat- profile and doesn’t overpower the the heart of the purchase decision. ed for Kids). Not surprisingly, they brand. Why? It costs too much to As for issues facing kids, AIDS is #1 all agreed that the future will launch a new character, it takes - frightening, isn’t it? - followed by belong to strong brands that are too long (the average brand man- the Clinton scandal (and this was backed by strong, vertically and/or ager is only around for 18 months, before the Starr Report was pub- horizontally integrated media much too short a time frame to lished). Pollution is still big, and behemoths that can squash any really seat a character), there’s too more importantly, it’s the only one upstarts. What else did you much “noise” out there, and of the top three about which kids
ANIMATION WORLD MAGAZINE November 1998 24 feel empowered - they can actual- attention to the same ad when for one was happy for the chance ly do something about it. Joan’s viewed twice. A few things stand to stretch my brain a little. Is she closer was simple. Kids will out from his research: boring ads right? I don’t know, but it sure will demand: More, Better, Faster. wear more quickly; older kids get be exciting to find out. The next presentation was bored more easily; and humor a joint effort by Julie Halpin, CEO, works best for repeat viewing. Advertising is selling The Geppetto Group, and Lisa Fer- And then we finally entered the now, Senior VP, Global Marketing future. Twinkies to adults. and Strategy, Cartoon Network. It Rebecca Randall, VP, Mar- - Donald R. Vance was a tour-de-force on pure mar- keting & Brand Development, keting. Julie did, “How do I build MaMaMedia, held up the mirror so After Rebecca came some my brand for the long term when many marketers want to avoid. laid-back wisdom, but spot on to the world in which I compete is Her definition of “wear-out” was a today’s media planning problems. oriented to the short-term?” while clarion call for quality and intelli- Alan Gersten, Director of Media Lisa did (in my words), “How do I gence. To her, it’s: a) a rationale for Planning Services, Senior VP, take a 30 year-old classic property going to L.A. to shoot a new spot; Campbell Mithun Esty, took Rebec- and make it sparkle in today’s mar- b) proof that kids aren’t “getting” ca’s tomorrow head-on and ket?” What followed was a step- your ad, a signal that your copy turned us back to yesterday. He by-step examination of the current isn’t working; c) a relic of a bygone takes fragmentation very seriously, re-launch of Scooby, and, while era; and d) an adult media inven- and pulled some figures from not brain surgery, it sure was com- tion, as is “media fragmentation.” 1977 to set the tone. In the Feb- plex and complete. I wouldn’t Don’t ask me to explain c), as it ruary, 1977, sweeps, a few of the know how to do either presenta- may have been a throwaway, but top network K2-11 ratings were: tion justice in less than several Rebecca was very explicit that in a Batman - 23.8; Bugs Bunny - 17.7; thousand words, so you’ll just world of souped-up cycles (atten- Schoolhouse Rock - a range from have to believe me that if you ever tion spans, products, and decision 15 to 24. By happenstance, the have the opportunity to hear making), wear-out is “an adult, same shows were also on network these two, it’s well worth it. They reactive broadcast concept” that TV during the February, 1998, spend time developing insight into will have no meaning in the wired sweeps. And the numbers: Bat- both the world around them and world to come. All media is ulti- man - 2.5; Bugs Bunny - 3.5; the problem at hand, and they mately experiential and individual, Schoolhouse Rock - 3.5. Yep, that’s apply a well thought-out and rig- and the advertising world must an 80-90% drop, and there you orous conceptual framework to recognize that the solutions of have a very clear definition of TV the data uncovered to establish a past media may not fit the new fragmentation. As Gersten under- solution. media. Kids’ relationship with scored, in 1977 kid shows had media has changed: in the ‘70s, strong “reach” and an advertiser Advertising[’s] function is consume; the ‘80s, choose; the could impress a critical mass of to make the worse appear ‘90s, create. They now control the consumers with a relatively low media, where the media once frequency. Network buys were the better. controlled them. Today’s kids have quality buys, and they deserved - George Santayana new expectations, new attitudes, (and got) premium CPMs (Cost per and new behaviors. Plus, the thousands). In 1998, big reach is The following panel looked future will bring the Clickerati: tough, and very expensive where on paper to be dry and academic, non-linear, multi-tasking, interdisci- it exists. So frequency is now the dealing with Advertising Wear- plinary, techno fluent, accustomed king, and ad wear-out becomes a Out. It was anything but. Lang to control, looking for “hard fun,” more substantial problem. Howev- Rust, President of Langbourne and learning all the time. (As the er, “if [an ad] works, stay with it. Rust Research, gave a very short guy next to me said, “How the hell Err on the long side, not the short. overview of his decades of do I do a media buy in that [And] bad ads never wear out, research in watching kids watch world?”) Rebecca brought back since they were never good to TV. He has a very specific testing the ghost of Marshall McLuhan begin with.” regimen for measuring viewer (the media is the message), and I
ANIMATION WORLD MAGAZINE November 1998 25 Day Two - Part Two the ability to gather a “critical figures for thought. “Why?” you After lunch, we were treat- mass” number of eyeballs. As was may ask, “So a few dayparts ed to what I thought would be pointed out by Gersten earlier in decline, there are still just as many the most informative panel of the the day, frequency can only substi- kids watching, just slightly scat- conference: TV Audience Measure- tute for reach to a limited extent. tered. This is a result of the move- ment - Who’s Watching? As was (A simple analogy: if you have ment from dedicated dayparts on pointed out before lunch, frag- 25,000 people each draw one cel, broadcast to total day usage on mentation of the audience is a hot you have a Disney-level cel count, cable. Kids are watching at any button in the kids biz, and con- but you most likely don’t have Dis- time, because there is now more stant readers of AWM know that ney quality.) So any secular decline kid-friendly programming on in all I’ve got my own thoughts on the of Kid PUT levels strikes fear into dayparts.” While not a quote from subject. (See AWM, “The Cost of the heart of the ad sales guys. either Friend or Terry Kalagian, VP Eyeballs,” September 1997 issue.) Well, what’s the story? Research, Cartoon Network, that Well, kids, you should have been pretty much summarizes their there. Advertising is the rattling comments in response to Cook, The four panelists were of a stick inside a swill who, for his part, was more con- evenly split between those who cerned about their attack on his report the ratings (Nielsen Media bucket. -George Orwell methodology (too complex for Research - the Nielsen ratings peo- quick summation) than drawing ple - and Statistical Research - the Friend opened the discus- conclusions from his PUT figures. developer of the SMART rating sys- sion with a straight statement: Since most of us there had only a tem) and those who have a vested “While Nielsen has reported stable passing interest in the methodolo- interest in high numbers (Nick- K6-11 TV usage (PUT) levels since gy, I had a short discussion with elodeon and Cartoon Network). 1990, K2-5 levels were on the my row-mates as the, “Do kids Bruce Friend, VP Worldwide decline...until last year.” (Data was really know how to push peo- Research and Planning at Nick- from Nielsen, 24-hour day.) He plemeter buttons?” and “Why elodeon, started with a lucid and went on to explain that the K2-5 can’t you guys measure guest intelligent summary of the main PUT level reclaimed all its loss last viewing correctly?” arguments questions, and raised these same year, and therefore is also virtually waxed and waned. For the most points for the rest of the panel to flat - or slightly up - for the period part, they were too young to discuss. Three of his five questions 1990-97. However, and this is a remember the good old days of (content ratings & the V-chip, big “however,” K2-11 PUT levels the high ratings Gersten men- three and four year-old viewing, are down 5% over the same peri- tioned earlier in the day, but they and kid/parent co-viewing) are od. You may ask how the total can were as concerned as I was: while important to media planners, but vary from the underlying seg- the total count of eyeballs may be not of overwhelming interest to ments, to which I reply welcome the same, these “Kid Prime Time” general toilers in the trade. His to the world of numbers. Barry PUT level drops underscore a drop other two are perhaps the two Cook, Sr. VP, Chief Research Offi- in audience quality — that critical most important overall questions cer, Nielsen Media Research, didn’t mass component that is so impor- facing the kids TV ad sales busi- argue with these figures (as the tant to “reach.” To be blunt, that ness today: Are kids viewing levels raw data came from Nielsen), but quality is what gets the big bucks, (PUTS - persons using TV) declin- he did startle some members of the high CPMs; all the rest is really ing? And, how is PC/Internet the audience with another look at “ROS” (Run of Schedule), which is usage affecting TV viewing? the same K2-11 universe. Narrow- not worth a premium. Without PUT level is the key to the ing his remarks to what we all that substantial CPM premium very basis of the ad-supported TV used to call “Kid Prime Time,” he (sometimes 100% or higher), biz. No matter how high the share cited a secular (ten-year trend) what’s going to pay for new of the available audience goes to decline of 15-30%: 15% in the shows? [For more information on any one of the networks (Nick has Monday-Friday 3-5 p.m. daypart, this phenomenon, please read Are been cited with a 55+% share), and 30% in the Saturday morning Kids Following Little Bo-Peep’s the total size of the audience must sector. Sheep?, a sidebar discussing the be large enough to imply “reach” - To put it mildly, these are continuing erosion of audience
ANIMATION WORLD MAGAZINE November 1998 26 numbers that will, in time, lead to ing for the intended audience. en Marble Awards were held at a lag in advertising dollars...] The remainder of the ses- the same venue, as a cap to the As for the PC/Web ques- sion suffered from being at the tail conference. The top award win- tion, both Friend and Kalagian end; while both Renny Gleeson, ners are included in this issue. were relieved to report that Web Associate Creative Director, Darwin There were two observa- usage is minor, as the undisputed Digital, and Leslye Schaefer, Senior tions that were to me obviously research shows that only about VP, Marketing and Consumer interesting to AWM readers. First, 10% of kids log on regularly, with Products, Scholastic Entertain- despite all the talk about anima- average usage about ten minutes ment, should have had a more tion characters, there was virtually a day. In addition, those users are attentive audience, the room was no animation presented with a not “high usage” TV viewers, so emptying as the day wore on. Golden Marble. (Yes, Cartoon Net- the conclusion was that the Web is Renny went deeper into web work did win for some on-air pro- no threat to TV at this time. What design, but this group wasn’t inter- mos, but that’s not the Trix rabbit, happens when connection speed ested, and probably mainly for the or Tony the Tiger, or any of the increases and entertainment con- reason Renny himself identified: other brand building characters tent migrates to the Web — as ad agencies are holding back in we heard so much about.) Either opposed to the current info-heavy this new media, as it’s too new these characters are effective content — well, that appears to and unknown. Leslye made a advertising presented with a cre- be at least one generation (5-10 point all too often forgotten in this ative flair, and therefore deserved years) away, and we’ll face that biz: we are the shapers of the to win awards that went else- problem when we get there. minds of the future, and we have where, or, despite all we heard at Besides, all four of our friendly a responsibility to that future, a the conference about animated media conglomerates aren’t taking responsibility that all too often is characters being effective, they any chances: Disney, News, Via- swept aside by visions of greed. didn't win awards because they com and Time Warner are all aren't effective. Which is it? Lastly, I heavy investors in Web content. (If couldn’t help noticing that the you believe, as I do, that Web Advertising is legalized overwhelming number of awards migration will be faster than 5-10 lying. - H. G. Wells went to the ad agencies that years — well, we’re in the minori- helped create, organize, and co- ty. Check back in a few years for sponsor the Golden Marbles. the follow-up, but do spend some Speaking of greed, the final time learning Flash Animation.) presentation for the day was one Buzz Potamkin is an award-win- Speaking of Flash Animation, Dave that was sorely out of place. ning independent producer, best Shea, Sr. VP/Creative Director, Promised as “A Sponsored Enter- known for The Berenstain Bears Saatchi & Saatchi Kid Connection, tainment Surprise,” it turned out to and Dr. Seuss. Before he escaped was the next up, with a thorough be a blatant promotion on behalf L.A. for New York, he had been presentation of www.you- of a property (nameless here) that president of Southern Star Prods ruleschool.com, the General Mills’ is looking to break wide next year. and then executive vice president web site for kids. The event organizers should have of Hanna-Barbera Cartoons. It was a pleasure to have known better, and I hope that in insight into the creative process the future they won’t let such obvi- Thanks to the University of which produced the site (Dave ous and intrusive material sneak Texas, Austin Department of created it and writes all the con- into what was — on the whole — Advertising, for the selection of tent), and the actual demo of the a successful and informative two quotes used to illustrate this arti- site underscored some of the ele- days. I also hope the sponsors cle. The quotes are borrowed from ments of web design that work hold another conference like this the department’s web site, better for kids. Here’s his basic rule: one next year, with an agenda on http://advertising.utexas.edu/rese keep it relevant - kid relevant, site the same high level. We could use arch/quotes/Q100.html#Advis. relevant, and brand relevant, but some more like it. Note: Readers may contact any don’t do it like other media. Go try Animation World Magazine con- the site. I did, I liked it, and it looks The Golden Marbles tributor by sending an e-mail to deep enough to make it interest- A few hours later, the Gold- [email protected]. ANIMATION WORLD MAGAZINE November 1998 27 The 1998 Golden Marble Award Winners
Selected by Awards Jury: Joe Bacal of Griffin Bacal, Julie Barkan of Barkan Productions (previously with Foote, Cone & Belding), Paul Posnick of Posnick & Kolker, Lisa Bennett of Leo Burnett, Dave Shea of Saatchi & Saatchi, Alice Germanetti of Ogilvy & Mather, Bob Skollar of Grey Advertising, Cathy Grisham of Campbell Mithun Esty and Jeff York of J. Walter Thompson. Best Electronic/Video Game Commercial: Best TV Program Commercial: “Nintendo - Tongue Lashing,” Nintendo of “Dexter’s Laboratory - Smaction,” Cartoon Net- America, Leo Burnett, Chicago. work, Atlanta.
Best Doll Commercial: Best Commercial for a TV Network or Kid “Cool Blue Barbie,” Mattel, Inc., Ogilvy & Programming Block: Mather, Los Angeles. “Bongos,” Cartoon Network, Atlanta.
Best Action Figure Commercial: Best Entertainment Venue Commercial: “Alien Autopsy,” Bandai, J. Walter Thompson, “Hungry Boy,” Playland, Apple Box Productions, Chicago. Palmer Jarvis DDB, Vancouver.
Best Game Commercial (Non-Electronic): Jeff York of J.Walter Thomp- Best Print Advertising (two awarded): “Operation - I’m the Doctor for You,” Hasbro son, Chicago accepts an “Find the Real Flavor,” Quaker Oats, Foote, Cone Games, Griffin Bacal, New York. award and congratulations & Belding, Chicago. from an animated character. “Some of the Best Outside Shooters,” Hasbro Best Creative Play Commercial: Photo courtesy of Bruinco Games, Griffin Bacal, New York. “Crayola - Heart,” Binney & Smith (CDA), Marketing. TBWA Chiat/Day, Toronto. Best Overall Out-of-Home Advertising: “Kool Aid - Smile Campaign,” Kraft (CDA), Young & Rubicam, Best Toy Commercial, General (two awarded): Toronto. “Sergeant Soaker,” Hasbro/Larami, Griffin Bacal, New York. “Goldie,” Bandai, J. Walter Thompson, Chicago. Best On-line Advertising: “You Rule School,” General Mills Inc. (USA), Saatchi & Saatchi, Best Breakfast Food Commercial, (three awarded): New York. “Frosted Cheerios - Fly,” General Mills (CDA), Harrod & Mirlin/FCB, Toronto. Best Campaign: “Zippy,” Kellogg (CDA), Leo Burnett, Toronto. “Cartoon Crisis Center,” Cartoon Network, Atlanta. “Book Reports,” Kellogg (USA), Leo Burnett, Chicago. Best Public Service Best Restaurant Commercial: Advertising (two “Dentist,” McDonald’s (USA), Leo Burnett, Chicago. awarded): “Big ‘Ol Bug,” Partner- Best Snack Food Commercial: ship for a Drug-Free “Raccoon,” Hostess, Campbell Mithun Esty, Minneapolis. America, Saatchi & Saatchi, New York. Best Beverage Commercial: “Video Boy,” Presidents “Morse Cold,” Kraft (CDA), Young & Rubicam, Toronto. Council on Physical Fit- Best Food Commercial, General, Gold: ness and Sports and “Soup ‘n Jamb,” Campbell Soup Co. Ltd., BBDO, Canada. The Advertising Coun- “Juice Boy,” Good Humor Breyers, Ogilvy & Mather, Chicago. cil, Lowe & Partners/SMS, New Best Hygiene Commercial: York. “3M Nexcare Brand Tattoo Designs Bandages,” Nexcare Brand by 3M, Just Kid Inc., Stamford. Best of Show: A group representing TBWA “Raccoon,” Hostess, Chiat/Day accept an award. Ken Best Sporting Goods Commercial, Gold: Campbell Mithun Esty, Faier of Bruinco/Kidscreen stands at “I Can Play,” Nike, Wieden & Kennedy, Portland. Minneapolis. the podium to the right. Photo cour- tesy of Bruinco Marketing.
ANIMATION WORLD MAGAZINE November 1998 28 Are Kids Following Little Bo-Peep’s Sheep?
“Advertisers rarely lag too far behind current market conditions.” - “The Cost of Eyeballs,” Animation World Magazine, September, 1997.
ight before AWM went to declining over 12%. (Note: a age both echoes our premonition press, Electronic Media (a minor portion of this fall was from last year and seems sure to Rtrade weekly) asked caused by a drop in K2-11 PUT presage what will follow in kids. “Where have all the kids gone?” in level for one Saturday - Starr “In a year-to-year compari- an article about Saturday morning Report Saturday - but it rose back son ... of the new season, [the net- audience dilution headlined, “A to either even or nearly so for the works] are down 12 percent in the Monstrous Battle Over Kids.” Read- following three weeks.) coveted demographic.... ‘As the ers who have been with us over Electronic Media did not ratings continue to erode and the last year know that we’ve report on advertiser and/or ad prices remain high, an advertiser been treated to Buzz Potamkin’s agency response, and our short has to begin to worry that it’s cost- coverage of the fragmentation lead time did not give us the time ing him more than it’s worth to phenomena since the start of last to follow-up. We will as the season reach his target audience,’ said [a] season, so this audience dilution unfolds. However, Electronic well-known media research con- comes as no surprise. In his article, Media did give us a preview in the sultant who asked to remain “In the Belly of the Beast: The same issue: the Big Four Network anonymous.” - Electronic Media, Advertising to Kids Conference” in Prime Time 18-34 year old demo 10/19/98. this issue, Potamkin notes the 90% has also declined (surprisingly, by decline in K2-11 ratings for the top the same 12%) in the new season, Saturday morning shows over the and this excerpt from that cover- last two decades (through last season), and the latest numbers from the first four weeks of the new season only underscore the continu- ation of this decline, as the table below shows. Of the five top networks (Nickelodeon, Fox Kids, ABC, The WB, and Cartoon Network), four show declines of 9%, 16%, 17% and 18%, while one shows an increase of 27%, with the total (and aver- age) rating for all five
ANIMATION WORLD MAGAZINE November 1998 29 The Tanglefoot Chronicles: A Case Study
by J.B. Kaufman he explosion of Walt Dis- considerably from those of a ney character merchan- newspaper continuity lasting, in Tdise in the 1930s rede- this case, over three months. fined the practice of character Accordingly, as was his custom, licensing. Cartoon characters, comic-strip artist Floyd Gottfred- both Disney and otherwise, had son went his own way with the been merchandised before, but story. Some elements from The the popularity of Mickey Mouse Steeplechase—the character of released an unprecedented “the Colonel,” an attack by a flood of watches, toys, story- swarm of hornets, and Mickey’s books and other products. By stammering victory speech the mid-’30s these items fea- (along with a storekeeper char- tured not only the Disney “stars,” acter borrowed from the film but also such peripheral charac- The Pet Store) – did reappear in ters as Red Riding Hood from the strip. But before they did, The Big Bad Wolf, Peter Pig from Gottfredson introduced a new The Wise Little Hen, and the character: Tanglefoot the horse. anonymous title characters from At first, as his name sug- Funny Little Bunnies. Then there gests, Tanglefoot appears to be was a floppy, lovable horse a one-joke character; he is sim- named Tanglefoot. Such was ply a clumsy, broken-down the power of the studio’s mer- horse, purchased for $3 from a chandising activities that Tangle- glue factory by unscrupulous foot achieved some modest Image courtesy of J.B. Kaufman. © Disney.All characters who resell him to Rights Reserved. recognition as a Disney charac- Mickey for $5000. But as the ter—without ever appearing on arise not from the horse’s inepti- strip progresses, Tanglefoot fol- the screen. tude, but from a jug of gin he lows the contemporaneous trend finds in his stable just before the of the Disney films and develops a Tanglefoot achieved some big race. (One of the film’s high- personality. He may be hopeless as modest recognition as a Dis- lights is the horse’s extended a racehorse, but he has a heart of ney character—without ever drunk sequence, animated with gold. He and Minnie are instantly appearing on the screen. loony grace by Fred Moore.) attached to each other, and he evinces a special affection for Pluto A Horse is Born and follows him everywhere. At Tanglefoot’s basic inspira- Like many Disney films of one disastrous race, Tanglefoot is tion did spring from a film: The this period, The Steeplechase smitten with one of the other hors- Steeplechase, a Mickey Mouse inspired a story line in the concur- es. When the race begins and he short released in September, 1933. rent Mickey Mouse newspaper sees her running away from him, However, the horse in the film is comic strip. As in most cases, there he is hurt and bewildered—but called Thunderbolt, and is repre- was only a loose connection then reverses direction, running sented as a prize racehorse. Plot between the film and the strip; the the wrong way so that he can complications in The Steeplechase demands of a one-reel film differed meet her as she comes back ANIMATION WORLD MAGAZINE November 1998 30 tinuity was given a curious varia- tion on this treatment: it was divid- ed into a series of six “Wee Little Books,” packaged in a slipcase. Each book was written like a chap- ter in a serial, summarizing the preceding action and leading up to a cliffhanger ending. When read in sequence —Mickey Mouse At the Carnival, Mickey Mouse’s Misfortune, Mickey Mouse and Tanglefoot, Mickey Mouse’s Uphill Fight, Mickey Mouse Will Not Quit, and Mickey Mouse Wins the Race — they retold the entire story of Tanglefoot’s adventures. As luck would have it, another 1934 publication provid- ed an ideal showcase for Tangle- foot’s talents. The Mickey Mouse Waddle Book, published by Blue Ribbon Books, was a storybook June 20, 1933.The very first appearance of Tanglefoot: the “Mickey Mouse” comic strip. Image courtesy of J.B. Kaufman. © Disney.All Rights Reserved. with a gimmick. Inserted among its pages were heavy cardboard around the track. All this notwith- phized. As if to underscore the pages with three-dimensional standing, Tanglefoot’s ultimate tri- parallel between Pluto and Tangle- characters that could be punched umph in the climactic race is no foot, Gottfredson devised another out and assembled. The book fluke; he exerts a mighty effort for racing story in late 1934, this time came packaged with a cardboard Mickey’s sake and wins a genuine featuring Pluto. runway, and after assembling all victory. the components, the reader could The invention of this new As luck would have it, another watch the characters “waddle” character was necessary because 1934 publication provided an down the runway. A racing story the horse who had appeared in ideal showcase for Tanglefoot’s was an obvious subject for such a such early Mickey films as The Cac- talents. book, and accordingly Tanglefoot tus Kid had, by 1933, evolved into was given another storybook role. a full-fledged character: Horace In the Waddle Book story, Horsecollar, who stood upright Storybook Appearances Mickey and Minnie buy Tanglefoot and spoke English. This makes for Through this first comic- and are soon ridiculed by farmer some odd moments in the comic strip appearance, Tanglefoot Gideon Goat for doing so. Angrily strip, as Horace joins the mocking found his way into the world of springing to Tanglefoot’s defense, chorus in ridiculing Tanglefoot. (In storybooks. Among the most pop- Mickey accepts the Goat’s chal- one strip Mickey asks to borrow a ular Disney storybooks of the lenge to race his own stout horse, watch so that he can clock Tangle- 1930s were Whitman’s series of Bromide. Preparations for the race foot’s speed. “Shucks, Mickey! You “Big Little Books,” which generally are complicated by a facet of Tan- don’t want a watch!” Horace retold stories from the comic strips, glefoot’s personality which Got- scoffs. “What you need is a calen- illustrated with art from the strips tfredson had only briefly suggest- dar!”) The obvious analogy is to themselves. A typical Big Little ed: playfulness. He refuses to take Pluto and Goofy, who similarly Book would run over 400 pages running seriously. The race itself coexisted in the Disney universe— and would synopsize an entire (before an audience which two dogs, one recognizably continuity from the Mickey Mouse includes Horace Horsecollar) bor- canine, the other anthropomor- strip. In 1934 the “Tanglefoot” con- rows a comic twist from the strip
ANIMATION WORLD MAGAZINE November 1998 31 when Tanglefoot puts on an early ther merchandising efforts. In more elaborate scale, with full- burst of speed, only because he is 1935 the N.N. Hill Brass Company color illustrations. terrified by the starter’s gun. More advertised a pull toy which fea- comic mishaps follow, but they tured Mickey Mouse, in a little cart, Behind the Scenes pave the way for a “legitimate” cli- being pulled by Tanglefoot. The Around the same time, Tan- max in which, once again, Tangle- toy came with interchangeable glefoot’s career came full circle foot wins the race by an honest parts so that the cart could also be when, once again, he didn’t effort of will. pulled by Horace Horsecollar (on appear in a film. In November roller skates!), Donald Duck or 1936, a story outline titled “Mick- Around the same time,Tangle- Pluto—but Tanglefoot was fea- ey’s Race Horse” was circulated in foot’s career came full circle tured in the company’s ad. The the studio, with an appeal for when, once again, he didn’t International Silver Company had gags and story material to be appear in a film. already produced a child’s silver developed into a new short. The plate engraved with Mickey title character was identified as Mouse aboard a bucking horse “like Tanglefoot they use in the Meanwhile, in May-June which may or may not have been comic strip” and described as “a 1934, Tanglefoot was making Tanglefoot. (The other possibility clumsy, useless looking type—any- another appearance in the was the unnamed horse who thing but a race horse.” Thus, comics, this time in the weekly appears in the 1934 film Two-Gun reversing the usual procedure, a Mickey Mouse Sunday page. This Mickey, and whose resemblance character originating in the comics story served to flesh out Tangle- to Tanglefoot ends with his gang- was to be brought to the screen. foot’s personality still further, for it ly build.) The proposed plot called for Mick- had nothing to do with racing; In 1936 yet another story- ey and Donald to compete in a the story was driven not by the book was devoted to our hero: sulky race against Pegleg Pete, need to win a race but by Tangle- McKay’s Mickey Mouse and His who would indulge in various foot’s well-meaning mistakes. This Horse Tanglefoot. This was a dirty tactics to defeat them. With time the story begins with Mickey, retelling of the story from the Tanglefoot’s help, Mickey and already the owner of the horse, 1934 Sunday comic pages. Like Donald would manage to turn trading him for a car over Minnie’s the Big Little Books, it was illustrat- one of Pete’s own ruses against objections. (The car’s owner is, ed with the original comic art, but him, and so win the race. (A film more or less, the same goat who this book was produced on a along these lines would essentially had appeared in the Waddle have been a loose remake of the Book story.) The car promptly silent film Alice’s Brown Derby, falls apart, and Mickey is obliged which Disney had released in to buy Tanglefoot back again. 1926.) Nothing substantial The two then embark on various came of the idea at this time, but business ventures —delivering, numerous gags were submitted respectively, ice, groceries, and and collected in a file. milk— all of them ruined in In the spring of 1938, the some way by Tanglefoot, who file was reopened for another tries earnestly to follow direc- story outline, this one simply tions but never quite under- titled “Tanglefoot” and, once stands them. The horse redeems again, built around a sulky race. himself when he accidentally This time Tanglefoot was to suf- foils an attempted bombing by fer from hay fever—the idea of a three “dangerous Reds,” and in horse with hay fever clearly the last installment both Mickey appealed to the artists Thunderbolt, the horse in The Steeplechase and Tanglefoot emerge as (1933), was a prize racehorse who merely hap- involved—and a new character, heroes. pened to get drunk just before the big race. a horsefly designed like a horse, By now Tanglefoot was Image courtesy of J.B. Kaufman. © Disney.All was suggested (along with accepted as a candidate for fur- Rights Reserved. Mickey and Goofy). But these
ANIMATION WORLD MAGAZINE November 1998 32 were mere embellishments; the were suggested for the “Tangle- Goofy. But during his brief comedy in the film was primarily foot” story: a wheel might come moment of glory in the 1930s, to spring from Tanglefoot himself. off the sulky just before the race, Tanglefoot served as a symbol of Under the leadership of story causing Goofy to run frantically the remarkable creative energy director Tom Armstrong, a crew alongside; or Tanglefoot might generated by Disney’s enterpris- worked for several weeks at devel- bear down on the finish line in a es—and the way they built upon oping this idea into a film. dead heat with another horse, each other. Transcripts of the story sticking out his tongue to win the meetings confirm that Walt Disney race. Throughout the confer- Acknowledgments was intrigued with the project. By ences, however, Disney consis- The author would like to now Tanglefoot had existed, in tently vetoed gimmicky gags in thank Bill Blackbeard, Gary Hamil- one form or another, for nearly favor of those stemming from per- ton, Margaret Kaufman and Rus- five years, and Armstrong wanted sonality. “Strive for the personality sell Merritt; Howard Green of the to know how Disney envisioned of the horse rather than relying on Walt Disney Company; and Dave the character’s personality: “There props for gags,” he said at one Smith, Robert Tieman, Rebecca have been so many ideas as to meeting. “You can hang every- Cline and Collette Espino of the using the horse that nobody thing around him instead of Walt Disney Archives, for their help seemed to know.” The answer: depending on an assortment of in assembling the information in Disney was interested in the idea slapstick gags.” this article. of Tanglefoot as a playful charac- ter. Just as in the Waddle Book, J.B. Kaufman is an independent Mickey’s attempts to prepare Tan- Tanglefoot is the horse that film historian who has written glefoot for the big race were to be can’t take things seriously. - extensively on early Disney ani- frustrated by the horse’s inability to Walt Disney. mation. He is co-author, with concentrate on anything serious. Russell Merritt, of Walt in Wonder- By this time the studio’s evolving land: The Silent Films of Walt Dis- style had phased out shallow char- In the end the story was ney, and the two are completing acters like Horace Horsecollar, but abandoned, and Tanglefoot was a second book on the Silly Sym- Disney saw possibilities in Tangle- put out to pasture. Some of his phonies. foot. “Ferdinand was a bull that playful traits were later passed on didn’t want to fight,” he com- to other cartoon horses in the Dis- Note: Readers may contact any mented. “Tanglefoot is the horse ney stable, notably those who Animation World Magazine con- that can’t take things seriously.” appeared with Goofy in How to tributor by sending an e-mail to Of course numerous gags Ride a Horse and El Gaucho [email protected].
ANIMATION WORLD MAGAZINE November 1998 33 The Ingredients of Prosocial, ÒFCC FriendlyÓ Animation
by Jennifer Kotler n the fall of 1997, the U.S. Fed- clever that children do not even ing perseverance, honor, pride, eral Communications Commis- realize that they’re being taught. and self-esteem. There are proso- Ision (FCC) began requiring This type of show is the prosocial cial elements in many programs U.S. broadcast television stations program. on television. In between the to air at least three hours each The term, “prosocial” gen- laughs, sitcoms often have many week of educational television for erally refers to actions that society elements of prosocial behavior. children. Noncompliance with this deems appropriate, decent and Step By Step, Blossom, and Family requirement places stations at risk beneficial. Programs that contain Matters are good examples. Even of delaying their license renewal; prosocial content may teach superhero cartoons can teach chil- compliance makes them eligible actions that support interpersonal dren that it pays to be the “good for expedited renewal. skills such as helping others, nego- guy.” If there are elements of tiation, cooperation, sharing and prosocial behavior in many pro- tolerance. Prosocial programs can grams, then what makes a show What makes a show truly also teach children how to feel truly prosocial and FCC friendly? prosocial and FCC friendly? good about themselves by teach- Guidelines for Success Educational television What makes a prosocial has been loosely defined, but program truly educational is that the intent is for stations to air the main goal of the program is programs that are created with a to provide children with infor- main intention of meeting the mation about the social world educational and informative that they live in, and to provide needs of children. Many assume a safe arena in which to explore that this category only includes the contexts and consequences programs that teach hard cold of their interactions with others. facts like numbers, vocabulary, The program can give children science, history and the news. the opportunity to learn how to Many creators shy away from handle difficult situations, and these types of programs for kids how to get along with others, in middle childhood as they but it can also teach them how believe (probably correctly) that to be true to themselves. During the last thing most children an episode of Pepper Ann, Pep- want to do when they come per Ann learns to deal will her home from school is to continue father’s absence on Thanksgiv- to think. However, there is one ing. On Fudge older brother type of show that generally can Peter learns not to exclude his be very successful and appeal- younger brother anymore. ing to children, one that many Hangtime episodes typically deal stations are using to fulfill this With its multi-cultural cast, C-Bear and Jamal is with problems facing teens like educational/informative require- a good example of a prosocial program. © Film drugs, friendships, and dating. ment. These programs can be so Roman. In order to create a pro- ANIMATION WORLD MAGAZINE November 1998 34 gram that is prosocial, yet enter- children’s attention spans, will be taining, applicable, understood more successful in maintaining and most importantly, watched, the attention of young audi- there are a few guidelines that ences. There is no conclusive producers can follow. These data that supports the con- guidelines are based both on tention that rapidly paced pro- marketing techniques that work gramming on Sesame Street to gage children’s attention and leads to hyperactivity. There is interest, as well as strategies to some evidence that cartoons make sure children comprehend containing large amounts of vio- and learn from what they see. lence may lead to hyperactivity, Successful programs that stimu- but there is little evidence that late thought, as well as entertain fast-paced educational or proso- audiences, tend to contain the cial television does so. following ingredients: Because violence tends to have many qualities that hold Appropriate Levels of Humor attention, many believe that Humor is one of the main inclusion of some violence is ingredients of successful chil- During an episode of Pepper Ann, Pepper Ann necessary for successful ratings. dren’s programs. Humor not learns to deal will her father’s absence on Action need not be equated Thanksgiving. © Disney.All Rights Reserved. only initially gains attention, but with violence. There can be it retains it there as well. It is impor- Younger children are not as able many activities that do not include tant, though, that the humor not to understand sarcasm and exag- violence, such as going on an distract children from learning the geration and may be confused imaginary voyage, collecting clues main theme of the story. In other with presentations that contradict to solve a mystery or looking all words, the show should be funny the main theme. Plays on familiar over the house for the lost cookie but not so funny that the humor words, physical humor and silly jar. Suspense and uncertainty can interferes with the main message. sounds are more appropriate for produce excitement without con- For young children, the humor younger audiences. taining violence. should be linked to, and paired with, the main message, rather Applicability than being presented before or Research has overwhelmingly If a particular program is afterwards. If the program is basi- demonstrated that violent based on social relationships, then cally humorless and rather serious television can have harmful it should contain story lines to with a sprinkle of laughter effects...prosocial television has which children can relate. Chil- throughout the program, young both immediate and long-term dren pay attention to plots that children will come away from the beneficial effects. contain relevance to their lives. program remembering the funny Even if the context of the story lines and skits, while forgetting the involves people or things with fan- main message. Although, children Action, No Violence tastic powers, such as talking ani- over seven years of age are often Children, and adults as mals and superheroes, many of able to distinguish between what well, are naturally attracted to the positive social skills that are is central to the plot and what is movement and activity. Studies presented should be ones that more glitz and style, it helps to demonstrate that salient features kids without special powers can make the main message as clear such as scene and angle changes, imitate. and obvious as possible. loud noises, and vibrant colors Although as children get It is also important that the tend to grab children’s attention. older they are able to distinguish type of humor used is appropriate Young audiences have shorter reality from fantasy, many shows for the age group. Sarcasm can be attention spans and programs can provide socially realistic prob- great for older children and such as Sesame Street that tailor lems that need addressing teenagers who understand it. segment length to meet young whether those addressing the
ANIMATION WORLD MAGAZINE November 1998 35 shapes and sizes. Muppet Babies represents all different types of creatures. Winnie The Pooh pre- sents friendship across all kinds of animals. Whenever possible, stay clear from ethnic, racial, religious, gender and physical stereotypes. It’s important to include characters that differ from each other, but try to avoid making the character with glasses the nerd, the girl a shallow person who only cares about clothes, and the bad guy the one who looks uglier than everyone else.
Formative research on how children respond and learn from these programs is costly but necessary if effectiveness is the primary goal.
The Mighty Central Theme There is a way to get a mes- sage to children at their level with- out overacting, talking down to them, or sugar coating what they need to learn. However, it is important to get the point across. Some cartoons like C-Bear and Jamal and Doug do a very good Disney’s Recess contains children of all shapes and sizes. © Disney.All Rights Reserved. job of this. They have one charac- issues are people, aardvarks, encounters without becoming too ter speak to the audience as if they Rugrats or Muppets. Part of what scary, depressing or otherwise could hear his thoughts as he sizes children get out of these shows is frightening. up the situations in which he is an understanding of how things involved. This is a good way to talk work in the real-world, especially to the audience without being There is no conclusive data for situations in which they have condescending. that supports the contention little real-world experience. If the Personalizing the message that rapidly paced program- program presents realistic prob- also signals to children that what ming on Sesame Street leads to lems, then it should provide real- this particular person is saying is hyperactivity. world solutions and real-world important. If the same character in outcomes. This might mean not each episode is known as the wise treating serious situations lightly. Diversity, Not Stereotypes one and is consistent in delivering Certain problems cannot be Including characters of all important messages, children will solved within a half-hour. Some- different colors, cultures, beliefs, learn to attend to what that char- times people just do not like other abilities and interests provides a acter has to say. Young children people. Sometimes life is just plain number of characters with which may have difficulty knowing how unfair. Provide realistic scenarios children can identify. Disney’s to distinguish what is important that might result from real-life Recess contains children of all from something that is unimpor- ANIMATION WORLD MAGAZINE November 1998 36 tant. Pairing the central theme contain a large amount of proso- cial effects. with some very salient auditory or cial and educational television in Truly “FCC friendly” pro- visual feature that elicits children’s general tend to get along better gramming may not be easy to attention, will often aid in the with others. They are more coop- make. It certainly takes a lot of child’s comprehension. For exam- erative, generous and tolerant energy and patience to create a ple, whenever Fat Albert said, than their peers who watch less show that is funny, entertaining “Hey, hey, hey!” something impor- prosocial and more violent fare. and yet, teaches children how to tant was about to happen. Just as research has overwhelm- be better human beings. Forma- ingly demonstrated that violent tive research on how children Caution: Side Effects! television can have harmful respond and learn from these pro- Using these suggestions to effects, there is also a large grams is costly but necessary if create a prosocial program may amount of research indicating that effectiveness is the primary goal. cause certain known side effects. prosocial television has both For example, every new format of Children whose television diets immediate and long-term benefi- Sesame Street is pre-tested in preschools for children’s attention and comprehension. What works is included in the program; what doesn’t is revised. CAREERCAREER Producers of animation suc- ceed most often when they team CONNECTIONS up with child development CONNECTIONS researchers and educators to cre- ate programs for children that are Animation World Network’s educational yet entertaining, infor- recruiting section offers free postings mative yet exciting, and full of action and suspense yet free of and access to artist resumes threats, coercion, and violence. as well as recruitment advertisements. Including certain key ingredients in programs can make the differ- “The recruiting site ence between a program that is entertaining but benign and one reaches thousands of artists that is wonderfully creative, proso- cial and thoroughly enjoyable. from all disciplines, quickly The outcome is worth the effort— and efficiently. AWN that I learned from Captain Kanga- roo. certainly lives up to its Jennifer Kotler is a doctoral stu- name world-wide.” dent in Child Development at the University of Texas at Austin. She -Machi Tantillo has spent the past four years as a Director of MTV Animation research assistant at the Center For Research on the Influences of Television on Children (CRITC). - RECRUIT TOP TALENT Her current research focuses on parental regulation of children’s AT A FRACTION OF television use. THE COST OF PRINT ADVERTISING Note: Readers may contact any Animation World Magazine con- www.awn.com/career tributor by sending an e-mail to [email protected]. ANIMATION WORLD MAGAZINE November 1998 37 HereÕs A How de do Diary: August
by Barry Purves Editor’s Note: Lumps, terrifying going out transformation into the auditori- warts and all, for eight there not really sure um. So much work and it was months Barry Purves what everyone else gone in just a couple of seconds. I will share his personal is doing. The festival wish there had been more time for production diary with had some real leg- the animation and a bit of prepa- us for his current pro- ends of G & S just ration, but as I have said so many ject with Channel 4, wandering ‘round times, the music carries it through. tentatively titled Here’s beautiful Buxton, Oh dear, that is becoming a feeble A How de do. This film but oh, there were excuse. will take a look at three some seriously I was looking through an men: Gilbert, Sullivan obsessed, danger- old script that I’d written years and Richard D’Oyly ous, and being hon- ago, and there was a long dis- Carte. D’Oyly Carte Barry Purves. est, rather sad fanat- carded outline for “Next 2 - Here’s brought Gilbert and ics. I know G & S is a a how de do.” I’d totally forgotten Sullivan together and formed the big part of my life, but there are that the idea had been around D’Oyly Carte Opera Company, limits...My passion is for the craft of quite so long. It was almost identi- which performed Gilbert and Sulli- the operas and not really about cal in intention, but I’d clearly writ- van operas for 100 years. While something lacking in my life. Too ten it for a much larger budget the trio worked together for often, this manic obsession is not and longer film. Sadly, it had some roughly 25 years, their relation- based on an appreciation of the wonderful ideas that I’d lost some- ship was strained at best. How will skill and craft of the actual operas, where along the way. It’s too late the production of their story go? more it is like belonging to an to incorporate them now, but the All we can do is read along exclusive club or clique. It’s about a film is working as it is, anyway. Jo monthly and find out... fetish. There’s an element too of Cameron Brown, who had sung the fans possibly achieving some on our piano demo, saw the two Note: The on-line version of this sort of greatness by association episodes so far, and picked up on article includes a sneak preview due to the accessibility of the all sorts of things, which no one Quicktime movie of Barry Purves’ operas. (This written by a man else had seen. animation of Queen Victoria danc- who has made a career out of ing with Carte and Sullivan. making films that are based on other people’s greatness and trivi- I don’t mind if heads go out of August 3rd alizing them!) This compulsion is a shot, or a limb misses a shaft A day off, and what do I do very complex thing and peculiarly of light — in fact I try to do but go to the International Festival British. Actually, Saemi, my Japan- that deliberately. of Gilbert and Sullivan. Friends of ese friend, told me in a letter today mine were in a rather hastily hob- of the fun she had at “Warship bled together Pirates, but it still Pinafore” and how G & S are very August 4th worked its magic. My friend Jill, much loved by the Japanese Cut together Episode Two playing Ruth, had a rehearsal just (though The Mikado was banned and it works very well. The Mikado four hours before the perfor- until 1945). scene transformations are seam- mance, and that was it. I know We finished Episode Two less and very satisfying. We tried to she knows the role, but it must be today and the rather spectacular get ready for Episode Three. The ANIMATION WORLD MAGAZINE November 1998 38 puppets are being changed and and so on to catch up with), and He was thrilled with everything he having their make-up redone, so bounce in tomorrow full of ener- saw, and laughed heartily at a lot no shooting! But I slowed things gy, enthusiasm, and above all, of the in-jokes, and the whole con- down as I’d had a ghastly night ability. cept. It’s true about ‘six degrees of with food poisoning or some- separation,’ linking us through six thing. The Mount Vesuvius springs August 6th stages with anyone we care to to mind. I had to go home in the Still not feeling a hundred name. Through David, I was sud- afternoon and retire under the percent, but I was back with a denly linked to Gilbert and Sullivan duvet with the grateful cats. It’s a vengeance. I’ve been trying to themselves. David had called the bit worrying that I’m falling to work out why this particular film is widow of Isidore Godfey, who pieces already, and we’re not even taking such a toll on me. Possibly, was the music director for the half way through. I am truly worn it could be the nature of Gilbert company for several decades; the out and can’t catch up with and Sullivan themselves, who company was then run by Bridget things. The thought of an immi- squeeze more words into a sec- D’Oyly Carte, the granddaughter nent world tour is a bit scary! ond than anyone else; this, along of D’Oyly Carte himself, and so the with every movement being link goes on. Quite thrilling really. choreographed, is extra hard Not a particularly scintillating work, but worth it. It is certainly day, with 12 seconds of not livelier than my other films, with Seeing Sullivan prancing particularly scintillating anima- the characters not pausing for around with such grace today, tion. breath ever. This is time-consum- made me realize why, in spite ing. Then there are complex cos- of all the ridiculous effort, I do tumes and props which also slow this silly job. us down, but it’s probably more August 5th that I’ve got less support and A dynamic but rather clum- equipment than I’ve had before — sy start to Episode Three. I really for nearly every new shot the August 7th should not have been in work, as lighting has to be totally rejigged I don’t think even the hard- I felt worse than awful, but in the as we just do not have enough to est of souls will fail but to be car- lack of an understudy... go round, for example. There is so ried along by the infectious liveli- The video was giving me much other stuff that Jean Marc ness of the start of this episode. more black frames than usual, and I have to do, just to get ready, We did a very bizarre shot yester- making me lose any sense of that the actual important shooting day, but it did contain the image rhythm (a bad workman always time has been cut drastically. Pos- that recurs in all my films, that of blames his tools), and I made sibly too, I don’t have the stamina one character actually giving life numerous mistakes, which I have I had a few years back, as life has to an inanimate other. Here Carte tried to make work. Oh, to have been somewhat complex and became a rather manic puppet- the luxury to reshoot for artistic wearing, filling up an already over- meister, having the lads exactly reasons. With us all under so full brain. All in all, I suppose I’m where he wanted them. I’m not much pressure, and the subse- sad that too many other things sure my floppy puppet acting was quent sniping and general conspire to prevent me from con- as floppy as it could have been (it’s grumps, for the first time it was centrating on the actual shooting difficult with old fatty Sullivan hav- not a pleasure to go into work. of a film that needs more concen- ing no waist to speak of), but it Ironically, despite my mood, D’Oy- tration than any film I’ve done does work and we pull a little twist ly Carte was at his happiest. In before. A shame really. The answer with it. The camera was right in fact, my drinking champagne act- is to delegate of course, but dele- the way for me, but it looks okay. ing seems to suggest he was an gate to whom? Sadly, there’s no room in this film alcoholic. He has been so athletic However, I was cheered up for my other favorite image, that and jolly today, unlike me. I’ll try to tonight by a visit from David Stead- of a human body, preferably get a good sleep tonight (but man, a conductor long associated naked, with an animal or bird there is the homework, letters, life with the D’Oyly Carte Company. head on. Quite why I find this
ANIMATION WORLD MAGAZINE November 1998 39 image so powerful, I do not know. seem planned and plotted. I don’t just could not remember moving Over to you , doctor... mind if heads go out of shot, or a the mouths. Come Monday morn- Another long letter from limb misses a shaft of light — in ing and of course, I’d not forgot- Saemi in Japan, full of wonderful fact, I try to do that deliberately. ten, but it was a little alarming to articles about Gilbert and Sullivan’s With all this running have no memory whatsoever of successful history in Japan. I’d love around, I still managed to do 12 something I’d been working so to direct a production over there. seconds, but hey, look at the time, hard on. In spite of me being spec- and look at my disheveled face. A good chat to Paul Berry tacularly ill, and having to change Our work experience lad last night — sadly, I seem to have from one episode to another, it this week, Steve, is having prob- missed out on a perfect project. has been a good, but tremen- lems understanding Jean-Marc’s The BBC are doing a four-minute dously stressful, week. Still, we’ve gallic mumblings. Plus, Jean-Marc film on the complete history of got some good footage out of it. snaps a bit, but it’s quite light- their children’s puppet films. Now We are half way now officially, but hearted. Steve is certainly keen to if anyone knows anything about I’ve not shot half the film. There is help. condensing things...but there we no physical way to shoot faster. Christopher Gillet, our go, I was not asked. I have been tenor, and his family called in to asked to run another animation see us. They were all amused to training scheme. I don’t think I Someone please tell me that hear Dad’s voice coming out of a could do that again sadly. the end result is worth all this rather manic puppet. It does give stupid amount of effort and me a thrill to work with artists of angst. his caliber, though I fear that thrill I do find the small actions so was lost on the crew. Chris has just difficult.A puppet suddenly finished working on an opera for dies if it’s held for too long. August 10th Peter Greenaway. Ironically, there Having burnt the old but- were a couple of articles a few tocks whilst doing a bit of naked years back, calling me the Peter August 12th weeding yesterday on my roof Greenaway of animation. I wish. A good day, with no atmos- garden, I was a little tender today, pheres or anything. I’ve just buck- but then that’s more information August 11th led down and thrown myself into than you need to know. Not a particularly scintillat- it. As a result, there’s been some Some clumsy organization- ing day, with 12 seconds of not good animation. Dear Sullivan cer- al logistics got me off to a very particularly scintillating animation. tainly had a spring in his step. He slow start, but I have surprised If the audience did not look at the did a step-ball-change with such myself by doing a more than ade- printing on Carte’s bed sheets (of elán, that I was very impressed. quate shot. The three chaps have reviews of the operas and bank What with Carte doing a back- danced to one verse of the notes) as he flung them back, they wards somersault onto the bed a Princess Ida, “Oh don’t the days might think the characters have few days ago, I’m really throwing seem lank and long,” and it has developed a rather unhealthy these puppets around, and being turned out wonderfully. This fetish for sheets. There’s a lot of so bold. It seems to be paying off. whole episode has gone into a staring and fondling going on. I’m I keep saying how lively this new plane. It is very lively, and sure this film, with a different episode is, but anyone who those puppets are throwing them- soundtrack, could be riddled with watches the tape smiles away. I selves around. Their antics dis- innuendo. I do love it when pup- don’t think this film is rib-tickling guise the lack of camera moves, pets are tactile with each other, funny, and there are no actual and certainly the film does not but this could easily be misread. gags, but I hope it is witty, wry seem static. My peculiar way of I had a panic over all the and warm. If I’m being honest, it’s linking shots, of really pushing a weekend that I’d been so busy on probably Sullivan’s glorious music move through two consecutive Friday’s shoot trying to get the that gives the film its energy. I’m so shots, gives such spontaneity. I rhythm right, I’d totally forgotten lucky that I haven’t had to work love it when animation does not to lip synch all three characters. I with some of the composers
ANIMATION WORLD MAGAZINE November 1998 40 who’ve done music for recent After the invigorating day week, but I think I’ll have to quick- films. No names mentioned, but on Wednesday, these two days ly find a replacement, as she looks some soundtracks recently have have been a bit of a let down. I’ve tiny, even next to Sullivan. Sorry, been jaw-droppingly awful. There certainly got the footage out, but Vickie love, you’re too short and is no way that I could listen to that it was all a bit mediocre. Again, I fat for the part. Next! 300 times a day, as I do our found Gilbert flapping his arms soundtrack. without it meaning anything. It August 16th The more I listen to Wyn’s looks good, but...I hope that Quite a weekend and how music editing and David Fir- I had been looking forward to man’s arrangements, the more I seeing Oklahoma!. As the keep hearing things bubbling orchestra struck up with a series away underneath, or echoes of ravishing and inventive stage from something earlier. I just pictures, I was giddy with excite- hope this music is not squashed ment (and not a little nervous as in the dubbing process, as has I’d taken my sister who has been happened to me before. Seeing previously immune to the Sullivan prancing around with charms of musicals and opera). such grace today, made me real- Breathtakingly original ize why, in spite of all the ridicu- touches all the way through, lous effort, I do this silly job. To and I could feel my sister warm- give credible (not realistic, but ing to it and loving all the move- credible) life to a lump of latex, Barry dressed as Brunhilde, as he appeared in a ment and color. “Wait until she brass and cloth is a wonderful TV commercial. Photo courtesy of Bare Boards sees the ballet, and the ‘Farmer selfish joy. I shall miss these boys Productions. and the Cowman’ number,” I and their friendly bickering. I think won’t be the general feel of the thought. Well, sadly, she is still I am closest to Gilbert and his whole movie. Certainly this waiting. The show stopped dead, haughtiness, but I like Sullivan for episode looks good, with the just before the ballet. Amazingly, trying to please, and Carte for for- chaps running around like crazy, the audience of mainly tourists ever trying to keep the peace. In but does it actually mean any- thought this was the interval and fact, all these are three different thing? I think it’s clear the charac- clapped wildly. Did they not think sides of me. ters are in high spirits, but is it clear the music had a certain inconclu- why? I’m enjoying this episode, sive feel to it; what with stopping and there are some lovely visual mid-bar? The technology of the I know I’m naïve when it and musical moments. Sullivan is National’s amazing revolving stage comes to business, but some- quite funny singing about how his got in the way and lost all power. thing in this equation does not “uniform” attracted the lady That was that. No chance of quite add up. groupies. catching up with it again. My sister Heard from Channel Four is left on the edge of her seat won- who like Episode Two, thank dering what did happen, and feel- August 13th and 14th goodness, and they definitely ing very cheated. You don’t expect Two days in one as, how want the film as a compilation. I that at the National, but it did look rash of me, but I went out for a think it will work better as a com- to be a truly great redefining pro- drink with a chum. Two hours of a plete film, and not just one duction of a show that has always social life and everything falls episode a night. redefined musical theatre. There behind. There is so much to do I’m treating myself to a half- are said to be so many firsts about each evening for the next day — if term cultural break in London with Oklahoma!, some of which are a I miss those hours, I can never Oklahoma! and Jean Brodie. I can’t little far-fetched, as Gilbert and Sul- quite catch up. I don’t know how wait. Of course, come Monday I’ll livan had pushed those barriers directors on features manage, but be awful. some 60 years earlier. Okay, G & S then I assume they have some I got “Queen Victoria” never used dance in this way, but help. ready for her big moment next they dared to start a show with an
ANIMATION WORLD MAGAZINE November 1998 41 old lady alone on stage — for up. August 18th Aunt Eller’s butter churn in Okla- As Gilbert stood haughtily A long shot in the morning homa! swap Phoebe’s spinning to one side, watching Queen Vic- of Gilbert at his most sarcastic and wheel in Yeoman. Both teams toria (a new taller and slimmer ver- bitter. I think I managed to catch used a chorus as never before. sion) knight Sullivan, I suddenly all the rhythms and innuendo in Both also used the songs to devel- felt a parallel in my own life, but I’ll Steven’s wonderfully animated op the situation and character. have to be a bit oblique here. delivery. I needed to keep Gilbert Rodgers and Hammerstein reaped I bought a wonderful book as still and controlled as possible, the harvest of the seeds sewn by at the weekend — Understanding as the music was hardly there. I do Gilbert and Sullivan. One way or Animation by Paul Wells, who I find the small actions so difficult. A another, we owe so much of mod- know. I’m flattered that he dedi- puppet suddenly dies if it’s held for ern musical culture to G & S. Our cates a whole essay to my film too long. It’s a very fine balance to language is full of Gilbertian phras- Screen Play, and analyses it in get right. Poor Gilbert, I have es, whether we know it or not. such great detail, comparing it to made him not a terribly endearing Maybe I could do a film about Stanislavskian techniques. Paul character, but then I’m not sure he Rodgers and Hammerstein. clearly sussed-out what I was try- was. I think he must have been Caught Fiona Shaw as Jean ing to do, but I’m not sure I would cold and aloof — maybe that’s Brodie in the evening — a mag- have been so articulate and pro- why I keep identifying with him! nificent fluent and witty perfor- found as he was. There is a dan- A couple of reshoots in the mance, and what it had to say ger sometimes, that critics can afternoon. This is a luxury, and about enlightening people was so analyze a gesture too deeply. The here, this was for lighting reasons. true. This production was not fact that a character pauses for a Sadly, and predictably, the anima- afraid to show Brodie’s potential second may not necessarily have tion looked dull second time danger, but it did revel in the infec- any significance other than that round as I was trying to match the tious thirst for knowledge with was the only way to get the continuity rather than let it flow as which I could so identify. footage out that day! usual. Saw The Avengers last The Iolanthe set is lurking, night. What an atrocious movie, ready for the end of the week, Once again, music and move- and a disgrace to the series that and looks quite spectacular. ment as one — it’s so exciting inspired it. Here is a fine example Sandra Dugdale burst in, in when there is such harmony... of what is wrong with so many a whirlwind of colorful joie de films. The original TV series was a vivre. As she watched the puppets masterpiece of wit and invention, singing with her voice, she hoot- August 17th imaginatively rising out of tiny ed as only she can. About 70 seconds of rushes budgets. As I’ve said before, neces- Our work experience this this morning. Without the sound sity really is the mother of inven- week, Andrew, is so full of enthu- laid to them, they look rather odd tion. Here Hollywood threw so siasm. It’s great, but embarrassing — just what are those characters much money at it, and it’s a mess. that he’s already done a paper up to? Music makes sense of their The Avengers was never about about me. He’s so enjoying being bizarre movements. We were a bit special effects. It was far more sub- here. worried that the contrast, color tle and clever than that. Sadly, a and brightness seems a little errat- big budget killed its very essence. I August 19th ic. I’m worried in case we are pin- think the same happened with The crew saw a less than ning too many hopes on the grad- Mars Attacks. A homage to cheesy pleasant side of me today. I have ing in two months. We are not B-movies might have been more been very grumpy, as I am when allowed any post-production tin- imaginative with a relatively things prevent me from filming. kering, so everything is going to cheesy B-movie budget. It might The lighting took forever today, as be very raw and real. Quite satisfy- have forced everyone to be that literally, every light has to be ing, but also quite dangerous. I much more inventive. Since when moved for each new set up. We would like the benefit of some did big explosions have the same do not have enough to be able to electronic assistance to tidy things effect as wit and pure creativity? have a versatile permanent set up,
ANIMATION WORLD MAGAZINE November 1998 42 like a theatre lighting rig. I eventu- As he was hanging from a wire, note that I’d trained Sue, the direc- ally got filming in the afternoon, looking a parody of Wagner’s tor, and Jo and Steve, the anima- on a sequence that had kept me Brunhilde (as Gilbert had intend- tors. awake last night, fretting. This was ed, and Sullivan hints in the several shots of Queen Victoria music), something was nagging in August 21st dancing with Carte and Sullivan. I my head. Why did this seem so Immensely pleased with did not enjoy filming as there was familiar? Where had I seen a man The Iolanthe tableau, though it too much going on in the studio, with a mustache dressed as a bar- took all day to set up. We, with the making concentration difficult. gain basement Brunhilde? Sud- As and When Men, have created However, the end result looks denly, it hit me and I laughed something so spectacular with the quite jolly, and through sheer hard aloud, confusing the crew. It was simplest of means. Suddenly, the work, I managed to get the me! In a commercial some ten three men are dressed as fairies rhythms just right, and all the years ago, I spent a day hanging and flying over a panoramic view choreography fits the complex from a wire dressed as Brunhilde. of London. Very simple, and very beats. Watching it without music, This film is, whether intentionally effective — which is why my com- it looks a little rough and basic, but or not, having so many echoes of pany is called Bare Boards. There with the music it does work. We my own life. As I’ve said before, was a saying in theatrical circles, were finally brought the new each of the three characters are all that all you need for a show is recording system, but no-one was aspects of me. The transformation bare boards and a passion. I have quite sure how it works, and I’m into the fairy sequence is working the passion, and the bare boards. not sure there is enough space in well, with Gilbert’s thoughts, and I love starting with an empty space my head to learn a new and com- his jealous spite, coming across and creating illusions. I never try to plex routine. Call me a Luddite, very clearly. However, it’s the four create reality, but the illusion of it. but better the devil you know. I second shot of Carte and Sullivan These three men are not really fly- have kicked up a fuss about the dancing with Queen Victoria that ing over London, as I have made present recorder because it gives cracks everybody up. It borders on the rod supporting them very thick me so many black frames, but it camp, well, not camp, but pure and obvious, but for a moment I works with the music. The new silliness, pure Gilbert and Sullivan give the illusion of them flying system seems to have trouble with really. over London. I find this much the music. A bit drained tonight, Paul Berry came in again more stimulating, and I hope the but I think my dark mood has today, and was amazed at how audience does as well, by having gone. It does not show on screen much we had done since he was to use their imagination. though. I suppose the pressure last here. He seems to love it all so Incidentally, Bare Boards just gets too much sometimes. far, and has picked up on all the was the name of the Manchester things where I’m being, if not University drama department’s stu- groundbreaking, at least a little dent magazine. There was a char- I did get into a bit of bother adventurous. One way or another, acter in it called Howard Uno, and feared the shot would be there is no other film like this. Hap- who lampooned the staff and stu- lost, but I gave myself a stiff pily, I don’t think you need to dents rather ruthlessly. One week, talking to, and got through it. know anything about G & S to get in a medieval mystery play whilst pleasure out of it. playing the Second King on the An enormously difficult day way to Bethlehem, I dried. The August 20th tomorrow, getting Big Ben set up. First King had gone off premature- A more cheerful day, bat- I’m a little anxious about all the fly- ly and had literally left me speech- tling with the logistics of shooting ing, and how much I will be able less. My reaction to the prompt out of sequence due to costume to control the puppets. was to say, “Pardon?” This changes and so on. Sullivan had a Went to see the set of Rot- moment, in front of tutors, not quick trip round Manchester, and ten Ralph, Cosgrove Hall’s big, only got me into the Howard Uno came back dressed as the Fairy new series that started filming this cartoon strip, but also convinced Queen from Iolanthe, and he week. It looks wonderful, so clean, me that I was not the great actor I looks suitably...well, words fail me. fresh and lively. It pleased me to had hoped I would be. But the
ANIMATION WORLD MAGAZINE November 1998 43 Bare Boards name stuck with a with him of what we are doing. labors of love and there is getting good way of looking at things — Still, he was busy twinkling away rewarded for working hard. I think creating rich imagery with utter the lights of the city. But I hate to we would have some surprises if economy, by using the imagina- be seen as less than sociable and people were paid on this film tion. affable. As I got home tonight at according to the actual work they some time past 11, I had no con- put in...Some people involved are versation or anything left, other working their socks off for very lit- I was, sadly, born only with the than the need to do the work for tle reward, and other people are “work hard” part of the “work tomorrow. Such effort — is it not. hard, play hard” equation. worth it? We’ll see in a couple of months (if I’m still surviving). August 26th I now have a rather blood- A complicated bit of logis- August 24th shot eye from staring at too many tics with the Big Ben set. As it dis- An enormously long and lights. appears, literally, in the middle of a strenuous day, but also slightly dis- shot and we remove it, I had to appointing. I have probably over- August 25th make sure everything we’ve shot reached myself with this shot of Someone please tell me on it was okay, as we cannot set it the three men, as fairies, flying that the end result is worth all this up again. Our rushes are devel- over London. It should have had stupid amount of effort and angst. oped in London, 200 miles away. the “wow” factor, but it was prob- I’m afraid it’s the fairies again. I real- As you can imagine, we can only ably too ambitious for the time ly could have done with much send away as infrequently as pos- and facilities we have. Twelve sec- more preparation for this epic, sible. Happily, the sequence is onds with everything happening; under any circumstances, scene. more or less all right, so we carry lights, camera moves, flying fig- I’m afraid they are all hanging in on tomorrow. ures, twinkling lights all proved the sky twitching away — not I’m still a little disappointed too much for the collective con- quite the grace and elegance I with this Iolanthe sequence, as the centration. I’m sad that my acting could have done with more time. music is so glorious, with a won- was a little basic. I had so been It’s a challenge to keep them as derful aggressive rhythm. All the looking forward to this shot, and fairies and as Gilbert, Sullivan and months that I have been imagin- knew how to make it funny, but Carte, and I’m not sure that I’ve ing it, it was going to be athletic the lack of a sophisticated flying met the challenge. I’m worried and lively, with the fairies swing- rig, well any rig actually, made the that we’ll have some reshoots here ing all over the place. Sadly, the whole thing very pedestrian, as it due to some lack of concentration reality is a little different and duller, were. Still, we got through it and elsewhere, and probably with me. but I think in the context of the it will come as quite a surprise at I know I’m naïve when it whole episode it will work very the end of this episode. Sad to comes to business, but something well. It is certainly an unexpected think of all the effort involved in in this equation does not quite sequence, and does get the point shooting for ten hours, and a sin- add up. I’ve had the busiest last 12 of the characters’ differences over gle frame can ruin all of the work months ever, what with running clearly. I got myself in a bit of a and probably has. If anyone in the three training schemes for a direc- mess with the rhythms of: audience had a mind to, there is a tor and six animators, a bizarre “Go away Madam subtext to be read in the actions. It commercial for Holland and now I should say Madam does symbolize their situation. this big film. A decent amount of You display Madam Shocking taste.” I have a friend over from money you would think, but I’ve I was animating to the beat Stuttgart, Andreas, who has prob- not actually seen it. It’s all been of the repeated use of “madam,” ably seen more animation than assimilated into getting the com- but really, and this is so obvious if anyone. A real fan. His idea of a pany up and running. This is fine, I’d listened, really listened and holiday is to come and help us. I’m but it doesn’t feed the cats. We are read the score, the accent is on grateful for the help, but I feel not too organized in regards to all the repeated rhymes of “ay.” Still, guilty that I’ve not had the time to this, and unfortunately, my mind is so much arm flapping and wing talk my way through the process only in G & S land. There are fluttering is going on that no-one ANIMATION WORLD MAGAZINE November 1998 44 will notice. I’m just a little sad as I ple I work with, but it’s a little frus- Huh! love this musical section and I’ve trating. I’m glad Gilbert’s internal Sondheim summed up the been so scrupulous with the beats rhymes of “lot” and “not” are so obsession, the loneliness of being so far. appreciated! Well, hopefully, that’s stuck in a creative project, in his Chatting to Sue about her Episode Three done, and it’s cer- musical Sunday in the Park with series, and they are having ghast- tainly lively, visually surprising and George. As Seurat wrestles with ly problems with the computers bold, plus tells quite an accurate the minute detail of a hat: and technology. The machines story. This will have been the hard- “Finishing the hat keep crashing and so much disap- est episode. Still Sullivan with How you have to finish the hat pears forever. Queen Victoria makes me laugh How you watch the rest of the world From a window — it’s just right, and I can’t say that While you finish the hat... August 27th too often. ...But the woman who won’t wait for Wow, what an epic 19 sec- you knows onds today. This shot of Carte August 28th That, however you live coming out of The Iolanthe Well that’s Episode Three There’s a part of you always standing by, tableau did not turn out quite as I cut together, and I showed it to Mapping out a sky had intended. Originally, I’d various directors at Cosgrove Hall, Finishing a hat planned that we would feel sorry and they all burst into sponta- Starting on a hat for Carte that Gilbert and Sullivan neous applause, which is comfort- Finishing a hat had walked out on him. But Carte ing. Seeing all three episodes Look I made a hat Where there never was a hat.” led me a different way as I did it — makes sense of everything. The Sad, really. With the sun it’s now more Carte saying, “Listen, thing people seem to have picked shining, and knowing that every- I have a right to be pissed off as up on and like is the way it flows one else was out having fun, we well as you two.” This works very as if it has been shot on three cam- were less than enthusiastic at nicely, and he certainly did look eras. It certainly has an energetic work. It was therefore ironic that grumpy. It was such a hard shot spontaneity to it, and hard to Sullivan was singing: “Away, for me, coordinating things believe that there are only about Away, Ere I expire. I find my duty through pure guess work, as we five camera moves in it. In spite of hard to do today.” could not even try to plot this shot all our problems and the stress, Still we got 14 seconds as things were built and disman- there is something a little special done, with Sullivan being even tled as we went. I did get into a bit going on here. I wish I could show grumpier than we were. of bother and feared the shot it to my Ma and Pa. They would would be lost, but I gave myself a love it. I remember the pleasure Read Barry’s previous stiff talking to, and got through it. Ma had from working on Screen monthly diaries in Animation The music gives it a great struc- Play, and the pride I had from her World Magazine, starting with the ture. Once again, music and being involved. June, 1998 issue. movement as one — it’s so excit- ing when there is such harmony, August 31th especially after slightly mis-timing The logistics of having the Barry Purves is a Manchester- things yesterday. puppets reskinned and recos- based filmmaker. Through his I must say both Carte and tumed over the weekend were production company, Bare myself were glad to get the feet complicated by most people being Boards Productions, he has on solid ground again. at the Mardi Gras in town. I was, directed several stop-motion ani- I was a little amused as I sadly, born only with the “work mated films and commercials, got to the barsheeted section of, hard” part of the “work hard, play including Next, Screen Play, Rigo- “A Policeman’s lot is not a happy hard” equation. Perhaps, even letto and Achilles. one.” Sadly, probably one of the more frightening, it’s the same most famous phrases of the Eng- thing to me. Even whilst the Note: Readers may contact any lish language had been barsheet- whole of Manchester is on some Animation World Magazine con- ed as “A Policeman’s life...” I don’t high spirited binge, I came home tributor by sending an e-mail to know what it says about the peo- and worked on the storyboard. [email protected].
ANIMATION WORLD MAGAZINE November 1998 45 The 1998 Ottawa International Animation Festival: A Nice Mix of Films, Business and Fun
by Deborah Fallows mony and closing party on Octo- films that they might otherwise ber 4. miss. Many Canadians politely Believing that independent endured the fatiguing number of animation in Canada is important experimental and abstract films in to the future of the animation the mix but later expressed their industry, Nelvana was pleased to frustration. Of the experimental support the festival again financial- films, some were spectacular, ly and increase participation in while others were simply demon- workshops and panels. Canadian strations of techniques and diffi- federal, provincial and local gov- cult to appreciate. Experimental ernment bodies provide 20% of films are interesting if the tech- the financing and ticket sales nique is new like Busby from Anna account for 5%, leaving the OIAF Henckel-Donners-Marck in Ger- to depend on industry sponsors many. In this brilliant student film, for 75% of the total funding. The hands were choreographed to future success of the OIAF and resemble a kaleidoscope. independent animation will con- I was disappointed that tinue to depend on industry sup- only five of 83 films in the official mproving on the success of the port. competition were Canadian. They 1996 Ottawa International Ani- were: Linear Dreams, Richard mation Festival (OIAF) was a dif- Reeves; AMF’s Tiresias, Anne Marie I The future success of the ficult challenge since the recruiting Fleming; Bingo, Chris Landreth; OIAF and independent anima- frenzy for classical animators has The Three Brothers, Tom Bernier; tion will continue to depend since eased, but by no means Natterjack Christmas, Steven Evan- on industry support. diminished. Running for 21 years, gelatos and When the Dust Set- OIAF claims to be the largest in tles, Louise Johnson. Congratula- North America (in terms of film tions to the Canadian winners: entries), as well as North America’s The Films:A Bizarre Mix Richard Reeves’ Linear Dreams for only competitive festival and sec- Billed as the centerpiece of the Viacom Canada Prize for Best ond largest in the world. Atten- the festival, the official competition Canadian Film and Chris Landreth dance certainly matched, and pos- included 83 films, selected from for Bingo which secured Media sibly exceeded, the record estab- 1,200 entries from more than 40 Prize Best Computer Animation. lished in 1996 (30,000 ticket countries. The competition provid- Could there be another Oscar sales). Weekend passes were sold ed film-goers with an eclectic nomination in store for Chris Lan- out and the theater was packed assortment of experimental, dreth? every night. The festival opened abstract, mixed-media, and limited In addition to the competi- September 29 with a glitzy gala commercial films, all on the same tion there was a range of pro- screening of Antz and concluded menu. This mix provided the audi- gramming from the flashy open- with the traditional Awards Cere- ence with an opportunity to see ing-night gala screening of Antz to ANIMATION WORLD MAGAZINE November 1998 46 esoteric retrospectives and tributes potential production partners. for the booth was 9:00 p.m., we including: “Before and After Inde- Eager animation students from all agreed to our own closing time pendence: 40 years of Estonian Miramichi College, Algonquin Col- of 6:00 p.m. daily. Recruiters do Animation;” “Alexei Karaev: Poetry lege, Capilano College and The like to have time to see the films from the Urals;” “The Ideology of University of the Arts (Philadelphia) and look for potential talent at Being: Igor Kovalyov;” and “Angst were prominent this year. The Ani- screenings. We also like coffee and for the Memories: Stefan Schaben- Market as usual was well-support- it was nowhere to be found near beck.” Mainstream retrospectives ed by the Canadian animation the National Arts Centre! included: “Charles Thorson; A industry including Nelvana, Cinar, Taste of Tashlin;” “Forbidden Ani- Walt Disney Animation Canada, mation;” “Acme Filmworks” and Teletoon, Chromacolour, Toon Who would ever think that the “New Canadian Animation Boom, Dynomight Cartoons, and Ottawa was the party capital Panorama.” Canada enjoys a rep- a variety of animation colleges, like of the world!? utation as a leader in production Sheridan, Algonquin, and Centen- and technology associated with nial. American booths included: computer animation, the video PDI/DreamWorks, Pixar and Nick- market and of course, our long- elodeon. Newcomers Hardware Professional Development established history in classical ani- Canada Computing, Crater Soft- Workshops and Panel Discus- mation. Although the program- ware (Spain), John Libbey & Com- sions ming in the New Canadian Ani- pany (book publishers from Aus- Workshops and panels mation Panorama was a weak tralia) and EOS Electronic (UK) were all well-attended and reflection of the talent level in were welcomed. expanded this year to include the Canada, overall the OIAF deserves Filmmakers, artists, produc- prospering and evolving areas of credit for providing diversity in the ers and students scope the booths computer animation and cable programming and taking risks. for updates on developments networks. Nelvana was pleased to within the industry. The Ottawa support five workshops/panels AniMarket is open for the full dura- and share expertise in production Many Canadians politely tion of the festival making it the and computer animation technol- endured the fatiguing number most gruelling and most reward- ogy. One well attended panel was of experimental and abstract ing in which to participate. Fortu- “New Tools of the Trade” with films in the mix but later nately this year we convinced the Scott Dyer from Nelvana, and expressed their frustration. “Festival” to delay the opening of David Plant from Silicon Graphics the AniMarket to 10:00 a.m. daily. Canada. The panel brought tech- Although the official closing time nical interest to discussions on A Well-Integrated AniMarket how Nelvana met the challenge of The AniMarket, strategically combining Alias software for mod- placed at the theater entrance in eling with Softimage software for the National Arts Centre, meant animation. that industry booths were quite David Fine and Alison accessible to the film-goers regu- Snowden, creators of Bob and larly attending the screenings. Margaret, were also on hand to Other festivals tend to banish discuss the transition from produc- industry booths to separate build- ing a Oscar winning NFB short, ings and segregate business from Bob’s Birthday, to developing a Left to right: Paul West, coordinator of screenings. The conscious deci- Algonquin College Animation/TV Pro- prime time series like Bob and Mar- sion to integrate the booths within gram in Ottawa, Maurice Sherwood of garet with Nelvana. the theater provided Nelvana with Studio B,Vancouver (showing off the fake At the top of every student’s teeth that helped him win second place an excellent opportunity to screen in Klasky Csupo’s Austin Powers look- list were the multiple standing new projects, meet with potential alike contest) and Don Perro, coordinator room only workshops on “Prepar- artistic talent for our 2D and 3D of Capilano College’s Commercial Ani- ing a Portfolio.” Students greatly mation Program in North Vancouver. productions and connect with Photo courtesy of Don Perro. appreciated the time and effort ANIMATION WORLD MAGAZINE November 1998 47 your liking, one could always ven- ture to the Chez Ani for a night- cap.
The Ottawa AniMarket is open for the full duration of the fes- tival making it the most gruel- ing and most rewarding in which to participate.
Congratulations Ottawa! Independent animation is alive and the success of the 1996 Festi- val was clearly matched in 1998. Read the complete list of Ottawa award winners in Anima- tion World News, and view more photos from the festival in this At the Funbag party, around the table clockwise, from left: Jay Francis, (Film Roman), Liza-Ann Warren (Warner Bros. Classic & Television Animation/Hanna-Barbera), issue’s Ottawa ‘98 Scrapbook. Visit Richard Mair (Nickelodeon), Marisa Materna (Klasky Csupo), Liz Morton (Natterjack the official Ottawa International Animation), Lyn Hart (Studio B), Don Perro (Capilano College) and Kathleen Helppie- Animation Festival web site in Shipley (Warner Bros. Classic Animation). Photo courtesy of Don Perro. AWN’s Animation Village. displayed by Warner Bros. and ebrated afternoon picnic, spon- Pacific Data Images. sored by Warner Bros. In addition, Deborah Fallows is the director of out of the six evenings, there were recruiting for Nelvana Limited, Ottawa Equals Parties? six parties: Dreamworks/PDI, based in Toronto. Who would ever think that Dynomight, Funbag, Hardware Ottawa was the party capital of Canada Computing, Nickelodeon Note: Readers may contact any the world!? Industry support was & Klasky Csupo and the finale — Animation World Magazine con- strong. Even the brisk Northern air the closing night party. They were tributor by sending an e-mail to did not interfere with the well-cel- all great! If there wasn’t a party to [email protected].
Cels, videos, books, t-shirts, posters and more... Now available in the AWN Store! http://www.awn.com/awnstore
ANIMATION WORLD MAGAZINE November 1998 48 Ottawa ‘98 Scrapbook
Animation World Magazine invit- ed readers to send in their best snapshots from the 1998 Ottawa International Animation Festival, which is reviewed in this issue by Deborah Fallows. Thanks to everyone who sent photos!
Participants in a panel discussion about the future of animation festivals, from left to right: Marcos Magalhães (Anima Mundi), Lea Zagury (Anima Mundi),Tom Knott (for- mer director, Ottawa), Chris Robinson (director, Ottawa), Gerben Schermer (Holland), David Ehrlich (ASIFA) and Suzanne Buchan (Fantoche). Photo © Wendy Jackson.
The QAS (Quickdraw Animation Society) crew, from left to right: Jill Armstrong, Carol Beecher, Richard Reeves and Cynda Ward. Photo © A prize-winning pumpkin carved at Stephen X.Arthur. Ottawa’s famous animators’ picnic. Photo © Stephen X.Arthur.
Vanessa Schwartz, director of animation writer Emru Townsend. Photo ©
Stephen X.Arthur.The Janitor
, with
A pair from the National Film Board of Canada: producer Jennifer Torrance,guay. Photo left, and © Stephenproduct managerX.Arthur. Hélène Tan-
ANIMATION WORLD MAGAZINE November 1998 49 Richard Reeves ( Kirsten Winter ( Linear Dreams ) and a screening. BothSmash had )plenty pal around to smile after about later, as prize winners on awards night. Photo © Stephen X.Arthur. Cecile Starr speaks withEllen audience Bute. members Photo © Wendy after her Jackson. presentation of films by Mary
Participants in a panel discussion on animation in Russia and Estonia, from left to right: translator Anna Vichniakova, moderator David Ehrlich,Alexei Karaev (Russia), Priit Pärn (Estonia), Janno Põldma (Estonia), Rao Heidmets (Estonia). Not in photo: Mati
Kütt. Photo © Wendy Jackson.
Emru Townsend suiting up for Puppet Works’ motion-capture demonstration. Photo by Vicky Vriniotis, courtesy of Emru Townsend.
ANIMATION WORLD MAGAZINE November 1998 50 A Look Back at MIPCOM Ô98 by Loris Kramer available programs, both in devel- Remember, however, that opment and finished, and also to our business is very cyclical. As find out what the other buyers are soon as the buyers are inundated looking for. with live-action programming, they’ll start searching for anima- There has been an excess of tion again. animated programming fed into the marketplace in the Today, if you do get a show last few years and buyers are picked up domestically, you are looking for alternatives. lucky if the license fee covers 10% of the production cost. The Immediate Future of Ani- mation Before I start to sound too How to Get a Show to Mipcom “Pollyanna-ish,” I should say that and Why while the children’s programming Before I go any further, I market is strong, animation seems should explain how a show even to have slowed down. It is live- gets to MIPCOM and more impor- action that is currently most in tantly, why we take it there in the Loris Kramer. Photo courtesy of Sony Wonder. demand. This is probably because first place. There used to be a time, s I write this, I am still recov- there has been an excess of ani- only a few short years ago, when ering from my week in the mated programming fed into the we Americans didn’t think we South of France. I know it marketplace in the last few years needed the international market- A and buyers are looking for alterna- place to get a show produced. If sounds glamorous and while I can think of much worse places to tives. It doesn’t mean that all is lost you were lucky enough to have a work than the French Riviera, it is for animation, it just means that show picked up by a U.S. net- still work! After six days of MIP Jr. for the next year or two it will be work, most, if not all, of the pro- and MIPCOM meetings, endless more difficult to get an animated duction costs were covered and French dinners and too many show made. The good shows will you were on your way. If you did- nights at the Martinez bar, the fog always find a home, but the glut n’t have an American broadcaster, is starting to clear and I am happy of mediocre product will have a you dropped plans for the show. to say that we had a very success- much more difficult time succeed- Today, if you do get a show ful week. While I heard people say- ing. picked up domestically, you are ing that this market seemed slow- lucky if the license er than in the past, from my view- fee covers 10% of point, the children’s programming the production business is alive and well. cost. What would I have somewhat of a have seemed like a unique perspective when looking laughable idea a at the market. Not only am I look- few years ago is ing for programs to buy, I am also now common- there seeking co-production part- place; we find one ners for our projects and looking or two strategic for other companies’ projects in international co- which to invest. This gives me the production part- A busy MIPCOM 1998. Photo by Yves Coatsaliou, courtesy ners and begin pro- opportunity to see many of the of Reed Midem. ANIMATION WORLD MAGAZINE November 1998 51 duction on shows without having even pitched to the U.S. broad- casters yet.
Every series we have in pro- duction or are about to start on is a result of relationships and deals done at MIPCOM.
Preparing for MIPCOM One trip to Cannes and you’ll realize what a difficult job we as buyers and co-production executives have in weeding through the tremendous number Inside the showroom... Photo by Yves Coatsaliou, courtesy of Reed Midem. of shows and ideas available. That’s why it is so important to pre- then having the buyer tell you that competition. pare properly and do your he only wants live-action dramas. Many people complained research before even taking an Conversely, from a buyer’s per- that the market was slow and idea to MIPCOM. This is the only spective, I can tell you that if I’ve there weren’t as many people way a show has a chance of just wasted precious “sitting down there, but I can only comment on standing out among the plethora and resting my feet time” to hear a my experience which was terrific. I of programming. MIP Jr., the two- pitch for a documentary on the had more meetings than ever, plus day children’s programming mar- history of the jelly bean, I won’t be they were more productive than ket proceeding MIPCOM, had too happy. ever. Sony Wonder has had a fan- hundreds of programs available Finally, be flexible. Even if tastic year, which is all directly for screening. At MIPCOM itself, it you’ve done all of your research related to our past work at MIP- seemed as though there were and think you have a great idea, COM. Every series we have in pro- thousands of additional projects listen to what the buyers are duction, including Rainbow Fish seeking our attention. telling you. Be open to change and Wondrous Myths & Legends, This is why a lot of work and creative comments. Most of or are about to start on, such as should be put into a show before the time it will help your chances The Lost Legends of Krogg and it even reaches the smoke-filled of success. Atomic Babies, is a result of rela- aisles of the Palais. A property’s tionships and deals done at MIP- chances of success are directly Back to This Year’s Market... COM. related to how much thought and As I mentioned, the overall Now, it’s time to get back to research goes into it. It is very reaction to animated program- the office and start plodding important to know what the mar- ming at this year’s MIPCOM was through the stacks of pitches I ketplace wants and, while it is dif- less than enthusiastic. I overheard shipped home. Somewhere in that ficult, if not impossible, to come many buyers saying that they did- pile, I hope that I will find the next up with an idea that appeals to n’t see anything that stood out. big hit. every buyer in every country. You Now, you can choose to have a must have a pretty good sense of pessimistic reaction to this news or, Loris Kramer is vice president of the overall current trends. as I have, look on the positive side. creative services at Sony Wonder. Also, it is essential to know The fact that there wasn’t anything what the individual buyer wants. spectacular means that if you Note: Readers may contact any There is nothing worse than pitch- come up with the next wonderful Animation World Magazine con- ing a fabulous idea for an animat- idea, you will have a greater tributor by sending an e-mail to ed fantasy adventure series and chance of sticking out among the [email protected]. ANIMATION WORLD MAGAZINE November 1998 52 The Cartoon Forum: More Advancements for Europe
by Marie Beardmore partners. This is done limages), have, at least according through presentations to their producers, an equally which take the format good chance of raising their of a screening and brief finance within the next two years. talk about the project, The success of an event like followed by feed back Cartoon depends on a workable from the floor. structure so producers can get maximum benefit from the time Presented Program- they’re allocated. Presentations are ming structured over half an hour The day starts with which is time enough to outline the croissant show the show, screen a brief pilot and where all 600 partici- then allow questions and com- pants gather for a cof- ments from the floor. fee and croissant and to see previews of the day’s This year 70 projects were films. This year 70 pro- screened and presented to a jects were screened and record 600 participants. presented to a record 600 participants. In case you’re wondering, Of all the shows presented, there are not 600 peo- my personal favorite has to be his was my first Cartoon ple at each screening; there are 240, The First Hero of the Third Forum and something I’d usually three screenings at the Millennium, from Cromasoma. It’s Tbeen looking forward to same time and then there’s no set on earth in 2020 AD where, attending for a long time. It didn’t compulsion to attend so people following a drop in birth rates, a disappoint. Nestled in the may have other meetings, decide powerful multinational company Cyclades, the picturesque Greek to review their own presentation launches a new product on the island of Syros proved a perfect or simply take a breather. Of the waiting world: 240, the first host for this, the ninth, Forum. For 70 projects presented, 43, includ- genetically engineered child. those who’ve never attended, Car- ing Ethelbert the Tiger from Link Delivered in an easy-open vacu- toon Forum is a four-day event Entertainment, Les Mars Brothers um-packed container, the child organized by the Media Program from France Animation, and Lisa has an IQ of 240, genius level, but Cartoon to facilitate the co-pro- from Happy Life, were assured of is something of a couch potato. duction of animation projects. It’s finalizing their budgets, with 20 Another favorite was Sheeep from unique in that it brings producers out of the 43 (126 program hours) Hit Entertainment and produced together with distributors and receiving guarantees of full by Ginger Baker through Grand broadcasters offering them not finance in the short term, repre- Slamm Films, the producers of Kip- only the chance to find funding senting a total of 85,816607 ECU. per. Based on the book Sheep in but also get invaluable feedback Twenty-three other projects, Wolves Clothing by Satoshi Kita- from broadcasters, and more often including Penny Dreadful (Allegro mura, it promises to be a delightful than not, secure broadcasting Animation) and Pigeon Man (Mil- series based on the adventures of ANIMATION WORLD MAGAZINE November 1998 53 three young sheep, Hubert, Cartoon Forum for feature films to ing to promote its country’s anima- Georgina and Gogol, who with the galvanize that sector of the indus- tion industry, but sees the need for help of their cousin, a private try. The event will bring together a Europe wide alliance to provide a detective by the name of Elliot Bah, investors specifically interested in cohesive structure and platform to solve mysteries, help out other ani- the theatrical market and will prob- address issues that are of concern mals and, in time honored tradi- ably take place in Germany, Italy, or to European producers, such as the tion, have adventures where they France, all of whom have offered issue of subsidy. For the first year to play host to the event which is this will be headed up by Paco likely to take place next year. Rodriguez, president of the Spanish The other big announcement The other big announce- producers association, AEPA. was the establishment of the ment was the establishment of the European Federation of Anima- European Federation of Animation tion Producers... The Golden Cartoon Producers which was proposed by The finale of Cartoon was the four European syndicates and the awarding of the Cartoon d’Or try and escape from their adversary, producers associations of which went to the wolf. France (SPFA), Folimage’s L’Enfant The most successful of the Spain au Grelot (Charlie’s business meetings were Planet Per- Christmas). It’s a dou- sheid from GUM Studios in ble blessing for Folim- Germany, and Mouth age who had previously and Trousers from Cos- won the coveted award grove Hall Films in for The Monk and the Fish the U.K. Presenta- in 1995. L’Enfant au Grelot, a tions of Mouth 26-minute film made by and Trousers Jacques-Rémy Girerd, and Grizzly Tales recounts the story of from Honey- Charlie, a little comb Anima- orphan found by tion/Elephant a Jacques Tati-like (UK) attracted postman, who the highest discovers he is number of the son of investors and Father Christ- confirmed the mas. A gradu- market’s interest in ate of the British creativity. Ecole des French projects also Beaux Arts scored highly with 14 of (Lyon), them confident in raising Rémy Gir- their budgets relatively soon. erd created Plus, three French programs tied the Folimage stu- in fourth place in terms of audi- dio in 1984 with a small ence attendance — La Prophétie group of like minded people. des Grenouilles (Folimage), We may be returning to Greece soon...So He’s an author, director and pro- Carnard à l’Extreme (Alphanim), enamored with the animation industry is ducer of shorts and TV series and Syros that the mayor has announced from and Crazy Cruise (Goldvision). now on it will host an annual animation a member of the Academie des event! Arts et Techniques du Cinema. His Other Announcements illustrious career has included sev- At Syros, Cartoon also filled (AEPA), Cartoon Italia (Italy), and eral awards; in 1988 he was its role as industry platform PACT (UK). Each of these organiza- awarded the César for Le Petit announcing that there would be a tions has and is separately organiz- Cirque de Toutes les Coleurs, and
ANIMATION WORLD MAGAZINE November 1998 54 now, ten years after directing chil- Festival 1997. Meanwhile dren’s short films, he’s venturing Charlie’s Christmas, which into longer films like L’Enfant au won the prize for Best Film Grelot. Currently, he’s working on for Young People at the the script for a feature film The Stuttgart Festival and the Frog’s Prophecy, a project which prize for the Best TV Special gives a modern perspective to the at the Annecy Festival 1998, Biblical story of the flood. is being theatrically released in France and Belgium start- ing on October 14, 1998. It will be interesting to see if there is any bending on the Future Changes? rigid exclusion of North Amer- Next year’s event will ican broadcasters. be held at Cordoba in Spain. It will be interesting to see if Of all the shows presented, a favorite was 240,The there is any bending on the First Hero of the Third Millennium, from Cromasoma. Charlie’s Christmas was up rigid exclusion of North © Cromasoma. against stiff competition for the American broadcasters. At to secure carriage across the Cartoon d’Or with one of the most this year’s event both ITEL’s chief Atlantic, there is a need to allow favored contenders being Piet executive Andrew MacBean and non-European broadcasters at Kroon’s T.R.A.N.S.I.T.; made on Charlie Caminada, Hit’s sales direc- least the opportunity of observing cels and with pencil on paper, the tor, made a case for opening up how European prouducers oper- film presents a classic Twenties the event not just to North Ameri- ate. The argument against is a love tragedy as a puzzle for the can broadcasters but to broadcast- genuine concern that once the audience to unravel. Also up for ers globally. While everyone event is opened up it will be the award was Joanna Quinn’s understands the caution by which swamped by non-European cash Famous Fred which, amongst such change should be rich players. Let’s hope that some- other prizes, won the BAFTA Chil- approached it seems that there is a how a workable compromise can dren’s Award, the 1996 Best Ani- growing call to open up the be reached. Watch this space. mation Prize and the Grand Prize event, on a controlled basis, and P.S. So enamored with the for Best TV Special at the Annecy that if European producers hope animation industry is Syros that the mayor has announced from now on it will host an annual animation event!
Marie Beardmore is a London- based freelance journalist who specializes in writing about the international animation industry. She is also developing her own animation projects which include a children’s series for 4-9 year- olds and an animated sitcom.
Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to [email protected]. L’Enfant au Grelot / Charlie’s Christmas by Jacques-Remy Girerd. © Folimage.
ANIMATION WORLD MAGAZINE November 1998 55 TheThe GoldenGolden CartCartoonoon
by Jacques-Rémy Girerd Editor’s Note: Upon hear- The Little Circus of All the Colors ing the news that L’Enfant au (Le Petit Cirque de Toutes les Grelot/Charlie’s Christmas won the Couleurs). Today receiving the Car- Cartoon d’Or, Animation World toon d’Or, as well as an Emmy Magazine asked director Jacques- nomination for Charlie’s Rémy Girerd, a long-standing, Christmas, won’t change my way well-respected member of the of working. On the contrary, it European animation community, encourages me to continue on to share his thoughts on winning the path that I have always taken: the Cartoon d’Or, the status of ani- that of hand-crafted quality. Jacques-Rémy Girerd. mation production, his upcoming © Folimage. project, and the opening of his Animation in Europe and the after a long period of lethargy. In brainchild L’Atelier-Ecole des Arts World France, as elsewhere, animation Animes. In recent years, animation has become a worldwide busi- has enjoyed a vivid evolution, ness, with a high-pressure division Note: The on-line version of of labor: the stories and char- this article includes a Quicktime acters are conceived by peo- movie of L’Enfant au Grelot/Char- ple living in London, Paris or lie’s Christmas by Jacques-Rémy Los Angeles, and animation Girerd. and painting is executed in Shanghai or Taiwan where The Cartoon d’Or the cost is not so high. Folim- The Cartoon d’Or award is age has done just the oppo- my first, big reward. This prize is a site. Everything is done right very strong sign of recognition by in Valence, from planning to the entire profession. I’ve never felt realization, from backgrounds such a strong emotion. The whole to voice recordings and all auditorium gave me an ovation without recourse to comput- and I experienced a great moment ers. Folimage is the only stu- of happiness. dio in Europe to have retained 12 cel painters. It encourages me to continue on the path that I have always My Upcoming Project taken: that of hand-crafted After the Cartoon d’Or, I quality. returned to my project, The Prophecy of the Frogs, a fea- ture-length animation that This award was one step was presented to the Cartoon forward for me. I began to make Forum at Syros, and aroused animated films in 1978. Ten years L’Enfant au Grelot /Charlie’s Christmas by the interest of a number of later, I won the Cesar award for Jacques-Rémy Girerd. © Folimage. participants. The story of this ANIMATION WORLD MAGAZINE November 1998 56 animation, about 75 minutes long (the final length isn’t quite set yet), revolves around the myth of Noah’s Ark, but with a very con- temporary viewpoint. The release date is set for the year 2000.
After the Cartoon d’Or, I returned to my project, The Prophecy of the Frogs, a feature- length animation...
L’Enfant au Grelot /Charlie’s Christmas by Jacques-Rémy Girerd. © Folimage. A New School L’Atelier-Ecole des Arts Ani- on the material and experience of 26 000 Valence mes will open its doors in the year the Folimage Studio. The recruit- FRANCE 1999. This project is completely ment of students will begin in Feb- E-mail: novel in that the school will edu- ruary 1999, based on their portfo- ecole.film.animation.valence@wa cate students in the entire process lio and a competitive selection. nadoo.fr of directing animation films, con- Potential students must be at least Jacques-Rémy Girerd is the direc- trary to other schools which only 23 years old, and convince us of tor of this year’s Cartoon d’Or teach the certain, different skills genuine experience in the field of winning film, L’Enfant au involved in the chain of creating animation, or a very important Grelot/Charlie’s Christmas. an animated film. personal motivation. The course of study will Note: Readers may contact any unfold over three years, during For further details, please contact: Animation World Magazine con- which the students will have the Isabelle Elziere-Delalle tributor by sending an e-mail to opportunity to make one or more Atelier-Ecole des Arts Animes, [email protected]. animated films, relying especially 6, allee Jean Bertin Bonus HTML Features
Every on-line (HTML) issue of Animation World Magazine contains additional features not found in the down- load or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended arti- cles and special sections. DonÕt miss the following highlights that are showcased exclusively in this monthÕs Ani- mation World Magazine HTML version: http://www.awn.com/mag/issue3.8/3.8pages/3.8toc.html
¥ HereÕs A How de do Diary: August Barry PurvesÕ monthly installment includes a Òsneak previewÓ Quicktime movie of Barry PurvesÕ animation of Queen Victoria dancing with Carte and Sullivan. http://www.awn.com/mag/issue3.8/3.8pages/3.8purves.html ¥ The Golden Cartoon Jacques-RŽmy GirerdÕs editorial includes a Quicktime movie of his Cartoon dÕOr winning film LÕEnfant au Grelot/CharlieÕs Christmas. http://www.awn.com/mag/issue3.8/3.8pages/3.8girerdcharlieeng.html ¥ 67 Aluminum Plates Wendy JacksonÕs article includes a Quicktime movie of 67 Aluminum Plates, the animated film made by Jan Pinkava and friends at the Ottawa International Animation Festival. http://www.awn.com/mag/issue3.8/3.8pages/3.8jacksonottawa.html
ANIMATION WORLD MAGAZINE November 1998 57 CartCartoonoon DÕOrDÕOr
by Jacques-Rémy Girerd Note de la rédaction: A L’animation en Europe et dans l’annonce de la remise du Cartoon le monde d’Or à L’Enfant au Grelot Anima- Ces dernières années, le tion World Magazine a demandé à cinéma d’animation a connu une Jacques-Rémy Girerd —réalisateur évolution fulgurante, après une confirmé et membre respecté de longue période de léthargie. En la communauté européenne de France comme ailleurs, l’anima- l’animation— de partager sa réac- tion est devenue une affaire mon- tion sur cette récompense. diale, avec une division très Jacques-Remy évoque également poussée des tâches : les histoires Jacques-Rémy Girerd. le statut de la production aujour- et les personnages sont conçus © Folimage. d’hui, ses projets de films, ainsi par des créateurs installés à Lon- est le moins élevé. Folimage a fait que l’ouverture de sa création, dres, Paris ou Los Angeles. Dessins le pari inverse. Tout est fait sur l’Atelier-Ecole des Arts Animés. et gouachages sont exécutés à place à Valence, du projet à la Shangaï ou Taïwan ; là où le coût réalisation, des décors à l’enreg- Cela m’encourage au contraire istrement des voix, et sans le à rester dans la voie que je me recours à l’ordinateur. Folim- suis tracée : celle de la qualité. age est le seul studio en Europe à avoir conservé 12 gouacheuses. Le Cartoon d’Or Les projets Le Cartoon d’Or est ma pre- Après le Cartoon d’Or, je mière très grande récompense. Ce me suis remis à mon projet : prix est un signe très fort de recon- La prophétie des grenouilles, naissance de l’ensemble de la pro- un dessin animé de long fession. Je n’ai jamais ressenti une métrage qui a été présenté émotion aussi forte. La salle m’a au Forum Cartoon à Syros. Et fait une ovation. J’ai vécu un qui a suscité l’intérêt de nom- grand moment de bonheur. Cette bre de participants. L’histoire récompense est une étape. J’ai de ce dessin animé d’une commencé à créer des films d’ani- durée d’environ 75 minutes mation en 1978. 10 ans plus tard, (durée totale non encore j’ai eu le César pour Le petit cirque déterminée) revisite le mythe de toutes les couleurs. Aujourd’hui de l’Arche de Noë, sous un le Cartoon d’Or , ainsi que la nom- éclairage très contemporain. ination de L’enfant au grelot aux La sortie est prévue pour l’an Emmy Awards, ne va rien changer 2000. à ma façon de travailler. Cela m’en- courage au contraire à rester dans L’Enfant au Grelot /Charlie’s Christmas by L’Ecole la voie que je me suis tracée : celle Jacques-Rémy Girerd. © Folimage. L’école ouvrira ses portes à de la qualité. ANIMATION WORLD MAGAZINE November 1998 58 Atelier-Ecole des Arts Animés 6, allée Jean Bertin 26 000 VALENCE FRANCE
E-mail : ecole.film.animation.valence@wa nadoo.fr
Jacques-Rémy Girerd est le réal- isateur de L’Enfant au Grelot, gagnant du Cartoon d’Or 1998.
L’Enfant au Grelot /Charlie’s Christmas by Jacques-Rémy Girerd. © Folimage. Note: Les lecteurs peuvent con- l’automne 1999. C’est un projet les étudiants auront l’occasion de tacter les contributeurs d’Anima- totalement novateur puisque cette réaliser un ou plusieurs films d’ani- tion World Magazine en adres- école formera à la réalisation de mation, en s’appuyant notam- sant un e-mail à: films d’animation et non plus ment sur le matériel et l’expérience [email protected]. seulement aux différents métiers du studio Folimage. intervenant dans la chaîne de Le recrutement s’effectuera création d’un dessin animé. à partir de février 1999, sur dossiers et concours. Les candidats devront être âgés de 23 ans au Après le Cartoon d’Or, je me minimum et justifier d’une réelle suis remis à mon projet : La expérience en matière d’animation prophétie des grenouilles,un ou alors d’une très importante dessin animé de long motivation personnelle. métrage... Pour plus de précisions, veuillez L’enseignement se déroulera contacter : sur 3 années pendant lesquelles Isabelle ELZIERE-DELALLE REGISTER with AAnimatnimatioionn WWoorrldld NNeetwtwoorrkk Today and..... •Receive our weekly Animation Spotlight Newsletter •Get announcements of AWN developments •Be a part of the global community at AWN. •Interact with animation professionals, scholars and fans from around the world. Get all this and more FREE when you register now! http://www.awn.com
ANIMATION WORLD MAGAZINE November 1998 59 by Wendy Jackson Note: The on-line version of to take the artist’s words this article includes a Quicktime quite literally, and ani- movie of 67 Aluminum Plates. mate the piece. He approached the gallery’s staff, who were recep- “ATTENTION! Feel free to tive to the idea and got give any shape you want to to work clearing the red this sculpture. Gently move tape involved with film- the aluminum plates.The ing in a public place. artist would like you to share in the pleasure of handling the 67:The Magic Number forms in space...” The roughly six- foot, seven-inch high So reads the plaque next to sculpture, titled “Col- a large, metal, moveable sculpture umn,” is made up of 67 Jan Pinkava, right, speaks with Charlie Hill, curator of in the Garden Court of the Nation- relatively lightweight alu- the Permanent Canadian Collection at the National Gallery, about proper handling of the sculpture. Photo al Gallery of Canada, Ottawa. It minum plates, connect- courtesy of Carol Beecher. was early October, 1998, and ed to a column on Oscar-winning director Jan Pinka- which they rotate freely. It was cre- 24 hours, they were set-up in the va (Geri’s Game) was in town for ated for the Canadian centennial gallery, filming “Column” one the Ottawa International Anima- in 1967 by Ulysse Comtois, a for- frame at a time. tion Festival, taking place just a mer film editor inspired by his few blocks away at the National craft. Comtois, now 67 years old, This is a non-profit sponta- Arts Centre. Browsing the gallery, lives in Granby, Quebec and was neous piece of artwork, pro- Pinkava was struck by inspiration thrilled to hear of the project. duced by volunteers. — Jan Pinkava enlisted the Pinkava help of colleague Jean-Claude Kalache of Pixar Animation Studios; Rob Ander- The Production son, Jordan Craig Dynomight Cartoons pro- and Karolina Craig vided the set-up to film the anima- of Ottawa-based tion digitally: a Sony DCR VX1000 animation studio, Digital Handy Cam connected to a Dynomight Car- Macintosh PowerMac 8500/180, toons; Denis Lelong, using Strata Video Shop and an animator from Adobe Photoshop to capture the Paris; and Carol images. After Rob did the technical set-up, Jordan and Karolina The production team: Jordan Craig, Karolina Craig, Jean- Beecher of the Claude Kalache, Rob Anderson, Carol Beecher and Jan Quickdraw Anima- manned the computer while Jan Pinkava. Photo courtesy of Carol Beecher. tion Society. Within and Jean-Claude animated the ANIMATION WORLD MAGAZINE November 1998 60 cycled, to create a one-minute and acted as a production manag- completed piece. Ed Eagen of er, taking photos and notes. “It local sound studio 12th Root cre- was really interesting to watch the ated a digital score by using sam- process of animating something ples of Pinkava saying “67 Alu- this large. Once a rhythm of shoot- minum Plates,” the title of the film. ing was developed it looked like Chris Mullington of Television Fac- we were doing a square dance tory also collaborated on the final with the sculpture.” sound and video mixing. The film was finished in time for the closing night awards show, where it was screened and It must be the first time that a met with wild applause by the festival actually produced a audience. “It must be the first time film. — Chris Robinson that a festival actually produced a film,” said festival director Chris Robinson, “this really captures the Pinkava used a straight wooden board to Spontaneous Collaboration spirit of creativity that festivals are move all of the arms of the sculpture in “This is a non-profit sponta- meant to inspire.” unison. Photo courtesy of Carol Beecher. neous piece of artwork, produced sculpture. The crew averaged by volunteers,” said Pinkava, “I’m roughly five seconds an hour, happy for all parties concerned to working from about 8 a.m. until 5 share the work and distribute it to p.m. In all, about 35 seconds of whomever in a non-commercial animation were created, shooting spirit.” on ones and twos. Toward the “What excited me was that end of the shoot, a few additional the making of this film fit so per- animators helped out. fectly with the artist’s intention of The next day, the footage having a kinetic sculpture that was edited together in Adobe Pre- should be physically manipulated miere. Specific movements such as by the viewer,” said Carol Beecher, the corkscrew-like action were who assisted with the animation
The Macintosh computer used to shoot the frames digitally. Photo courtesy of Carol Beecher.
Wendy Jackson was associate editor of Animation World Magazine.
Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to An overhead view of the production stage. Photo courtesy of Carol Beecher. [email protected].
ANIMATION WORLD MAGAZINE November 1998 61 PPrinciplesrinciples ooff Three-DimensionalThree-Dimensional ComputerComputer AAnimation:nimation: RevisedRevised EditionEdition
book review by Mark Christiansen rinciples of Three- the book, as someone Dimensional who has worked in PComputer Anima- computer graphics for a tion is an academic text- few years but never for- book which gives an mally studied it in overview of the basic school, is how the terms and techniques author offers an etymol- of computer animation ogy of terms and an without ever once refer- explanation of how and ring to a specific soft- why different computer ware package. If, hav- graphics processes were ing read that, you are developed. If, for exam- disinclined from read- ple, you were curious ing any further, let me about spline curves, you say up front that while could learn from this this book will most likely book that the word be used as a textbook “spline” is derived from to teach the fundamen- ship-building, followed tals of computer graph- by concise descriptions ics, it would also be a of the characteristics of worthwhile read for various types of spline anyone who missed curves. out on college comput- The author’s insis- er graphics courses and tence on keeping the wishes they’d had text above specific com- them, or wants an puter graphics pro- explanation of the inner ing, animation, and effects, but it grams is the correct workings of computer graphics can tell one in clear, effective terms choice from an academic point of that isn’t limited to how one par- how those processes are done. In view, however, it can be confusing ticular software package operates. this edition a chapter has also been added on Production Plan- The book does do a nice job of ning, which includes storyboard- putting one at ease that even Mr. O’Rourke takes nothing for ing and production estimates, complex applications in com- granted as far as the reader’s which, while a little on the thin puter graphics are comprehen- prior knowledge of computer side, helps pull the book out of the sible... graphics is concerned. ivory tower and into the real world of production. to hear terms that are not used in Principles will not offer one An In-Depth Overview your particular software package, the practical “how-tos” of model- One thing I enjoyed about or to read descriptions of entire
ANIMATION WORLD MAGAZINE November 1998 62 techniques that do not exist in tion on expressions includes some principles such as smooth shading your package. However, even if sample operators and functions in real time and the Z-buffer algo- your particular package does not that one would typically use, as rithm; understanding these better support solids modeling or map- well as an explanation of how C- at a nuts-and-bolts level can help ping, expressions, or motion programming-related syntax typi- one better optimize work flow. dynamics, it’s actually quite useful cally works. The level of discussion It is worth bearing in mind to know that your program’s way is helpful even to someone who that at its price point, this book is of doing something isn’t the only has no intention of ever actually going to be primarily used as a way, and to get an idea of why coding any expressions oneself, course textbook for college level these features are desirable in just in order to get a feel for the computer graphics classes, and higher end systems. boundaries of this particular tech- that is the use for which it is best Mr. O’Rourke takes nothing nique. designed. If you don’t feel you for granted as far as the reader’s would benefit from an academic prior knowledge of computer The book is at its best when approach to learning more about graphics is concerned. The section describing graphics principles 3D animation, I would look on “Lights” begins, “In an environ- such as smooth shading in real instead at one of the “how to” ment where there is no light at all time and the Z-buffer algo- books from New Riders or Coriolis - for example, a windowless room, rithm. that I’ll be reviewing in upcoming with the lights turned off - you can issues of Animation World Maga- see nothing. The rendering of a zine. But if you’ve been exposed three-dimensional computer The discussion becomes to computer graphics at some graphics scene is similar. In order less helpful and accurate the fur- level that left you wishing you to ‘see’ - that is to render - a scene ther it strays from computer graph- understood more of the or any objects within that scene, ics. For example, at one point the acronyms, terminology and tech- you must define lights.” What fol- text states that “the aspect ratio of niques common to computer ani- lows is a thorough explanation of 35mm film is 1.5:1” when in fact, mation software, or if you’re the how software lighting behaves dif- the standard aspect ratio of 35mm kind of person who is curious to ferently from real world lighting, is 1.77:1, also known as 16:9. The learn more of the background and and the different parameters that book’s discussion of storyboards evolution of 3D graphics, then this can be set to light and shade a includes no actual examples (thus, book is definitely worth a look. scene. Largely absent from the dis- a purely visual method of story- cussion are suggestions of what telling is described entirely with Principles of Three-Dimensional settings one should use to achieve text!) and there’s no mention of Computer Animation by Michael a given effect; the focus is on how exposure sheets in the discussion O’Rourke. New York, W.W. Norton the different controls function and of lip-synching. & Company, 1998. 285 pages. what they do. The thing I liked the most ISBN: 0-393-73024-7 (U.S. $55.00 about this book was its thorough paperback). coverage of areas of 3D animation The discussion becomes less that I didn’t know as much about, as well as details about the evolu- helpful and accurate the fur- Mark Christiansen works for a tion of certain techniques. For ther it strays from computer major entertainment company in graphics. example, there’s a nice explanation of the difference between right- Marin County, California, where handed and left-handed coordi- he creates 3D and 2D graphics nate systems which shows how and animation. Strengths and Weaknesses everything changes depending The book does do a nice on which direction the Z axis job of putting one at ease that faces. The summary of various Note: Readers may contact any even complex applications in com- curve types and how they differ is Animation World Magazine con- puter graphics are comprehensi- great. Furthermore, the book is at tributor by sending an e-mail to ble to the relative novice. The sec- its best when describing graphics [email protected].
ANIMATION WORLD MAGAZINE November 1998 63 A Frame By Frame Chronicle of a Unique Collection: Animation at the Cinémathèque Québécoise by Jean Hamel he Cinémathèque Québé- by a World Animation coise chose to specialize in Exhibition, tracing Tanimation under special the evolution of the circumstances. One must admit animated film, and that because of the presence of underlining its con- two National Film Board of Cana- nection with comic da offices in Montreal, there was strips. More than 15 already an exceptional interest in countries participat- animation in Quebec and Canada. ed. With patronage Since Norman McLaren, animation from the International was the one area in which the Federation of Film Canadian cinema became known Archives [FIAF], and worldwide. These factors, com- the International Ani- bined with the interest the Ciné- mated Film Associa- mathèque had already shown on tion [ASIFA], and with The Cinémathèque Québécoise. the origins of the animated film, the collaboration of led to the organization, within the the National Film Board of Cana- èque only owned a number of framework of the Eighth Interna- da, the event was a smashing suc- National Film Board films and tional Film Festival of Montreal on cess. some rare films from the private the occasion of the World Fair in sector. The collection really only 1967, of a global retrospective of A Solid Beginning took shape in 1967 when 250 animation films from their begin- The great scope of this silent films from the American pio- nings to the present. enterprise made it possible for the neers were acquired for the retro- Cinémathèque to research the spective devoted to them at the beginnings of animation, inter- Festival. We made sure a historical Since Norman McLaren, ani- view some of the pioneers, and logic followed by systematically mation was the one area in also acquire, and in some cases acquiring 300 more Hollywood which the Canadian cinema restore, a large number of film cartoon titles from the golden era became known worldwide. prints. Also some filmmakers, of the 1930s to the 1950s. artists and companies donated to the Cinémathèque the documents Two hundred and fifty films that had been on display at the Today the animation collection were presented, programmed in exhibition. We were from then on comprises approximately 5,000 18 screenings, from the American in possession of an important col- titles. primitives to Grand Prize winners lection that allowed us to maintain of the Annecy Festivals, by way of a specialization in the field. Canadian films and various the- At that time Louise Beaudet Further Acquisitions matic shows. About 200 anima- (1927-1997) was confirmed in the An exchange with Eastern tors met at this festival, and experi- post of Animation Curator at the Europe was particularly fruitful. enced new techniques. These film Cinémathèque Québécoise. We now have an inventory of sev- retrospectives were accompanied Before then, the Cinémath- eral hundred films from the best ANIMATION WORLD MAGAZINE November 1998 64 Polish, Bulgarian, An Appeal made in Yugoslavian and Czecho- England in 1899. This slovakian productions. film is considered to be Furthermore, this figure the earliest animation does not include film of all. episodes of television On the topic of series which were also McCay, the Cinémath- archived with us by the èque possesses his countries that produced complete works or at them. We must also stress least all that survives. the generosity of Russia’s One generally con- Gosfilmofond in this cedes to him the respect. We received authorship of the first from them no less than genuine animation film seven animated features, made in the United Opening the doors to the vault. Photo © Cinémathèqu as well as numerous Québécoise. States. An exceptional short films both old and draftsman, he instinc- new. constituted another source of tively understood the principles of In 1982 the Cinémathèque acquisitions. The research implicit modern animation and the gram- presented the exhibition, “The Art to this work led to the discovery of mar of their structure. He also of Animated Cinema” at the Muse- prints formerly unknown, which experimented, in unpublished pro- um of Fine Arts of Montreal. On now occupy a place of honor jects, with the subjects of progres- this occasion the National Film among our most prized titles. sive movement, rhythm, and the Board deposited the greater part In the mid-1980s an agree- characterization of personalities. of its animated productions with ment with Radio-Canada resulted Because of this, McCay played a the Cinémathèque, completing in the deposit of animated films major role in animation history, the collection that had accumulat- made by their French section since and his films influenced a whole ed over the years. Furthermore, 1968, along with the relevant doc- generation of American anima- the film screenings that accompa- umentation, including negative tors. Thanks to the efforts of indi- nied the exhibition at the museum and positive prints, storyboards, viduals and organizations, includ- allowed us to buy about 70 film cels, cut-outs, soundtracks, and ing the Cinémathèque, certain prints which brought the collec- key drawings. This represented a films were preserved in authentic tion more up to date with con- happy addition to the national full copies. In the 1920s, 75 cans temporary titles. In effect, the col- heritage already entrusted to our of nitrate film were given to a lection was enriched by adding care. friend of McCay’s, who kept them computer generated films, adver- in his garage for years. In 1947, tising spots, and experimental an advertising film producer exam- films by younger Canadians, On the topic of McCay, the ined and catalogued the film Americans and Europeans. Cinémathèque possesses his prints and negative elements that Some distributors, both complete works or at least all hadn’t already decomposed. They national and foreign, ceded to us that survives. were then kept in cold storage for their prints when the rights another 20 years by McCay’s expired, contributing in this fash- friend. At the time of the 1967 ret- ion to diversify and add a greater Special Collections rospective, the entire bunch of range to our collection. In this Today the animation collec- cans were shipped to the Ciné- manner, we obtained a sizable tion comprises approximately mathèque, which quickly made number of films from Hungary, 5,000 titles. Among the rarest are safety copies of them all, since Switzerland, France and Italy. some of the works of Raoul Barre, their time had run out. The retrospectives and spe- Oskar Fischinger, Otto Messmer, One can also find in our cial programs prepared by the Charlie Bowers and Winsor collection many impeccable first- Cinémathèque for various festivals McCay, plus, the famous Matches: generation 35mm prints of Otto
ANIMATION WORLD MAGAZINE November 1998 65 animation in order to distribute, make known and render it accessi- ble to a larger and more diversified public. Its expertise is universally recognized in the domain of Cana- dian and Quebecoise film produc- tion, as well as that of internation- al animation. Over the past 30 years, the efforts devoted to the preservation of this film heritage, and the efforts deployed more recently in the area of television archiving, have allowed the Cine- Inside the film vault. Photo © Cinémathèque Québécoise. matheque to assemble invaluable Messmer’s “Felix The Cat” films. The diversity of international anima- collections. Consecrated to the films we hold from both Messmer tion. Furthermore, the Cinémath- past and turned toward the and McCay have been commer- èque will open “Forms in Move- future, the Cinémathèque Québé- cially distributed on laserdisc in col- ment” in the Spring of 1999, an coise is the museum of the mov- laboration with the U.S. company exhibition devoted to animation ing image at Montreal! Lumivision. which will remain on display in the Raoul Barre Hall until the year Contact Information 2001. We are a place which wel- The Cinémathèque reaches a comes all those interested in the larger public that discovers, history, present and future of the through our weekly screenings, The Cinémathèque in Brief Founded in 1963 by a cinema, television and new media the great diversity of interna- world: tional animation. group of passionate film lovers and filmmakers, the Cinémath- Information: (514) 842-9763 èque Québécoise has the mission E-mail: [email protected] In 1996, the Cinémath- of preserving and documenting URL: www.cinematheque.qc.ca èque received the most important the heritage of film and television donation in its history from the Translated from French by William Cinar Film company. This produc- Moritz. tion house, specializing in animat- ed series for television, gave us The essentials of this article some 750 feet of cels from the fol- are derived from a text prepared lowing programs: C.L.Y.D.E, by Louise Beaudet, published in White Mane, The Irresistible World 1988 in issue No. 38 of the maga- Of Richard Scarry, Lulu, Robin zine Copie Zero. Hood Jr., Albert The Fifth Muska- teer, and others. The Canadian Jean Hamel has been director of commission for examining cultural communications for the Ciné- goods for exportation gave this mathèque Québécoise for the exceptional gift the value of last eight years. He has been roughly $8,138,817 Canadian working in the field of cinema dollars. since 1978. Since the opening of its new quarters in February 1997, Note: Readers may contact any the Cinémathèque reaches a larg- Animation World Magazine con- er public that discovers, through tributor by sending an e-mail to our weekly screenings, the great The late Louise Beaudet. Photo © Ciné- mathèque Québécoise. [email protected].
ANIMATION WORLD MAGAZINE November 1998 66 Chronique image par image dÕune collection unique Le CinŽma dÕAnimation ˆ la CinŽmath•que QuŽbŽcoise par Jean Hamel a Cinémathèque a choisi de 200 cinéastes d’ani- se spécialiser en cinéma mation et à une con- Ld’animation suite à des cir- frontation des tech- constances particulières. On doit niques contempo- admettre que du fait de la raines. La rétrospec- présence à Montréal des deux stu- tive était accompag- dios d’animation de l’Office née d’une exposition National du Film, il existe depuis mondiale retraçant longtemps un intérêt exceptionnel l’évolution du cinéma pour l’animation au Québec et au image par image et Canada. Rappelons que depuis les soulignant ses liens années de guerre avec Norman avec la bande dess- McLaren, l’animation est l’un des inée. Plus de quinze domaines où le cinéma canadien pays y participèrent. s’est fait connaître mondialement. Placé sous le patron- La Cinémathèque Québécoise. Ces facteurs, liés à l’intérêt que la age de la Fédération Cinémathèque a porté dès les Internationale des Archives du C’est à ce moment que débuts au film animé, l’ont incité à Film (FIAF), de l’Association Inter- Louise Beaudet (1927-1997) fut organiser, dans le cadre du 8e Fes- nationale du Film d’animation confirmée dans sa fonction de tival International du Film de Mon- (ASIFA) et avec la collaboration de conservateur du cinéma d’anima- tréal et à l’occasion de l’Exposition l’Office National du film du Cana- tion à la Cinémathèque Québé- Universelle de 1967, une rétro- da, l’événement remporta un suc- coise. spective mondiale du cinéma cès éclatant. d’animation de ses origines à nos Aujourd’hui, la collection de jours. Des débuts prometteurs films d’animation comprend Cette initiative de grande approximativement 5.000 envergure fut l’occasion pour la titres. Avec Norman McLaren, l’ani- Cinémathèque de faire des mation est l’un des domaines recherches sur les débuts de l’ani- où le cinéma canadien s’est fait mation, d’interviewer des pio- À cette époque, la Ciné- connaître mondialement. nniers et d’acquérir aussi (de mathèque ne possédait que restaurer dans certains cas) un quelques films de l’ONF et de rares grand nombre de copies. D’autre copies provenant du secteur privé. 250 films répartis en dix- part, des cinéastes, artistes ou La collection a commencé à se huit séances furent présentés sociétés cédèrent à la Cinémath- constituer véritablement en 1967 depuis les primitifs américains èque une partie des documents quand 250 films muets relatifs aux jusqu’aux Grands Prix des Festivals exposés au cours de l’exposition. pionniers américains furent acquis d’Annecy en passant par des oeu- Nous étions donc désormais en pour l’hommage qui leur fut vres canadiennes et divers pro- possession d’un fonds important rendu au cours de la rétrospective. grammes thématiques. Cette man- qui nous permettait de prétendre Nous avons veillé à assurer une ifestation donna lieu à une ren- à une spécialisation dans ce suite logique de l’histoire en contre internationale d’environ domaine. acquérant systématiquement au- ANIMATION WORLD MAGAZINE November 1998 67 delà de trois cents titres de Cet imposant ensemble la période fastueuse des incluant négatifs et positifs, années 30-50 du Holly- scénarimages, acétates, wood cartoon. découpages, bandes sonores, dessins clés, Des acquisitions nou- représente une heureuse velles addition au patrimoine Les échanges ont national déjà confié à nos été particulièrement soins. fructueux avec l’Europe de l’Est. Nous comptons Des collections uniques aujourd’hui quelques cen- Aujourd’hui, la col- taines de films parmi les lection de films d’anima- L’ouverture des portes des archives. Photo meilleurs produits en © Cinémathèque Québécoise. tion comprend approxima- Pologne, Bulgarie, tivement 5.000 titres. Yougoslavie et Tchécoslovaquie. par ordinateur, des publicitaires Parmi les plus rares, on y retrouve Ce chiffre n’inclut pas les séries récents, des films expérimentaux ceux de Raoul barré, de Oskar réalisées pour la télévision des jeunes générations canadi- Fischinger, de Otto Messmer, de déposées par ces pays. Il faut enne, américaine et européenne Charles Bowers, de Winsor McCay souligner aussi la générosité de sont venus enrichir ce secteur. et le fameux Matches Appeal réal- Gosfilmofond de l’ex Union sovié- Des distributeurs nationaux isé en Angleterre en 1899 (ce film tique à notre égard. Pas moins de et étrangers nous cèdent leurs est considéré comme le plus sept longs métrages nous sont copies à l’expiration de droits, con- ancien film animé de tous les parvenus par leur intermédiaire, tribuant de cette façon à diversifier temps) auxquels se sont ajoutés de nom- davantage l’éventail de notre col- Au sujet de McCay, la Ciné- breux courts métrages tant lection. Si bien que nous avons mathèque possède la totalité de anciens que récents. obtenu de cette manière bon l’oeuvre - ou du moins ce qu’il en nombre de films hongrois, suisses, reste. On lui accorde générale- français et italiens. ment la paternité du premier véri- La Cinémathèque possède la Les rétrospectives et pro- table dessin animé réalisé aux totalité de l’oeuvre de McCay - grammes spéciaux préparés par la États-Unis. Dessinateur exception- ou du moins ce qu’il en reste. Cinémathèque pour divers festi- nel, il a su appréhender les vals ont constitué une autre source principes de l’animation moderne, d’acquisitions. Les recherches à en structurer la grammaire par L’année 1982 a été mar- implicites à ce travail ont permis de ses expériences inédites sur le quée par la présentation de l’ex- découvrir des copies à priori mouvement progressif, le rythme position L’art du cinéma d’anima- introuvables et figurant main- et la caractérisation des person- tion au Musée des beaux-arts de tenant à la place Montréal. Cet événement a d’honneur parmi nos favorisé le dépôt par l’Office titres les plus pré- National du Film d’une large partie cieux. de sa production de films animés, Le protocole complétant le fonds accumulé d’entente intervenu tout au long des ans. Par ailleurs, avec la Société Radio- les projections de films qui accom- Canada au milieu des pagnaient l’exposition du Musée années 80 atteste le ont donné lieu à l’achat d’environ dépôt des films d’ani- soixante-dix copies, de sorte que mation produits par l’aspect contemporain de la collec- le réseau français tion s’en est trouvé plus à jour. depuis 1968 et les documents y afférent. Au coeur des archives. Photo © Cinémathèque Effectivement, des films réalisés Québécoise. ANIMATION WORLD MAGAZINE November 1998 68 nages. De ce fait, McCay a joué un Depuis l’ouverture de ses nou- télévisuel afin de le diffuser et de le rôle capital et ses films ont influ- velles installations en février 1997, rendre accessible à un public de encé toute une génération d’ani- la Cinémathèque rejoint un public plus en plus large et diversifié. Son mateurs aux États-Unis. Grâce aux plus large qui découvre, dans le expertise est universellement efforts d’individus et d’institutions, cadre de notre séance hebdo- reconnue dans le domaine de la y compris la Cinémathèque, cer- madaire, la grande diversité du production québécoise et canadi- taines copies ont été sauvées de cinéma d’animation international. enne, ainsi que dans le domaine justesse. Dans les années 20, 75 De plus, la Cinémathèque inau- du cinéma d’animation interna- boîtes de pellicule nitrate furent gurera Formes en mouvement au tional. Les efforts consacrés depuis remises à un ami de McCay qui les printemps 1999, une exposition plus de trente ans à la préservation conserva dans son garage durant consacrée au cinéma d’animation de ce patrimoine ciné- des années. En 1947, un produc- qui restera à l’affiche de la salle matographique et les énergies teur de films publicitaires examina Raoul-Barré jusqu’à l’an 2001. déployées plus récemment dans le et catalogua les films et les élé- domaine des archives télévisuelles ments de tirage qui ne s’étaient ont permis à la Cinémathèque de pas autodétruits. Ils furent con- La Cinémathèque rejoint un constituer des collections ines- servés pendant vingt ans dans un public plus large qui découvre timables. Consacrée au passé et entrepôt aux frais de l’ami de ... la grande diversité du ciné- tournée vers le futur, la Cinémath- McCay. Au moment de la rétro- ma d’animation international. èque Québécoise, est le musée de spective, le tout fut remis à la Ciné- l’image en mouvement à Montréal ! mathèque, laquelle s’empressa de Un endroit accueillant pour les faire transférer sur support de tous ceux qui s’intéressent à l’his- sécurité, car le temps pressait. La Cinémathèque Québécoise toire, l’actualité et l’avenir du ciné- On retrouve également en bref ma, de la télévision et des nou- dans notre collection plusieurs Fondée en 1963 par un veaux médias : copies 35 mm impeccables de la groupe de cinéphiles et de première génération des Félix le cinéastes passionnés, la Cinémath- Contact chat de Otto Messmer. Les films de èque Québécoise a pour mission Cinémathèque Québécoise McCay et de Messmer ont de conserver et de documenter le Tel: (514) 842-9763 d’ailleurs fait l’objet d’une com- patrimoine cinématographique et E-mail: [email protected] mercialisation sur vidéodisque en URL: www.cinematheque.qc.ca collaboration avec la firme améri- caine Lumivision. L’essentiel de cet article provient En 1996, la Cinémathèque d’un texte rédigé par Louise a reçu la plus importante donation Beaudet et publié en 1988 dans le de son histoire de la société Cinar No 38 du magazine Copie Zéro. Film. Cette maison de production, spécialisée dans les séries animées pour la télévision, nous a donné Jean Hamel has been director of quelque 250 mètres linéaires de communications for the Ciné- cellulos des émissions suivantes : mathèque Québécoise for the C.L.Y.D.E., Croc Blanc, Le Monde last eight years. He has been irrésistible de Richard Scarry, Lulu, working in the field of cinema Robin des Bois Junior, Albert le since 1978. cinquième mousquetaire, etc. La Commission canadienne d’exam- en des exportations de biens cul- Note: Readers may contact any turels a attribué à ce don excep- Animation World Magazine con- tionnel une valeur d’environ tributor by sending an e-mail to 8.138.817 $CAN. Louise Beaudet. Photo © Cinémathèque Québécoise. [email protected].
ANIMATION WORLD MAGAZINE November 1998 69 Animation World News by Wendy Jackson
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Business
Kratky Film Restructures. Czech production and distribu- tion company Kratky Film Praha a.s., which owns the Bratri v triku and Jiri Trnka animation stu- dios, has been substantially restructured. The company has been struggling financially since 1994, and has been facing pos- sible bankruptcy since 1997, a measure prevented by a recent investment from insurance com- pany Ceska Pojistovna, now the majority shareholder in Kratky Film. The restructuring has also caused a management shake- out. At Kratky Film, Karel Hajek is the new general manager and Jiri Trnka Studio’s stop-motion animated series, Fireflies. © Kratky Film. CEO, replacing Jan Knoflicek; Jiri Porubsky is the new executive and the changes in the company, Now, with new investment capi- financial director/COO, and there has also come an enormous tal, the company hopes to utilize Alexander Jerie is the new sales enthusiasm from all employees,” the library, as well as to sell revived director, replacing Jiri Busek. John said general manager Karel Hajek. animated productions such as Riley, who was in charge of inter- “I am sure that it will help us to Zdenek Miller’s cartoon series The national sales, has also left Kratky manage the prospective problems Mole and the stop-motion Fireflies. Film. Prague Academy of Perform- which might still come.” Kratky ing Arts animation professor Jiri Film owns rights to hundreds of Hahn Expands Into Asia. Berlin, Kubicek has replaced Jiri Sojak as animated films it has produced or Germany-based animation studio, head of the Bratri v Triku cartoon co-produced at Bratri v triku and Hahn Film is launching production studio, and Michal Havlik has Jiri Trnka animation studios since studios in Taiwan and Vietnam. replaced Jiri Vanek as head of the 1945, yet due to financial circum- Each studio will employ about 150 Jiri Trnka puppet film studio. “I am stances these films have hardly people, and will be devoted to very happy to realize that with all been distributed internationally. digital ink and paint services, ini-
ANIMATION WORLD MAGAZINE November 1998 70 ANIMATION WORLD MAGAZINE November 1998 71 tially for Hahn projects, but may prime-time re-runs on Fox will mation page. branch out to service other studios immediately increase by 10% and For more information on in the future. The first studio, then another 10% beginning the the M.P.S.C. union, visit Animation called Saigon Graphics Enterpris- second year of the contract. The World Magazine’s July 1998 issue es, in Ho Chi Minh City, Vietnam, is definition of an “interstitial bit” was for president Tom Sito’s article, already up and running, working expanded from 90 to 120 sec- “The Hollywood Animation Union on the production of the animated onds, granting producers greater (M.P.S.C. #839).” series Wild Life, which is being dis- flexibility in the right to use tributed by Hit Entertainment and excerpts in “generic” promos or in Creative Capers Opens Digital is pre-sold to the Fox Family Chan- “re-caps.” Animation studios repre- Doorway. Glendale, California- nel (U.S.), the BBC and Nick- sented in the deal include Disney, based animation and develop- elodeon (U.K.). The second studio, Warner Bros. and DreamWorks ment studio, Creative Capers in Taipei, Taiwan, is a joint partner- Television Animation. The deal has Entertainment has partnered with ship with local entrepreneurs, and no impact on voice-over perform- Dallas, Texas-based content deliv- will be called DigiMation. It will ers working in theatrical anima- ery system company, Rapture open for business in mid-Novem- tion, as their work is covered by Technologies, to form a new com- ber. Commenting on the expan- SAG’s Basic Theatrical Agreement. pany. The 50/50 joint venture, sion in the Hollywood Reporter called Digital Doorway, will be [10/6-12/98], Hahn Film CEO and Toon Union Holds Elections. At based in Glendale and focus on founder Gerd Hahn said, “I want its membership meeting on Sep- production and marketing of inter- to ensure better quality. If you go tember 29, the Motion Picture active gaming, entertainment and to a major animation studio (in Screen Cartoonists and Affiliated educational titles for the PC, con- Asia) that works for Saban or Dis- Optical Electronic and Graphic sole, hand-held and online mar- ney, you get pushed around and Arts, Local 839 IATSE re-elected the kets. Digital Doorway manage- the quality goes down. If I have following officers, who were nom- ment will be headed by Creative my own studio, I can control the inated without opposition: Presi- Capers founders Sue Shakespeare quality and I know who’s working dent: Tom Sito, Vice-President: (CEO), Terry Shakespeare and for me.” George Sukara, Business Repre- David Molina (both executive vice sentative: Steve Hulett, Recording presidents of creative design), and SAG Singing New Toon. A new Secretary: Jeff Massie, Sergeant-At- Rapture Technologies founders three-year agreement between Arms: Jan Browning. In addition, Doug Gillespie (president) and Jeff the Screen Actors Guild (SAG), rep- 17 nominations were received for English (v.p. of research and devel- resenting voice-over performers 11 positions on Local 839’s Execu- opment). Creative Capers, which working in television animation, tive Board, including eight incum- has had an exclusive development and the Alliance of Motion Picture bents (marked with a *): Román deal with Disney since 1996 (They and Television Producers (AMPTP), Arámbula, Bronwen Barry*, Ben created the game-turned-cartoon representing 108 television anima- Berkman, Dave Brain*, Pat Con- series Nightmare Ned), is main- tion producers, has been nolly-Sito*, Elena Cox, Martin taining it’s status as an indepen- approved by the Guild’s National Forte, Bob Foster, Warren Green- dent studio. Creative Capers is cur- Board of Directors. The deal is a wood, Jim Hillin, Earl Kress*, Craig rently working on game projects final version of one that was Littell-Herrick*, Greg Manwaring, for Disney Interactive and co-pro- announced in August [AF Enrique May*, Karen Nugent, Ann ducing two live-action TV series 8/11/98], when it represented Sullivan* and Stephan Zupkas*. and a feature film with Jersey only 60 animation producers, and Current Executive Board members Films. Digital Doorway has not yet was still pending approval by SAG Sheila Brown, Tom Ray and Dave announced new projects. member performers. The contract Zaboski did not run for re-election. Take a look back at Anima- gives voice-over performers imme- Ballots have been mailed to active tion World Magazine’s December diate wage increases, starting with Local 839 members in good 1996 issue to read Harvey Den- the basic session fee, up from standing, and were counted on eroff’s article, “Visioneering: Inter- $559 to $576. In addition, the October 24. The results will be active Animation at Creative residual formula payable for announced on Local 839’s infor- Capers.”
ANIMATION WORLD MAGAZINE November 1998 72 also co-founder, with Jan Mallis, of Cohn has been upped to senior an Internet content company vice president of current series. called blitcom. Pesce designed the She was previously vice presi- certificate program in 3D Arts at dent/executive producer of cur- San Francisco State University’s rent series, and has been with the College of Extended Learning, company for ten years. Alison and has been teaching at the col- Dexter has been upped to senior lege level since 1995. He has vice president of production oper- authored three books about the ations and planning. She was pre- World Wide Web as well. Com- viously vice president of produc- menting on his new post at USC, tion operations, and joined the he said, “We’ll be exploring the company in 1991 as a line pro- convergence of entertainment ducer. Sergei Kuharsky has been and technology. We expect that promoted to senior vice president the graduates of this program will of brand and franchise manage- generate the best of the next gen- ment. He was previously vice pres- eration of interactive works.”. . . . ident of marketing for U.S. televi- Buzz Potamkin has been named sion, and joined the company in Marie-Pierre Moulinjeune. Photo cour- to the board of directors of Vision- 1995 as vice president of market- tesy of Ellipsanime. ary Media LLC, a New York- ing, following a marketing job at People based company that develops Warner Bros. Home Video. . . . online content. Potamkin is presi- The Greenblatt Janollari Musical Chairs. Ellipsanime, dent of an independent animation Studio, a Los Angeles-based pro- Canal +’s Paris-based studio that production firm,Project X, through duction company, has signed Eric produces the animated series, which he will now explore oppor- Fogel, creator of the MTV animat- “Corto Maltese,” has hired Marie- tunities for Visionary Media’s web ed series Celebrity Death Match Pierre Moulinjeune as deputy properties, such as WhirlGirl, to and The Head, to develop a con- director for international develop- reach additional media including cept for a new, prime-time, stop- ment and co-productions. She will film and television animation. motion animated series. The deal supervise the development and Since founding Project X in 1996, production of animated films and Potamkin has just completed pro- TV series, and report to vice presi- ducing the direct-to-video title dent Robert Réa. Moulinjeune was Buster & Chauncey’s Silent Night previously in charge of coordinat- for Columbia Tri-Star Home Video. ing animated co-productions for “Since I moved back from Los Télé-Images, and prior to that she Angeles I have been looking at the was head of program acquisitions Internet as a prime venue for for France 2. Her background also emerging entertainment proper- includes a stint at Canal J and ten ties,” Potamkin said. From 1991 to years at DIC Entertainment. . . . 1996, Potamkin worked at Hanna- The University Of Southern Barbera Cartoons in Los Angeles, California (USC) has hired Inter- most recently as executive vice net developer Mark Pesce to president, executive producer and head up a new department in the head of TV. A veteran of the indus- School of Cinema-Television devot- try, Potamkin previously worked in ed to interactive media. Pesce is advertising and founded two cited as being the person who other companies: Southern Star developed Virtual Reality Model- Productions and Perpetual Motion ing Language (VRML), the pro- Pictures. . . . Three executives have been promoted at Nickelodeon’s Marjorie Cohn. Photo courtesy of Nick- gramming code that enables real- elodeon. time interactivity on the web. He is New York headquarters. Marjorie ANIMATION WORLD MAGAZINE November 1998 73 gives Fogel a flat six-figure sum for Down to Georgia. Klasky Csupo developing a series concept and Commercials is headed up by Liz pilot script, which, if adapted as a Seidman and former MTV exec series, will be executive produced John Andrews. . . .Tom Sito has by Fogel, and targeted for fall left his post as head of story at 1999. No network is attached at DreamWorks Feature Animation, this early stage. Negotiations were entering a one-year development handled by Chris Fenton and deal with Warner Bros. Feature Aaron Kaplan of The William Mor- Animation. At Warner Bros. he ris Agency, Susan Grode of Katten, will join Piet Kroon on develop- Muchin & Zavis, and Fogel’s man- ment for the animated feature, ager Jim Strader at Strader Enter- Osmosis Jones, which sources say tainment. Although Fogel is cur- Tom Sito. Photo courtesy of Tom Sito. the two may co-direct if the film is rently in a first-look contract with green-lit. As president of the MTV, he was able to make the deal planning and operating discipline Motion Picture Screen Cartoonist’s with Greenblatt Janollari after and Bill brings us both.”. . . . Los Union (M.P.S.C.) Local 839 and offering MTV and Viacom Televi- Angeles-based Klasky Csupo has vice president of ASIFA-Hollywood, sion an opportunity at the show. expanded its commercials division Sito is an influential force in the They passed. . . . The Harrison, with the signing of eight directors animation industry. Warner’s hiring New York-based East Coast office to its roster: Corky Quakenbush of Sito is a bold move that will of Blue Sky | VIFX has promoted is a stop-motion animator famous send a signal to the industry that Michael Feder to associate pro- for his raunchy MAD TV spots; the company is sticking with ani- ducer. Feder came to Blue Sky | Sweden-native Stig Berqvist is a mation, even after the dismal per- VIFX in 1997, following produc- 2D animator who recently com- formance of its debut film, Quest tion stints at Turner Pictures World- pleted working on Stressed Eric for Camelot, and the exit of the wide and Jersey Films in Los Ange- with Klasky’s TV division, and also division president Max Howard, les. Blue Sky | VIFX’s CEO David co-directed short films including who left in July for a producing Brown stated, “Mike really Otto and Revolver; Jim Blashfield role at DreamWorks. “Everyone deserves this promotion and I is a Portland, Oregon-based thought they were down and out believe with his strong production mixed-media director known for after Quest, but I think Warner background and experience he his cut-out look utilized in such Bros. is a company that’s going to will continue to make significant music videos as Michael Jackson’s surprise a lot of people,” said Sito. contributions to building the stu- “Leave Me Alone” and Talking He added that everyone at Warn- dio’s relationships with the New Heads’ “And She Was;” Sally ers is excited about moving in a York production community.”. . . . Cruikshank is a Los Angeles-area different direction than other ani- North Hollywood, California- 2D cel animator known for her mation companies, aiming for a based Film Roman has hired work on Sesame Street and inde- focus that’s “urban, hip, cool and William Shpall as chief operating pendent films such as Quasi at the action-oriented.” At DreamWorks, officer. For the past two and a half Quackadero; Steven Dovas is a Sito worked on story development years, Shpall has been a principal new York-based commercial direc- for Prince of Egypt and Antz, and in the financial consulting firm, tor with a recent independent was head of story on Shrek and Inter.\comm, and was previously film, Call Me Fishmael; Debra Spirit. In a landmark six-figure deal, CFO of Carolco Pictures. Film Solomon is also a New York inde- Sito joined DreamWorks in 1995, Roman CEO David Pritchard com- pendent whose musical shorts leaving Disney with Jeffrey Katzen- mented on Shpall’s appointment, include Mr. Matisse and Every- berg shortly after he partnered “I’m delighted to have Bill join me body’s Pregnant; JOHN HAUGSE with Steven Spielberg and David in shaping the company as we is a computer painting artist and Geffen to form DreamWorks SKG. continue to implement the new director of the film Disparate Mea- This issue of Animation World strategy at Film Roman. The critical sures. Finally, Mike Johnson is a Magazine includes an article by ingredient of a successful enter- stop-motion animator, and direc- Tom Sito about how the young tainment company is financial tor of the short, The Devil Went crew of Disney’s The Fox and the
ANIMATION WORLD MAGAZINE November 1998 74 Hound has gone on to lead the and Apollo Computer. He earned mark, Finland and Poland, as well industry today.. . . . After 20 years a masters degree in science from as a program block in Spain. Haim in the animation industry, includ- Marquette University. Santos said, Saban, chairman and CEO of Fox ing Oscar and Emmy wins, anima- “Working for the team that sunk Family Worldwide commented on tion producer and consultant the Titanic is the coolest thing I’ve Kriez’s leadership, “His success dur- Nick Bosustow and his wife Julie ever done.”. . . . . Digital Domain ing this relatively brief period of have fulfilled a lifelong dream and has also hired Linda Schnurer as time exemplifies our aggressive accepted an invitation from the director of financial planning and strategy to become the prominent U.S. Peace Corps to work in analysis. She was previously man- children’s television leader in Guatemala for the next two years, ager of corporate strategic plan- Europe and throughout the where they will assist small busi- ning and development at Warner world.” Before moving to Fox, nesses. The Bosustows will leave Bros. She earned a masters degree Kriez was senior vice president of the U.S. in January, after selling in business administration from business development for Saban their home. Nick is the son of Harvard University. . . . Copen- Entertainment, a position in which Steven Bosustow, a founding hagen, Denmark-based Interac- he played an instrumental role in member of the legendary UPA ani- tive Television Entertainment the formation of the strategic mation studio. . . . Los Gatos, Cali- has named Preben Henrichsen alliance between Fox and Saban fornia-based Coryphaeus Soft- to the newly-created position of that resulted in Fox Family World- ware, recently renamed Centric promotion and new business wide. He joined Saban as director Software, has hired Neil M. manager. He was previously sales of business development in 1994. Mitchell as vice president of mar- and marketing manager for the . . . San Francisco, California-based keting and Edward Marchiselli as broadcaster Kanal2/TV Denmark. . computer animation studio vice president of sales. Mitchell . . Paris, France-based Salsa Dis- Mondo Media has hired Douglas was previously with Landmark tribution has hired Xavier Kay as president. He was previ- Graphics and Marchiselli has held Gonzáles del Valle as marketing ously vice president of develop- positions with Applicon Inc. and manager, replacing Marianna Her- ment for Berkeley Systems. Before British Aerospace Dynamics. Cen- rera-Brun. Del Valle has a back- that he was chief technical officer tric Software provides 3D-behavior ground in journalism and public at LucasArts, following nine years modeling, simulation and visual- relations, and has worked in creat- at Industrial Light & Magic, where ization software to the aerospace, ing exchange programs between he was a founding member of the automotive and heavy manufac- executives in Latin America and computer graphics department in turing industries, as well as world- Europe. . . . Vancouver, Canada- 1985. Mondo Media CEO John wide defense organizations. . . . based Gordon Stanfield Anima- Evershed said, “We’ve been look- Venice, California-based Digital tion (GSA) has hired Penny Fen- ing for someone like Doug to help Domain has hired Enrique San- wick as head of program sales us propel the company to the next tos as director of technology, a and co-production coordinator. level.” In his new role, Kay is role in which he will oversee the She has been working in television charged with strengthening company’s technology depart- sales and promotions since gradu- Mondo Media’s position as a cre- ment and assume responsibility for ating from Concordia University ative service company, as well as its overall technical direction. San- 1997 with a masters degree in ani- expanding the business into the tos was previously senior manager mation. . . . Fox Kids Worldwide realm of original content develop- of technology at Walt Disney has promoted Ynon Kriez to ment. . . . David Palmer has been Feature Animation, where he president, Fox Kids Europe, a named vice president of marketing managed technical support for newly created position. As manag- at Columbia Tristar Television animated features from The Lion ing director of Fox Kids Europe Children’s Programming, a new King to Mulan. At Digital Domain, since its launch in 1997, Kriez, position. Sander Schwartz, the Santos will report to vice president based in London, has already division’s executive vice president of digital operations, Edward Kum- overseen the launch of language- and general manager, comment- mer, with whom he worked at Dis- localized children’s channels in the ed on Palmer’s appointment, “We ney for four years. Prior to Disney, U.K., Ireland, France, the Nether- know he will play a vital role in Santos worked at Hewlett Packard lands, Norway, Sweden, Den- designing and implementing
ANIMATION WORLD MAGAZINE November 1998 75 strategic marketing campaigns for fields of the media business, now company, d.e.e.p. Entertain- our current and future animation that the company is going public. ment. Based in Toronto and Hali- franchises.” Palmer was previously All the more so because the future fax, Canada, the company will vice president of marketing for of animation in Germany will be focus on development of anima- MGM’s consumer products divi- increasingly determined by distrib- tion properties such as NuKeD and sion. Prior to MGM, he held The Lugs, for which financing marketing and promotions partners are currently being positions at Film Roman, sought. . . . Mark Simon, pres- Turner Broadcasting System, ident of Animatics & Story- The Walt Disney Company boards, and author of the book and Rogers & Cowan. . . . “Storyboards: Motion in Art,” Joe Alonso has been named and producer Dave Kallaher international vice president have joined forces to start a of sales and marketing for new company, Aargh! Ani- Crater Software, creators mation, Inc. Based in Orlan- of CTP (Cartoon Television do, Florida, the company will Program), a 2D animation specialize in cel and stop- program for Windows 95 motion animation, character and NT. He will be based in design and storyboards. the company’s Montreal, Jeanne Pappas Simon, co- Canada office. Alonso previ- owner of Animatics & Story- ously held sales and market- Caricature of Chris Bailey drawn by colleague Kelly boards, will be head writer for ing positions with Toon Asbury. Image courtesy of Chris Bailey. Aargh!. . . . .Cambridge Ani- Boom Technologies, Softim- mation Systems (CAS), cre- age and Discreet Logic. . . . ution companies and investors.”. . ators of Animo 2D animation soft- Marie-Line Petrequin will leave . . Animation director Chris Bailey ware, has hired Mark Watt as ProSieben and join German com- has joined the full-time staff of director of research and develop- pany Igelfilm as managing direc- Dream Quest Images, the effects ment. Watt co-founded Second tor of animation and development studio owned by Disney. He has Nature Industries, a company in in the area of production/co-pro- been working with the company Los Angeles. He was previously a duction of animation. She was on a freelance basis during the senior programmer with Xaos, previously vice president and head past year, as an animation supervi- Thomson Digital Image and Digi- of the animation department at sor on Mighty Joe Young and as a tal Pictures. Watt will be based at ProSieben Media AG, where she creature animation consultant on CAS’ U.K. office. Tom Carrigan, has worked since 1990. At Deep Rising. He will now focus on recently hired by CAS as director of ProSieben she arranged the com- being animation director for the international sales, will also be pany’s co-production participation live-action feature film, Inspector based in Glendale, California, not in animated series such as Space Gadget. Bailey’s long list of credits in the company’s U.K. office as was Goofs, Oggy and the Cockroaches includes directing the Oscar-nomi- stated in last month’s news. . . . and Ned’s Newt. At Igelfilm start- nated short Runaway Brain, and Laura Stone Walstone has ing October 1, she will be respon- animating on the Disney Animal joined DIC Entertainment as sible for sales and acquisitions of Kingdom attraction “It’s Tough to director of international licensing. animation programs for the com- be a Bug,” music videos for Her previous positions include vice pany, which is in the process of “Opposites Attract” (Paula Abdul) president of OH! NO!, Inc., direc- becoming public and expanding and “Hard Woman” (Rolling tor of licensing at Just Toys, and into the area of animation. Stones), as well as Disney features director of licensing at Extreme Igelfilm’s managing director Christ- Hercules, The Lion King, The Little Studios . . . The Visual Effects ian Lehmann said, “Marie-Line Mermaid, and others. . . . Paul Society (VES) has hired Michele Petrequin has excellent interna- Waxman, a former marketing Smith as director of operations. tional connections which will help executive at Irwin Toy, has The Los Angeles-based non-profit us to expand rapidly into new branched off and formed his own organization was founded in 1997
ANIMATION WORLD MAGAZINE November 1998 76 by former marketing to Poland where he is consultant Tom Atkin, currently making a 30- now executive director. minute film called He said, “We look for- Wyspa R.O. (The R.O. ward to her active par- Island), with Studio ticipation and contribu- Miniatur Filmowych. tion as the society con- Both films are being tinues to grow world- funded by Polish Tele- wide.” Smith previously vision. Lenica’s new worked in the account- film—his first in 20 ing department at Poly- years—will be a com- gram Filmed Entertain- bination of animation, ment, and has an MBA optical printing effects, from Pepperdine Uni- and live-action star- versity. . . . New York- Antz. © DreamWorks LLC. ring fellow animator based Lee Hunt Associates has 6/30/98], a highly competitive Piotr Dumala. Gizycki is also work- hired Jane Friesen as head of pro- move which placed the film in the- ing on a documentary about the duction. She was previously exec- aters nearly two months ahead of history of Polish animation, and is utive producer and general man- Disney’s A Bug’s Life. However, in a contributor to a forthcoming ager at Click 3X, and supervising case there is still any confusion book about Studio Miniatur Fil- producer at Sony Music Studios. . . between this season’s insect mowych, which celebrates its movies, Antz is clearly targeted at 40th anniversary this year. Films an older audience than A Bug’s The Ottawa International Life. PDI’s second CGI feature for Animation Festival will host a retro- Antz Arrivez. DreamWorks Pic- DreamWorks, Shrek is in pre-pro- spective of Jan Lenica in the year tures and Pacific Data Images’ duction, and will get a head start 2000. For information about the computer-animated feature film, on production shortly after the festival, visit the official web site. Antz opened in U.S. theaters on release of Antz. DreamWorks’ first, Friday, October 2. After the first now second-to-be-released ani- Mainframe Travels With IMAX. two weeks in the number one mated feature, Prince of Egypt, Vancouver, Canada-based Main- spot, by its third week in theaters, produced in their Los Angeles facil- frame Entertainment will produce the total cumulative box office ity, is slated for a December 18 two feature-length, stereoscopic, gross was $51.5 million. Antz will debut. 3D computer-animated films for make its international debut start- Antz is reviewed by Jerry IMAX large-format cinemas. The ing in New Zealand and Australia Beck in the October 1998 issue of announcement comes exactly two on October 29.The film’s 78 min- Animation World Magazine. years after the two companies utes of animation (112,320 announced a production deal [AF frames) took two and a half years Lenica Documentary In 8/21/96] to produce two 3D CG- and a staff of over 200 people to Progress. Animation historian animated ride-films based on produce. Character voices fea- Marcin Gizycki has begun produc- Mainframe’s TV series, ReBoot. The tured in the film include Woody tion on a 30-minute documentary first one, ReBoot, the Ride opened Allen, Dan Akroyd, Danny Glover, film about animator Jan Lenica, a in IMAX ride theaters last year and Gene Hackman, Jennifer Lopez, Poland native whose credits the second, Journey Into Chaos Sharon Stone, Sylvester Stallone include animated shorts such as will open next month. In the new and Christopher Walken. Dream- Janko the Musician (1960), deal, the first film to be produced Works took the animation world Labyrinth (1962), and several films will be Gulliver’s Travels, based on by surprise in June when they with Walerian Borowczyk. After the story by Jonathan Swift and announced that they would teaching in Kassel and Berlin, Ger- scheduled for release in 2000. The release Antz six months earlier many for the past 20 years (plus, 15/70 format film will feature an than its previously announced stints working in France and the eight-story-high Gulliver in the debut set for March 1999 [AF United States), Lenica has returned story’s Lilliputian world of the early
ANIMATION WORLD MAGAZINE November 1998 77 1700s. Mainframe’s Ian Pearson Prometheus & Bob, a stop-motion Colin ABV Lewis is producer and and production designer Brendan animated short series about a Mike Wolf is animation producer. McCarthy are adapting the story. caveman and an alien that airs on Film Roman has become some- “The fantastic nature of Gulliver’s Nickelodeon’s weekly animation thing of a prime-time animation Travels makes it a perfect choice variety show, Kablam! Amy Heck- hot-house, as it is also in produc- for an IMAX 3D presentation,” said erling and Albie Hecht will pro- tion on three other such series, Mainframe CEO and vice chair- duce the live-action adaptation for The Simpsons, King of the Hill, and man Christopher Brough, “No Nickelodeon Movies. “My daugh- Family Guy, all for Fox. What’s the other company has ever produced ter first brought Prometheus & secret? Read Mike Wolf’s article, “In a film like this.” The second feature Bob to my attention and I was the Spotlight: Creating Prime Time in this deal has yet to be deter- hooked instantly,” said Heckerling. Animation” in the March 1998 mined. “[It] is intelligent and hilarious.” issue of Animation World Maga- zine . . . . Nickelodeon plans to Television launch a 24-hour version of its net- work in Russia, per a recently- TV Tidbits. North-Hollywood- signed agreement with Metrome- based Film Roman has been dia International Group. Program- hired as the production company ming will consist of Russian-lan- for the WB’s new prime-time car- guage dubbed U.S. shows such as toon, The Downtowners, the first Rugrats. This will be Nickelodeon’s animated series to be developed sixth territory-specific network, fol- by Castle Rock Entertainment’s lowing existing channels in Aus- In the 1960s, Chuck Jones directed the Television unit, whose live-action tralia, Latin America, the Nordic animated How the Grinch Stole Christmas. credits include Seinfeld. Thirteen countries, Turkey and the U.K. . . . Now it’s going to be a live-action film. Photo courtesy of and © MGM Home half-hour episodes of The Down- Nickelodeon has signed a deal Entertainment. towners have been ordered, for with Italian broadcaster Radio debut on the WB network in fall Televisione Italiana (RAI) to pro- Animation Inspires 2 New 1999. Series creators Bill Oakley duce the first localized foreign-lan- Movies. Recycling is alive and well and Josh Weinstein (former execu- guage version of Blue’s Clues. The in Hollywood. An astounding tive producers of The Simpsons) show will premiere on the RAI number of animation properties are executive producers, Lauren Uno network in the second quar- are being optioned for adaptation MacMullan is supervising director, ter of 1999. In Italy, RAI will local- as live-action films, such as Inspec- tor Gadget and Sailor Moon (DIC/Disney). This week, two more such deals have been announced. How the Grinch Stole Christmas, a book by Dr. Seuss and then an ani- mated feature directed by Chuck Jones at MGM, will have its next reincarnation as a live-action fea- ture starring Jim Carrey. Universal, which already owns the theme park rights to Dr. Seuss properties, and Ron Howard’s Imagine Films paid Dr. Seuss’ widow Audrey Geisel nearly U.S. $5 million for the film rights. Holiday 1999 is the target release date. The second toon movie deal announced this week is based on Cote Zeller’s The Downtowners. © 1998 The WB Network.
ANIMATION WORLD MAGAZINE November 1998 78 gram line-up starting in Novem- tion, but no air date has been set. ber. The sale comes on the heels . . . Bonjourno, Mickey! The Italian of Nickelodeon’s withdrawal from version of The Disney Channel the tough German market [AF began broadcast on October 3, 6/2/98] as a network. Nick- launching with the country’s first elodeon ceased broadcasting on TV broadcast of the animated fea- German airwaves in May, a deci- ture, The Lion King. All program- sion motivated by weak ad sales ming is dubbed in Italian. The and increased competition for channel is being transmitted daily viewers. Undaunted, the Disney from 6 a.m. to midnight, as part of Channel is still planning to launch a digital bouquet of channels a digital pay TV channel in Ger- offered by Telepiu. Disney Channel many, but no date has been Italy is headquartered in Milan and announced. . .Cartoon Network headed up by vice president and will debut two new “World Pre- managing director Janet Scardino. miere Toons” shorts on November The former Sunbow Entertain- Mike, Lu & Og, a new “World Premiere 6 at 8:00 p.m. Mike, Lu & Og by ment VP joined the company in Toon” by Chuck Swenson. © 1998 Car- Chuck Swenson is about a girl March 1998. An additional 40 toon Network, a Time Warner Company. named Mike who leaves her home people, mostly Italians, will staff ize the series by using the same in New York City and ends up on Disney Channel Italy. Program- blue-screen technology used on a remote island where the natives ming will start out with 15% Ital- the original production to insert are friendly. Kenny and the Chimp ian-produced acquisitions com- an Italian, live-action host into the by Tom Warburton is about an bined with 85% Disney produc- existing computer animation. awkward 11-year-old and his best tions. This is the seventh country Nickelodeon plans to make similar friend, a primate named Chimpy. in which Disney Channel has sales to other countries, as this The debuts kick off the network’s launched, following Australia, production concept was designed “Cartoon Cartoon Weekend” spe- France, Malaysia, the Middle East, into the show from its inception. cial, a 52-hour marathon of more Taiwan and the U.K....In celebra- Read about the production than 100 shorts from the “What a tion of Disney’s 75th anniversary, process used on Blue’s Clues in the Cartoon!” series as well as Dexter’s the Disney Channel will air a col- September 1998 issue of Anima- Laboratory, Cow and Chicken and lection of rarely seen early films by Johnny Bravo. Plus, for those of Walt Disney. Films such as the tion World Magazine. . . . .Nick- you who are wondering, John 1920s live-action/animation elodeon has signed a volume out- Kricfalusi’s long-awaited “What a shorts, The Alice Comedies aired put deal with Television New Cartoon!” shorts are still in produc- October 16-29, nightly on the Zealand (TVNZ) for the broadcast rights to 17 animated and live- action series—755 episodes in all—including CatDog, Rugrats, Hey Arnold!, KABLAM!, Angry Beavers, Aaahh!!! Real Monsters, The Wild Thornberrys and Oh Yeah! Cartoons! The deal extends into 2003. In a similar deal, the German broadcaster RTL has pur- chased four Nicktoons shows for broadcast in its weekend morning kids programming block. Hey Arnold!, Rocko’s Modern Life, Cat- Dog and Angry Beavers will be introduced to the network’s pro- Walt Disney and actress Margie Gay as Alice, surrounded by animated characters in Alice’s Spanish Guitar. © The Walt Disney Company.All Rights Reserved.
ANIMATION WORLD MAGAZINE November 1998 79 cess.” Gaumont president Marc duPontavice said, “I have enjoyed a long and successful relationship with Marie-Line...As an executive, she fully understands all facets of international partnerships and co- productions.”
NFBC Developing Its Library. The National Film Board of Cana- da (NFBC) has entered into a license agreement with Los Ange- les-based producer Jean Madar to develop new TV series and films based on a collection of popular animated shorts from its library. Madar, a Montreal native whose background includes work with Pixibox and Medialab, will use the animated shorts as ready-made pilots for new projects. He has grouped the NFBC films into four collections: “Kids” for children’s ani- mation, “Tunes” for musical shorts, “Crazy” for more adult-oriented films, and “Insane” for late-night fare. Madar believes the NFBC col- The Big Snit by Richard Condie. Could it be a full series? © Richard Condie. lection is an untapped resource “Vault Disney” programming many, Scandinavia, Japan and that will appeal to idea-hungry block, Monday-Saturday at 11 Korea. The deal, sealed at MIP- Hollywood networks searching for p.m., Sunday at 9 p.m. Although COM, reflects both companies’ animation properties. Comedy other studios had been putting need to address the increased Central’s animated series Bob and animated characters into live- competition and decreased num- Margaret, for instance, spawned action environments, Disney, with ber of broadcast slots available in from a short called Bob’s Birthday The Alice Comedies, was the first Germany and Asia. As a result of (1995) produced at the NFBC. to place a live-action character into the agreement, the two compa- Lynne Williams, manager of U.S. a cartoon world. The Disney nies project launching at least two sales and international market Channel aired some of the 56 new animated series each year, development for the NFBC, said, Alice films, including the never- throughout the unspecified, multi- “We are delighted to be working before-released pilot, Alice’s Won- year term of the deal. IGEL Media, with Jean to develop bigger audi- derland. . . . a 15-year-old company that is on ences for this wonderful work.” the verge of going public, recently The NFBC, known worldwide for Gaumont-IGEL Pact. Paris, hired managing director Marie- its vast collection of animated France-based Gaumont Multime- Line Petrequin away from shorts, has experienced a resur- dia and Hamburg, Germany- ProSieben [AF 9/22/98], a bold gence of popularity in recent based IGEL Media have reached a move signaling the company’s years. Animation channels Car- multi-year, multi-million dollar first- new commitment to animation. toon Network and Locomotion look distribution agreement giving She said, “Our relationship is have been airing NFBC shorts for IGEL all television and home video based on long-term trust and a some time, and similar compila- rights on future Gaumont Multi- mutual vision, ingredients that are tion programs debuted this month media animated series for Ger- certain to generate continued suc- on Canada’s all-animation channel ANIMATION WORLD MAGAZINE November 1998 80 Jireh, in Korea, under designing the characters for the the direction of anima- fantasy-adventure show, which is tion director Kevin set in 4th Century B.C. Macedo- Altieri and Todd McFar- nia, and is based on the novel lane, creator of Spawn. Alexander’s War Chronicles by Pearl Jam’s leader Eddie Hiroshi Aramata. The executive Vedder decided he producer is Haruki Kadokawa, the wanted the band’s first producers are Masao Maruyama video in seven years to and Rintaro, and the supervising be animated, and per- director is Yoshinori Kanemori. Ani- sonally edited a mock- mation is being produced at Mad up for the video using House in Japan. Screenmusic Stu- scenes from taped dios in Los Angeles will handle episodes of Spawn. post-production. Thirteen 30- Once the job was minute episodes are planned. assigned to McFarlane and Epoch, the direc- Varga Charging on Don tors had no script to Quixote. Budapest, Hungary- work from, only Ved- based Varga Studio is working on der’s mock-up video, a new, stop-motion animated spe- song lyrics, and an cial, Don Quixote de La Mancha, Epoch Ink’s character design for the “Do the Evolution” audio-recorded conver- based on the classic novel by Pearl Jam video. © 1998 Todd McFarlane Entertainment, Inc. sation between Vedder Miguel de Cervantes. The 30- and Todd McFarlane, minute program has been in Teletoon (the 13-part series Anima- from which a storyboard was cre- development for two years, and is nia) and a New York PBS affiliate ated. Epoch’s president and cre- now being co-produced with S4C, station (Leonard Maltin and His ative director Joe Pear- Animation Favorites From The son and McFarlane exec- National Film Board Of Canada). utive Terry Fitzgerald co- Get ‘em while they’re hot! produced. The video, Original production cels from one which is now in heavy of NFBC’s most favorite animated rotation on MTV, depicts shorts, Richard Condie’s The Big a dark history of the Snit are available for purchase world covering the “cre- exclusively in the Animation World ation comet’s” impact on Store. primordial earth, the death of the dinosaurs, Epoch & McFarlane Jam On the ascent of man, end- Music Video. Santa Monica, Cali- ing with a bleak techno- fornia-based Epoch Ink Animation logical future and even- and Phoenix, Arizona-based Todd tual destruction of the McFarlane Entertainment collabo- planet. rated on a fully-animated music video for Pearl Jam’s song “Do the Chung Designing For Evolution.” The four-minute video Samsung. Korean com- was produced in just 12 weeks pany Samsung Entertain- with a budget of U.S. $220,000. ment Group is launching The dark, comic-style 2D anima- a new animated series tion was produced traditionally on for adults called Alexan- hand-inked cels at Epoch Ink and der. Peter Chung, cre- its partner studios Sun Min and ator of Aeon Flux, is Alexander. © Samsung.
ANIMATION WORLD MAGAZINE November 1998 81 HBO America and BBC for Spring Nelvana Greens Redwall. Nel- new episodes of Fennec and Blaz- 1999. The stop-motion materials vana Limited has greenlit produc- ing Dragons. used—metal skeletons with rub- tion on 13 episodes of their new ber and clay heads—were devel- animated series, Redwall based on Cosgrove Hall Busts Out 2D oped by studio founder Csaba the book series by Brian Jacques. Toon. Manchester, England-based Varga, who will assume the role of The show is about the legends of animation studio Cosgrove Hall, director for the first time since his a mythical medieval abbey popu- known for its stop-motion produc- 1993 short, Beasts. lated by woodland creatures. Nel- tion on series such as Brambly vana co-CEO Michael Hirsh said, Hedge and The Animal Shelf, is “It has all the elements of a launching production on a new, medieval fairy tale.” 26-part, drawn 2D animated series called Foxbusters. The show BKN Starting Conspiracies. is about a group of renegade Bohbot Kids Network (BKN) is chickens that challenge the launching the animated series process of natural selection and try Roswell Conspiracies—Aliens, not to get eaten by foxes. David Myths and Legends for a Fall 1999 Freedman and Alan Gilbey are U.S. debut and BKN affiliate debut writing scripts. The ITV Network in 2000. It’s unusual format will be Centre has commissioned 11 comprised of 20 one-hour episodes for debut in September episodes that can also be split into 1999. Foxbusters will be distrib- 40 half-hour episodes. With a pro- uted by Cosgrove’s sister company, duction budget of U.S. $850,000 ITEL. per episode, the show is described as Bohbot’s most ambitious chil- Retro Toons Get Energized. Syd- Pokémon. © Lacey Entertainment. dren’s series to date. The science- ney, Australia-based independent fiction show, based on the con- producer and distributor Energee Pokémon Hits The World. New cept that a NATO Alliance was Entertainment Pty Ltd., producers York-based 4 Kids Entertainment is formed to seek out and destroy of the animated series Crocadoo, bringing the popular Japanese alien trespassers, is aimed at kids has acquired two cartoon series animated series Pokémon to the aged 7-13. It will be produced international market. The show with a blend of cel animation and started in U.S. syndication in Sep- special effects at Epoch Ink in tember, and is signed to appear Santa Monica, California, with the on Italy’s MediaSet network, Aus- talents of Joe Pearson, Rick Ungar tralia’s Channel 10, Mexico’s Tele- and Gregg Davidson. visa, Canada’s YTV and Brazil’s Globo TV. Also known as Pocket Kids + Turns One. One year ago, Monsters, the cartoon caused a CANAL + Distribution launched stir last December when hundreds KIDS + to handle international of young Japanese viewers simul- sales of its more than 800 hours of taneously suffered seizures while children’s programming. Kids + watching an episode that featured has since sold programming to a high-contrast flash sequence, an Italy’s Disney Channel Italy and effect known as “photosensitive RAI, Germany’s Super RTL, Ireland’s epilepsy.” The offending sequence RTE, Switzerland’s Television Suisse- has since been removed, so Romande and France’s France 3. broadcasters can rest easy. More Kids +’s new animation being than 52 half-hour episodes are launched at MIPCOM this year Energee Entertainment is reviving classic available. includes a feature-length version cartoons such as Clutch Cargo. Image of Trouble With Sophie, as well as courtesy of Energee Entertainment.
ANIMATION WORLD MAGAZINE November 1998 82 from the 1960s to sell to the nos- which also bought Salsa’s animat- “The Third Ticket” portrays a cou- talgia niche market. Clutch Cargo ed series Shéhérazade. Salsa has ple of hockey fans at a game, one follows the seaplane travel adven- also acquired the Australian ani- of whom, to the disappointment tures of Clutch and his friends mated series Skippy—Adventures of his buddy, invited his girlfriend. Spinner and Paddlefoot, and in Bushtown produced by Yoram Animation was produced on SGI Space Angel follows the inter- Gross, Telé Images and VIDEAL, machines with Alias|Wavefront’s galactic adventures of law and is introducing the live- PowerAnimator and Maya soft- enforcer Scott McCloud from the action/animation series The ware. “The Third Ticket” is also Earth Bureau of Investigation. Adventures of Dudley the Dragon being screened as a short film at Both are contained in half-hour to the Latin American market. festivals such as the recent Los episodes which can also be Angeles International Short Film shown as five-minute daily strips or Little Company Making Big Festival. used as fillers. Energee has also Deals. One-year-old Gloucester, acquired Go to Hell, a feature- U.K.-based The Little Entertain- Interactive TV Gets Animated. length animation completed last ment Company (LEC Ltd.) has two Copenhagen, Denmark-based year by Australian animators Ray new series, Magical Mystery Merlin Interactive Television Entertain- and Leaf Nowland, and Mr. No, a and Charlie Marmalade. The com- ment is launching several new series of 3D animation shorts with- pany’s first two animated shows interactive game shows, including out dialogue. Finally, Energee will have recently secured broadcast two that will incorporate anima- also be selling its own produc- spots on BBC (Little Monsters) and tion, based on the concept used tions, The Legend Of Mulan, a 45- ITV (Billy). for the series Hugo the TV Troll. minute special derived from Tush Tush will use real-time the same Chinese legend on motion-capture animation to which the Disney feature is allow viewers to interact with based; The Digswell Dog the program via the Internet Show, a 13-episode half- and telephone. Yo-Yo, devel- hour cartoon about a subur- oped with Los Angeles-based ban dog; Scrooge Koala’s Dream Entertainment, will offer Christmas, a half-hour Christ- animated carnival-type games mas special and, lastly, Poeti- linked to video games which ca, a series of 30 mixed- viewers can play simultaneous- media shorts (2.5 min. each, ly on consoles in their homes. co-produced with La Cinquieme in France) by 18 Fairwater Launches WWW directors, illustrating narrated Shorts. U.K. company Fairwa- poems by William Blake, ter Films has a new series of Lewis Caroll, Dylan Thomas, animated interstitials for the Charles Baudelaire, and oth- international market, titled ers. World Wide Webley. The 52 one-minute shorts depict the Salsa Sales Strong. Paris, adventures of the title charac- France-based Salsa Distribu- ter, a spider, in cyberspace, cov- tion has sold several animat- ering such topics as electronic ed series to the international The Buddy System. © GLC Productions. mail and Internet etiquette. market. Buddy Buddy has The series was made with been sold to Cartoon Network backing from Glamorgan Universi- Latin America; The Animated GLC Opts for Buddy System. ty, and directed by Tony Barnes, World Faiths (S4C/Channel 4/BBC) New York-based GLC Productions creator of Transylvania Pet Shop. has been sold to The Discovery is seeking partners for a computer- Fairwater Films is also seeking pro- Channel and Simmsala Grimm has animated series called The Buddy duction partners for animated been pre-sold to HBO, a network System. The pilot episode, titled series in development including
ANIMATION WORLD MAGAZINE November 1998 83 Toenail Folk (move over, South including an animat- series to the interna- Park), Pubic Hare (definitely for ed feature film based tional market. adults) and Vegetable Hospital on Jack and the Voltron: The Third (soap opera satire). Beanstalk, a series Dimension debuted called Kwiatkowski in September in over Monster Animating Arcade. based on detective 180 U.S. markets. The Dublin, Ireland-based Monster Pro- novels by Jurgen 3D computer-animat- ductions, an animation studio and Banscherus, and a ed show is based on distribution company formed in series called Tap End the original Voltron 1995 by former management and Tales, which has cartoon made in the artists from the Don Bluth studios, received develop- 1980s. The first 26 has acquired the rights to produce ment aid from Car- episodes of the new a television series based on 7th toon and The Irish series were produced Level’s video game Arcade Ameri- Film Board. by Mike Young Pro- ca. Monster is also currently dis- ductions (Prince of tributing the 13-episode animated Voltron Returns. Atlantis) and Netter series The Storykeepers, while World Events Pro- Digital Entertainment Voltron:The Third Dimension. seeking co-production partners for ductions is introduc- © World Events Productions. (Babylon 5). several other animated projects ing a new animated
September Nielsen Ratings. By special arrangement with Nielsen Media Research, AWN publishes the Nielsen ratings for animated programs on a monthly basis in the Animation Flash. The ratings included herein are only for U.S. national network television. The following list of animated national network programs is ranked by Household Ratings. A Rating is the percentage of households that tuned into the program. This percentage can provide us with the number of households that tuned into the program on average during the month. The universe estimate for the 1997-98 television season is 98 million TV homes. Each rating point represents one percent of that uni- verse, or 994,000 TV households. Translation: The Simpsons, with a 6.4 rating, was viewed in just over 6 million (6.4 x 994,000) households. The below ranking is an average for the month of September 1998 (monthly cycle includes the last day in August).
Rating/Program (Network, Day, First Telecast, Time) Rating/Program (Network, Day, First Telecast, Time)
6.4 The Simpsons (Fox, Sun., 9/07, 8:00 p.m.) 1.5 Invasion America 1 (WB, Sat., 9/19 9:30 a.m.) 6.1 King of the Hill (Fox, Tues., 9/15, 8:00 p.m.) 1.5 Oggy & the Cockroaches (Fox, Sat., 9/12, 11:30 a.m.) 5.0 King of the Hill 2 (Fox, Tues., 9/01, 8:30 p.m.) 1.5 Pinky & The Brain special (WB, Sat., 9/12, 10:00 a.m.) 4.7 King of the Hill 1 (Fox, Tues., 9/01, 8:00 p.m.) 1.5 Pinky, Elmyra & Brain (WB, Sat., 9/19, 10:30 a.m.) 4.0 Disney’s One Sat. Morning special (ABC, Fri., 9/11, 8:30 p.m.) 1.5 Sylvester/Tweety Mysteries 2 (WB, Sat., 9/05, 11:30 a.m.) 2.5 Disney’s One Sat. Morning 3 (ABC, Sat., 9/05, 9:30 a.m.) 1.5 Sylvester/Tweety Mysteries (WB, Sat., 9/05, 11:00 a.m.) 2.4 Disney’s One Sat. Morning 4 (ABC, Sat., 9/05, 10:00 a.m.) 1.5 World’s Finest special 2 (WB, Sat., 9/12, 8:30 a.m.) 2.3 Disney’s One Sat. Morning 2 (ABC, Sat., 9/05, 9:00 a.m.) 1.5 World’s Finest special 3 (WB, Sat., 9/12, 9:00 a.m.) 2.3 Godzilla (Fox, Sat., 9/12, 9:00 a.m.) 1.4 Disney’s 101 Dalmatians (ABC, Sat., 9/05, 8:00 a.m.) 1.8 Bugs Bunny and Tweety Show 1 (ABC, Sat., 9/05, 10:30 a.m.) 1.4 Disney’s Hercules (ABC, Sat., 9/12, 8:00 a.m.) 1.8 Bugs Bunny and Tweety Show 2 (ABC, Sat., 9/05, 11:00 a.m.) 1.4 Squigglevision (ABC, Sat., 9/12, 12:30 p.m.) 1.8 Disney’s One Sat. Morning 1 (ABC, Sat., 9/05, 8:30 a.m.) 1.4 X-Men (UPN, Sun., 9/25, 10:00 a.m.) 1.8 Spy Dogs (Fox, Sat., 9/12, 10:30 a.m.) 1.3 Batman/Superman 2 (WB, Monday-Fri., 9/14, 4:30 p.m.) 1.7 Disney’s Jungle Cubs (ABC, Sat., 9/05, 10:30 a.m.) 1.3 Histeria special (WB, Sat., 9/12 11:00 a.m.) 1.7 Invasion America 2 (WB, Sat., 9/19, 10:00 a.m.) 1.2 Batman/Superman (WB, Monday-Fri., 8/31, 4:30 p.m.) 1.7 Men in Black (WB, Sat., 9/05, 10:00 a.m.) 1.2 Batman/Superman 1 (WB, Sat., 9/05, 9:00 a.m.) 1.7 The New Adventures of Winnie the Pooh (ABC, Sat., 9/05, 1.2 Hulk and Friends (UPN, Sun., 9/26, 9:30 a.m.) 12:00 p.m.) 1.2 Spider-Man (Fox, Tues.-Fri., 9/15, 3:00 p.m.) 1.7 Pinky & The Brain (WB, Sat., 9/05, 10:30 a.m.) 1.2 Superman (WB, Sat., 9/05, 8:30 a.m.) 1.6 Mad Jack (Fox, Sat., 9/12, 11:00 a.m.) 1.2 Toonsylvania (Fox, Monday, 9/14, 3:30 p.m.) 1.6 Men in Black special (WB, Sat., 9/12, 9:30 a.m.) 1.1 Batman/Superman 1 (WB, Monday-Fri., 9/14, 4:00 p.m.) 1.6 Science Court (ABC, Sat., 9/05, 12:30 p.m.) 1.1 Incredible Hulk (UPN, Sun., 9/06, 9:30 a.m.) 1.6 Spider-Man (Fox, Monday-Fri., 8/31, 4:00 p.m.) 1.1 World’s Finest 1 (WB, Sat., 9/12, 8:00 a.m.) 1.6 Spiderman (UPN, Sun., 9/26, 10:30 a.m.) 1.0 Batman/Superman Labor Day special (WB, Mon., 9/07, 4:30 1.6 Sylvester/Tweety special (WB, Sat., 9/12, 10:30 a.m.) p.m.) 1.5 Batman/Superman 2 (WB, Sat., 9/12, 10:30 a.m.) 1.0 Jumanji (UPN, Sun., 9/06, 9:00 a.m.) 1.5 Histeria (WB, Sat., 9/19, 11:30 a.m.) 1.0 Mr. Potato Head (Fox, Sat., 9/12, 8:00 a.m.) ANIMATION WORLD MAGAZINE November 1998 84 Commercials
Seeing Spots. Montreal, Canada- based Productions Pascal Blais completed a 30-second clay-ani- mated commercial for J. Walter Thompson’s client Kraft/Oscar Mayer Foods and their product “Lunchables.” The spot, titled Kitchen Hoops was directed by Pascal Blais, and is the third in a series of animated spots for this client. It portrays a boy and his Wild Brain animated Hershey’s Kisses and Colonel Sanders. father playing a game of basket- Images courtesy of Wild Brain. ball, and celebrating afterwards by Colonel, KFC’s new animated used Maya and Flame to create breaking out the product, “All Star spokesperson, new KFC products the piece, which was produced in Burgers and Hot Dogs.” The com- and a new overall look for the fast just three days. . . .Boston-based mercial is airing nationally in the food company. The first spot, ViewPoint Studios and Heck U.S. . . . . San Francisco-based “Popcorn Chicken,” directed by Yes! Productions have Wild Brain, Inc. produced two Robin Steele, unveils KFC’s new redesigned the main title anima- new commercials for Ogilvy & modern image, complete with a tion package for the History Chan- Mather’s Hershey’s Kisses ad cam- rapping, dancing spokescharacter, nel’s show, Modern Marvels. The paign. The two new 15-second a redesigned version of the com- 20-second open was created with spots were directed by Carl Willat, pany’s legendary founder, Colonel Flame, compositing motion con- who has directed more than 15 Sanders, now voiced by actor trol photography with animation Hershey’s Kisses ads over the last Randy Quaid. . . . San Francisco- by Mike Leone of ViewPoint. . . . decade. Drag Racing, like all previ- based Radium produced a 30- New York-based J.J. Sedelmaier ous 15 spots, uses tried-and-true second animation of the MTV logo Productions created the anima- stop-motion. However, for the sec- for the network’s annual MTV tion in a two-spot package for Grif- ond spot, titled Fishing, Willat Movie Awards show. The fin Bacal’s client Tonka and their used computer anima- new product, Cool Tools tion, marking the first toys. The spots combine time CGI has been used live-action with animation in this campaign. Willat of drawings by designer insisted, however, that Doug Fraser, animated by CGI will not replace stop- Vinnie Bell. J.J. Sedelmaier motion. “Our primary Productions also created responsibility is to tell the animation in an ad for Has- story,” he says, “and we bro/Parker Brothers’ ad for must be open to using “Family Game Night.” The whatever additional tools animation is done in a are appropriate to help childlike style, directed by tell that story.”. . . . Wild Sedelmaier and animated Brain has also launched by Tony Eastman. . . . Los its first of a multi-spot ani- Angeles-based Industrial mated campaign for Ken- ViewPoint Studios’ Modern Marvels main title package for The History Channel. Image courtesy of ViewPoint Studios. Light & Magic Commer- tucky Fried Chicken (KFC) cial Productions, a divi- restaurants. The Young & sion of ILM parent, Lucas Rubicam campaign, which com- sequence is being used as a lead- Digital, used animated visual bines 2D and 3D animation with in to clips of nominees introduced effects in a commercial for First live-action, introduces The in the show. Artist Alaina Goetz Union. Live actors were composit- ANIMATION WORLD MAGAZINE November 1998 85 ed with a 3D CG environment fea- cess, DreamWorks is developing a haunted house. It will be available turing a floating piggy bank, ani- direct-to-video sequel to Antz. The for $3.49 with any purchase. Addi- mated money and other exagger- film would, like its predecessor, be tional videos will be released in ated elements of the finance produced by computer animation 1999: The Legend of Grimace world. The production team studio Pacific Data Images (PDI). It Island and The Visitors From Outer included director Steve Beck, visu- is also being considered for the- Space. Klasky Csupo CEO Terry al effects supervisor George Mur- atrical release. Either way, a studio Thoren enthused, “We were phy and CG lead Tim Stevenson. . spokesperson confirmed that if the thrilled to be challenged with this . .London-based Passion Pictures production is green lit, it would be latest evolution and think Ronald produced ten seconds of comput- 18-24 months before its release. as an animated hero is a natural er animation in two different spots But after the “surprise” early next step for one of the world’s for food supplier, The Co-op. release of Antz, who knows what best-known live characters.” R.J. Depicting realistic chickens and a this crafty studio has up its Milano, McDonald’s vice president pig, the 3D CG sequences were sleeve.... of U.S. marketing, said, “Klasky directed by Chris Knott, using soft- Read Jerry Beck’s review of Csupo’s cutting edge animation ware such as Morph Gizmo for Antz in the October 1998 issue of presents Ronald and the McDon- facial animation and the Light- Animation World Magazine. aldland characters in a whole new wave plug-in, Steamer for atmos- way—one that is entertaining and pheric haze Klasky Creates McAnimation. appealing for kids and a great On October 8, McDonald’s restau- value for our family market.” Video rants in the U.S. will start distribut- McDonald’s claims that Ronald ing a new animated video series McDonald is recognized by 96 Col Tristar Debuts Buster & starring the company spokes- percent of American children. Chauncey. On October 13, clown, Ronald McDonald. All Columbia TriStar Home Video three of the productions were pro- Varga TVC Going Golden. Gold- released Buster & Chauncey’s duced by Los Angeles-based ani- en Books Family Entertainment Silent Night, a direct-to-video ani- mation studio, Klasky Csupo. Just has signed a deal with animation mated musical based on the true in time for Halloween, the first production company Varga tvc story of “Silent Night.” The 48- release is a 40-minute video titled Ltd. (formed last year between minute film was produced by Buzz Scared Silly (directed by John Hungarian Varga Studios and TVC Potamkin and is Columbia TriStar’s Holmquist), featuring Ronald and London) to produce animated first in-house direct-to-video ani- friends on a camping trip to a video specials based on the Gold- mated feature. Voice talent, direct- ed by Susan Blu, includes the late Phil Hartman, Tom Arnold and Marie Osmond. Two of the three original songs were written by Lynn Ahrens and Michael Flaherty, the music writing team that wrote the Academy Award-nominated songs for Fox’s animated feature, Anastasia. Buster & Chauncey’s Silent Night is rated “G” and avail- able for U.S. $12.95.
Antz II Marching On. Dream- Works’ animated feature film, Antz grossed over $36 million in the first 10 days since its U.S. theatrical release, topping two weeks’ box office charts. Reeling from this suc- Ronald McDonald and friends in Scared Silly. Photo courtesy of Klasky Csupo.
ANIMATION WORLD MAGAZINE November 1998 86 en Books titles: The Poky Little tainment history,” said Brian wider public.”. . . . Toon Boom Puppy, Saggy Baggy Elephant Moreno, vice president of market- Technologies has released the and Scuffy the Tugboat. The three ing for the division, “The strength Windows NT version of its USAni- videos will be available by Spring of our sponsors’ investments mation software package. Seoul, 1999. All animation production exemplifies their belief that a Korea-based Sun Woo Entertain- will take place at Varga tvc’s Lon- beloved animated character like ment is the first studio to place an don studio, with a production Scooby-Doo debuting on home order for the new product. The team that includes writer Bruce video has equal visibility to a the- studio is already using the SGI ver- Talkington, creative director Dave atrical release and can stimulate as sion of the software, and will now Unwin and director Ramon Modi- strong consumer sales for home have a multi-platform set-up that ano. Varga producer Andras Erkel video and licensed merchandise.” allows the NT and SGI platforms to said, “Since Varga tvc launched in On September 15, Rhino Records be used simultaneously. . . . Sheri- 1997 we have worked with Amer- released Scooby-Doo’s Snack dan College is using Side Effects ican partners including Miramax Tracks: The Ultimate Collection, an Software’s Houdini package in its and we are thrilled to be co-devel- audio CD of Scooby-Doo music. one-year-old educational program oping and producing this slice of Clips from the animated video are aimed specifically at training tech- American culture with Golden being showcased on the Warner nical directors (TDs). “The com- Books.” Lauren Levine, Golden Bros. web site (www.warner- plexities involved in technical ani- Books’ vice president of creative bros.com), and on Thursday, Sep- mation are much greater than can affairs said, “It’s a challenge taking tember 24 at 7 p.m. (ET)/ 4 p.m. be taught in a single year, so I these classic characters and mak- (PT), Scooby and Shaggy, with developed the technical director ing them fun and relevant to kids, help from supervising producer program as an optional second some 40 years after they first came Davis Doi, will participate in a live year to our Computer Animation out. Working with John Coates chat on AOL (keyword: LIVE). program,” said Avrim Katzman, a and Varga tvc, who brought Peter former TD and current director of Rabbit and The Snowman to life, Technology the Visualization Design Institute ensures that our legacy is in the at Sheridan College. “My confi- best possible hands.” Tools Of The Trade. German dence in Houdini has been well media group, ProSieben Media AG rewarded: of the recent graduat- Newbie Scooby Movie. Warner has bought a 20 percent stake in ing class, 80% were hired related Bros. Family Entertainment has Los Angeles, California-based to their knowledge of Houdini.”. . released a new, direct-to-video ani- Aréte Image Software (AIS). The . . . 7th Level has released Agent mated title, Scooby-Doo on Zom- strategic alliance marks the first 7, software that utilizes voice bie Island. The production was time the Munich-based company recognition and RealAudio to cre- done at Hanna-Barbera (now a has invested in the American mar- ate talking animated characters. part of the Warner Bros. family), ket. AIS, established in 1996, spe- Users select from a pre-made cast executive produced by Jean Mac- cializes in creating software—such of animated characters, speak into Curdy, produced by Cos Anzilotti as RenderWorld and Digital a microphone or add an existing with supervising producer Davis NatureTools—that enables anima- voice track, and Agent 7 automat- Doi, directed by Jim Stenstrum tors to integrate water and atmos- ically animates the character’s lips and written by Glenn Leopold. pheric effects. The deal gives and facial expressions using The video was released today and ProSieben exclusive rights to use “phoneme” (voice) recognition. is priced at U.S. $19.96. A huge AIS’ technology and market it in The resulting animation can be promotional push for the video Europe. Dr. Georg Kofler, streamed in the same manner as includes tie-ins with 1-800-COL- ProSieben’s chairman of the board, RealAudio. 7th Level is offering a LECT, Wendy’s Restaurants, Car- said, “The alliance will further free, two-character trial version on toon Network, LEGO and Nascar. strengthen our position in the fea- the web site, www.real.com/prod- “The marketing support is the ture film and TV production sector. ucts/tools/5.html. . . . MICROSOFT biggest company-wide promotion- We hope to jointly develop new has renewed its contract with al campaign for a direct-to-video projects in order to make state-of- Totally Hip Software for the title in Warner Bros. Family Enter- the-art technologies available to a licensing of GIF animations used in
ANIMATION WORLD MAGAZINE November 1998 87 Maya, Softimage 3D, Ottawa International Animation Lightwave 3DKinetix’s Festival awards ceremony on 3D Studio MAX, and October 4. The prize money—a others. total of Canadian $28,500—is being divided among 15 selected Internet & Interac- winners in three categories. First tive place winners received $4,500, second place $2,000, third place Rugrats Crawl $1500, fourth place $1,000 and Onto Computers. fifth place $500. The winners are Broderbund Software as follows: has released its first three Rugrats CD- Entrance Category: Roms: The Rugrats 1st place: Liem Nguyen, Kelvin Movie Activity Chal- High School (Winnipeg, MB). lenge, Rugrats 2nd place: David Stodolny, Chin- Adventure Game guacousy Secondary School and Rugrats Print (Brampton, ON). Cutting Edge Technology’s new workstations are compati- Shop. Aimed at kids 3rd place: Noémie Champoux, ble with several animation software packages. Photo © CETI. aged 6-12, the activi- École Secondaire Montcalm (Sher- Microsoft’s software. Randall ty-based games brooke, QC). McCallum, CEO of Totally Hip, include creative activities, problem- 4th place: Huy Nguyen, Fr. said, “Using our own technology solving stories and story-based Michael Gotz Secondary School to develop content for Microsoft adventures. Tie-in promotions with (Mississuaga, ON). products provides our develop- Burger King, Blockbuster, Oral-B, 5th place: Erik De Leon, Fr. ment team with feedback that has Simon & Schuster and other affili- Michael Gotz Secondary School helped make WebPainter an ates in the Viacom universe will (Mississuaga, ON). award-winning Web design tool.” coincide with the November Read a review of WebPainter in release of the theatrical feature, Continuing Education: the April 1997 issue of Animation The Rugrats Movie. Kevin O’Leary, 1st place: Jakub Pistecky, Emily World Magazine . . . . . The Uni- president of Broderbund’s parent Carr College of Art & Design (Van- versity Of Washington has The Learning Company, said, “The couver, BC). obtained a patent for its pen-and- unprecedented strength and 2nd place: Gilbert Ngo, VanArts ink illustration software developed breadth of the Rugrats franchise (Vancouver, BC). by Inklination, a young Seattle- offers us the opportunity to pro- 3rd place: André-Guy Landry, based company started by people mote the Rugrats CD-Roms on a NBCC Miramichi (Miramichi, NB). in the school’s Computer Science broader scale and with much 4th place: Barret Chapman, Capi- and Engineering Department. The greater impact than our competi- lano College (Vancouver, BC). technology, which was presented tion.” Rugrats Print Shop is U.S. 5th place: Brock Ellis, Emily Carr in two papers at SIGGRAPH ‘94, is $19.99 and the other two titles College of Art & Design (Vancou- now available for worldwide are $29.99 each. All of the CD- ver, BC). licensing...... Laguna Hills, Roms are in Windows/Macintosh California-based Cutting Edge hybrid format. Technology, Inc. (CETI) has intro- duced two new high-end graph- Education ics workstations: ProStation GS 400D and ProAlpha GS 667. The Teletoon Awards Scholar- workstations, which cost $9,995 ships. Canadian animation and $12,875 respectively, are channel Teletoon announced compatible with animation soft- the winners of its first Animation ware such as Alias|Wavefront’s Scholarship Competition, at the ANIMATION WORLD MAGAZINE November 1998 88 Most Promising Students MILIA Awards Interactivity. NY Kids Fest. The New York (Graduates): MILIA, the International Content International Children’s Film Festi- 1st place: Jason Surridge, Vancou- Market for Interactive Media Con- val (NYICFF) will take place Febru- ver Film School (Vancouver, BC). ference will take place in Cannes, ary 4-19, 1999 in New York City. 2nd place: James Wootton, Van- France, February 9-12, 1999. The festival will showcase 50-60 couver Film School (Vancouver). Entries for the fifth Milia d’Or new works of all types, including 3rd place: Jayson Thiessen, Van- Awards and the New Talent Pavil- animation. Festival organizers are couver Film School (Vancouver). ion are still being accepted. The seeking “creative, intelligent, pas- 4th place: Karen Lloyd, Vancouver event is organized by the Reed sionate work that does not speak Film School (Vancouver). Midem Organization, the same down to children,” and “will con- 5th place: Brock Ellis, Emily Carr company that puts on MIPCOM sider difficult subject matter, con- College of Art & Design (Vancou- and MIP TV. For the second year, troversial themes.” There are no ver). MILIA will present a conference juried prizes, rather, audience called “Towards the Convergence members complete ballots to For these awards, hundreds of of Animation and Video Games,” select audience awards in different Canadian high school, college the objective of which is to bring age categories. In addition to the and university students submitted together publishers, producers films in competition, the festival applications over the past year, and developers of interactive will feature special presentations, and from those, 30 students were products to promote partnerships. retrospectives and discussion pan- selected as semi-finalists. The For information about this partner- els. The entry deadline is Novem- 1998/99 Teletoon Animation ship program, visit Frederique ber 1, 1998. For an application, Scholarship Award information Doumic’s article, “MIPCOM Meets send name and address to packets will be distributed to MILIA” in the December issue of [email protected]. Beginning schools in December. Animation World Magazine. October 7, application forms will For information about be available on-line at: Call for Entries MILIA and its awards, visit the www.gkids.com MILIA web site, accessible through Disney Invites Kids to “Create Animation World Network’s Calen- Events Story Magic.” The Disney Chan- dar of Events section. nel has launched its annual “Cre- http://www.awn.com/awneng/vi Last Month in Animation ate Story Magic” contest, inviting llage/calendar.html The following is a list of events kids aged 6-12 to compete for the which took place since the last chance to have his or her original ITS Monitor Awards. The Inter- issue of Animation World Maga- story turned into an animated national Teleproduction Society zine was published. These listings short. Last year’s winner was 12- (ITS) has issued its call for entries are published weekly in the Ani- year-old Ian O’Neal, whose story, for its 20th annual International mation Flash, a newsletter which “Dragon Friend” was selected Monitor Awards, which will be is distributed by e-mail. Subscribe from over 22,000 entries, animat- presented in New York, July 24, now! Are there animation events ed by Walt Disney Television Ani- 1999. The awards are mainly for going on in your area? Share your mation and broadcast on Disney the teleproduction and digital regional event news with the Channel this year. Every year, the media industries, honoring excel- international readers of the Anima- winner also receives a trip for four lence in various fields of produc- tion Flash! Please send announce- to Disneyland and Walt Disney tion and post-production. The 20 ments to [email protected], at least Studios. This year’s contest is being categories include Short Subjects, eight days in advance. promoted by Target Stores and Children’s Programming, Commer- Cable in the Classroom. Entries will cials and On-Air Promotions. The * Wednesday, September 23 - be accepted through December early-bird deadline (discount entry Sunday, September 27. Syros, 31, by mail, and for the first time, fees) is December 11, 1998 and Greece. on the contest web site: the final deadline is January 15, The Cartoon Forum took place, www.storymagic.com. 1999. For information and entry bringing together animation pro- forms call (703) 319-0800. ducers, buyers and funding bod-
ANIMATION WORLD MAGAZINE November 1998 89 ies from all over Europe. Presenta- in conjunction with the new Cot- Bone, which is being turned into tions of animated projects were sen Center for Puppetry at Cal an animated feature by Nick- given by producers from France Arts: Ubu and the Truth Commis- elodeon Movies. For information, (26%), U.K. (20%), Germany (9%), sion by South African group The visit www.indyworld.com/spx. Belgium (8%), Greece (7%) and Handspring Puppet Company Spain (7%), as well as Denmark, (featuring animator William Ken- Read up on your comics knowl- Ireland, Italy, Luxembourg, Nor- tridge), Electric Shadows by Amer- edge in Animation World Maga- way and Sweden. Beside the busi- ican-Indonesian act Wayang Listrik zine’s latest Comics issue (July ness meetings, conference pro- and Short Stories by Peruvian 1998)! ceedings included a seminar on Teatro Hugo and Ines. For info, animation production in Greece call (310) 825-2101. * Saturday, September 26. New and a presentation of Dominic York City, New York. Schreiber’s TV animation survey * Friday, September 25. Utrecht, Animazing Gallery hosted an done for the Financial Times in Netherlands. appearance by layout artist Mau- London. On the final night, the The Utrecht School of the Arts fac- rice Noble, starting with a gala winner of the prestigious “Cartoon ulty of Art, Media & Technology tribute from 3:00 - 5:00 p.m.. d’Or” prize was announced and held their annual presentation of Noble was present, and available followed by a press conference the European Media Master of to sign artwork purchased at the with the director. Arts, including Computer Anima- show. Animazing is located at 415 tion. The event will take place at West Broadway in Soho. RSVP was The Cartoon Forum is reviewed by “Baby” in Amsterdam. Admission to (212) 226-7374 or animaz- Marie Beardmore in this issue of for Baby members is free. All oth- [email protected]. Animation World Magazine. Plus, ers are admitted by invitation only. the organization CARTOON was Contact [email protected] Read Karl Cohen’s article, “Maurice profiled by Heikki Jokinen in the for more details. Noble: Animation’s ‘Old Rebel’” in October 1997 issue of Animation the March 1998 issue of Anima- World Magazine. * Friday, September 25. London, tion World Magazine. England, U.K. * Thursday, September 24 - Satur- In honor of Warner Bros.’ 75th * Saturday, September 26. Los day, September 26. Palma de Mal- anniversary, The Museum of the Angeles, California, U.S.A. lorca, Spain. Moving Image (MOMI) launched From 5 - 8 p.m., Los Angeles art The University of the Balearic an exhibition of original Looney gallery and book store Every Pic- Islands presented ANI.MAR ‘98, Tunes art work. In honor of ture Tells A Story hosted a recep- short for the Amateur Animators MOMI’s tenth anniversary, admis- tion with Michael Bedard, illustra- Focused International Festival. This sion was free until the end of Sep- tor of the new children’s book Sit- competitive festival has three cate- tember! For more information ting Ducks. Bedard’s work is cur- gories: 3D animation short films, about MOMI, visit the “Hidden rently being adapted for an ani- traditional animation films less Treasures” feature in Animation mated TV series and feature film than 15 minutes and traditional World Magazine’s October 1997 by Polygram. The exhibition of animation films more than 15 min- issue. Bedard’s illustrations ran through utes. The event also offered work- October 18. To pre-order signed shops, retrospectives and exhibi- * Friday, September 25 - Sunday, books or to contact Every Picture tions. For information contact September 27. Bethesda, Mary- Tells A Story, call (310) 932-6070. [email protected]. land, U.S.A. The Small Press Expo (SPX) and the * Monday, September 28. New * Friday, September 25 - Sunday, International Comics and Anima- York City, New York, U.S.A. September 27. Los Angeles, Cali- tion Festival (ICAF) took place Two hundred lucky Dilbert fans fornia, U.S.A. simultaneously at the Holiday Inn were treated to a live performance UCLA hosted three puppet perfor- Hotel. More than 200 artists and by the comic strip’s creator, Scott mances brought over from the publishers participated, including Adams, at the Kit Kat Klub. But Henson Festival of Puppet Theater, Jeff Smith, creator of the comic don’t bother trying to get tickets:
ANIMATION WORLD MAGAZINE November 1998 90 they were won in a contest staged Animation World Magazine, along downtown L.A. Saturday’s events weeks ago on the Dilbert web site. with a festival scrapbook com- included workshops, portfolio The event was a promotion for prised of photos from the festival. reviews and company presenta- Adams’ new book, The Joy of For full program information, visit tions. Sunday was “Anime day” Work, which is being published by the official festival web site in with screenings of Japanese ani- HarperBusiness. An identical show AWN’s Animation Village. mation from 1 to 5 p.m. For infor- was staged in Los Angeles for 200 mation call (213) 228-7510. more contest winners, on October * Friday, October 2 - Sunday, 5 at the El Rey Theater. Dilbert, the October 4. Virginia Beach, Vir- * Saturday, October 3 - Friday, animated series, will debut on ginia, U.S.A. October 9. Cannes, France. UPN next year. The Neko-Con anime convention MIPCOM and MIPCOM Junior took place at the Holiday Execu- once again brought together the * Monday, September 28. San tive Center. Guests of honor television producers, distributors, Francisco, California, U.S.A. included director Hiroki Hayashi buyers, and programmers of the The Ideas in Animation series of (Bubblegum Crisis). For informa- world. Animated programming of live music set to contemporary ani- tion visit www.eskimo.com/~neko- all types was offered by dozens of mation continued at Minna Street con/. suppliers. Animated events within Gallery with two performances at the conference included recep- 7:30 and 9:30 p.m. Nik Phelps * Friday, October 2. Eagle Rock, tions with companies such as: BKN and the Sprocket Ensemble per- California, U.S.A. International, Film Roman, Nel- formed live music to animated Occidental College hosted a free vana and Southern Star. MIPCOM films My Good Eye by Alfonso shadow puppet theater perfor- is reviewed by Sony Wonder’s Loris Alvares, Noodle Canal by Cyndi mance and concert by the compa- Kramer in this issue of Animation Levine and Attack Kitten by Linnea ny Bali & Beyond, called Alice in World Magazine. Wigren, as well as a special treat of the Shadows, based on stories by live-action footage from the Burn- Lewis Carroll. The play is for an * Sunday, October 4. Long Beach, ing Man festival. Admission is adult audience, although all ages California, U.S.A. $10.00 general, $7.00 for stu- were welcome. The show started California State University, Long dents. For information call (415) at 8 p.m. on the Thorne Hall Patio, Beach hosted an event launching 681-3189. 1600 Campus Road in Eagle Rock. the second annual “Women in the For information call (818) 768- Realm of Computer Visual Arts, * Tuesday, September 29 - Octo- 7696. Effects, and Animation” web site ber 4. Ottawa, Canada. (www.animation.org/anima- The Ottawa International Anima- * Saturday, October 3, tion/women/). Site creator Kellie- tion Festival took place at the Chatsworth, California, U.S.A. Bea Rainey spoke on the subject. National Arts Centre and sur- Learning Tree University offered a The event was sponsored by rounding locations. Programs one-day seminar on “Writing for Advanced Media Production and included an international film Animation” from 9 a.m. to 5 p.m. was held from 4 - 7 p.m. The loca- competition, retrospectives of Jean Ann Wright, who also leads tion was building UTC, room 127. Acme Filmworks, Charles Thorson, writing seminars for Women In For information call (818) 980- Igor Kovalyov and Mary Ellen Animation taught the class. Enroll- 5853 or e-mail kellie-bea@kellie- Bute, as well as Dutch, Estonian, ment was $95, plus a $10 materi- bea.com Brazilian and Canadian animation, als fee. Call (818) 882-5599 or visit plus there were many workshops www.ltu.org/enroll.htm. * Tuesday, October 6. London, and artist presentations. England, U.K. AWN president Ron Diamond * Saturday, October 3 - Sunday, The Museum of the Moving ([email protected]) and Animation October 4. Los Angeles, California, Image’s lunch time lecture series, World Magazine associate editor U.S.A. “First Tuesdays” showcased 70 Wendy Jackson ([email protected]) The third annual Teen Comic Art & years of animated advertising from were present at the festival. The Animation Festival took place at J. Walter Thompson. From 1 to 2 festival is reviewed in this issue of the Los Angeles Public Library in p.m., Chris Bardsley, creative direc-
ANIMATION WORLD MAGAZINE November 1998 91 tor for the agency, lectured on the People. For information and loca- invitation only so attendees need- company’s history of animated tion, visit www.finc.org/mvff. ed to call first: (212) 754-0300. commercials, from George Pal’s puppet works to the latest CGI * Sunday, October 11. Los Ange- * Tuesday, October 13 - Friday, spots for Smarties and stop-motion les, California, U.S.A. October 16. Pasadena, California, spots for Dairylea. Tickets were Griffith Place Entertainment pre- U.S.A. £2.50 each. For information call sented Hollywood Shorts, a Miller Freeman presented the Dig- (44) 171 815 1339. monthly film festival dedicated to ital Video (DV) Conference and introducing emerging directors/ Exposition at the Pasadena Center. * Thursday, October 8, Los Ange- writers and producers to the Los Highlights included courses on les, California, U.S.A. Angeles’ film community. This Maya and After Effects software, Jeffrey Scott, Emmy-winning writer month’s animated film was Exo- character modeling and anima- of over 450 animation scripts Skeleton and Companion Car- tion for the web. For information (Wacky World of Tex Avery, Drag- toons, a 10-minute computer ani- visit www.dvexpo.com. on Tales), was a speaker for the mation by Pyros Pictures. The Women In Animation Writers’ Sem- screening took place at The Joint, * Wednesday, October 14 - Thurs- inar series. The event started at 8771 West Pico Boulevard (at day, October 15. Pasadena, Cali- 7:30 p.m. at Saban Entertainment. Robertson) in West L.A. from 6 to 9 fornia, U.S.A. Admission was $5. Call Jean Ann p.m. Call (310) 358-7634. The D.Film Festival, a showcase Wright at (818) 360-8321. for independent digital media, * Tuesday, October 13. New York had two shows during the DV * Friday, October 9 - Sunday, City, New York, U.S.A. Expo: one on Wednesday at 12 October 11. Atlanta, Georgia, The Czech Center hosted a recep- p.m. and the other on Thursday at U.S.A. tion to present the second edition 7:15 p.m.. For information visit Anime Weekend Atlanta, the of For the Love of Prague, the www.dfilm.com. largest Japanese animation event book by Oscar-winning anima- in the Southeast U.S., took place at tor/director Gene Deitch, an * Wednesday, October 14. Los the Marriott North-Central Hotel. American who has been working Angeles, California, U.S.A. Scheduled guests included Amy in Prague for more than 30 years. The University of Southern Califor- Howard, the voice of Nova on Star Gene and his wife Zdenka were nia’s (USC) Animation department Blazers; George Lowe, the voice of present to autograph copies of the presented a screening of abstract Space Ghost and C. Martin Croker, book and answer questions. Con- animated films by German artist, the voice of Zorak and Moltar, tact the book’s distributor, Peter Bärbel Neubauer. The artist was in from Cartoon Planet; Tim Eldred, Lemkin, at [email protected]. attendance. A chronological selec- artist and animator and Steve Ben- The reception started at 7 p.m. at tion of films were screened, includ- nett and Kuni Kimura from Studio the Czech Center, 1109 Madison ing her latest film, Firehouse. The Ironcat. For information visit Avenue. For information call (212) screening took place in the School www.anime.net/~awa/. 288-0830, extension 100. of Cinema-Television’s George Lucas Building, room 108. For this * Saturday, October 10. San Fran- For the Love of Prague was special screening, the public was cisco, California, U.S.A. reviewed in the July 1998 issue of welcome to attend. The Mill Valley Film Festival pre- Animation World Magazine by sented an animation program Adam Snyder. Read all about Bärbel Neubauer’s including Dave Thomas’ A Dog filmmaking process in the Septem- Cartoon, Ryan McCulloch’s With- * Tuesday, October 13. New York ber 1998 issue of Animation World out You, Frazier Bradshaw’s Baker, City, New York, U.S.A. Magazine. Paints, Cakes, Velvy Appleton’s Animation legend Chuck Jones Hervic in Cloudland, and Matt made an appearance at the Warn- * Thursday, October 15. North Broersma and Shari Rubin’s docu- er Bros. Studio Store Gallery at Hollywood, California, U.S.A. mentary on San Francisco inde- One East 57th Street (corner of The Women In Animation Writers’ pendent animators, Meet the Mole 57th and 5th). The event was by Group presented “Collaborating
ANIMATION WORLD MAGAZINE November 1998 92 With Musicians: From Scratch p.m. For information call (800) place in the campus’ Crystal Cove Tracks to Final Production,” a 474-2479. Auditorium. Tickets were $20 and panel discussion featuring Alex could be purchased in advance by Rannie from The Simpsons and * Friday, October 16 - Saturday, calling UCI Extension at (949) 824- Bambi Moe, vice president of October 17. Karlsruhe, Germany. 5414 or visiting: music at Walt Disney TV Anima- The D.Film Festival, a showcase www.unex.uci.edu. tion. Admission was $10 for mem- for independent digital media, bers, $20 for non-members. The had two presentations during the * Saturday, October 17. Edmon- event took place from 7-9 p.m. at Trans Fest: a screening on Friday ton, Alberta, Canada. Film Roman, 12020 Chandler and a panel discussion on Satur- The Association of Science and Blvd., Suite 200, in North Holly- day featuring D.Film executive Technology Centers’ conference, wood. RSVP was essential. Call producer Bart Cheever. For infor- ASTC ‘98, took place at the (818) 623-0020 or e-mail kellie- mation visit www.dfilm.com. Edmonton Science and Space [email protected]. Center. Boston-based animation * Saturday, October 17. Burbank, studio FableVision had a booth to * Thursday, October 15 - Saturday, California, U.S.A. introduce their new interactive October 17. Rome, Italy. Women In Animation (WIA) hosted media guru, Brad Larson. For The Animated Castles, Internation- a workshop entitled “Careers in information, visit www.astc.org. al Animated Film Festival held its Animation: A Reality Check!,” 10 second edition. For information a.m. - 4 p.m. at the Walt Disney * Saturday, October 17. Boston, contact [email protected] or visit Feature Animation Studios, at Massachusetts, U.S.A. http://cicr.roma.it. 3100 Thorton Avenue (near the The Museum of Fine Arts Boston Burbank airport). This all-day work- presented the premiere screening * Thursday, October 15 - Saturday, shop was geared towards helping of Mary Kocol’s independent ani- October 17. Santa Cruz, Califor- students of all ages learn more mated film, My Father’s Story. The nia, U.S.A. about the career opportunities screening took place at 2 p.m., The D.Film Festival, a showcase available in the animation indus- and general admission was $7 ($6 for independent digital media, try. Panels included speakers from for students and members). For had a show at UC Santa Cruz’s Walt Disney TV, DreamWorks SKG, information about the film and Kresge Town Hall. For information Blue Sky, Rhythm and Hues, Klasky future screenings, visit www.ne- visit www.dfilm.com or call (831) Csupo and Hyperion. Admission arts.net/mkocol. 459-2159. was $30 for WIA members, $35 for non-members. RSVP was * Monday, October 19 - Wednes- * Thursday, October 15 - Sunday, essential. Call the WIA hotline at day, October 21. San Juan, Puerto October 25. Chicago, Illinois, (310) 535-3838. Rico. U.S.A. The D.Film Festival, a showcase The 15th Annual Chicago Interna- * Saturday, October 17. Irvine, Cal- for independent digital media, tional Children’s Film Festival ifornia, U.S.A. had two shows during the San (CICFF), presented over 150 films The University of California, Irvine’s Juan Cinemafest. For information and videos for children from 30 Extension and Digital Arts pro- visit www.dfilm.com. countries in a juried competition. grams presented “Digital Dreams,” For information call (773) 281- a conference about the digital ani- * Tuesday, October 20 - Sunday, 9075 or e-mail [email protected]. mation industry, from 12 to 2:30 October 25. Reykjavík, Iceland. p.m. A panel discussion with film The 12th Nordic Children’s Film * Thursday, October 15 - Friday, clips featured speakers from Digital Festival took place. A variety of October 23. Phoenix, Arizona, Domain, Industrial Light & Magic Nordic productions, including ani- U.S.A. (ILM), Pacific Data Images (PDI), mation, was screened. For infor- The Art Institute of Phoenix hosted Pixar and Rhythm & Hues. The mation, contact an exhibit of comic art called “A panel moderator was Lisa Atkin- [email protected]. Sampling of Chaos.” A reception son, a freelance visual effects and was held on October 15 from 6-8 CGI supervisor. The event took * Tuesday, October 20. Valencia,
ANIMATION WORLD MAGAZINE November 1998 93 California, U.S.A. missioned or on-line. For informa- dio produced for the new 3D Imax California Institute of the Arts’ (Cal tion visit www.emmaawards.com film, T-Rex: Back to the Creta- Arts) Animation department pre- ceous. The event began at 12 sented a screening of abstract ani- * Wednesday, October 21. Beverly noon, and was suitable for chil- mated films by German artist, Bär- Hills, California, U.S.A. dren ages nine and up. As a spe- bel Neubauer. The artist was in The Writers Guild of America’s cial treat, Chris Wedge gave a attendance. A chronological selec- Media and Technologies Commit- sneak preview from his soon-to-be- tion of films was screened, includ- tee and Medialab presented released animated short. For infor- ing her latest film, Firehouse. The “Rewriting the Future,” a discus- mation, call (718) 784-4520. screening took place from 7 to 10 sion on the impact of new tech- p.m. in the Bijou theater in the nologies on traditional storytelling. * Saturday, October 24. Thousand main Cal Arts building at 24700 Harry Shearer, actor, comedian, Oaks, California, U.S.A. McBean Parkway (McBean exit off and voice of several characters on Learning Tree University offered a 5 freeway). For information, call The Simpsons, performed as a live class, “How to Get Hired in the (805) 255-1050. virtual character created by Medi- Animation Industry,” taught by alab. In addition, Francis Ford industry recruiter Pamela Thomp- * Tuesday, October 20 - Friday, Coppola appeared in a video pre- son, from 9:30 a.m. - 12:30 p.m. October 23. Rio de Janeiro, Brazil. sentation. Admission was free and For information and registration SIBGRAPI, the International Sym- the event took place at 7:30 p.m., call (805) 497-2292. posium on Computer Graphics, at the Writers Guild Theater, 135 Image Processing and Vision took South Doheny Drive in Beverly * Sunday, October 25. Holly- place. The SIBGRAPI Video Festival Hills. For more info call (323) 782- wood, California, U.S.A. is traditionally presented during 4620. The AFI Film Festival presents “Sus- one of the four nights of the sym- pended Animation,” a 90-minute posium. Its purpose is to show * Thursday, October 22 - Sunday, program of stop-motion and com- visual explanations of animation, October 25. Brisbane, Australia. puter-animated shorts, curated by computer graphics techniques, The Brisbane Animation Festival, a Sojourn Pictures. Films include algorithm animation and software biennial event, featured a new Geri’s Game, Bingo and 1001 demonstrations, as well as com- international competition. Cate- Nights. The show took place at puter-generated films produced by gories included Grand Prize, Peo- Mann’s Chinese Theater, 6925 Hol- TV companies. For information ple’s Prize, Best Use of New Tech- lywood Blvd., starting at 2:30 p.m. visit www.lcg.ufrj.br/~nando. nology and Best Student/Debut For information, call (213) 520- Film. For information, contact dar- 2000. * Wednesday, October 21. Bur- [email protected]. bank, California, U.S.A. * Monday, October 26. San Fran- ASIFA-Hollywood presented “An * Saturday, October 24. New York cisco, California, U.S.A. Evening With Art Leonardi” hosted City, New York, U.S.A. The Ideas in Animation series con- by Tom Sito. Leonardi was an ani- Animazing Gallery hosted a Night- tinued at Minna Street Gallery with mator on Friz Freleng’s unit and mare Before Christmas party, fea- two performances at 7:30 and worked on Pink Panther, Tiny turing the debut of a Jack Skelling- 9:30 p.m. Nik Phelps and the Toons and Shelley Duvall’s Bed- ton lithograph signed by Tim Bur- Sprocket Ensemble, with guest time Stories. The event started at 7 ton. Animazing is located at 415 musician Jana Herzen performed p.m. and admission was $5. Call West Broadway. For information, live music to animated films by (818) 842-8330. call (212) 226-7374. Meredith Root, Martha Colburn and Michael Rudnik. Admission * Wednesday, October 21. Lon- * Saturday, October 24. New York was $10.00 general, $7.00 for stu- don, England, U.K. City, New York, U.S.A. dents. For information call (415) The International Emma Awards is The American Museum of the 681-3189. an independent awards competi- Moving Image hosted a talk and tion open to all forms of interactive demonstration by Blue Sky|VIFX * Tuesday, October 27 - Saturday, media whether published, com- about the animated effects the stu- October 31. Leipzig, Germany.
ANIMATION WORLD MAGAZINE November 1998 94 The 41st annual Leipzig Interna- tional Festival for Documentary and Animated Film showcased a retrospective of German anima- tion since 1945, as well as 119 animated films in other pro- grams including a competition. For information, contact dock- [email protected].
Awards
Girls, Inc. Honors Animated Women. Girls, Inc. (formerly Girls Clubs of America), a U.S. non-profit organization devoted © Girls, Inc. to “helping every girl become strong, smart and bold,” has of Universal Cartoon Studios and Writers Group Honors Bres- announced that six women in the Universal Family Television. Pro- sack. The Writer’s Guild of Ameri- children’s entertainment industry ceeds from the fund-raiser will ca’s Animation Writers Caucus pre- will be honored at its annual cele- benefit Girls, Inc.’s programs, sented its first-ever Animation Writ- bration luncheon. The event will which include college scholarships ing Award to Gordon Bressack, at take place on Tuesday, November and a media awareness initiative its annual meeting and reception 10, 1998 at the Beverly Hilton in called Girls Re-Cast TV. For infor- on Wednesday, October 7, 1998. Beverly Hills, California. The hon- mation about the organization, or The honorary award is given to orees are: Margaret Loesch, presi- to purchase tickets for the celebra- “that member of the Animation dent of Jim Henson Television tion luncheon, visit: Writers Caucus and/or the guild Worldwide; Sue Rose, creator and www.girlsinc.org. who, in the opinion of the Board executive producer of the animat- of Directors, has advanced the lit- ed series, Pepper Ann; Anne Sitges Selects Un Jour. The Sitges erature of animation in film and/or Sweeney, president of Disney/ABC Fantasy Film Festival wrapped up television through the years, and Cable Networks and president of on October 16 in Barcelona, who has made outstanding contri- The Disney Channel; Brenda Lau- Spain. The international jury for butions to the profession of the rel, founder of Purple Moon; the “Anima’t” animation festival animation writer.” Craig Miller, Donna Brown Guillaume, execu- within a festival was comprised of chair of the Animation Writers tive producer at Confetti Entertain- Jerry Beck (U.S.A.), Mercedes Gas- Caucus, said, “We’re very pleased ment Company; and Meryl Mar- par (Spain) and Giorgio Valentini that the guild has seen fit to pre- shall, executive producer at Two (Italy). They selected Un Jour by sent this new annual award. It Oceans Entertainment Group. In Marie Paccou (France) as Best confirms the guild’s determination addition, a corporate vision award Film, and gave an Honorable to bring animation writing fully will be presented to Los Angeles- Mention to Glassy Ocean by into its fold and that the guild based animation studio, Klasky Shigeru Tamura (Japan). In the holds animation in the same Csupo. The organization’s co- main festival, Bill Plympton’s film, esteem it holds all other writing.” chairs include Betty Cohen, presi- More Sex & Violence won the Bressack, whose credits include dent of Cartoon Network World- “Best Short Film” award. Animaniacs, Pinky and the Brain, wide; Carol Monroe, senior vice Visit the December 1997 Tiny Toons, Darkwing Duck and president of programming and issue of Animation World Maga- Captain Simian and the Space development at Fox Kids Network; zine to read “Sitges: Horror and Monkeys, received a 1996 Day- Herb Scannell, president of Nick- Animation in Barcelona,” a review time Emmy for Achievement in elodeon/Nick at Nite and Nancy of last year’s Sitges festival, by Bill Animation for Animaniacs. Steingard, executive vice president Plympton. In 1994, the WGA formed
ANIMATION WORLD MAGAZINE November 1998 95 the Animation Writers Caucus Zagury (Brazil), chose not to Category H (Television Series): (AWC) to address the issues of award prizes in two categories: Pond Life: Bitter and Twisted by working conditions in the field of Educational Production (C) and Candy Guard (U.K.). animation, as well as to provide a Music Video (F). The additional forum in which animation writers winners are as follows: Chromacolour Award for the Best could gather to exchange infor- Use of Colour: Firehouse by Bärbel mation and address methods of Category A (Independent Works Neubauer (Germany). organizing. Read all about it in Under 30 Minutes): Underground Craig Miller’s article in the Septem- by Matti Kütt (Estonia). Gordon Bruce Award for Humor: ber 1998 issue of Animation World Crocodile Gangsters by Eric Blesin Magazine. Category B (Best First/Student (Belgium). Work): Peaches by Charmaine Ottawa Picks Carrots. The Choo (U.K.). Zach Schwartz Award for Best Ottawa International Animation Story: The Mermaid by Alexander Festival wrapped up on Sunday Category D (Commercial): MK.00 Petrov (Russia). night with an awards show at the by Fred MacDonald, Olive Jar Ani- National Arts Center in Canada’s mation (U.S.A.). Mike Gribble Award for Most Hilar- capital city. The grand prize went ious Film: Millennium Bug by Lee to the new Estonian film, Night of Category E (Station/Program Iden- Lanier (U.S.A.). the Carrots, by Priit Pärn who was tification): Flying Daddy by Keita on hand to accept the award as Kurosaka (Japan). Viacom Canada Prize for Best the festival also hosted a four-part Canadian Film: Linear Dreams by retrospective of Estonian anima- Category G (Television Specials): Richard Reeves (Canada). tion. The jury, comprised of Igor For Ever and Ever by Micheala Kovalyov (Russia/U.S.A.), Janno Pavlàtova and Pavel Kouteck Craft Prize for Best Sound: Smash Pöldma (Estonia), Erica Russell (Czech Republic). by Kirsten Winter (Germany). (U.K.), Mike Smith (U.S.A.) and Lea Media Prize for Best Computer Ani- mation: Bingo by Chris Landreth (Canada).
Special Jury Prize: Black Burlesque by Tomasz Kozak (Poland).
Special Jury Prize: Bermuda by Ülo Pikkov (Estonia).
Most Innovative Design: Stagger- ings by Peter Collis (U.K.).
The Ottawa International Anima- tion Festival is reviewed in this issue of Animation World Maga- zine, available on-line November 1.
Toons Win Twin Geminis. The Academy of Canadian Cinema and Television presented the 13th annual Gemini Awards on Sunday, Night of the Carrots by Priit Pärn. © Priit Pärn. October 4 in Toronto. The winner
ANIMATION WORLD MAGAZINE November 1998 96 in the “Animated Program or achievements will be conducted Christmas. Director Jacques-Remy Series” category is Nelvana Limit- on Tuesday, October 27 in the Girerd said he will spend the Car- ed’s 2D series, Sam & Max, pro- Academy’s Samuel Goldwyn The- toon d’Or prize money (25,000 duced by Patrick Loubert, Gwenn ater, and the committee will meet ECU, approximately U.S. $25,000) Saunders Eckel, Michael Hirsh, on December 9 to vote on the toward his feature film, La Stephen Hodgins, Robert Ross, awards. The Scientific and Techni- Prophétie des Grenouilles (The Clive A. Smith and J.D. Smith. The cal Awards will be presented at the Frog’s Prophecy). Next year, Girerd winner in the “Preschool Program Regent Beverly Wilshire Hotel on also plans to expand Folimage, a or Series” category is Cochran Saturday, February 27, 1999. studio he co-founded, to include Entertainment’s mixed-media an animation school. In a program show, Theodore Tugboat, pro- It’s “Christmas” for the Car- with three other animated shorts, duced by Andrew Cochran. In toon d’Or. Every year since 1991, and through the AFCAE indepen- addition, on October 2, Canadian the organization CARTOON, with dent distributor’s network, Char- software developer Puppet Works the support of the MEDIA program lie’s Christmas will be released in and Beevision Productions were of the European Union, selects French theaters starting October honored with the Gemini Award one short European animated film 14. Previous Cartoon d’Or winners for Outstanding Technical as the “Cartoon d’Or,” or “best are La Vielle Dame et les Pigeons Achievement. As part of their European animation film.” This (1997) by Sylvain Chomet acceptance speech, the compa- year’s winner, announced at the (France), Quest (1996) by Tyron nies demonstrated their real-time Cartoon Forum in Greece (Sep- Montgomery (Germany), The motion-capture technology at the tember 23-27), is L’Enfant au Wrong Trousers (1994) by Nick gala event. Grelot (Charlie’s Christmas) by Park (U.K.), The Village (1993) by Jacques-Remy Girerd (France), Mark Baker (U.K.), Manipulation AMPAS Reveals Sci-Tech Oscar which also won awards at this (1992) by Daniel Greaves (U.K.) Noms. The Academy of Motion year’s Annecy and Stuttgart festi- and Creature Comforts (1991) by Picture Arts and Sciences vals. The 26-minute film is distrib- Nick Park (U.K.). This year’s other (A.M.P.A.S.) has selected 34 uted by U.K.-based Eva Entertain- nominees up against Charlie’s achievements to be considered for ment and was produced at Folim- Christmas were Famous Fred by 1998 Academy Awards. The age in Valence, France, the studio Joanna Quinn (U.K.), Frontière by selected achievements are where the 1995 Cartoon d’Or Christian Fisher (Germany) and announced in advance, “to enable winner, Le Moine et le Poisson Maud Gravereaux (France), Heavy those with claims of prior inven- (The Monk and the Fish) was also Stock, the Sound of the Railway by tion or with devices similar to produced. That film’s director, Michael Salkeld (U.K.), Sientje by those under consideration to Michael Dudok de Wit, animated Christa Moesker (Netherlands) and advise the Academy,” said catego- the main character in Charlie’s T.R.A.N.S.I.T. by Piet Kroon ry committee chair Edmund M. (Netherlands). DiGiulio. Following is a list of The organizers of the Car- achievements being considered toon Forum also announced the which have some relation to ani- formation of a forum specifically mation technology: INFERNO for animated features. A date Special Visual Effects System, Dis- and place for this new event has creet Logic; RenderWorld, Arete yet to be determined. The next Image Software, Inc.; Laser Cartoon Forum, which focuses Based Motion Picture Film on TV animation, will take place Recording System, Pixar Anima- September, 1999 in Cordoba, tion Studios; The ILM Skin Ani- Spain. mation System, Industrial Light & The 1998 CARTOON Magic and PDI Facial Animation Forum is reviewed by Marie System for Computer-Generated Beardmore in this issue of Ani- Characters, Pacific Data Images. L’Enfant au Grelot /Charlie’s Christmas by mation World Magazine. Plus, Demonstration of selected Jacques-Remy Girerd. © Folimage. the organization CARTOON was
ANIMATION WORLD MAGAZINE November 1998 97 profiled by Heikki Jokinen in the Collection: The Winsor McCay Award October 1997 issue of Animation Ghost World by Dan Clowes (Fan- for contributions to the art of ani- World Magazine. tagraphics Books). mation will be given to three hon- orees this year: Eyvind Earle, Ignatz Honors Comics. The IFP and IFC Award Students. Hayao Miyazaki and Ernie Pintoff. Ignatz Awards presentation took The Independent Feature Project The June Foray Award will be place on September 26, during (IFP) and the Independent Film given to ASIFA-Hollywood presi- the Small Press Expo (SPX) in Channel (IFC) have announced dent Antran Manoogian. A special Bethesda, Maryland. Named after the winners of their first student award for Technical Achievement Ignatz, George Herriman’s brick- film competition, IFC2000. The in the Field of Animation is being wielding mouse, the awards aim U.S. $2,500 “Outstanding given to Digital Domain Inc., for to recognize outstanding work Achievement in Animation” prize their work on Titanic. In the 26 that challenges popular notions of has been awarded to Hisao by competitive categories, nominees what comics can achieve, both as Masahiro Sugano, a student from were selected by separate panels an art form and as a means of per- the University of Illinois at Chica- of industry judges. The winners sonal expression. A panel of five go, School of Art & Design. The will be selected over the next few cartoonists (Michael Cohen, Tom film is described as “an animation weeks by mail-in voting of ASIFA- Devlin, Tom Hart, Marc Hempel documentary that portrays the Hollywood membership. and Dylan Horrocks) selected the actual life of a Japanese nominations, and winners were singer/songwriter who has been The nominees (as provided to voted on by SPX attendees. The seeking his dream in a foreign AWN by ASIFA-Hollywood) are: winners are: land for the past 25 years.” Hisao , along with the three award-win- Outstanding Achievement in an Outstanding Artist: ning live-action films, were Animated Short Subject: Dave Sim (Cerebus, published by screened on September 19 at the Geri’s Game, Pixar Animation Stu- Aardvark-Vanaheim). IFP’s Independent Feature Film dios. Market in New York, and on Octo- Redux Riding Hood, Walt Disney Promising New Talent: ber 1 in Los Angeles, at a screen- Television Animation. Carla “Speed” McNeil (Finder, self- ing sponsored by Kodak. The films Three Little Pigs, Walt Disney Tele- published). will also air on the Independent vision Animation. Film Channel later this year (date Titey, J.J. Sedelmaier Productions, Outstanding Story: TBD). Animator Faith Hubley, who Inc. Ghost World by Dan Clowes, seri- was honored by the IFC this year, T.R.A.N.S.I.T., The Illuminated Film alized in Eightball (published by is on the jury that selected the Company in association with Pic- Fantagraphics Books). IFC2000 winners. The other ani- ture Start. mation nominees vying for the Outstanding Series: award were Asa Nisi Masa by Ian Outstanding Achievement in an Acme Novelty Library by Chris Wilmoth (Rhode Island School of Animated Interactive Production: Ware (published by Design), Crazy Glue by Tatia The Curse of Monkey Island, Fantagraphics Books). Rosenthal (NYU Tisch School of the LucasArts Entertainment Compa- Arts) and Everybody Bowl by ny, LLC. Outstanding Comic: Dustin Woehrmann (Cal Arts). Eggs of Steel, Rhythm & Hues. Acme Novelty Library #9 by Chris Flying Saucer, Wild Brain, Inc. Ware (published by ASIFA-Hollywood’s Annie Fantagraphics Books). Noms. ASIFA-Hollywood has Outstanding Achievement in an released the list of nominees for its Animated Television Commercial: Outstanding Minicomic: 26th annual Annie Awards, which G-Police, Wong Doody, Acme Amy Unbounded by Rachel Hart- will take place at Alex Theatre in Filmworks. man. Glendale, California on Friday, Lizards II, Circle-K Stores, Pacific November 13, at 7 p.m. For infor- Data Images. Outstanding Graphic Novel or mation call (818) 842-8330. Old Friends, American Express,
ANIMATION WORLD MAGAZINE November 1998 98 Warner Bros. Classic Animation. Outstanding Achievement in an Outstanding Individual Achieve- Old Navy, Old Navy, Spumco, Inc. Animated Home Video Produc- ment for Production Design in an Willy Wonka’s Wild Ride Cam- tion: Animated Television Production: paign: Shock Tarts, Nestle Corpo- Belle’s Magical World, Walt Disney Dan Chessher, “The Mighty Knot- ration, Wild Brain, Inc. Television Animation. head,” The Angry Beavers, Nick- Fern Gully 2: The Magical Rescue, elodeon Animation Studio. Outstanding Achievement in an Wild Brain, Inc. Dale Hendrickson, “Antibody,” Sil- Animated Interstitial, Promotional Pooh’s Grand Adventure: The ver Surfer, Saban Entertainment Production or Title Sequence: Search for Christopher Robin, Walt Mike Lowery, “Fair’s Fair,” The Genie’s Great Minds: Ben Franklin, Disney Television Animation. Sylvester and Tweety Mysteries, Walt Disney Television Animation. Spunky’s Camping Adventure, Warner Bros. Television Animation. Late Night Black and White, Car- Global Television Syndication in Pascal Morelli, “An Army of toon Network, Ink Biscuits. association with CBN Internation- Rogues,” The Legend of Calamity O Canada Open, Cartoon Net- al. Jane, Contre-Allee in association work, Wild Brain, Inc. Batman & Mr. Freeze: Sub Zero, with Warner Bros. Television Ani- Retromotion Open, Locomotion Warner Bros. Animation. mation. Channel, Wild Brain, Inc. Carlos Ramos, “ChalkZone,” Oh The Wonderful Ice Cream Suit, Outstanding Achievement in an Yeah! Cartoons, Nickelodeon Ani- Walt Disney Company, Acme Film- Animated Theatrical Feature: mation Studio. works. Anastasia, Fox Animation Studios. I Married a Strange Person, Bill Outstanding Individual Achieve- Outstanding Achievement in an Plympton. ment for Production Design in an Animated Daytime Television Pro- Mulan, Walt Disney Feature Ani- Animated Feature Production: gram: mation. Hans Bacher, Mulan, Walt Disney Angry Beavers, Nickelodeon Ani- Quest for Camelot, Warner Bros. Feature Animation. mation Studio. Feature Animation. Animaniacs, Warner Bros. Televi- Outstanding Individual Achieve- sion Animation. Outstanding Individual Achieve- ment for Storyboarding in an Ani- The New Batman/Superman ment for Character Animation: mated Television Production: Adventures, Warner Bros. Televi- Ruben Aquino, Mulan, Walt Dis- Maxwell Atoms (Adam Burton), sion Animation. ney Feature Animation. “The Karate Chick,” Cow and Oh Yeah! Cartoons, Nickelodeon Tom Bancroft, Mulan, Walt Disney Chicken, Hanna-Barbera Car- Animation Studio. Feature Animation. toons. Pinky and the Brain, Warner Bros. Mark Henn, Mulan, Walt Disney Barry Caldwell, “Brain Acres,” Pinky Television Animation. Feature Animation. and the Brain, Warner Bros. Televi- T. Woody Yocum, Genie’s Great sion Animation. Outstanding Achievement in an Minds, Walt Disney Television Ani- Linda Miller, “Bad to the Bone,” Animated Prime-Time or Late mation. Disney’s 101 Dalmatians: The Night Television Program: Series, Walt Disney Television Ani- Dexter’s Laboratory, Hanna-Bar- Outstanding Individual Achieve- mation in association with Jumbo bera Cartoons. ment for Effects Animation: Pictures. King of the Hill, 20th Century Fox, Jerome Chen, Godzilla, Sony Pic- Cynthia Petrovic, “Home Is Where Deedle Dee Productions, Judg- tures Imageworks in association the Bark Is,” Disney’s 101 Dalma- mental Films, 3 Arts Entertain- with Centropolis and TriStar Pic- tians: The Series, Walt Disney Tele- ment. tures. vision Animation in association A Pinky and the Brain Halloween, Michel Gagne, Quest for Camelot, with Jumbo Pictures. Warner Bros. Television Animation. Warner Bros. Feature Animation. Carlos Ramos, “ChalkZone,” Oh The Simpsons, Gracie Films in Peter Matheson, Anastasia, Fox Yeah! Cartoons, Nickelodeon Ani- association with 20th Century Fox Animation Studios. mation Studio. South Park, Comedy Central David Tidgwell, Mulan, Walt Dis- ney Feature Animation. Outstanding Individual Achieve-
ANIMATION WORLD MAGAZINE November 1998 99 ment for Storyboarding in an ney Television Animation. Warner Bros. Television Animation. Animated Feature Production: Outstanding Individual Achieve- Nandor Nevai, as the voice of Li Hong, Fern Gully 2: The Magical ment for Writing in an Animated Delivery Man, Sniz & Fondue, Fun- Rescue, Wild Brain, Inc. Feature Production: bag Studios in association with Chris Sanders, Mulan, Walt Disney Karl Geurs and Carter Crocker, Nickelodeon. Feature Animation. Pooh’s Grand Adventure: The Rob Paulsen, as the voice of Pinky, Search for Christopher Robin, Walt Pinky and the Brain, Warner Bros. Outstanding Individual Achieve- Disney Television Animation. Television Animation. ment for Writing in an Animated Flip Kobler, Cindy Marcus, Bill David Warner, as the voice of Doc, Television Production: Motz, and Bob Roth, Beauty and Toonsylvania, DreamWorks SKG Cydne Clark and Steve Granat, the Beast: The Enchanted Christ- TV Animation. “Swine Song,” Disney’s 101 Dal- mas, Walt Disney Television Ani- Robin Williams, as the voice of matians: The Series, Walt Disney mation. Genie, Genie’s Great Minds, Walt Television Animation in association Chris Sanders, Mulan, Walt Disney Disney Television Animation. with Jumbo Pictures. Feature Animation. Derek Drymon, Robert Porter, and Eric Tudhman (Animation Adap- Outstanding Individual Achieve- Peter Hannan, “DogGone,” Cat- tion), Susan Gauthire, Bruce Gra- ment for Voice Acting by a Male dog, Nickelodeon Animation Stu- ham, Bob Tzudiker, Noni White Performer in an Animated Feature dio. (Screenplay), Anastasia, Fox Ani- Production: Charles M. Howell IV, Earl Kress mation Studios. Hank Azaria, as the voice of Bar- and John Ludin, “The Family That Richard Tulloch, Fern Gully 2: The tok, Anastasia, Fox Animation Stu- Poits Together Narfs Together,” Magical Rescue, Wild Brain, Inc. dios. Pinky and the Brain, Warner Bros. Tim Curry, as the voice of Forte, Television Animation. Outstanding Individual Achieve- Beauty and the Beast: The Steve Marmel, “The Perfect Gift,” ment for Voice Acting by a Male Enchanted Christmas, Walt Disney Johnny Bravo, Hanna-Barbera Performer in an Animated Televi- Television Animation. Cartoons. sion Production: Jerry Orbach, as the voice of Mark McCorkle and Robert Schoo- Maurice LaMarche, as the voice of Lumiere, Beauty and the Beast: ley, Genie’s Great Minds, Walt Dis- The Brain, Pinky and the Brain, The Enchanted Christmas, Walt Disney Television Animation. Christopher Plummer, as the voice of Barnaby Crooked Man, Babes in Toyland, MGM Animation. Paul Winchell, as the voice of Tig- ger, Winnie the Pooh: The Search for Christopher Robin, Walt Disney Television Animation.
Outstanding Individual Achieve- ment for Voice Acting by a Female Performer in an Animated Televi- sion Production: Christine Cavanaugh, as the voice of Dexter, Dexter’s Laboratory, Hanna-Barbera Cartoons. June Foray, as the voice of Granny, The Sylvester and Tweety Mysteries, Warner Bros. Television Animation. Disney’s Mulan received the most Annie Award nominations this year, but the race is Kathy Najimy, as the voice of on in the animated feature category. © Disney.All Rights Reserved. Peggy Hill, King of the Hill, 20th
ANIMATION WORLD MAGAZINE November 1998 100 Century Fox in association with “Dalmatian Vacation, Part 2,” Dis- Nelson Recinos, “Brain Acres,” Deedle Dee Productions, Judg- ney’s 101 Dalmatians: The Series, Pinky and the Brain, Warner Bros. mental Films, and 3 Arts Entertain- Walt Disney Television Animation Television Animation. ment. in association with Jumbo Pictures. Bebe Neuwirth, as the voice of David Smith, Thomas Chase, and Outstanding Individual Achieve- Belladonna, All Dogs Go To Heav- Steve Rucker, “LABretto,” Dexter’s ment for Directing in an Animated en, MGM Animation. Laboratory, Hanna-Barbera Car- Feature Production: April Winchell, as the voice of toons. Don Bluth and Gary Goldman, Cruella DeVil, Disney’s 101 Dalma- Anastasia, Fox Animation Studios. tians: The Series, Walt Disney Tele- Outstanding Individual Achieve- Barry Cook and Tony Bancroft, vision Animation in association ment for Music in an Animated Mulan, Walt Disney Feature Ani- with Jumbo Pictures. Feature Production: mation. Michelle Brourman and Amanda Karl Geurs, Pooh’s Grand Adven- Outstanding Individual Achieve- McBroom (Songs), Joseph DeLuca ture: The Search for Christopher ment for Voice Acting by a Female (Score), Hercules and Xena: The Robin, Walt Disney Television Ani- Performer in an Animated Feature Battle for Mount Olympus, Univer- mation. Production: sal Cartoon Studios. Andy Knight, Beauty and the Catherine Cavadini, as the voice of Stephen Flaherty and Lynn Ahrens Beast: The Enchanted Christmas, Mary, Babes in Toyland, MGM Ani- (Songs), David Newman (Score), Walt Disney Television Animation. mation. Anastasia, Fox Animation Studios. Angela Lansbury, as the voice of Carl Johnson (Score), Pooh’s Outstanding Individual Achieve- Marie, Anastasia, Fox Animation Grand Adventure: The Search for ment for Producing in an Animat- Studios. Christopher Robin, Walt Disney ed Television Production: Paige O’Hara, as the voice of Belle, Television Animation. Joe Ansolabehere and Paul Ger- Belle’s Magical World, Walt Disney Rachel Portman and Don Black main, Disney’s Recess, Walt Disney Television Animation. (Song), “As Long As There’s Christ- Television Animation. Meg Ryan, as the voice of Anasta- mas,” Beauty and the Beast: The Vincent Davis, Cow and Chicken, sia, Anastasia, Fox Animation Stu- Enchanted Christmas, Walt Disney Hanna-Barbera Cartoons. dios. Television Animation. Gary Katona and Ed Wexler, Ming-Na Wen, as the voice of Matthew Wilde and David Zippel Genie’s Great Minds, Walt Disney Mulan, Mulan, Walt Disney Fea- (Songs), Jerry Goldsmith (Score), Television Animation. ture Animation. Mulan, Walt Disney Feature Ani- John W. Lynn, Jr., Celebrity Death- mation. match, MTV Animation. Outstanding Individual Achieve- Rob Renzetti, “The F-Tales,” Oh ment for Music in an Animated Outstanding Individual Achieve- Yeah! Cartoons, Nickelodeon. Television Production: ment for Directing in an Animated Bill Burnett and Guy Moon, “The Television Production: Outstanding Individual Achieve- Ugliest Weenie, Part 2,” Cow and Jaime Diaz, “ChalkZone,” Oh Yeah! ment for Producing in an Animat- Chicken, Hanna-Barbera Car- Cartoons, Nickelodeon Animation ed Feature Production: toons. Studio. Don Bluth and Gary Goldman, Alf Clausen (Music) and Ken Keeler Raimund Krumme, Big and Little Anastasia, Fox Animation Studios. (Lyrics), “The City of New York vs. Doors, Acme Filmworks. Pam Coats, Mulan, Walt Disney Homer Simpson,” The Simpsons, Pascal Morelli, “A Slip of the Whip,” Feature Animation Gracie Films in association with The Legend of Calamity Jane, Brian Rosen, Richard Harper, Jeff 20th Century Fox. Contre-Allee in association with Kahan and Jeff Fino, Fern Gully 2: Lino Sound, “Suave-O-Matic,” The Warner Bros. Television Animation. The Magical Rescue, Wild Brain, Off-Beats, Curious Pictures in asso- Jim Reardon, “Trash of the Titans,” Inc. ciation with Nickelodeon. The Simpsons, Film Roman in asso- Randy Peterson and Kevin Quinn, ciation with 20th Century Fox.
ANIMATION WORLD MAGAZINE November 1998 101 On A Desert Island With. . . . Cartoon Characters compiled by Wendy Jackson his month, we picked a few cartoon characters, and asked each of them what films they would want to have with them if stranded on a desert island. Speed Racer has been around the block a few times, Tand is merchandised on apparel, toys, books, collectibles, calendars, magnets and in a PlayStation game. He was featured in the November 1997 issue of Animation World Magazine when he starred in a Volk- swagen commercial. The six tiny dragons of Pocket Dragon Adventures are also time-tested characters. For more than 20 years, they existed as drawings and paintings by Real Musgrave before being licensed and turned into a line of collectible ceramic figures, then an animated series by Wolfmilll Entertainment and BKN Kids Network. Now, of course, there’s also licensed merchandise based on the series. Speed RacerÕs Faves 1. Kimba the White Lion (Tezuka Productions). 2. Astro Boy (Tezuka Productions). 3. Gigantor (TCJ/Delphi). 4. Marine Boy (Japan Telecartoons/K. Fujita & Associates). 5. Clutch Cargo (Cambria Studios, Inc./Streamline Pictures). 6. Battle of the Planets by Sandy Frank. 7. Robotech (Tatsunoko). 8. The original The Adventures of Jonny Quest (Hanna-Barbera). 9. Mighty Mouse (Terrytoons). 10. Rocky & Bullwinkle (Jay Ward).
Pocket DragonÕs Picks:
1. Zoom-Zoom, the dragon who wants to fly, picks Dumbo (Disney) and Plane Crazy (Disney). 2. Specs, the over-educated dragon whose nose is always in a book, selects The Pagemaster (20th Century Fox) and Schoolhouse Rock (ABC). 3. Filbert, the adventure-loving leader, wants to take The Adventures of Jonny Quest (Hanna-Barbera) and King Leonardo and his Short Subjects (TOTAL Television/Leonardo Productions). 4. Scribbles, the Rube Goldberg-esque inventor, loves to watch Inspector Gadget (DIC). 5. Binky, the sweet and adorable youngest dragon, can’t get enough of My Little Pony (Sunbow) and The NeverEnding Story (Warner Bros.). 6. Cuddles, the sleepy and most timid Pocket Dragon, thinks he wants to take Sleeping Beauty (Disney) and The Reluctant Dragon (Disney). 7. Plus, Pocket Dragon Adventures has got to come along.
And they don’t even want to know what Dragon Slayer is about...
Thanks to Jim Rocknowski of Speed Racer Enterprises and Craig Miller of Wolfmill Entertainment.
ANIMATION WORLD MAGAZINE November 1998 102 Amusement Parks and Family Animation, December 1998
What an issue! Craig Bartlett will be interviewed by Joseph Bevilacqua regarding his life prior to Hey Arnold! which featured work on films for World Fairs and other venues. Disney World’s Animal Kingdom will be profiled by Joseph Szadkowski, as will the architecture of the first Dis- ney amusement park, Disneyland by Katie Mason. Clark Dodsworth will also outline the newest inventions that we can expect to see in amusement parks in the future. Deborah Reber will profile the family animation market and Ted Pedersen will discuss the Internet and other edutainment avenues that networks are promoting to connect with their young viewers. We will feature film reviews of The Rugrats Movie by Michael Mallory and A Bug’s Life by Charles Solomon. In other exclusive stories, Barry Purves continues his production chroni- cles and Glenn Vilppu continues his famous series on life drawing instruction. We will also fea- ture three book reviews: That’s Enough Folks: Black Images in Animated Cartoons (1900-1960) and An American Magus - Harry Smith, A Modern Alchemist will be covered by Giannalberto Bendazzi and Reading The Rabbit will be reviewed by Mark Mayerson.
Animation World Magazine Upcoming Calendar
Amusement Parks and Family Animation December 1998
Year in Review and Future January 1999
Motion-Capture and Stop-Motion February 1999
Production Techonology March 1999
ANIMATION WORLD MAGAZINE November 1998 103