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VolVol 22 IssueIssue 1111 February 1998 Stop Motion & Motion Capture The Politics of Performance Animation FoamFoam PuppetPuppet FrabicationFrabication ExplainedExplained

BarryBarry Purves Purves ThrowsThrows DownDown thethe GauntletGauntlet

Little Big Estonia InsideInside MedialabMedialab Table of Contents

February, 1998 Vol. 2, No. 11 4 Editor’s Notebook Animation and its many changing faces...

5 Letters: [email protected]

STOP-MOTION & MOTION-CAPTURE 6 Who’s Data Is That Anyway? Gregory Peter Panos, founding co-director of the Performance Animation Society, describes a new fron- tier of dilemmas, the politics of performance animation.

9 Boldly Throwing Down the Gauntlet In our premier issue, acclaimed stop-motion animator Barry J.C. Purves shared his sentiments on the coming of the computer. Now Barry’s back to share his thoughts on the last two years that have been both exhilarating and disappointing for him.

14 A Conversation With... In a small, quiet cafe, motion-capture pioneer Chris Walker and outrageous stop-motion animator Corky Quakenbush got together for lunch and discovered that even though their techniques may appear to be night and day, they actually have a lot in common.

21 At Last, Foam Puppet Fabrication Explained! How does one build an armature from scratch and end up with a professional foam puppet? Tom Brierton is here to take us through the steps and offer advice.

27 Little Big Estonia:The Nukufilm Studio On the 40th anniversary of Estonia’s Nukufilm, Heikki Jokinen went for a visit to profile the puppet animation studio and their place in the post-Soviet world.

31 Wallace & Gromit Spur Worldwide Licensing Activity Karen Raugust takes a look at the marketing machine behind everyone’s favorite clay characters, Wallace & Gromit.

34 Performance Animation: Behind the Character Heather Kenyon goes behind the scenes of Medialab Studio LA to meet the people who create real- time, motion-captured characters by using a technique the studio calls “computer puppetry.”

SURVEYS 40 How’d They Do That?: Stop-Motion Secrets Revealed We asked six stop-motion maestros to reveal a few tricks of the trade. Henry Selick, Barry Purves, David Fain, Andrew Ruhemann, Voltaire and Mikk Rand responded with an odd assortment of ingredients that may be useful to you in your next stop-motion film.

THE STUDENT CORNER 42 California Summer School for the Arts: More Than an Education Jon Roslyn profiles an in-depth, unique summer school program designed for extremely talented and driven artistic youths. February 1998 FESTIVALS, EVENTS:

45 The Havana Connection 48 Cesar Coelho takes us to the most important film event in Latin cinema, The 19th International Festival of New Latin-American Cinema, held in Havana, Cuba. Available in Portugese and English.

50 NATPE: It’s A Tough Market But Someone is Selling... Heather Kenyon reports on NATPE 1998’s animated shows and the attending companies’ goals. It’s not just a syndicator’s show anymore.

© 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 February 1998 2 Table of Contents

February, 1998 Vol. 2, No. 11

54 The World Animation Celebration: Here It Comes Joy Kennelly highlights the different events of the World Animation Celebration which will be held in Pasadena, California February 16-21.

FILMS

56 His Mother’s Voice: Dennis Tupicoff’s New Documentary Emru Townsend reviews Dennis Tupicoff’s new animated documentary, His Mother’s Voice, an exploration of an unexpected death.

BOOKS 58 Forbidden Animation: A Valuable Contribution Mark Langer reviews Karl Cohen’s new book, Forbidden Animation: Censored Cartoons and Blacklisted Animators in America, a catalogue of censorship.

61 Digital Cinematography: A Good Place to Start Bill Fleming reviews Ben de Leeuw’s Digital Cinematography, a book that discusses the art of story- telling in 3-D computer animation. SOFTWARE

65 The New Maya Sets Sail On February 1, Alias|Wavefront is beginning to ship their latest animation software, Maya and Maya Artisan. Max Sims is here to tell us how it compares and what we can expect from this new tool.

HIDDEN TREASURES: 68 The International Museum of Cartoon Art Relocated from New York City, a unique collection of original cartoon art exists in Boca Raton, Florida. From comic books and strips to magazine illustrations, find out why it is worth the trip...

NEWS 70 Animation World News PDI signs on for Shrek, Nick says “Oh Yeah!” to shorts and we say good-bye to Mae Questel, Cameron Guess and Lillian Bounds Disney.

DESERT ISLAND

80 On A Desert Island With. . . .Movers and Shakers Corky Quakenbush, Chris Walker and Barry Purves.

AWN COMICS 81 Dirdy Birdy by John Dilworth

February 1998 82 Next Issue’s Highlights

8 This Month’s Contributors

Cover: Motion-capture animation technology makes anything possible. Protozoa created a 3-D “Virtual Bill Clinton” for a special on MTV called, “The State of Music Videos,” which aired on the cable network after the President’s annual “State of the Union” address on January 27, 1998. MTV plans to use the real-time animated character for live broadcast in the future. The “Virtual Bill” image is courtesy of and © MTV Networks.

ANIMATION WORLD MAGAZINE February 1998 3 by Heather Kenyon Animation and its many chang- cinating though was one day call for a ban on ing faces... their definitions of digitally cloning a animation. No human being? What t continues to stun me how the longer are we speak- havoc could someone world of animation techniques ing about a standard with enough money, Icontinue to grow. When I first sat definition of “frame and motive, cause? Will down with the editorial calendar, by frame manipula- we ever be able to trust now almost nine months ago tion.” Rather, they our eyes again? Of (where did that time go...), I agreed that live- course, Hollywood’s thought the subjects of stop-motion action scenes that high-concept feature and motion-capture were a very both create “magical films are already there odd pairing indeed. Sure, they are worlds” or “hyper- with Wag the Dog. both forms of 3-D animation but realism” can be Everyone scoffs and says one revolves around high-tech gear defined as animation the plot is highly unlike- and computer programmers and as long as they “feel” animated. I ly, but then there’s people out there the other around small models and think as time goes on this is going that still believe what they see in sets. However, this has turned out to to be a more and more interesting out-of-context video clips is the be one of the most interesting issues question. (If I call you for an inter- truth. for me. I know I say this every view...be prepared.) The lines When I was an intern at month, but this time, while compil- between live-action and animation Turner Feature Animation and ing the issue, I found myself draw- are blurring as we forge into the doing script coverage, they told me ing an amazing number of correla- areas of photorealistic 3-D, amazing that one of my highest considera- tions between the two techniques special effects and motion-capture. tions was whether or not a proper- and about the meaning of anima- When we combine these tech- ty was “animatable.” Did it contain tion as a whole. niques with more traditional ones, magic, mystery, the supernatural; Our lunch with Chris Walker an even wider array of choices an element that truly merited being and Corky Quakenbush was an eye- appear. For instance, I walked into animated as opposed to being opener. By the time we left, we real- Medialab expecting to find the per- filmed in live-action. I always went ized that they are both walking formance animators to be out-of- forth and looked for morphing pink down a narrow alley in-between work Los Angeles actors. However, elephants, werewolves, etc., but the worlds of animation and live- what I found were highly-skilled now it seems that with special action. Moreover, they are probably puppeteers who were applying this effects, live-action people are ask- slowly heading toward one anoth- “old” technique to a new technol- ing themselves, ‘How can we add er as new innovations arise. Both ogy. a little magic, a truly unexpected shoot scenes almost like a live-action And then there is Gregory surprise?’ The answer seems to be sitcom and move the camera, a là Peter Panos’ article. When I first read coming back much more often, live-action. Plus, both were drawn his article I thought, “Copying Bill ‘Animation!’ in all of its hybrid forms. to their particular techniques par- Clinton, right. You can’t do that. I tell you, every month I sit tially because of the tangible feel- Someone wouldn’t allow that.” Well, here the magazine seems to get ing that accompanies 3-D anima- even before we went to print I was smaller because the arena of ani- tion. Their love of animation and proven wrong by MTV’s special, mation grows and I want to include live-action was also revealed as they “The State of Music Videos.” I think everything. Where will it end? frequently spoke of live-action fea- we are in for a wild and wooly ride Nobody knows...and that’s why it ture films. Unlike most of our guests, when it comes to future applications is so much fun to be sitting here, they have both included quite a few of motion-capture. Just as the right now. live-action feature films on their President of France, Jacques Chirac, Desert Island lists. recently called for a world-wide ban Until next time, What I found especially fas- on cloning a human being, will we Heather

ANIMATION WORLD MAGAZINE February 1998 4 [email protected]

The Comic Book Legal Defense you can help a great deal. By mak- at voice-over sessions and rewrote Fund Needs You! ing a contribution, you directly help and fine-tuned the script with and 1997 will be remembered as the CBLDF continue to fight the for Richard over several years. Alex a turbulent and exasperating year good fight. Please send your tax- was only seven when the collabo- in the on-going battle to protect the deductible donation to: ration began; perhaps he was First Amendment rights in the unaware of it or simply forgot, but comics industry. In June, Mike Diana The Comic Book Legal Defense Richard and I held joint copyright became the first American artist con- Fund on The Thief from 1974 right up victed of obscenity. Incredibly, his PO Box 693 until the project was sold to Warner parole conditions forbade him from Northampton, MA 01061 Bros. for final production. In the drawing “obscene” images even in greater artistic consideration of what the privacy of his own home. In Anything you can give will happened to the animation itself, it September, despite our staunch will- be greatly appreciated and will may, in fact, be of no consequence ingness to defend them, the own- make a difference. Thank you and to anyone but me that the story, the ers of Planet Comics pled guilty to Happy New Year! characters, the plot and the dia- felony charges for selling an adult logue of The (“real”) Thief & The comic book to consenting adults. Sincerely, Cobbler represent several years of If this sounds like the battle- serious involvement on my part. field is getting tougher, you’re right. Denis Kitchen However, I feel compelled to set the The Comic Book Legal Defense President record straight. Fund (CBLDF) exists to fight cen- You can now check out The sorship and to protect the First Margaret French Williams Comic Book Legal Defense Fund’s Amendment rights of everyone in Los Angeles, California web site by visiting Animation World the comics community. But we can’t Network’s Village and looking continue the fight without your Thanks A Bunch under Non-Profit Organizations. For help. Just a note to tell you how more background on the organi- Since 1990, the CBLDF has much I enjoy your animation site. zation read Susan Alston’s successfully defended this industry’s The more I browse your zine the Censorship In Comics: Is This the right to create and sell comics more I really get excited and United States? which appeared in responsibly, without interference. informed. I can’t tell you how much our July 1997 Comics issue. These legal battles cost serious I appreciate your company for shar- money. In the last four years, we’ve ing such great information and links Setting the Record Straight raised over $500,000 to preserve for us. Alex Williams’ excellent com- the First Amendment freedoms of A fellow clay artist from mentary for your magazine all comics professionals. Australia, Pamela Irving, and I are (Williams 1.10) on the sad fate of Unfortunately, our legal fees and hoping to do a “claymation” car- his father’s magnum opus, The Thief operating costs for this period are toon next year based on a famous & The Cobbler, (Williams 2.2) has more than $520,000. character she created for the city of just been brought to my attention It’s been a tough and expen- Melbourne. Reading your online and I (belatedly) thank him for it and sive year for the CBLDF, and our zine has given both of us hope that congratulate him on it, with one financial reserves are dangerously we will be able to accomplish this reservation. Contrary to what was low. It’s more important than ever goal and get distribution. Thank you printed at the end of the article, that you help replenish our treasury, for furnishing this site to us. Keep Richard did not write the screenplay the battle to secure our First up the great work. It has become by himself nor do any versions of Amendment rights is far from over. my absolute favorite. the screenplay, the film, or the video I know you’re busy with your list him as sole writer. Richard’s a bril- everyday personal and business Sincerely, liant animator but he was the first to demands. But I also know you sup- admit that he was no writer. As co- Charles Spillar port our efforts. You may not be writer, I struggled through collabo- Irving & Spillar Entertainment able to join us in the trenches, but ration on that screenplay, assisted

ANIMATION WORLD MAGAZINE February 1998 5 Who’s Data Is That Anyway? by Gregory Peter Panos long time from now, your data will mean a great deal Ato you. Kind of ironic isn’t it? You’ve been dead for over 100 years and they are still using data gathered from you, while you were alive, to keep you in existence. For a movie star, political figure, athlete and other famous persons, this is becoming a very real scenario. Initially the famous and rich will be digitizing their 3-D forms, actions, motions, voices, gestures, and eventually their life stories, with the specific objective of creating a robust database, ostensibly for the creation of a realistic construct of what? Themselves, of course!

An Era of Digital People Today, motion capture is being used to save money, time and add realism to human animation A realistic rendition of Bill Clinton has been animated with motion-capture by and characters for feature films, Protozoa for a spoof on MTV, proof that anyone can be digitally “cloned.” Image courtesy of and © MTV. episodic television and commercials. Occasionally, 3-D digitizing, used to Motion-Capture, on the other hand, ing technologies that support them, capture a person’s shape and body, only describes the recording process are moving toward an era when aid in the quest for simulated digi- for physical movement of a live per- they will be deployed for purely per- tal realism. This is all still new to most son. Performance Animation sonal reasons by the same people producers and directors, but their embodies a more complete attribu- who are the subject of such digiti- ambitious goals to create fully tion of the creative process to the zations now. Today, if a producer directable virtual actors ties a com- live human, while motion capture pays to have an actor’s performance mon thread among them. strips away the person and boils or rehearsal motion captured, and down their data into a distilled the actor is paid according to scale stream of numbers, a mere effigy of for their efforts, the person who While we speak, the rights to the life that created it. Performance pays for it ‘owns’ the data. This is other famous dead persons are Capture is a more polite term which not completely true however when being bought, sold and licensed is beginning to catch on, and it comes to 3-D shape digitization for eventual digital re-anima- attempts to join the world of cold, of an actor. In this case, the person tion. lifeless data extraction, with the who pays for the 3-D process might Performance Animation is a world of warm, living, spontaneous own the data and the media that it term that describes a situation creative energy. is stored on, but the easy determi- where a live human performer ani- nation of actual ‘likeness’ prevents mates a digital character in real-time. Ownership of Data them from using this data in any These terms, and the evolv- way toward commercial intentions

ANIMATION WORLD MAGAZINE February 1998 6 without their express commodity to them. ums such as photography. It won’t consent or that of Ownership of only be the rich and famous that their estate or heirs. one’s data would are rushing to get themselves This is good that our seem like an easy scanned and digitized in the 3-D senses rule here, thing for a digitized studios of tomorrow’s photogra- however, many person to establish, phers. believe that our heirs be it in 3-D shapes, or estate could body motions, facial Freeze, Please! never anticipate our expressions, voice There are a number of 3-D feelings about how recordings or in a shape digitizing technologies that our data might be variety of other are beginning to appear on the used. forms. The logic commercial horizon for creative It seems that goes, “It’s data of me types to adopt. Eventually, 3-D cam- the concept of “like- so it must be mine, eras will be inexpensive, fast, com- ness” has been high- right?” Wrong! This pact and effective. Everyone will ly developed as a legal issue has not have one. Home computers will strong legal point yet been dealt with easily accept 3-D camera data and that is easily proven in the courts, but it be able to animate and use this data and defended from will soon rise to see as components in virtual worlds that piracy, unauthorized Motion capture suits like this are the day. are populated by virtual people. Just uses and exploita- used to track an actor’s motion, think what the “paparazzi” and the tion. Motion cap- which can then be applied to a Virtually Famous tabloids will be doing with these digital character. Photo courtesy tured human data of and © Polhemus. We’ve already new toys! It boggles the mind and has not yet achieved seen the likenesses of will keep lots of “rights lawyers” busy this same status for a numbers of Bill Clinton, Fred Astair, Ed Sullivan, for years to come. reasons. It is not yet common that George Burns and others used in we will discern one person’s move- various ways for television com- We risk losing the joy of seeing ment as distinctly different from mercials and feature films. While we our children interact with their another persons through visual speak, the rights to other famous simulated grandparents long analysis. However, on rare occasion, dead persons are being bought, after they are gone... an action, such as Michael Jackson’s sold and licensed for eventual dig- dancing which was recently capital re-animation. This activity rings a “Was that actually you there, tured digitally, clearly appears to rep- variety of bells in people’s heads: doing that, or was that your virtual resent a person’s likeness when dis- some are horrified, some think it’s construct?” the Judge will ask. A jury played through even the most prim- cute and fun, while others figure, of robots and expert witnesses will itive stick figure animation tests. For “Hey, they’re dead, so who cares measure and sample and compare the majority of most actors who per- anyway!” The truth is that this activ- data before rendering their verdict form physically for a motion capture ity is not being treated any differ- to the court. “Will the bailiff please session, they don’t retain any rights ently than licensing a person’s like- read the verdict?” “Not virtual,” the to this data. For more distinguish- ness in the conventional way. bailiff will reply and thus, the able, name value performers, their Pictures, artist renderings, accused will slump down in their motions might quickly be recog- sculptures and other forms of visu- chair with their head bowed in nized by a majority of culturally al documentation are well estab- silence. experienced viewers. Therefore, rec- lished as viable media for licensing Do we remember that ognizable stars’ motions can allow a person’s likeness. It is only a mat- President Bill Clinton was upset that them to assert their legal rights to ter of time before the new tech- his likeness was used in a scene in their data more easily. These stars nologies used to create more the recent movie Contact that did may see greater value in the exis- robust, resolute, time-variant docu- not depict his actions accurately? tence of such data as an asset that mentation of a person will be as uni- Well Billy Boy, you just wait ‘til some they own and can control and few versally accepted with the same sneaky photographer snaps you in will question that it is a precious validity as more conventional medi- 3-D shaking hands and kissing

ANIMATION WORLD MAGAZINE February 1998 7 do just this without a thought and we’ll encourage our loved ones to “get scanned” as well! Some of us will go on to become famous in our lifetime, loved or ANIMATION WORLD NETWORK hated by all. Some will 6525 Sunset Blvd., be unknown in life but Garden Suite 10 famous only in death. Hollywood, CA 90028 Others will fade into Phone : 213.468.2554 obscurity, occasionally Fax : 213.464.5914 This screen shot shows the movement points and motion Email : [email protected] controls used by animators running the 3-D program to be purchased and Softimage for Windows 95/NT. © Softimage inserted as a player in a babies! Some day all hell will break scene in a virtual world acting out loose when data gets used in the some story written by a child. A myr- ANIMATION WORLD MAGAZINE wrong way. This presents a very seri- iad of other potential situations exist [email protected] ous potentially real threat to our and all of them will be possible as PUBLISHER common belief that, “If you see it, it’s we make our way toward the future Ron Diamond, President the truth, right?” It’s his data all right, of the virtual self. Dan Sarto, Chief Operating Officer EDITOR-IN-CHIEF but it’s the wrong virtual world and Thus is the folly of man: to Heather Kenyon the wrong time. “That wasn’t me!” expand, condense, abstract, extrap- ASSOCIATE EDITOR Sorry Bill, maybe next election they’ll olate, accept and deny his own Wendy Jackson know it was just a simulation? immortality through pictures, bodies of work, 3-D data, self-simulation CONTRIBUTORS : and future concepts as yet unreal- Tom Brierton When it becomes easy and Steve Charla affordable, we will all digitize ized. So it will be for all of us in the virtual world to come. Cesar Coelho ourselves in some comfortable Bill Fleming place created to do just this Wendy Jackson without a thought... Link to the Performance Animation Society web site through AWN’s Heikki Jokinen Animation Village, on the Internet at Joy Kennelly http://www.awn.com/awneng/vil- Heather Kenyon The Virtual World to Come lage.html. Mark Langer Well, what should we do? Gregory Peter Panos Restrict and legislate this activity? If Barry Purves we do, we risk losing the joy of see- Karen Raugust ing our children interact with their John Roslyn simulated grandparents long after Gregory Peter Panos is Founding Max Sims they are gone or learning from our Co-Director of, and Director of Emru Townsend ancestors first hand where we came Administration for, the from with all the depth, breadth OPERATIONS Performance Animation Society. Annick Teninge, General Manager and beauty that such interaction Chris Kostrzak, Asst. Manager implies. Should we miss leaving WEBMASTER behind our own approved, opti- Ged Bauer mized, ideal version of our self by Note: Readers may contact any DESIGN/LAYOUT : Ged Bauer which we’d rather be remembered? Animation World Magazine con- When it becomes easy and afford- ADVERTISING SALES tributor by sending an email to North America :Dan Sarto able, we will all digitize ourselves in [email protected]. Germany :Thomas Basgier some comfortable place created to UK: Alan Smith

ANIMATION WORLD MAGAZINE February 1998 8 Boldly Throwing Down the Gauntlet

by Barry J.C. Purves

such. I have written and developed One of these offers came from Blue about ten films, and though there is Sky in New York. Very kindly, Henry interest in some, nothing specific Anderson asked me to lead some has been signed and sealed. I am acting classes with his computer itching to get behind a camera class. In return, I got to spend some again. time working closely with his CG But fear not, this article will animators on Alien: Resurrection. I hopefully not be as bitter or as clearly had the better bargain there. angry as the last one. Two years has This was a real Road to Damascus given me plenty of time to be philo- conversion for me, as I could see sophical about all the changes that the animators and I shared the around me. Norma Desmond may same goal, which was to get a Editor’s Note: In the April 1996 never have worked again in the good acting performance out of the issue of Animation World ‘new’ sound era, and who knows, characters. We may have shared the Magazine, Barry Purves brought I may never get to direct and ani- same goal, but not the same lan- us, “The Emporer’s New Clothes.” mate puppets again in this new ‘CG’ guage. Terms tripped easily off their Nearly two years later Barry’s arti- era, but at least I have admitted that tongues and had me rushing to my cle is still one of the most popular. CG animation is pretty damn amaz- CG translation dictionary! I did feel With his latest installment we find ing. There are things being pro- very at home at this studio, unlike that maybe he’s not a Luddite duced that really could not be done another nameless studio, who after all. with puppets; Jurassic Park - The seemed overjoyed at having spent Lost World, Alien: Resurrection and months developing the software to Men in Black bear witness to that. reproduce the exact texture of a ey, didn’t you used to be Titanic is the perfect example of pencil. “Hang on a minute,” I felt in animation?” breathtaking CG effects working for like saying. What was wrong with “H a film and not the other way the pencil itself? “I still am....it’s the animation that around. got...computerized!” CG is good for making the fan- Room for CG tastic seem real, whereas pup- Apologies to Norma Given the chance I would pets are more suited for mak- Desmond, but that was the rough not say ‘no’ to working with CG ing the fantastic seem credible, theme of the last article I wrote here, characters. (Hey, I would not say which is not the same at all. nearly two years ago. I’d just ‘no’ to working!) I certainly would returned to England after the not have said that two years ago, So, I have generally come to unique experience that was Mars when I was totally haughty about the conclusion that it is horses for Attacks! and was facing a struggle to CG. The main reason for this courses. The wonderful characters get established and funded in the change of attitude is that this spec- in James and the Giant Peach UK again. In some respects, things tacular hiatus in my career has given would not have worked as well in have not changed. In practical me the chance to accept some very CG, and I don’t think after Jurassic terms, the only animation I have generous offers to go ‘round the Park that we can, or should, ever done has been as an ‘understudy’ world doing talks, workshops and accept a model animated dinosaur covering animators on holidays and being on the jury of many festivals. again. The only worry is if CG

ANIMATION WORLD MAGAZINE February 1998 9 becomes the exclusive form of ani- student who had made a small, sim- the realities, pressures and respon- mation. Perhaps, it’s as easy as say- ple film that was told concisely and sibilities of animation production. ing CG is good for making the fan- clearly, over a student who had Unfortunately many colleges seem tastic seem real, whereas puppets made a complex, ambitious film that to be in Cloudcuckooland and in are more suited for making the fan- failed to communicate anything. no way prepare the students for the tastic seem credible, which is not Leaving these film schools, I real, practical world of animation. the same at all. always feel a little sad and mean- A half-finished degree film is not, as spirited that after their generosity in some students are encouraged to getting me there, all I can do is crit- believe, an instant passport to a suc- A half-finished degree film is icize the way things are run. Too cessful career. not, as some students are often the fault lies with the eco- However it is all very well for encouraged to believe, an nomics of the set up, but often the me to breeze into a college and be instant passport to a successful fault lies with the tutors whose lack full of energy, wit and wisdom for a career. of enthusiasm equals their lack of few days, then disappear. To actu- knowledge. I may not have any- ally train up three model animators thing startlingly original or infor- in twelve weeks as Cosgrove Hall Time for Teaching mative about animation to give to Films in Manchester asked me to do Whether I can find a place students, but what I do say, I say last autumn, was another thing all in the CG world I don’t know, but in with real passion and enthusiasm. I together. The three animators that the last two years I have had great know that this is contagious and passed the auditions had a little satisfaction from doing an enor- gets the students worked up. It’s the experience, but had got into all mous amount of teaching in vari- passion that I have yet to find in a manner of lazy habits and ill-advised ous film and art colleges around the school. Once I’m on the plane back short cuts. They were very eager to world. I certainly enjoy working to England, I fear things may go a get working with decent and with students and enjoy their response, but I am constantly alarmed by the lack of any real tuition that is evident in some colleges. Some students looked at me blankly as I spoke about single frame and film grammar. Too often I have seen the pressure on the students to churn out a film, any film. Sadly, more often than not, the films are a disaster because there has been so little preparation and nothing has been thought through. All the storyboards that are proudly shown to me have been masterpieces of graphic design, but contain no graphical information about the film and are certainly not useful in getting the film made. I can’t help feeling that the emphasis is drastically Just what has Barry Purves been doing for the last two years? Swimming with dolphins wrong in many schools. In the rush in Australia, among other things! Photo courtesy of and © Barry Purves. to make a film to impress their tutors, the students do not have the little flat. I know I’m no Jean Brodie sophisticated puppets, but I had to time or patience to learn the very going ‘round inspiring everyone I temper their impatience. For the first basic skills of animation and film meet, but I think I can get students four weeks, we went right back to grammar. As a future employer I excited about what they are doing. square one and worked only with a would without a doubt choose a I can also give students an insight to cube of wood and a bendy pipe

ANIMATION WORLD MAGAZINE February 1998 10 cleaner mastering the very essential and basic skills, which is not something I had seen in any of the colleges I’d visited. Without the pressure of a big Degree show, the animators were able to experiment and could afford to get things wrong in order to find out why things do or do not work. At the end of the twelve weeks, I was very pleased with their progress, especially when they were immediately given a year’s contract on a prestigious television series. One animator was so thrilled that he immediately went on holiday and broke his wrist snowboarding!

Funding My Own I have been asked to do Barry with a student, one of many to which he has taught the craft of stop-motion ani- another course, which is useful mation in workshops and seminars around the world. Photo courtesy of and © Barry Purves. financially, but this is not exactly fortunate enough to team up with daring to criticize [Disney’s] The where I’d seen myself heading. The a new producer [Chris O’Hare] who Hunchback of Notre Dame as being irony of my situation was brought has financially supported me a light travesty of Victor Hugo’s dark home to me by going to see a through this rather bleak period. He novel. The film was magnificent to revival of A Chorus Line, when the has also pushed my work around look at and listen to, but it had little lead character of Cassie sings, “God, to the various studios and television to do with Hugo. The point I I’m a dancer - a dancer dances! I companies and we do have various argued then was, ‘If the novel is don’t want to teach people to do exciting irons in the fire; but when deemed as unsuitable for a family what I should be doing.” The fur- one will happen, I do not know. audience, please don’t bring in the ther irony was that her character Hopefully, we have a short film for singing gargoyles and a happy end- had been in her business for nine- Channel Four that may happen this ing. You are being unfair to the orig- teen years and she had not danced year. inal and anybody who will eventu- in two years. I could match those ally read the book.’ statistics exactly. Cassie, not good If I’m being honest now, it is enough to be a star, but too differ- I’ve hardly been idle in pursu- not so much the meddling with the ent to be in the chorus, does not ing the funding, but constant original that upsets me. After all, I get a part in the show... rejection is somewhat wearing. did watch all the marvelous Steve This was all a bit painful and Reeves Hercules movies, and they, spurred me on with even more like Disney, played somewhat free determination and energy to get Take A Risk! with Greek myths. The more wor- funding for any of the dozen or so Of all the projects that we rying idea is that young and family projects I have written in the last have been pushing, it is interesting audiences are being patronized and two years. I’ve hardly been idle in to see the more adventurous ones deemed to be unable to cope with pursuing the funding, but constant get rejected straight away. Of anything of any substance or dark- rejection is somewhat wearing. All course I realize that animation is ness or anything vaguely cultural. these shouts of how well the British impossibly expensive, and recoup- In trying to sell my various projects, film industry is doing, seem to ring ing the budget both risky and slow, I have had conversations that I have a little hollow when I look back at but it is terrifying to see the lack of not believed: Tchaikovsky’s music for my and many of my contempo- risks being taken in animation fea- The Nutcracker has been deemed raries’ last two years. I have been tures. I raised some fuss last year for too difficult for children, Gilbert and

ANIMATION WORLD MAGAZINE February 1998 11 Sullivan too unfamiliar, Hans secondary to the wonderful char- don’t know. It is not me, after all, Andersen too dark and sophisticat- acters and plot, the film did not shy who is getting any films made. ed and a music drama by Benjamin away from the darker issues, and, There must be a lesson for me to Britten about Noah, written specif- amazingly, had a wonderful sound- learn there. Maybe, I should just ically for ten year-olds, far too adult. track that included Bizet and Camille take the first thing offered, shut up I cannot believe that to watch and Saint-Saens. I wonder if Saint-Saens and get on with it. Sadly, I would appreciate an animated feature, it was mentioned at the early stage find it difficult to get excited about is necessary to undergo some sort of of planning. I have certainly heard a project such as was offered to me cultural castration. It’s odd that in a many a child singing that tremen- recently: a company approached theater, where the running time is dously infectious melody. full of praise for my previous work longer than a feature and the It does worry me that ani- and wanted me to do a pop video whole experience requires more mated features are not taking the along the same lines. They did not concentration, children will sit with chances that other art forms clear- have an idea of a theme or style, their mouths open watching the ly are. How I would love to see an nor a practical budget, but they did basically plotless The Nutcracker, animated feature that took a classic want three and a half minutes of and reinvented it with startling inno- detailed animation delivered with- vation and, whilst being true to the in as many weeks. Reluctantly, I original, still manages to bring new turned it down, but I’m sure some- meaning and depth to it. This does- one has been able to churn some- n’t mean cheapening the original, thing out. Then the, ‘Well, if they just bringing fresh eyes to it. Recent can do it for so little money and examples that have knocked me for time, why can’t you?’ begins. six have been Matthew Bourne’s Swan Lake with male swans, I cannot believe that to watch Stephen Daldry’s production of An and appreciate an animated Inspector Calls, the revamped feature it is necessary to Broadway Chicago, all of undergo some sort of cultural Sondheim’s works especially Into the castration. Woods and the Royal National Theatre’s Peter Pan. All of these have I have no idea what will hap- taken very familiar stories and pro- pen this year, but I have to move duced them as if they had never forward. Hopefully, I will get one of Barry Purves with Ray Harryhausen at the Masters of Animation conference in seen them before, and all of them my films going. If not, I will have to Seattle, 1997. Photo courtesy of and © made perfect sense. I’m looking for- diversify; already I have come up Barry Purves. ward to seeing the Broadway [pro- against the, ‘But can you work with totally entranced, their attention duction] The Lion King, which or direct people?’ syndrome, as if held and loving every note of the seems to have broken new ground. nineteen years of experience counts music. I have seldom seen an empty If only there was an animated fea- for nothing. I would love to write a seat in a theater where The ture that could dare to be as adven- book or present a documentary Nutcracker or any of the Gilbert and turous with its narration, design, about animation; anything where I Sullivan musicals were playing. sophistication and substance as can express my passion for anima- It really does seem as if pro- these productions. Disney’s amaz- tion and do something as an outlet ducers can think only of entertaining Hercules was quite a radical for all the frustrated creativity that ment and merchandise (and not departure, but I fear the Greeks got is building up inside me. always in that order). Is it not pos- a little lost on the way. It has, without a doubt, sible to make a film that not only been a very difficult couple of years entertains, but can also inspire, stim- The New Year for me, both in terms of my finances ulate, engage and have some sub- So, two years on and I’m still and my morale. On top of all this, I stance and innovation? I still think prattling on about quality and stan- suffered a devastating personal the most perfect family film of recent dards in animation, but whether I tragedy that colored everything. years was Babe. With special effects have any room to say anything, I There were times when things were

ANIMATION WORLD MAGAZINE February 1998 12 really touch and go. However, I’ve I just wish I could have the chance truck tour of The Lion King, or any still got that British stiff upper lip and to make more films and to stop hav- of the inevitable rip off productions. I’m optimistic about this year - there ing to rely on what has gone Let’s hope instead that producers are projects slowly bubbling away. before. will be inspired enough to take It is ironic that just as life really has P.S. Since writing the above equally imaginative risks and break given me something to talk about in article, I have been lucky enough new ground with where The Lion a film, I don’t have the means to to catch The Lion King on King started - the animated feature. express myself. Broadway, and, boy, did my heart (....and if anyone happened Yes, I know I’ve grumbled a leap as high as those gazelles. Surely to be asking, yes, I do happen to lot, but there really have been some there has never been a big com- have a script that could pick up the tremendous moments. I have met mercial musical so inventive, so wit- gauntlet that I have rather boldly some wonderful people from tily designed, nor so respectful of thrown down!) around the world. I still find it hard its’ ethnic origins. Most of the the- to believe that my few, short, small atrical tricks, and there are dozens of Barry Purves is a Manchester- films could be responsible for me them, are not particularly new, hav- based filmmaker. Through his swimming with dolphins in ing taking inspiration from ancient production company, Bare Australia, being adopted by Carmen Japanese theater, Balinese shadow Boards Productions, he has direct- Miranda’s lovely sister, Aurora, in Rio, puppets, and even English folk tra- ed several stop-motion animated dancing with Maori drag queens in ditions, but they have never been films and commercials, including New Zealand, and being on the drawn together like this to create Next, Screen Play, Rigoletto and same panel as Henry Selick and Ray something so new. It is a real inno- Achilles. Harryhausen at a Masters of vative hymn to the imagination. I Animation weekend in Seattle. It is shall not forget the sight of two enormously satisfying to have some giraffes walking calmly onto the of my films on various exam syl- open stage dominated by a blood Note: Readers may contact any labus’s around the world, to have red sun. Let’s hope that four years Animation World Magazine con- students writing their thesis on from now, on arriving in any for- tributor by sending an email to “Sexuality in the Work of Barry eign city, we are not forced to sigh [email protected]. Purves” and to have people famil- a weary sigh when confronted with iar with my films wherever I’ve been. yet another scaled down bus and Bonus HTML Features

Every online (HTML) issue of Animation World Magazine contains additional features not found in the download or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended articles and special sections. Don’t miss the following highlights that are showcased exclusively in this month’s Animation World Magazine HTML version: http://www.awn.com/mag/issue2.11/2.11pages/2.11cover.html

• Performance Animation: Behind the Character This article contains two Quicktime movies of one of Medialab’s “virtual characters” in action. http://www.awn.com/mag/issue2.11/2.11pages/2.11kenyonmedialab.html • Boldly Throwing Down the Gauntlet Barry J.C. Purves’ article includes a Quicktime movie clip from his most recent short film, Achilles. http://www.awn.com/mag/issue2.11/2.11pages/2.11purves.html • California Summer School for the Arts: More Than an Education This article includes two Quicktime movies of animated films completed by students at CSSSA in 1997. http://www.awn.com/mag/issue2.11/2.11pages/2.11roslyncsssa.html • His Mother’s Voice: Dennis Tupicoff’s New Documentary This film review includes a Quicktime movie clip of His Mother’s Voice by Dennis Tupicoff.

ANIMATION WORLD MAGAZINE February 1998 13 A Conversation With.... Chris Walker and Corky Quakenbush Friday, January 23, 1998 many correlations between the occurred. I’d been a big fan of The Rose Cafe, Venice, California newest and the oldest forms of 3-D Davey and Goliath. When I first saw animation... that show, I was six years old. It was n a sunny, lazy Friday after- the only show on Sunday mornings noon, Animation World Heather Kenyon: It’s funny that you that was kid-friendly. We were kind OMagazine brought togeth- both knew each other’s work but of “forced” into watching it, but it er two animation pioneers who use didn’t know who was behind it. just blew me away. Even as a kid I very different techniques: motion- knew it was not “real,” but I could capture trail blazer, Chris Walker, and Corky Quakenbush: That’s because sense that it was three-dimension- outrageous stop-motion satirist, animators generally stay in their al and existed in space, and that Corky Quakenbush. We met for room all day. intrigued me. I thought, ‘What are lunch on the shaded patio of a these things small, funky cafe, just across the and how do street from Chris’ Venice-based they move? Are Modern Cartoons and near Corky’s they alive? Are Santa Monica studio. At first we they real?’ It were rather apprehensive about kind of freaked what they would have in common. me out. Then After all, stop-motion and motion- when I saw capture do not necessarily lend Rudolph themselves to comparison. Prior to [Rankin/Bass the meeting both had told us they Christmas spe- didn’t know who the other was, but cial] in 1964, after less than five minutes at the the first time it table we were relieved to find that was on, that both were very familiar with and was of course interested in each other’s work. Chris Walker (left) and Corky Quakenbush (right). Photo © AWN. the end-all to Corky had seen Chris’ NBC special HK: When you first say motion-cap- end-alls. I was really hooked. There’s Steve Oedekerk.com, and Chris had ture and stop-motion in the same this magical thing that happened, seen Corky’s MAD TV shorts, a series sentence, they are so different from that was a cartoon but it was real. of parodies involving some of ani- each other, you think, “What could That was real for me. That kind of mations’ most wholesome faces. these men possibly have in com- thrill stayed with me and then as I Corky is currently doing ten mon?” Therefore, the first question got older I started doing flip-books more shorts for MAD TV and Chris is about your backgrounds. How on the margins of paper backs... is working on a number of projects has it led up to the animation that for both the European and U.S. you’re doing now? Chris Walker: Probably on your market including a series of intersti- math books. tials for Fox which will run during CQ: I started doing stop-motion ani- the month of February. Both were mation because that was a way for CQ: Exactly. on tight deadlines but soon seemed me to create films by myself. I was very relaxed and talkative. We were 13 years old when I discovered CW: That’s where I did mine! happy to find that indeed there are what animation was and how it

ANIMATION WORLD MAGAZINE February 1998 14 They share a knowing laugh. primitive, but the cube was rotating CW: You should CQ: Then I watched this docu- in real time. ‘Wow, come over, take a mentary on PBS, and it was some that’s kind of inter- look. guy explaining that he went into esting,’ I thought. New York City schools and set up ‘This [cels] is going CQ: Yeah, I’d like to. stop-motion/paper cut-out [semi- to take me a lot nars] in animation. He said, ‘Yeah, longer, maybe that CW: Let’s go. we just have the fish here, and we [the computer] “Buzz Light Touch” and “Woody” in Corky Quakenbush’s Sex Toy move the character, and then take might do what I Story. Image courtesy of Corky They act like they two frames then move it again and want to do eventu- Quakenbush. © QDE. are going right take two frames....’ I had an ally.’ So I just started there and then, get- epiphany. ‘That’s how they do it!’ I going into the computer domain. ting up from the table! Fortunately thought. Of course nowadays, it’s In the early days it was plotter art- for this article, they sit back down different. I taught an animation work. We would do that one frame again, laughing. course in my daughter’s third grade at a time, with a pen and ink, very class, and went in and said, ‘Okay primitive. I just knew deep down CW: We don’t have it in the minia- can anybody tell me what anima- that they would be doing charac- ture yet but we’ve got a plane up tion is?’ Half the class raises their ter animation or more sophisticat- and running. hands. I call on one kid, he says, ed types of animation. Obviously ‘Animation is the drawing or series that’s been proven many times in I’ve been sort of running on of drawings in which movement is the last few years. What’s interest- faith that the technology will accomplished by taking...’ It’s amazing now about your background, get cheaper. - Chris Walker ing. and the next project that we’re doing, is that we are actually trying to mimic real things now. CQ: There are certain aspects to We knew that it was going to both sides that are very appealing. take too long to create every- The waiter swings by with a ques- We did one marriage of the two thing in CGI, so we opted to tion... worlds in Sex Toy Story. It was a par- use puppets for our characters ody of Toy Story. We knew that it and composite them with CGI CW: Anyway getting back into the was going to take too long to cre- backgrounds. - Corky 3-D thing. Most people get into the ate everything in CGI, so we opted Quakenbush computer so that they can basical- to use puppets for our characters ly make this teapot [for example]. and composite them with CGI back- CW: It’s interesting to hear your That’s what they want to do, that’s grounds. We kept the kind of feel- story, Corky. In a parallel fashion, I their aim in life, which I find odd ing that Toy Story had, so that peo- think that’s what drives any anima- because I come from animation. ple would look at it and feel they tor at the beginning. ‘How can you We’re actually trying to do some- were looking at a CGI thing. It was get this done?’ There’s a certain thing now that’s similar to Thomas all sex toys: “Woody” aka “Midnight aspect of that. I probably did similar the Tank Engine but it’s with air- Cowboy,” with a little vest and things, as far as starting out. I real- planes. The airplanes look like real chaps and bare butt, and a vibra- ly got into drawing, and doing cel, models, real toys, but their faces ani- tor, “Buzz Light Touch.” It was fun character animation. Then I started mate. It’s motion-capture on the because we had to light everything seeing what was happening with face, being done in real time. We’re in front of a green screen, imagin- the computer. Then, one day look- actually imposing them into minia- ing, “Where am I going to have my ing at a stack of drawings that took ture backgrounds, real table top light sources?” In a CGI background, me two weeks to draw, I knew I miniatures. you’re just going to stick a light out had to change some things and do the window somewhere and every- another pencil test. But then I’m CQ: That’s very interesting to me too thing falls into place. We had to looking at a computer over here, because I’m also interested in the duplicate that in the real world with which had a rotating cube, very marriage of the two technologies. these characters in front. Reflections

ANIMATION WORLD MAGAZINE February 1998 15 in Buzz’s helmet and things like that leading. It has a visual quality of ani- CQ: Any kind of thing that we’re made it really interesting and quick! mation, a lot of exaggeration and doing, on film or on tape, the We had basically three weeks to cre- things that you would associate human eye is seeing projected ate characters and animate them. with it, but we’re starting to shoot images one after another. Even live- these things like a sitcom. Everyone action is, if you look at it from a cer- CW: Wow, that’s fast. gets in a room. They put on these tain standpoint, animation. You’ve suits, and the CQ: In that sense, stop-motion can actors are actual- rule. But that’s only one [short]. ly the characters. Something like you’re doing, if They’re in a virtual Oedekerk decided to do a series... environment, and you’re cutting CW: Yes, it’s a problem for every- camera live. At body. Either you have to send it the end of the overseas or... I’ve often thought it day, you have a was strange for me to approach whole show on Saturday morning, with the most tape. You edit it, expensive amount of technology and put in special and time. It didn’t make sense effects afterwards. because it’s the smallest amount of It works for an budget you can get in TV. I’ve been episodic where sort of running on faith that the you’re writing it technology will get cheaper. on Sunday and Comedian Steve Oedekerk’s computer counterpart, created by Computer graphics has a very the show’s on the Chris Walker and his company, Modern Cartoons. Image cour- strong elitism of, ‘The guy with the air the following tesy of Modern Cartoons. © O Entertainment. biggest toys wins’ sort of thing, at Saturday. That’s least historically. Now, it’s getting a the paradigm for how we’re got a series of still frames that when lot better. Get a PC, a copy of approaching programming, except put together include motion [per- Lightwave and do your thing. That’s that it does kind of have an ani- sistence of vision]. really great because it’s much more mated quality. I don’t even know egalitarian. Still, to crash the what to call it anymore, because CW: I think it depends on who you Saturday episodic [market] is we’re approaching it from the stand- talk to. It’s somewhat subjective. I extremely difficult. We’re [Modern point of live-action, but it’s visually know that certain people in the Cartoons] really putting all our ener- an animated episode. Now, it’s a lot industry would say King of the Hill gy into that right now, to figure out harder to do the sight gags, like hit is not animation. They think that the how to make it cost effective and someone over the head and flatten classic form of squash and stretch, still do great work. them. That’s the bleeding edge that Disney style, is “really” animation, we’re trying to accomplish. It’s and everything else is some other another whole industry, really. beast. I don’t even know what they I’m starting not to call what we would call it. I don’t make those do “animation,” because I CQ: It seems like a natural progres- judgments. Obviously, I’m in this think it might be misleading. - sion of things, to go toward that. weird cutting edge area. We have Chris Walker yet to define what were doing, to HK: This leads into our next ques- give it a name. I tend to think that CQ: I think it’s getting easier, as the tion: How do each of you person- it has more to do with visual quali- prices come down and the tech- ally define animation? ty than how it’s animated. What do nology expands. you think, Corky? CW: What did that third grader say? CW: The thing is, I’m starting not to CQ: I’d have to agree with you call what we do “animation,” We all laugh. there. I think it’s creating a fantastic because I think it might be mis- world that doesn’t exist in reality, at

ANIMATION WORLD MAGAZINE February 1998 16 least not in this form. I think that’s world that think Godzilla what people get out of it... could never would have been happen. done five years CW: The test would be... Did you ago. Did I dance see Titanic? The shot where they fly CW: The around that ques- around the ship; the shot where Fifth Element tion, or what? they did motion-capture on the was visually Captain. Those guys went for real- unbelievable, HK: I didn’t even ism but had a very illustrative qual- but I still think notice! How ity which I loved. It was really inter- of it as a live- about you Corky? esting to see something that was action film. It “Gumboy” and “Poker” in a MAD TV short obviously not live-action. I think wasn’t like by Corky Quakenbush. Image courtesy of CQ: I’m happy to most people would see that shot watching an Corky Quakenbush. © QDE say that I think and think, ‘Wow, what is that? It’s animated film where I felt the limit- there is a burgeoning industry in totally different, but I like it.’ I would lessness of the human imagination short-form animation. There used still call that animation, even though at work, where you really feel like, to be a lot of it, all theatrical shorts, they were going for the ultimate in ‘I’m stepping into a magical world.’ but then the theaters stopped. Now hyper-realism. That’s really the edge with television, and hopefully with of what animation would be HK: Both of you are really on the the Internet, these short forms of defined as. cutting edge: Chris, with your tech- expression are going to find a nique, and Corky with your con- greater audience. Also the shorter CQ: I think it’s the same thing with tent. How do each one of you feel attention spans of people allow Toy Story, where you’re trying to that what you’re doing fits into the these things to find a home. It works mimic reality, but in the same sense, animation industry as a whole? on MAD TV because it’s a sketch the world you’re creating does not show. A few years back, Bill exist in reality. My inspiration is about being Plympton was doing short anima- between live-action and tion for a show called The Edge. CW: Whether the history of anima- animation. - Chris Walker Then there’s Saturday Night Live tion has done this, or whether it’s with J.J. Sedelmaier’s stuff. I’ve heard some psychological process that about sketch animation shows in humans have, I think that when CW: Well, I’m happy to be unde- the works here and there. I think people look at something in motion fined. My inspiration is about being this is all great. I think people are like that, they think, ‘Okay, you got between live-action and animation. really open to it. It’s visually stimu- me. You got my brain, my fantasy. Here’s another art form entirely. All lating. I’ll go anywhere you want to go.’ these shows come down to the tal- I like what I do. It’s just so You won’t do that with live-action. ent you attract to it, the writing, the fun. We have these miniature There’s a psychological threshold characters, all that. I tend to think worlds that we build, and we are that you hit, with The Simpsons or that I’m doing my job if every show duplicating a certain reality. If I dare King of the Hill, which by other stan- that comes out is completely unde- say it, they’re ‘cute!’ For example, dards may be conservative to the fined; no one really knows what it we had a great little kitchen set. animator, but still you’ll go any- is or figures out how it was done. We’re doing a third segment of where with those characters. You’ll That’s what’s interesting to me, that Clops, and they’re going to find the buy just about anything they say. I it’s cutting new ground. I’ve always Pillsbury Dough Boy gone nuts at think that’s the mental leap. If there felt that computer graphics as a a commercial shoot. So we’ve got was an abstract definition of ani- whole has been able to offer story- this great little kitchen built, as big as mation, that is what would have to telling new vistas. We’re now wit- a table top. It’s almost like a hyper- happen [to the viewer]. nessing the explosion of special reality. The next part that’s fun is to effects films. Whether the stories are shoot it like it’s a real movie. Live- HK: With some of the amazing spe- any better, that’s another story, but action for me is much more intrigu- cial-effects shots though, you’re real- they are able to do things that ing to do than animation. People ly making a leap into that fantasy haven’t been done before. I don’t who do cel animation...it’s incon-

ANIMATION WORLD MAGAZINE February 1998 17 ceivable to me how they can sit and eyes are going to fall out from read- a lot of different kinds of program- draw the same thing over and over, ing all of those comic books.” Now ming, niche programming. For me making minute changes. People say our culture is immersed in them. the greatest thrill is thinking about to me, “Isn’t what you do really what the Internet is going to do. tedious?” I can only think it can’t be HK: Animation is being touted as The Internet may well provide us as tedious as drawing frame after the art form for the 21st century. with a direct route to the consumer. frame. I’m looking forward to all the Do you see that? Do you believe MAD TV has 5 million viewers and new technologies. What we do is that? Do you think right now, in that’s really a minimum. In order to primitive. your careers, that there is a growing be on a network, I have to have 5 need for your content and do you million people who think my stuff HK: Do you think that people per- think there will be in the future? is great. But maybe I want to do ceive your techniques as being CQ: You would always hope so. As something that’s so outrageous that “adult?” Is it innate in the technique? an art from, it’s really the only kind only 100,000 people will like it. This of filmmaking that’s affordable. You way [the Internet], I can get to those CW: I don’t make the distinction. know, I was just at Sundance, and people and suddenly 100,000 peo- there was always this discussion ple becomes a much bigger num- CQ: I think what’s going to make a about art versus commerce. I just ber than it is to these people at the difference in your audience is con- made a live-action short, ten min- studio. Once our consumers can tent. If kids watch this Steve utes long, and it cost $35,000. get right to us, to type in their cred- Oedekerk special or the jet plane That’s paying minimum wages, get- it card number and pay a buck to show, they’re going to be more ting a lot for free. It’s expensive. That see a movie... interested in what the plane has to means there are going to have to say than how it’s done. I think it’s be investors somewhere, and that CW: Cut out the middle-man. the same thing with adults, maybe means that business and art are even especially with adults. I think going to have to merge some- CQ: Exactly. I think the thing [the the technique can work for you. where. If you go into animation, Internet] is revolutionizing itself. I What I do is more adult-oriented well, I could take an 8mm camera, would be lying if I said it wasn’t animation, and because of that make a film, transfer it to video, and exciting. John K is a pioneer. He will there’s more appreciation of those really do the same ten minute film get his audience. People that go for little details that I was talking about. for maybe $1,000. So that makes Disney aren’t necessarily going to For instance, when we did a paro- animation an appealing art form for go for Spumco. I’ve got three hours dy of Gumby, in which “Gumboy” people who want to get into of material that I made by myself and “Poker” go into their dad’s den, motion pictures. that I own. I would love to have it find a “Clayboy” magazine under up on the “Space Bass” web site, the couch, circa 1967....’Wow, look People who do cel anima- and then people can come to it. at the plasticine on her!’ They jump tion...it’s inconceivable to me in and all of a sudden they are in how they can sit and draw the CW: You think it’s going to work? the Sixties, in the Clayboy mansion. same thing over and over, mak- Like Pay Per View? We made a little lava lamp. I think ing minute changes. those little details would be lost on -Corky Quakenbush CQ: Yeah, if it’s 50 cents or a dollar, kids. Adults appreciate it. I think the marketing will follow suit. What’s been the biggest People say, ‘How are we going to CW: Do you think there’s something drawback of any kind of art form in make money with the web?’ So to be said for the fact that all of us the media is that there’s been a very then they put advertising on. It’ll be grownups, who were weaned on narrow distribution outlet. Thirty the same. cartoons, basically never grew up? years ago there were only three networks. If you wanted to have some- CW: John K will probably make his CQ: Yeah, I think so. Comic books thing on TV, it had to go through money on merchandising. too. The seriousness that comic those three networks. As cable books took on. It’s a real vindication opened up many different markets, Wendy Jackson: He already is. for Mom. Mom was saying, “Your we started seeing an expansion of

ANIMATION WORLD MAGAZINE February 1998 18 CW: So it’s the same model as TV. We all share a good laugh at that cel animation. It will look like clay, one. though it probably won’t animate HK: That’s the great thing about the like clay. Visually speaking, it will Internet. Everyone gets their own CQ: Wait. Wasn’t it, “Watson, come start taking on different mediums. channel. here, I need you”? It’s not really limited in the spectrum of all that. I don’t know about ani- WJ: Who’s going to make the TV CW: I think someone rewrote that. mation being the art form of the guide? future. I have to think twice about HK: What about you Chris. Do you that. It would be wishful thinking I CQ: Well the word of mouth on the feel that people in the beginning suppose. At the level that you’re on, net is so strong. were like, ‘Motion-capture, perfor- you are actually creating an art form. The level that I’m on is that I’m getting involved in commerce, and trying to solve that problem. Obviously you want to inject as much quality and “art” into the process, but at the same time we’ve got to figure out how to get the animation done here in the U.S., not let people burn out in the process, and still come up with a great product. That’s been very difficult, particularly because computers have been expensive. But when you talk about art form, I think more about fine art. I don’t know how much what I do will fall into that. As far as computer animation and its potential, I think that where it can go, as Chris Walker “all suited up” while filming Crash Bandicoot Live. Image courtesy of Modern Cartoons.The character Crash Bandicoot is © Sony Computer Entertainment. far as doing really an art experience, may be closer to a Fantasia or an CW: I don’t want to be the pessimist, mance animation...what’s this?’ Do image evolutionary experience in but back in the early ‘80s, when I you think it will become more terms of light and motion. What the was in art school, everyone was talk- accepted and more widespread in computer can offer is all that with a ing about this new thing called the future? complete immersion. You can actu- MTV. Everyone said, “All the anima- ally walk into a stereo environment tors are going to have a place to I think as an art form, every- because the computer is actually put their stuff!” Well that didn’t quite thing that’s media-oriented is building a facsimile of our world. I work out. We’ve been struggling opening up to the individual as think from the standpoint of pure for years to get any kind of quality an artist. - Corky Quakenbush art, that’s where it can go. It’s up to into computer animation. the artist to make something of it. CQ: When you look at something CQ: Well the first telephone sucked. CW: Yes, I do. I think it will take over like Myst or Riven, the visuals in There was one line from here to the whole industry actually. there are very beautiful. They don’t another room. Intrinsically, the computer can do have to go out and create that anything that you can describe, that world. The whole movie business HK: The first words actually spoken you can tell it to do. The problem has always from day one asked, were something like, “Can you is telling it. We’ve been in this long ‘How can we make something bet- speak up? I can’t hear you.” process of describing to the com- ter than it is in reality?’ puter all of these complex things. WJ: It wasn’t “this sucks?” As we keep evolving, it will look like CW: And to amplify it.

ANIMATION WORLD MAGAZINE February 1998 19 CQ: For me, I’m really intrigued in straight computer animation. You WJ: Now, see if you can get an the low-tech things, like glass paint- can see the subtleties of motion. agent to represent one of your ings. Things that somebody sat cyber characters. down and thought, looking CW: This is how I differentiate CW: That’s what’s going on, seri- through the viewfinder of the cam- motion capture from other forms of ously. Everyone has this thing about era at a two dimensional world, ‘I’m animation. You can talk to the char- owning a character, owning every- going to make a painting out of this acter. The character will respond thing, everywhere down the line. world. We have these streets and and have a soul you’re just not used We say, ‘You can’t own this, this is an these buildings...but behind it, let’s to seeing in an animated character. actor.’ They say, ‘Oh really? Can I put in Baghdad.’ It’s a special effect There’s something about that where talk to their agent?’ and the para- and it’s done in a really low-tech there’s a depth, the response the digm shifts. I don’t know how much way, by just putting in a piece of character has. It’s not really pup- I want to follow that paradigm but at least it keeps people from buying glass and painting it. That’s artistry. peteering. It’s a real person. So everything out from under you. The I think as an art form, everything you’ve got this weird mixture of fan- thing about the industry is that it’s that’s media-oriented is opening up tasy and reality. I think it’s safe to say completely merchandise driven. to the individual as an artist. People that most hand animation has been People are not paying what it actu- have sound design studios in their worked to death, scripted and sto- ally costs to put a show together. home, music studios in their ryboarded. Not to say those aren’t This is what’s happening on garages and they’re putting out good tools for planning a show, but Saturday morning. They’re all bank- good stuff. It isn’t like someone you get the sense that it went ing on the fact that they’ll make a lot twenty years ago with a cassette through a factory. Whereas this of money in merchandising. That’s recorder, guitar and microphone. [motion capture] has a depth of per- why we have such a huge anima- It’s a whole different world out sonality, a spontaneity. tion industry. In Europe, they don’t there. know anything about it, and con- WJ: It seems like you have that too sequently, they don’t have money We say,‘You can’t own this, this Corky. Not in the same way but you to do shows. You’re damned both is an actor.’ They say,‘Oh really? shoot pretty quickly. ways, essentially. Can I talk to their agent?’ - CQ: Yes, there’s a scene in Raging CQ: I have a character named Chris Walker Rudolph where Yukon Cornelius Ricardo. He’s controversial. A lot of winds an elf’s head in a vice. That times when you’re pitching for TV, came out two weeks after Casino you get one shot. If someone says, CW: It is interesting that you put the opened. two of us together. There really is a ‘No, it’s not for me,’ you never get big similarity in what we’re doing CW: The funny thing is that Steve another shot. However, you can and the industry is starting to coa- Oedekerk wanted me to do that essentially re-do the character a bit, lesce towards that. I know the with him. I said, “Steve, I’ve got a introduce him with another face, Henson people are really excited lot of work to do, are you sure you and give it another shot. The real about what motion capture can do, want me to do that?” He wanted true character is behind the face. because they are performers. I never his eyes bulging and popping out. envisioned that. I thought I was I guess that going to be doing Saturday morn- scene has got- ing cel animation. ten around! We’re doing CQ: I think it’s going to be great something for when the computer world can cre- Fox right now, ate real motion that people don’t and a lot of feel has that computer edge. You projects in can almost see the mathematical Europe, in a curve. way, we are creating characters that are WJ: I don’t feel that when I’m like actors. watching motion capture versus Chris (left) and Corky (right) enjoy a meal and conversation. Photo © AWN.

ANIMATION WORLD MAGAZINE February 1998 20 At Last, Foam Puppet Fabrication Explained! by Tom Brierton top-motion puppet anima- Stion is surely one of the most unusual art forms in the world. In cel animation, one must master drawing and performance. In computer animation, one needs to acquaint This metal armature, left, became the final praying mantis puppet on the right when encased in a cast foam themselves with the latex exterior.All elements were constructed by Tom Brierton. Photo courtesy of and © Tom Brierton. technicalities of the tion and detailing. I will be leaving book, music, or one’s own imagi- mouse and keyboard, as well as per- out discussions on character ani- nation. Regardless of the source, the formance. While these two anima- mation as that process is an article ultimate objective is to translate the tion disciplines require talent and in itself. I have also written in a cur- idea of your creation to the actual drive to achieve successful anima- sory fashion, because, quite frankly, tools necessary for creating the pup- tion, stop-motion is unique in the a single book could be written on pet. I am very fond of the minotaur, animation field in that it encom- every step of the stop-motion a monster from classical Greek passes a number of disciplines to process. It is beyond the scope of mythology, but up until recently, I achieve a final end. Design, arma- this article to attempt to write a vol- had never created one as a stop- ture machining, sculpting, mold- ume on each discipline. For the motion puppet. Determined to do making and casting, painting and uninitiated, they can perhaps walk so, I proceeded to research the detailing, lighting and cinematog- away with a better understanding problem. Research is usually the first raphy, and of course, performance of stop-motion, and use the fol- step, particularly if one is creating a animation, are the primary skills lowing information as a point of creature that actually exists in real required to master this wonderfully departure for their own animation life, such as animals or insects. Since magical art form. While it certainly endeavors. As stop-motion legend the minotaur is a hybrid animal isn’t necessary for a single individ- Ray Harryhausen once told me incorporating the body of a man ual to master all of these disciplines years ago, “self-experimentation will and the head of a bull, I searched (and there are few stop-motion ani- be your greatest teacher.” I would for photographs of human males mators who have), there is no rea- like to pass on his wise counsel, with and of bulls. Since the minotaur was son why one cannot attempt to do the assumption that those who read supposed to have been a danger- so, and have fun in the process. this article will like-wise, take this ous animal, bloodthirsty and vio- I have designed this article information and experiment for lent, the idea was to design the as a cursory description of the stop- themselves. character so that it is indeed imbued motion process. It will deal with the with these attributes. To design the necessary disciplines for creating a Design With Attitude minotaur with skinny legs, a pot stop-motion puppet. The disciplines Many puppet animators start belly and short stubby horns would include: design of the puppet, with an idea for a creature to ani- hardly qualify it as a frightening armature machining, sculpting, mate. The puppet can be inspired monster. Consequently, the solution moldmaking and casting, fabrica- from an animal, art, mythology, a decided upon was to design it with

ANIMATION WORLD MAGAZINE February 1998 21 a hulking body: huge arms, rippling color renderings. The next step is afraid. Any compromise in the with muscles and veins, sinister designing the mechanics of the machining of the armature would deep-set beady eyes and long, armature. cause one to end up with parts that sharp horns. In short, try to design would, at best, be substandard and the character you want, by incor- Stop-motion is unique in the hence, unusable for stop-motion porating into its design physical animation field in that it animation. I could advise to go attributes that would heighten and encompasses a number of dis- ahead and throw something augment what you wish for the ciplines to achieve a final end. together with found parts from a creature to convey. If animated local hardware store, but this would properly, its performance will even really be more of a regression in magnify its appearance. This prin- Armatures:The Insides one’s professionalism, rather than a ciple of creature design plus char- Back in the early ‘70s, when progression. I could tell you that you acter animation is, in some ways, I first started learning how to can slap together an armature from rather similar to the film music prin- machine armatures, I went out to found parts and it would work real- ciple, which states that if, for exam- the local hardware shop and ly great, but from personal experi- ple, two lovers are kissing, then bought miscellaneous stuff like door ence, and after almost 24 years of coupling that image with romantic linkers, washers, L-brackets, plastic experimenting with different things, music will heighten the affectation balls with rods on them and such I’ve pretty much discovered what (emotion) of the scene. Conversely, that I could throw together to try will and won’t work in armature the image of a valiant, but slain war- and simulate a stop-motion arma- construction. Armature machining rior, combined with ‘sad’ music, will ture. While this was all good train- is a wonderful art form in its own impart a feeling of sorrow. Design ing and experience, the armatures right, even apart from stop-motion your character around the ‘affecta- I ended up with were strictly ama- animation. Often-times, when peo- tion’ of how you want the viewer to teurish at best and could never have ple come by my studio and see my react to it. Since I wanted the view- been used for anything other than armatures, they are quite aghast er to react to my minotaur with fear, decorative pieces in my room. when I tell them that the armatures I designed it accordingly. Over the years, I’ve learned will eventually be covered with Finally, once I felt that suffi- the techniques and tools of the foam. Many people prefer that they cient research had been done, and trade for designing and machining be placed on display just as they enough photos and reference mate- a technically successful stop-motion are! rial had been collected, I proceeded armature. My philosophy in machin- Once the design of the pup- to draw up dozens of design con- ing a competent armature is that pet is finalized, I make a detailed line cepts in pencil, pen and ink, and there really are no shortcuts, I’m drawing of the creature, in front, side, and top elevated views, in the actual size that the puppet will be. REGISTER with After that, I lay a piece of tracing Animation World Network paper over the drawing(s) and I TODAY and sketch out the mechanics of the • Receive our weekly Animation Flash E-mail armature directly onto the tracing newsletter paper. This way, I will know what the exact size will be for the arma- • Get announcements of Animation World ture part(s) once I prepare to Network developments machine it. Since armature parts • Be a part of the global community of AWN. can’t be found anywhere, but have to be custom-made for any partic- • Interact with animation professionals, scholars ular puppet, I then take each arma- and fans all over the world ture piece that makes up the arma- Get all this and more FREE, ture itself (from the littlest finger all the way down to the toes) and do when you register now! a detailed mechanical drawing, on http://www.awn.com graph paper, of each armature

ANIMATION WORLD MAGAZINE February 1998 22 piece. Then I take these detailed Probably one drawings to the lathe and mill and of the most machine them out. Depending on frustrating and the complexity of the armature, and difficult aspects how many pieces there are, an of building an armature can take anywhere from armature is the one to eight weeks to machine. I rod-to-bearing just finished off an armature for a solder attach- velociraptor which took me about ment for ball four and a half weeks to machine, sockets. A very plus an additional week to figure good solution out the mechanics of the armature was described and draw out each piece individu- to me by stop- Many small joints and limbs are created for one four-legged animal ally on graph paper. motion anima- puppet. Photo courtesy of and © Tom Brierton I don’t know how much tor Paul Jessel, or you can turn it minus a thou- money you’re willing to spend, but which I will pass on: sandths of an inch to help it slip bet- a person can get the necessary tools After the bearings have been ter into the bearing, and lubricate to begin machining successful arma- drilled out on a lathe, they are the tip with flux. Let it set for a tures for about US $700. Obtain a placed on a heat-resistant surface. minute, then put the rod into one catalogue from a company in San The materials you will need are: of the clamps of the helping hand Marcos, California, USA called and tilt the helping hand arm so Sherline Products, Inc. Sherline • A small butane torch (get at a that the rod is balanced onto the manufactures miniature lathes and Radio Shack, electronics-type top of the bearing hole above the mill column attachments. Their store) solder. The helping hand should be phone number is 1-800-541-0735. • Extra propane tanks balancing on the back of its’ base. Their lathes and mills are top-notch, • Silver solder Now, turn on the torch and heat roughly the size of a large sewing (The best can be bought at: L.B. the ball. The solder inside the ball machine. Allen Co., 725 N. Central, will go soft after a few seconds Wooddale, IL 60191 USA The depending on the size of the bear- Putting It Together telephone number is: 1-708- ing. Naturally, small bearings will Before putting an armature 595-2600) heat faster; larger bearings will heat together, you need to become famil- • A helping hand (also at a Radio slower. Once this happens, the iar with the various types of joints. Shack, electronics-type store) weight of the helping hand will There are basically six: • Solder flux force the rod down into the bear- • X-acto blades ing. If it doesn’t, I very gingerly tap • Hinge joint the top of the rod with a small ham- • Swivel joint Ray Harryhausen once told me mer. Let the rod-to-bearing assembly • Dowel joint years ago,“self-experimenta- set for a few seconds, then cool it • Universal joint tion will be your greatest under some tap water, and clean it • Ball and socket teacher.” off with a mild soap. Sometimes, • Collet joint when the rod goes down into the Place the bearing onto your ball, if you’ve placed too much sol- I use hinge and swivel joints surface. Shave off pin-head sized der inside the bearing, extra solder primarily. Hinges are very useful for solder with the x-acto blade. Be will flow up and out of the hole and knee, elbow and spine joints. careful not to cut yourself! Lubricate onto the rod and/or bearing sur- Swivels are great for pronating and these solder pieces with flux and face. If this happens, wait for the supinating at the elbow and for drop them into the bearing until assembly to cool, then take your x- joints just below the hips and knees. you have enough that brings them acto blade and scrape off the resid- Swivels are generally connected to close to the top, but not complete- ual solder. Prior to soldering, I like a hinge joint and work off of the ly. Take your rod which will be the to take the rod and, using the lathe, hinges. same diameter as the bearing hole, cut a tiny groove at the tip of the

ANIMATION WORLD MAGAZINE February 1998 23 rod at the end that will go into the you’re going to need supplies for They’re a U.S. distributor of various bearing. This way, when the rod the next step and here is a list: machining knick-knacks. Their cata- goes into the ball, the solder sets logue is free, and huge, so call 1- around the groove and helps the • Number 2024T-356 aircraft alu- 800-521-9520. McMaster-Carr is rod to sit better and more firmly minum (most machinists use this another one-stop shopping place inside the ball. grade of aluminum) for any and all supplies, except Patience Is a Virtue • Hex head screws bronze washers. For a catalogue If a joint is machined with- • Taps call 1-630-833-0300. For phosphor out any real thought or care going • Reamers bronze washers, call Seastrom into it, you’re likely to get a joint that • Phosphor bronze washers (used Manufacturing at 1-800-634-2356. pops or ratchets when you try to in hinge joints) Phosphor bronze washers are used • Drills and various jobbers in hinge joints. Measuring tools • Number 302 Grade 100 stain- which you may also need include less steel ball bearings (some micrometers, surface gauges, a dial machinists use 440 bearings) indicator and a dial caliper. • Shoulder screws (sometimes called shoulder bolts) Next Stop: Sculpting • Dowel pins You can go to just about any • Slotting saws bookstore and find books on sculpt- • End mills ing. For stop-motion models, most This armature has more than 20 indi- • Ball end mills people in the industry use a brand vidual joints. Photo courtesy of and © • Milling cutters of clay called Roma, which comes in Tom Brierton. various grades ranging from extra- move it. This can be absolutely mad- Slotting saws, milling cutters soft to hard. I use Roma #3, which dening when you’re animating a and end mills, both straight and sculpts nicely and is less prone to puppet and all of a sudden the ball, are actually used to sculpt the cracking over time. To get really armature pops or breaks. Unless piece of aluminum into the shape smooth textures, I use a paintbrush you’re using a frame grabber, that you want. Slotting saws and and brush a little rubbing alcohol, or you’ve really created a problem for milling cutters are held in a saw better, rubber cement thinner, onto yourself because now you will need arbor, which in turn is held in a mill the surface and blend the clay with to repair the puppet and start the collet, which turns on the mill. The either a tool of some kind, or my shot over again. Machining toler- shank diameter of an arbor used on finger. I can’t really tell you much ances of armature parts need to be a Sherline 4000 mill is generally a about sculpting because, as are in +/- thousandths of an inch and half-inch, so buy a mill collet that most things in this world, it’s really some armature machinists machine will hold a shank that’s at least that learned from practice. in 10,000ths of an inch! The thing diameter. (Don’t worry. Sherline has of it is: the process of actually everything that you’ll need.) End Slow and easy, in my opinion, is machining an armature really isn’t mills are the most frequently used the key to successfully turning all that difficult in terms of tool cutter for metal sculpting. They are out parts for a decent usage. In other words, you don’t held in an end mill collet. Collets, armature. have to have a degree in industrial whether it’s an end mill or saw/cut- design or math to use a mill or ter collet, actually hold the cutting Rather than sculpt the clay lathe. The only thing that I find dif- tool secure in place while one per- directly onto the armature as some ficult about armature machining is forms the machining operation. animators do, I prefer to make a the need for patience. If I hurry, I As I said, the first thing you heavy aluminum wire armature (16 will invariably overturn a part or should do is order the Sherline cat- gauge is good) into the exact shape overdrill a hole. Slow and easy, in alogue. It’s cheap and will give you and scale as the actual machined my opinion, is the key to success- an idea of the tools that are neces- armature. This way I don’t have to fully turning out parts for a decent sary for you to have in order to build clean the clay off of the metal arma- armature. a decent armature. Also, order a cat- ture which can take quite a long Obviously, once again, alogue from J & L Industrial Supply. while to do. Plus, Roma has some-

ANIMATION WORLD MAGAZINE February 1998 24 what of a nasty corrosive habit of, denser, and, unlike plaster, it repro- do the following procedure for over time, eating away at the alu- duces sculpted textures extremely pouring the mold. To pour one-half minum surface. Another way is to well. It is also less likely to shatter of the mold first, I lay the puppet wrap the armature with clear, plas- like plaster if accidentally dropped down, anchored to a piece of tic, food wrap. This keeps the arma- on the floor. Utracal is almost like wood with screws in its feet to sup- ture clean and clay-free for when concrete, but isn’t nearly as heavy. port it, and place the reclined sculp- you’re ready to take the sculpture Mold making isn’t very easy. ture into a square wooden box. Mix out of the mold and strip the clay off It takes a lot of practice. Most molds up the Ultracal and pour it into this of the armature. are anywhere from two to four or wooden box, just covering one-half five pieces, depend- Mold Making:Two Methods, One ing on the anatomy Puppet of the puppet. For There’s basically two main example, if you’re ways to finish a puppet in foam: the making a human foam-injection method, which uses shaped puppet, a the clay sculpture, and the build-up two-piece generally method, which doesn’t. Most pup- will do the trick, one pets I know of are actually a com- for the front and one bination of the two. For example, for the back of the they have a foam injected body, sculpture. However, then surface detail like muscles and if your human hair are built up, literally sculpted, shaped critter has a over the armature using the build- long tail, then a two- This minotaur puppet armature was covered with plastic up technique. For the skeletons in piece mold will need wrap before the clay figure was sculpted on top. Later it will Jason And The Argonauts, Ray to be made of that as be cast in a mold. Photo courtesy of and © Tom Brierton Harryhausen had his father well. If it also has machine the armatures, then Ray wings, then another two-piece of the sculpture (in this case, the actually sculpted the models using mold will need to be generated. So, lower half, letting the Ultracal rise the build-up technique. He applied you end up with six pieces for your up to meet it.) Let this half of the rubber, mixed with cotton, directly sculpture of a human shape with a mold dry first overnight, until it’s onto the armature and after it dried, tail and wings. In my opinion, cre- hard and dry to the touch. The next he added a coat or two of rubber to ating the six molds separately is the day, rub mold releasing agent on smooth out the sculpture. Jim only practical way to do this. Then, the mold surface and then pour the Danforth also used the build-up after all the foam rubber for each rest of the Ultracal to complete the technique for the mother dinosaur respective mold has been properly two piece mold. Believe me, this is in When Dinosaurs Ruled The Earth. cured in the oven, they are careful- much more difficult and time-con- ly pried out and attached to the suming than it sounds, so be pre- The next day, very gingerly pry armature (wings to the back, tail to pared to make some mistakes, and the mold apart, and if all has the rump). Then, exposed seams practice a lot. gone well, you will have a foam can be covered using the build-up All of your sculpting supplies rubber representation of your technique with additional rubber can be purchased from Burman original clay sculpture sur- that cures at room-temperature. I Industries in Van Nuys, California. rounding the armature. get my Ultracal-30 from a supplier in Their phone number for a free cat- the Chicago area called Art Studio alogue is 1-818-782-9833. You can A mold needs to be made of Clay Co. They can be reached at 1- also buy instruction tapes on mold- the clay sculpture before you can 800-323-0212. However, you might making, sculpting and painting inject foam rubber into it for oven also be able to find some at your from them. curing. The mainstay of mold-mak- local art supply store. The build-up technique calls ing material for a stop-motion pup- Though there are a number for simply sculpting foam rubber pet is a product called Ultracal-30. of ways to apply the mixed Ultracal- mixed with cotton, directly onto the Ultracal is a little like plaster, but 30 to your clay sculpture, I generally armature into the shape of the crea-

ANIMATION WORLD MAGAZINE February 1998 25 ture’s musculature. Then, thin sheets at Burman’s. The foam is then inject- can just sculpt the puppet in clay of dried foam rubber (detailed with ed into the mold. This has to be and animate it that way?” Foam scales, hair, etc.) can be wrapped done quickly, because the gelling latex offers a tremendous plus in around the muscles. I’m currently agent that is added to the foam can that, when it’s properly cast and sculpting my minotaur in this fash- sometimes cause the foam to set up painted, it uncannily resembles flesh ion. It isn’t as easy to do as foam- inside the gun, thus making it and muscle, an extremely difficult injection, but with practice the impossible to inject through the noz- effect to achieve in clay. However, results can be quite wonderful. zle. In which case, you’ll have to re- probably the single largest advan- Marcel Delgado sculpted the Joe mix and pour more foam. Foam tage of a foam latex puppet is in models in Mighty Joe Young in this doesn’t have a very long shelf life; what I call ”the mush factor.” The manner as well. four to six months tops if stored in armature has to be fairly tight to ideal conditions. It needs to be used hold positions during animation. Almost Done: Foam Casting When you’re animating a puppet Foam casting, in my opin- made from clay, once you push an ion, is the hardest step in the foam- appendage, like an arm or leg, to its injection process. Because foam is next position, you will invariably dis- extremely difficult to mix and set turb the clay as well. Since clay properly, it takes a great deal of doesn’t spring back into the shape patience and experience. Be pre- it originally was, the surface of your pared to spend a lot of money mak- sculpture will pixelate when you ing mistakes. You’ll get it eventual- project the animation back in dailies. ly, though. Foam, on the other hand, when R&D Foam Latex used to be you grab and then release the pup- the most popular and frequently pet, will repeatedly spring back into used product, however it is no its exact shape. This is crucial in a longer available. Kryolan is anoth- time-lapse process like film anima- er brand which I’ve used with good tion. You could try to re-sculpt a clay results. There’s a supplier in England puppet if you’ve inadvertently dis- and Burman also has their own turbed the surface, but this takes brand. Whichever company you time, and chances are you’ll never This armature is for a genie character. decide to go with, they will send Photo courtesy of and © Tom Brierton. get the sculpture precisely the shape you detailed instructions on how to it previously was. Foam alleviates mix it. as soon as you get it. I wouldn’t buy the problem. This technique is called the foam until your molds are I hope all this helps. Let me foam-injection because strategically already done. Once the foam is know how your experiments go placed holes are drilled into the properly injected, the mold is placed and if you need any help! molds. The armature is wrapped in an oven (or kiln) and allowed to with a flexible material (I use Saran cure for a few hours. After sufficient Tom Brierton is currently based in Wrap, a clear, plastic food wrap) curing time, the mold is taken out Chicago, Illinois and works free- and carefully lined up inside the and allowed to cool at room tem- lance as a stop-motion animator, mold. This is done because foam perature, usually overnight. The armature machinist and CGI ani- latex rubber has a kind of ammonia next day, very gingerly pry the mold mator for various animation hous- base, which smells bad and causes apart, and if all has gone well, you es and a video gaming company. corrosion on metal. Always wear a will have a foam rubber represen- His interests in stop-motion ani- face mask when working with tation of your original clay sculpture mation began in 1972, when he foam. The mold is clamped shut surrounding the armature. Voila! All was fifteen. and sealed tight with belt clamps that’s left now is detailing (hair, fin- which can be purchased from gernails, eyes, etc.) and painting. Note: Readers may contact any Burman’s. Then the mixed up foam You might be asking your- Animation World Magazine con- is poured into a special foam injec- self, ”Why go through all this trou- tributor by sending an email to tion gun which can also be found ble making a foam puppet, when I [email protected].

ANIMATION WORLD MAGAZINE February 1998 26 Little Big Estonia: The Nukufilm Studio

by Heikki Jokinen

stonia is a little big nation of (Breakfast on the Grass, 1988), a animation. For a country of layered absurd portrait of life in the Esome two million inhabitants, crumbling Soviet Union. Pärn, who it has a long record of internation- is also a cartoonist and graphic al animation festival awards and designer, is still actively working in many, well-known and revered animation. animators. The Tallinnfilm studio The tradition of puppet film was established 40 years ago in the is carried on by Nukufilm Studio in Estonian capital of Tallinn, which Tallinn. Nukufilm (puppet film) was was at that time part of the Soviet established in 1993 by five puppet Union. Estonia is one of the three film directors and a veteran pho- Baltic republics that regained it’s tographer Arvo Nuut. It has a per- independence after the fall of the manent staff of roughly 20 people. Soviet Union. Since the fall of the The cel animation group of Soviet Union, Tallinnfilm has divid- Tallinnfilm divided into another new Primavera, a puppet film by Riho Unt and ed into two separate studios, one Hardi Volmer, now in production at company, Eesti Joonisfilm (Estonian specializing in stop-motion puppet Estonian animation studio, Nukufilm. Cartoon Film). It is owned by seven film and one that completes tradi- © Nukufilm animators and at the moment tional, cel animation. Ossetian father. Tuganov (born employs some 30 people. 1920) directed the first Estonian ani- Estonia’s History mation Peetrikese Unenägu (Little Pärn considers the years 1986- For many years, early Peter’s Dream, 1958). Altogether he 92 to be the golden years of Estonian animation was stop- went on to direct 37 films, mainly Estonian animation,“We had motion puppet animation, a genre for children. Another classic master the freedom to do what we still strong both in Estonia and many of Estonian puppet and object ani- wanted and Moscow paid for it other former socialist European mation is Heino Pars (born 1925). all.” countries. For the very first puppet His simple but effective object ani- films, the puppets were made in the mation Nael (Nail, 1972) has Tallinn Puppet Theater under the received international fame. This Remnants of the Union supervision of filmmakers. This the- was not usual in Soviet Estonia, State-owned Tallinnfilm still ater still exists and regularly puts on where Moscow decided which films exists, but no longer produces any programs on their stage. were allowed to go to the interna- new films. There are plans to sell the tional festivals. buildings and give the money to The most celebrated cel ani- The sudden jump from a cen- the new Estonian Film Foundation mation filmmakers are Rein Raamat tralized state production sys- to build a studio with modern (born 1931) and Priit Pärn (born tem to a completely capitalist equipment. The sudden jump from 1946). Raamat directed among system was fatal for artistic a centralized state production sys- other folk tales Suur Tõll (The Great animation in many parts of tem to a completely capitalist sys- Toll, 1980) and the hectic Põrgu Europe. tem was fatal for artistic animation (Hell, 1983), which is based on in many parts of Europe. In Estonia The founding father of the Eduart Viiralt graphics from the the change was surprisingly puppet genre is Elbert Tuganov, a Thirties. Priit Pärn’s most remarkable smooth. The Soviet system to ani- son of an Estonian mother and film is without a doubt Eine Murul mation production was simple.

ANIMATION WORLD MAGAZINE February 1998 27 has made highly original films like, dio made a 24-part Christmas cal- Papa Carlo Teater (Father Carlo’s endar for Icelandic television. In Theater, 1988), Noblesse Oblige 1995, they participated in the (1989) and Elutuba (Living Room, Nordic co-production of Hreidar the 1994). A younger generation works Stupid and in 1996-97, the studio there as well. Mikk Rand and Priit completed 13, six-minute parts of Tender are working together on a Urpo & Turpo, a childrens’ series for new project. Tender’s Joonisfilm-pro- a Finnish producer. duced cel animation Gravitatsioon (Gravitation, 1996) won the prize Back to Europe took three for best first film at the Oslo years to do. Shooting lasted for Back to Europe by Riho Unt. © Nukufilm. Animation Festival last April. one and a half years. - Riho Unt Tallinnfilm had a certain production quota per year for both puppet and A Unique Opportunity cel animation. Once the content Estonia is located next to the A Continuing Reputation was accepted in Moscow there was Nordic countries and has especial- Connections to Russia are both the time and resources to do ly close ties to Finland. Via sea the few and far between despite the the film. Finnish capital of Helsinki and Tallinn many years of Soviet domination. Tallinnfilm had a highly qual- are only about 80 kilometers apart. “Before we had something to do ified permanent staff and many Realizing the large differences with them all the time; someone vis- Estonian painters, writers, design- between Nordic and Estonian ited Moscow every now and then. ers and composers were involved salaries, one would expect Estonia Now it’s even more difficult to get in animation production. Even the to have become a mere subcon- a visa to Russia than to China,” internationally known Estonian tractor for Nordic and European ani- explained Nuut. With the neigh- composer Arvo Pärt has created mation. However, this isn’t the case. boring Latvian animators relation- music for sixteen puppet films. “If Nukufilm and Joonisfilm have cre- ships are much better since Latvians every animator would have started ated a niche that is difficult to obtain visit Estonia and vice versa. Puppet his own small studio, we would not even in many big European coun- animation production in the Latvian have had any puppet animation in tries that have substantial public sup- capital of Riga started in 1965. Estonia after five years [of indepen- port for film; Nukufilm is able to Latvian puppet animator Janis dence],” says Nukufilm director, Arvo make, funded, non-commercial Cimermanis, who does children’s Nuut. Nukufilm uses the very same adult animated films. There is pub- films, works there. Her best known studio and building where puppet lic spending for animation in work is probably Avarijas Brigade animation was done in Tallinnfilm Estonia, according to Nuut. (Rescue Team), a funny series of times. Only the name of the street Nukufilm has received some of this three unfortunate, but clever, res- has changed, as so many did after funding for most of it’s films. “Auteur- cuers. independence. The old and heavy, films will never bring back their Nuut thinks animation still but reliable, Soviet-made 35mm expenses, but if you cannot do has a good reputation in Estonia. cameras are still used together with good auteur-films, you can’t do “It is one hundred percent sure that new Asian-made computers. good commercial films either,” Nuut everyone in Estonia knows Priit Every movie is still shot on believes. Nukufilm has done work Pärn,” he said. “And they know Heiki 35mm film. Nuut has collected a fil- for abroad as well. In 1994, the stu- Ernits and Hardi Volmer.” Ernits is mography of Estonian puppet animation over the past forty years. The latest film is number 219 on a list where series are counted as one. Many of the well known Estonian puppet animators still work for Nukufilm, like Kalju Kivi (born 1947), Mati Kütt (born 1947) and Rao Heidmets (born 1956). Heidmets The production set for Back to Europe in Nukufilm’s studio. © Nukufilm.

ANIMATION WORLD MAGAZINE February 1998 28 an animator who also works as a Hardi Volmer quite political cartoonist for the main extensively. They are newspaper. Multi-talented Volmer now shooting a new not only makes puppet animation film Primavera. It’s a but also sings in a popular rock puppet animation band, Singer Vinger, and directs fea- about, as Unt puts it, ture films. His latest film, Minu “the love-life of Leninit (My Lenins, 1997), is a sharp insects for adults.” satire of a Lenin cult, a story about The four-man cam- a school for Lenin doubles. “The ani- era crew shoots 15 mators have an unusually good seconds per day. education from the art schools and Unt, who is also a co-operation with the theater and good cartoonist, has other fields of art are working well,” designed all of the said Nuut. puppets. The seven- Priit Pärn agrees with Nuut minute long, 35mm, In Liisa Helminen and Riho Unt’s puppet animated children’s series, Urpo & Turpo,Turpo practices karate with about the strong status of anima- color animation is a slices of bread. © Nukufilm. tion in Estonia. He thinks one main typical Nukufilm reason for it is the high quality of work, based on an original story had the freedom to do what we political cartoons and graphic art. and financed with Estonian money. wanted and Moscow paid for it all.” “But that was also the case in Unt (born 1956) has been educat- In independent Estonia, Unt Lithuania, where they even had a ed as an interior architect, but he has made, among others, two films more developed cinema industry only works occasionally in this pro- about a farmer Saamuel, Kapsapea than we had. However, they only fession. His first puppet animation, (Cabbage Head, 1993, 30 minutes) got a cel animation studio in the Imeline Nääriöö (Wonderous New and Tagasi Euroopasse (Back to ‘80s,” Pärn recounted. “However, Year Night, 1984), he did in con- Europe, 1997, 38 minutes). The ani- there is also always a place for coin- junction with Hardi Volmer (born mation and set design in both films cidences.” 1957). are of excellent quality. “Back to “It was a Christmas film, but Europe took three years to do. But what would you then say? because in the Soviet Union Shooting lasted for one and a half That life in the Soviet Union Christmas was forbidden, it was years,” Unt explained. It is easy to was bad? Everyone knew it. called New Year’s instead,” Unt believe, the film is done with - Priit Pärn explained smiling. Soda (War, 1987) extreme care and contains a lot of was a mature political story of bats action. The story reflects Estonian Pärn remembers that in and rats living in an old mill. This life from a satirical point of view. Unt Soviet Estonia it was allowed to do 20-minute puppet film was again was also co-director with Finnish animation for an adult audience, directed by both Unt and Volmer. It director Liisa Helminen for seven however, in other parts of the Union discusses the suffocating tragedies episodes of Urpo & Turpo (1997). it was usually forbidden. of Estonian history with brilliant pup- It is a funny and original series about Paradoxically an artist did profit from pet animation and a well crafted two anarchic teddy bears living in some parts of the Soviet’s closed sys- story. I clearly remember the aston- an ordinary family. After twelve tem. In regards to the sparse for- ishment it caused among the pub- years in the animation industry and eign influence, Pärn says, “When I lic in it’s first international screening ten animated films, “It was my first started I had no patterns to follow, at the Tampere Short Film Festival experience directing animation for I only knew what I’d like to do in March 1988. children,” Unt said. myself.” At the same festival the Unt might direct his first fea- Grand Prix was given to Priit Pärn’s ture puppet animation in the near Today’s Production Eine Murul, another absolute world future. A European producer saw One of the leading puppet class animation. Pärn considers the Back to Europe and proposed a fea- animators in Estonia at the moment years 1986-92 to be the golden ture film in the same style. “It would is Riho Unt. He’s been working with years of Estonian animation, “We be one hour and twenty minutes

ANIMATION WORLD MAGAZINE February 1998 29 long, based on a classic fairy tale animation in the Soviet Union. “In but all the characters would be the West many people think that in pigs,” Unt explained. “I was really the films there was some kind of interested in the script. It is not only special language that people in a typical fairy tale, it also includes power didn’t understand,” Pärn satire and irony.” Studio director says. “But what would you then Nuut underlines, “No final decisions say? That life in the Soviet Union on the project have been made so was bad? Everyone knew it. The far.” message in my films was that somewhere there is a guy who thinks in Moving Forward a strange, different way. The absurd Work is coming to Estonia in films were against the monolithic anno Põldma says the lack of violence in various ways. People from a system. You could draw a sausage his cel animated series, Tom & Fluffy, and that was a message because makes it difficult to sell to broadcasters. Japanese department store saw © Nukufilm. Estonian animator Mati Kütt’s film at there wasn’t any sausage. Everyone a festival. They liked it and asked knew it, but that was not the point. which were unacceptable to be him to do four commercials for The point is that someone did it.” screened. My Is the Earth Round? them. The Japanese came to The Soviet system was com- from 1977 could only be distributed Estonia and Kütt even traveled to pletely centralized. The filmmaker in Estonia and Andrei Japan. Now the films are made and had nothing to do with a film after Khrzhadanovsky’s The Glass the quality speaks for itself. it was done. Access to festivals was Concertina from 1968,” Pärn limited, and beaurocrats decided recalled. The dedication at the beginning of Pärn’s film Eine Murul When I got a prize in the which films were send abroad. (Breakfast on the Grass, 1988) says Bilbao Festival I heard about it “When I got a prize in the Bilbao everything, “We dedicate our film half a year later by accident. - Festival I heard about it half a year to the artists who did everything Priit Pärn later by accident,” Pärn said. It was also not clear that the animators they were permitted to do.” No mat- What fascinates Unt about were allowed to travel with the ter what the political system is, the puppet films? “It’s my way of living. films. “I’ve seen a photo from an task and dilemma of an artist There is the third dimension that cel international animation festival - remains the same. animation lacks. There are possibil- Annecy, I presume - that showed ities to invent much more visually,” the Soviet delegation. Three out of An exhibit of Priit Pärn’s work can he says. “We are optimistic, puppet the twelve were animators,” Pärn be seen in the AWN Gallery, on the remembered. He smiled as he Internet at: film will live on in the future. http://www.awn.com/gallery/index.html. Computers will not replace this remembered that nothing worked genre and style.” in the Soviet Union. “If they Currently, Pärn is working at answered no to your script, you just Joonisfilm studio on his new film went on and finally upon completion perhaps you had some success. Heikki Jokinen is a freelance critic The Night of the Carrots. On the and journalist living in Helsinki, other side of the studio Janno From my experience as a newspa- Finland. He specializes in comics Põldma is thinking of new episodes per cartoonist I knew where the and animation and has curated for the childrens’ serial Tom & Fluffy. edge was.” retrospectives and Estonian ani- This cel animation differs from most In other Soviet Republics, mation programs for a number of commercial television animation as Moscow often demanded to see film festivals. He’s a board mem- it has more details and deeper con- the work in different phases, how- tent. “There is one thing that makes ever in Estonia it was first complet- ber of ASIFA Nordic, the ASIFA it difficult to sell,” says Põldma. “It ed and then sent to Moscow for regional body for the five Nordic includes no violence.” approval. The answer could be and three Baltic states. either, ‘Okay,’ or ‘Do some changes,’ Together Pärn and Põldma Note: Readers may contact any directed 1895 (1996), a very origi- or ‘It might be screened in some parts of the country’ or a complete Animation World Magazine con- nal story about the Lumiere broth- tributor by sending an email to ers. I asked Priit Pärn about making ‘No.’ “I know two animated films [email protected].

ANIMATION WORLD MAGAZINE February 1998 30 Spur Worldwide Licensing Activity

by Karen Raugust merchandising and other ancillary bined. Examples of licensed prod- rights as effective methods to help ucts and promotions for Wallace & fund new production. “The reality Gromit include: Wensleydale is that our form of filmmaking is cheese, which features prominent- quite expensive, so ancillary rights ly in the characters’ life style; a are very important,” Keynes says. Kellogg’s corn flakes promotion, which reflects the importance of Products of Quality breakfast as portrayed in the films; Aardman’s merchandising a tie-in with a tea company; a 3-D Wallace & Gromit, those lovable, mer- chandisable clay characters. © Aardman philosophy, which it implements in talking alarm clock featuring Peter partnership with its licensing agent, Sallis, who is the voice of Wallace; allace & Gromit, the stars BBC Worldwide Licensing, is to an intricately designed shaving mir- of three short films direct- authorize “products of a certain stan- ror created by one of Aardman’s ed by Nick Park of Bristol, W dard and quality that somehow modelmakers, which looks as if it U.K.-based Aardman Animations, embody the intrinsic brand charac- could have been a prop; and a con- have inspired a wide range of teristics,” says Keynes. The company cept-based plush toy range where licensed merchandise both at home tries to create unique items, in addi- the items represent scenes, such as and abroad. This despite the fact tion to supplying conventional Gromit sitting in a chair reading the that the stop-motion animated licensed merchandise categories. newspaper. shorts in which they appear lack the Aardman also wants to maintain a extensive worldwide exposure that sense of fun and inventiveness in its Targeting Adults many traditional animation licens- licensing efforts. Whenever possi- Products are primarily tar- ing programs receive. ble, Aardman and the BBC give the geted at adults, which is unusual For Aardman, licensing and nod to three-dimensional products for animation licensing programs. ancillary rights activity, which since, unlike most animation licens- “That’s worked really well for us,” includes everything from television ing programs, the Wallace & Gromit says Keynes. “It’s a relatively unex- and theatrical distribution to home characters themselves are 3-D, ploited market, especially in the video, publishing, new media and made of plasticine. Aardman and U.K.” Merchandise is sold through online, as well as merchandising, is the BBC also favor items that upscale retailers such as gift shops important in that it financially and “Wallace & Gromit might use or find and department stores, rather than promotionally supports the compa- fun or amusing,” says Keynes. through mass merchants. Because ny’s primary business, the produc- just three short Wallace & Gromit tion of entertaining, high-quality ani- films exist, A Grand Day Out, The mation. The top-ranked Wallace & Wrong Trousers and A Close Shave, “We don’t select our proper- Gromit merchandise outlets in and each takes a long time to pro- ties on the basis of licensing poten- the U.S. are Learningsmith, duce, the property lacks the expo- tial,” says Liz Keynes, Head of Rights Store of Knowledge, Musicland sure that characterizes most ani- and Licensing for Aardman and the catalog Signals, all mation licensing programs. “We pro- Animations. On the other hand, as specialty retailers. duce very few films and work very a creative studio that must internal- Approximately 70 licensees slowly, so what we can do with ly finance product development are signed for the British market, those films [in terms of ancillary before it is in a position to generate with about the same number on rights] is very important” as far as revenue from a film, Aardman views board for the rest of the world com- creating awareness, Keynes says.

ANIMATION WORLD MAGAZINE February 1998 31 each territory. “We in the U.K. In addition, certain prod- work with them to ucts that are viewed as too specific finesse the strate- to the British market are not includ- gy and make sure ed in the U.S. effort. These include it’s appropriate,” the Wensleydale cheese, which is says Keynes. The not a food widely eaten (or even overall licensing recognized) by Americans. program is similar across territories in The fact that Wallace & terms of strategy, Gromit is a quintessentially Wallace & Gromit have taken the British market by storm, with more than 70 licensees offering everything from alarm products and dis- British property does not seem clocks to toothbrush toppers. tribution, but there to affect licensing abroad. “We never produce the sort of vol- are some differences from country ume of material that is expected, to country depending on the local Otherwise though, licensed especially in the American market customs, but “always keeping the merchandise in the U.S. remains pri- and the Japanese market.” overall strategy in view.” For marily adult-targeted, as it is in “It’s without ongoing, con- example, in Japan, where the Britain. Products largely fall into the stant media,” agrees Kathie Fording, core audience for licensed prod- realm of gifts, stationery and col- executive director, new business ucts in general is 16- to 30-year- lectibles, such as calendars, development, at United Media old females, Wallace & Gromit mousepads, board games, plush, Enterprises, the licensing sub-agent merchandise is re-styled some- social expressions products (includ- for Wallace & Gromit in the United what to appeal to this demo- ing greeting cards) and neckwear. States and Canada. “That’s why graphic. For example, the plush In some cases, U.S. companies dis- we’re not going for the children’s line features a younger, cuter-look- tribute British products within North market. Without that [media sup- ing Gromit. America; for example, Polygram sells port] we can’t sustain either a kids or Similarly, Keynes notes that t-shirts produced by a British com- a mass market program.” The films Fox Home Video’s marketing effort pany, Deluxe, in the U.S. and are aired periodically in the U.S. on surrounding the home video in the Canada, while Andrews & McMeel the Public Broadcasting Service U.S., which has sold more than 2 distributes The Cheese Lover’s Diary, (PBS). million units, was targeted some- a British licensed product, in the U.S. Fording notes, however, that what more toward children than Retail distribution in North the lack of awareness is not as much the video campaign by BBC Video America is similar to Britain as of a drawback as might be expected in the North American market. “The videos have tremendously helped exposure,” she says. In addition, the property’s uniqueness appeals to potential licensees. Fording points out that while Wallace and Gromit does not generate the huge licensed merchandise sales that some other animation licensing programs do, it is also not limited by a short window of opportunity. “It’s got classic written all over it,” she says.

Abroad in the Territories To expand the program outside Britain, Aardman and the BBC have appointed sub-agents in This size comparison chart from Aardman’s detailed licensing style guide indicates the Pantone color numbers used for each character. © Aardman.

ANIMATION WORLD MAGAZINE February 1998 32 well. The top- ranked Wallace & featuring the characters are critical Gromit merchandise outlets in the aspects of keeping the property U.S. are Learningsmith, Store of fresh over time. Knowledge, Musicland and the In addition to continuing its catalog Signals, all specialty retail- licensing and merchandising efforts ers. They have boutiqued the for Wallace and Gromit, Aardman licensed merchandise with the is looking ahead to its first full-length videos to make a bigger impres- feature film, Chicken Run, which is sion on customers, and some, scheduled to be released in 2000. such as Store of Knowledge, occa- DreamWorks SKG, which will dis- sionally hire walkaround Wallace tribute the film in the U.S. and in & Gromit characters to increase most other territories outside visibility. Signals has featured the Europe, was recently named the property on the cover of two dif- exclusive worldwide licensing and ferent catalogs. merchandising rights holder for the film. Aardman’s Keynes predicts that A U.K. Base The Holiday 1997 cover of the Signals cat- the strategy for Chicken Run will be The fact that Wallace & alog, which offers specialty and imported much different from Wallace & Wallace & Gromit merchandise to the U.S. Gromit is a quintessentially British market via mail-order. Gromit. The movie will have a far property does not seem to affect ritories such as Britain.” greater level of global exposure than licensing abroad. Fording believes Although Aardman the three Wallace & Gromit films, that adults find the British humor Animations has retained the BBC as but will also offer a shorter window quirky and fun, and enjoy the films’ its worldwide licensing agent and of opportunity for licensing and attention to detail and the intricate maintains a network of sub-agents other ancillary rights. story lines. Children, meanwhile, like around the world, the company the physical humor and the man- remains very involved in the licens- and-dog relationship, while the ing and merchandising effort sur- Karen Raugust is the author of British humor goes over their heads. rounding Wallace & Gromit. several books and reports on Aardman staff determine the strat- licensing and entertainment, “Wallace & Gromit are almost egy for the program, in conjunction including The Licensing Business an institution in the U.K. with the BBC, and sign off on every Handbook, International People know Nick Park and licensing deal. They create the style Licensing: A Status Report he’s a celebrity.” - Kathie guides, produce the original 3-D (both available from EPM Fording, United Media models used for product molds and Communications, New York) and Enterprises contract all illustrated work used on Merchandise Licensing for the products and packaging. Television Industry (available from The main difference In addition, the studio over- Focal Press, Newton, Mass.). She between the licensing program in sees photo shoots to supply new also writes about licensing, ani- the U.K. and those throughout the artwork to authorized manufactur- mation and other topics for publi- rest of the world is the fact that the ers for use in cations including The Hollywood property has been around longer licensed prod- Reporter, Publishers Weekly and in Britain than elsewhere. “Wallace ucts. Since only Animation Magazine, and acts as & Gromit are almost an institution a limited a consultant to the licensing and in the U.K. People know Nick Park amount of film entertainment industries. She is and he’s a celebrity,” says Fording. materials exist, the former Executive Editor of “I’m not so sure his name is as well creating new The Licensing Letter. known [in the U.S.] as in the U.K. design themes The fact that the property is just in the style Note: Readers may contact any emerging in many territories means guide and pro- Feathers McGraw Animation World Magazine con- that the licensing is in its earlier from The Wrong tributor by sending an email to viding addition- Trousers. stages there than it is in mature ter- al transparencies © Aardman. [email protected]

ANIMATION WORLD MAGAZINE February 1998 33 Performance Animation: Behind the Character

by Heather Kenyon

otion-capture is such a new through the form of animation that process of creat- Meven the name for this ani- ing a believable, mation technique is still in flux. computer gener- Medialab has constantly been on ated character by the cutting edge of developing per- going behind formance animation technology, the scenes at announcing major advances to its Medialab Studio proprietary software at regular inter- LA in Los vals. Since the company was found- Angeles, ed in 1989 in Paris, they have cre- California. We are ated some 30 characters including going to meet Nickelodeon U.K.’s Bert the Fish and Drew Massey, a Elvis, Pepe the Cricket from Steve performer, Barron’s The Adventures of Marcus Clarke, © Medialab Pinocchio and Cleo, who appears who has specifi- the differences between these two on Canal+’s Cyberflash, a show cally trained people to work in the different professions? about cyber-culture. Medialab spe- motion-capture industry and one of cializes in computer puppetry, Medialab’s foremost technical devel- Drew Massey: Actually, with the which is a subset of the motion-cap- opers, Herve Tardif. technology at Medialab there’s not ture by computer field. Computer a lot of difference. It’s pretty much puppetry differs from motion-cap- performing with real-time comput- Motion-capture is a great out- ture in that the results of human er generated puppets. body motion are fully rendered in let for a traditional puppeteer. - Drew Massey real-time, as the motion is per- HK: ‘Performance animator’: does formed. Therefore, animation direc- that term apply to both the pup- tors and performers can see the per- peteer working on the body and formance instantaneously and can The Actor’s Role the face of a character? then apply immediate corrections if Naturally a major factor of needed. Medialab creates comput- performance animation is the per- DM: It’s all the same thing. I do a lot er puppetry by combining this real- former. However, I found the typical of traditional hand puppetry as well, time capability with sophisticated background of such a performer to muppet style. With that you’re con- devices to track not only human be a surprise. One such example is trolling the head and the body of a body motion but also facial expres- puppeteer and performance ani- character. No matter which way sions and lip synchronization. mator, Drew Massey. Massey recent- you split it up, hopefully, you are One may have seen the ly performance animated “Broz” for blending the performances of both workings of motion-capture before: VDTV at the Western Cable Show people and making one believable a computer generated character is and interacted live with audiences. character. moved by an actor in a suit, who is connected to a renderer which in Heather Kenyon: Your bio says HK: What is your background? turn moves the CG character. you’re both a puppeteer and a per- However, we are going to take you formance animator. Can you explain DM: Standard puppetry. I’ve been

ANIMATION WORLD MAGAZINE February 1998 34 involved in several movies, like The point where creating a believable are your biggest challenges to make Flintstones and Men in Black. Those character is almost effortless. that look real? movies involved puppeteering with either cable-operated characters HK: Is the demand for your services DM: That’s interesting. That’s some- and sometimes some traditional growing? thing you have to get used to as a hand puppetry, as well as a lot of puppeteer, the different portions of electronic and servo animated char- DM: I think it is growing. I know a the body. When I see people that acters. lot of studios who are just doing are really into dance, and really con- motion-capture. Medialab is the only cerned with their body, it takes HK: So you come from a puppetry company, however, that’s really con- them a longer time to get used to background rather than an acting cerned about getting whole char- it because they are not familiar with background? I am surprised you acters together and hiring pup- being outside their own bodies. aren’t an actor.

DM: As soon as I started getting into puppeteering, I started taking acting classes. I took acting in college and I’m an illustrator too. The process of making art move has always been very attractive to me. It’s all about the character, so if you don’t have any sort of acting background, it’s a lot more difficult to make a believable character. The fact that I’m making all of the movements and voice choices doesn’t get in the way. I started out as a puppeteer but I’ve become a much better actor because of it.

HK: Why did you get involved in motion-capture?

DM: Because its cool! I really like computer animation. There’s almost Actor Paul Pistore gives the voice and facial expressions to the character “Broz.” nothing more satisfying than see- © Medialab ing computer animation respond to your every move. It’s just a blast. peteers and actors to do it. That was Typically their bodies are the final When it works well, it works really the thing that attracted me to medium. Every time I’m on a job I’m well. Motion-capture is a great out- Medialab in particular. They are so looking at [the] monitors, the cam- let for a traditional puppeteer. performance-oriented. It seems to era’s view of the puppet, and play- me a lot of other companies are hiring to that, so it’s not that strange for HK: How much do you work for ing mainly mimes or people who me. Medialab? are specifically dancers and capturing their motion for a particular HK: How do you approach playing DM: I go in at least once a week, thing. Medialab is really concerned different characters? sometimes twice. It depends. Mostly, with bringing the whole thing I experiment with the system and together. DM: Like any acting job. I like it figure out what I can do with it. It because the characters are so phys- turns out to be quite a lot. Really I HK: When you’re acting and talking ically different. It’s easier to get into just get my own skills down to the to something that isn’t there. What their specific behaviors. It’s easier to

ANIMATION WORLD MAGAZINE February 1998 35 act different when you look so darn be the natural people to put in the terms of graphics. People thought, different. costumes, they’re doing wonderful ‘Drawing skills will be dead,’ or, movements but often because the ‘Being able to play the guitar will Developing Performance Skills character is a different dimension to be dead.’ Yet a lot of the people Taking puppetry into the themselves, we have collision prob- who succeeded with electronic 21st century demands a complete- lems. That’s the number one thing, music have a good understanding ly new set of skills. Massey is one of whereby the characters arm is of music. the puppeteers who successfully going through its leg or body. What auditioned to be trained by Marcus we need are performers who can HK: What do you think are the dom- Clarke and Helena Smee when look at the monitors and straight inant skills a performance animator Medialab Studio LA opened. In addi- away get the dimensions, propor- has? tion to working with Jim Henson’s tions, of those characters into their studio in the U.K., Clarke has mind, then look at the screen. Then MC: Character creation, number worked with Medialab in Paris and its almost an animation process of one. The next thing is dedication. Japan and was sent to the new Los finding what kind of rhythms work, To become a good hand puppeteer Angeles-based studio in January, in terms of walks, which kind of is very hard work. If you didn’t real- 1997 to develop and train a pool weight shifts work. Sometimes you’ll ly, really want to do it, if you weren’t of performance animators. A select find yourself doing something real- obsessed with it, you wouldn’t do it, group was chosen to hone a special ly strange, unnatural, but on screen, because at the end of the day skill set that would enable them to the character looks like he’s walking you’re a puppeteer, not a qualified adapt their art and bring virtual brilliantly. taxi driver. Something important! characters alive using Medialab’s Likewise for the face, many technology and devices. successful characters are cartoon- HK: What is the most unique aspect ish. What you try to do is not put a of performance animation? That Heather Kenyon: What kind of back- realistic person on the screen, you applies only to performance ani- ground do most of your trainees try to put a performance on the mation? have overall? screen. You have to really just be looking at what kind of facial ges- MC: You can perform a cartoon Marcus Clarke: In the past we’ve tures, working hand in hand with character in real-time. That’s not the experimented with a general group the body, transfer. same as doing a key frame charac- of performers. Performance anima- ter in CG, a hand-drawn animation tion is basically divided up into the character or a puppet character. person in the suit and the person Mimicking reality doesn’t work. Certainly that’s what attracts me. who does the facial animation. The - Marcus Clarke first thing you have to do is intro- HK: It looks like you just put on this duce what performance animation What the connection is suit, you move, and the character is to the group. Basically I’m look- between doing a hand puppet and moves just like you... ing for performance skills, people going into a body costume is odd at who can express themselves. You’re first but when you think it through, MC: That’s the worst thing you can looking for people who understand it involves control, and thinking do. Mimicking reality doesn’t work. the primacy of the screen image. By about how the characters should Often producers think, ‘Well this is that I mean, you quite often get per- move. Most puppeteers can get a great. We can just stick an actress formers who are feeling a lot of cardboard box to walk around, an in the costume, put a face reader what they do internally, but because inanimate object. Both require ani- on.” You can do all that, but you’ll of the technique that we use, we mation skills and dexterity. It’s all hap- find it’s not believable. If that was need actors to realize their emotions pening on a subconscious level. the case, I’m sure actors like Robert on the screen. What we’ve found Character creation’s a bit of mystery, DeNiro wouldn’t be paid what they in the past, is that mime actors, from I think, to everybody. You just know are. That’s like if someone comes the nature of their work, relate when it works. Maybe this relates across a puppet like Miss Piggy and everything to themselves. Likewise to things like, when the synthesizer puts their hand inside, then won- with dancers, who would seem to came along, and the computer in ders, “Why isn’t it happening?”

ANIMATION WORLD MAGAZINE February 1998 36 may be very differ- HK: Do you see the demand [for ent because we motion-capture] growing? may want to animate a gorilla, or a MC: I hope so. I love working on very thin woman, the Medialab system. Sometimes or a very big and fat when a new technology comes in character. There are it doesn’t have a direct application many chances that because there are certain conven- the skeleton of the tions already set up. Animators have virtual character will said motion-capture isn’t very use- differ greatly from ful. You have people who’ve had the real actor. At bad experiences with the early that stage, what we development of the technology. It do is a mapping of takes awhile for people to say, ‘This one skeleton to the is a useful tool. This is better.’ When other. This gets very you have a new tool, there’s often tricky and it’s where a little lag before it comes into com- we have a lot of mon acceptance. I think that’s what’s proprietary infor- happening now. mation. This is a major issue for all The Technical Process people involved in Herve Tardif is one of the motion acquisition code writers based in Paris whose [motion-capture]. knowledge of Medialab’s proprietary Actress Lydee Walsh wearing the Medialab bodysuit.The sen- When the propor- Clovis system (the engine that dri- sors on the suit are picked up by an electromagnetic field tions are quite the ves the real-time factor) is practical- being emitted from underneath the stage she is standing on. same, it’s just a ly unparalleled. Clovis was first © Medialab. straight adaptation. developed in 1989. Tardif is now of the real person. That copy It’s easy. But when going to take us through the tech- amounts to building a skeleton of the proportions are different, it can nical side of making a character the real actor, and attaching the dif- get pretty tricky. move and, more importantly, act ferent values received by the sen- Usually there are a couple of believably. sors to the proper segment of the things we need to insure. These skeleton we just built. You can imag- things are usually the location of the Herve Tardif: One notion that is very ine conceptually at that stage, we feet on the ground. We do mathe- important is the idea of skeletons. have a skeleton that moves exactly matics to insure that our virtual char- We are going to have one real per- the same way the person moves. acter will always have his feet on son wear a number of sensors. That kind of information is already the ground. Starting from there we These sensors measure the position useful for our work. For people who can go up the hierarchy of the skele- and the orientation of the segment are interested in the motion acqui- ton, and take the values from the on which they are attached. We are sition business, that is pretty much real actor and place them on our working with electro-magnetic tech- what they expect: a skeleton along virtual skeleton. Once we’ve done nology, which consists of one with the orientation of each of the that, when the real character source emitting a field and a receiv- segments of the skeleton. moves, the virtual character moves. er measuring that field. After some Another application, which The more different the virtual character is from the real actor, the more processing, it gives information on is our most common application, is different the motion is going to be. the position and orientation. With indeed to drive virtual characters. Suppose the script says that the this information we are able to build At that stage we have a skeleton, character should scratch his head. a skeleton that is going to be exact- which is a copy of the real person, With the two skeletons being dif- ly or very close to the skeleton of and another skeleton of the built, ferent, it is very unlikely that when the real person. We will have a copy or virtual character. These skeletons the real actor scratches his [own]

ANIMATION WORLD MAGAZINE February 1998 37 head that the virtual character will be mouth expressions. We are very tends to work better for not-so-tal- indeed scratch his head. But if we careful in the design process to ented or not-so-experienced pup- show the result of the virtual char- model the expressions so that they peteers. The system will allow us to acter, the puppeteer will adjust to are workable. detect even more mouth forms than that and if he or she is asked that As far as the lip synchroniza- roundness and opening. We are the virtual character scratch his tion is concerned we have two currently talking with these people head again, he or she may expand major techniques. One manual in France in order to improve an his or her motion further away, technique where the puppeteer is automatic lip-synch system so that it maybe go behind the head or doing the lip synchronization. In this can detect more mouth positions. before the head but on the screen technique, the puppeteer listens to It is our belief that this technique the results are going to look like the voice material [recording] and will work better for realistic charac- what we are expecting. They rely does the lip synch by hearing the ters. We do not plan on using this heavily on visual feedback of the vir- soundtrack and manipulating his technique for non-realistic charac- tual character in order to do motion fingers so that he gives the impres- ters. We will stick to the first tech- that will be the required action. sion that the virtual character is talk- nique that is done totally by pup- ing. This is very difficult and you peteers. Heather Kenyon: Can you talk a lit- need very talented puppeteers. tle bit about how the facial move- HK: What kind of hardware are you ments are done and the lip syn- using to render these images in real- Our goal is to come up with a chronization? time? system that TV channels could use or even direct live HT: Again, with respect to these HT: We are using, expansively, SGI. television. - Herve Tardif things, we rely heavily on the pup- We have a decent product because peteers. We use a multiple object SGI goes from not-so-cheap to very interpolation technique. For exam- The second technique that expensive. We have characters that ple, we have our computer graph- we derived only came recently can work on the Octane worksta- ic artists design extreme positions because we realized that we could- tion which costs roughly 400,000 for the mouth. Let’s take a sample n’t always rely on talented pup- French francs [US $80,000]. We case: We have a face and we want peteers. For some productions, they have some character working on to open and close the mouth. We may not be available. We decided it Octane which is mid-range, and we may have an expression of sadness would be a good idea to have also have some very well refined and one of happiness. What we’re some method of automatic lip and detailed characters that run on going to do is to have several synch. We started this very efficiently Onyx workstations. This is the top extreme positions. The puppeteers with the help of a small company of the line. control the characters through a set called Ganymedia in France. These of variables. One could be the people have a lot of experience in HK: How are these electro-magnet- opening of the mouth and anoth- voice recognition. The way that the ic signals fed from the person to er the mood. Now, if you put these technique works is that the voice these machines? two expressions, or variables, on a talent produces the soundtrack that glove, they will be able to play inde- we want the virtual character to say. HT: This is another part of the equip- pendently as the character opens The voice talent is filmed with a ment. Basically, the system provides and closes it’s mouth. Then it’s pret- camera just in front of him, with his you with position and orientation ty much up to the puppeteer to lips painted in blue. With this, and of a certain number of sensors. We give the virtual character some live- the help of some recognition tech- feed this information into the SGI ly expression by moving his fingers. niques, we are able to derive the machine. We have our software on The example that I have just opening of the mouth in real time the SGI machine that reads these described to you is a very simple and the roundness of the mouth. values and adapts them. one. But you can imagine that you These two parameters are then fed can have more degrees of expres- into our system, instead of having a HK: So this is predominately propri- sion with more variables. Common puppeteer doing the opening of etary software? variables are the opening of the the mouth and the roundness of mouth and the mood. It can also the mouth. Since it’s automatic it HT: Yes. Except for hardware, the

ANIMATION WORLD MAGAZINE February 1998 38 majority of our software is propri- It’s one thing to see a etary. virtual character talking with a real person, HK: What functions does this pro- but having these two prietary software allow you to do characters filmed with that is unique to Medialab? a moving camera is really something else. HT: It’s more of a whole package, It adds a lot. It is a very an overall level. I have seen com- large technical difficul- panies that do a very good job in ty. We are going to terms of rendering characters or use that system in The computer, running Medialab’s proprietary Clovis soft- motion acquisition, but I haven’t production very ware, combines the information coming from the two actors. © Medialab. seen companies that can really ani- soon. We are in an mate a character the way we do in extensive test period. We are trying one character when we shoot. real-time. Our software has been to use the system on a show which When we record, we do one char- designed to do real-time animation is being produced for a TV channel acter at a time. In the future we will and to be used to produce TV ani- in France. have multiple characters interact- mated series. ing. There is a huge number of dif- We are now capable of HK: When do you think we can ficulties to get to that, combining doing real-time characters with expect to see this? the two worlds is difficult and we shadows. We are also able to use need to be very precise. our system on a real live set. When HT: March. Recently, we switched it comes to compositing computer to a wireless system. We used to use HK: How far away do you think that graphics with real live shooting, a wired system where the actor was is? there is one notion that is very linked to an electronic unit, with 16 important and that is coherency cables which really restricts the HT: We already did that on some between the real world and the vir- motion. That was one of the major shows. The level of interaction is tual. For instance, when you have drawbacks. Now we are working low, because it is difficult, but I a real character talking to a virtual with a company called Ascension believe that very soon, probably this one, you need to pay a lot of atten- Technologies. We’ve been using year, you shall see some virtual char- tion to your cameras. We came up that wireless system for over a year acters interacting. We’ve been in with a way of calibrating the virtu- now and it’s giving some pretty the field for six years now and it’s al camera with the real camera. It’s good results. We can now have an getting to a point where people at a very simple process that allows us actor walking on a stage without some TV channels in the U.S. are to integrate, in a very believable him or her being linked to any ready to go for it. It’s already being manner, the virtual character with wires. Before we couldn’t roll on the used in Europe by Canal +, TF1, FR2 a real environment. This process ground or turn around many times. and Nickelodeon UK. works with fixed cameras that do Now we can do all of this very well. not move. One very big improve- We even have someone doing Note: The online version of this arti- ment would be to allow for camera gymnastics like backflips right now cle contains two Quicktime movies motion. This gets into the field of at the studio. of Medialab’s “virtual characters” in virtual studios. Recently, we have action. been working with a company HK: Where is the future of this tech- http://www.awn.com/mag/issue2. called Symahvision. They offer a sys- nology? 11/2.11pages/2.11kenyonmedial- tem that can track a real camera, ab.html shooting a real live scene, and then HT: Our goal is to come up with a Heather Kenyon is Editor-in-Chief provide us with camera positions to system that TV channels could use of Animation World Magazine. match our virtual camera position. or even direct live television. We are With this system we should be able working on the camera issue Note: Readers may contact any to integrate virtual characters with because we know they will want Animation World Magazine con- a live set. This is going to increase that. We will also probably see sev- tributor by sending an email to the credibility of the compositing. eral characters. Right now we have [email protected].

ANIMATION WORLD MAGAZINE February 1998 39 HowÕd They Do That?: Stop-Motion Secrets Revealed compiled by Heather Kenyon

n October 9, 1997, Nick David Fain (U.S.) Park and Peter Lord made a Animator, Action League Orare Los Angeles appear- Now! ance at the Academy of Motion “The show is an inter- Picture Arts and Sciences as part of esting hybrid of about the Marc Davis Animation Lecture 20% animation while Series. The at-capacity crowd was the remaining 80% very attentive to the presentation. what we call However, a special hush fell over “Chuckimation,” which the audience as Nick explained that consists of puppeteering the soap bubbles and water with and hurling the charac- which Gromit washes windows in A ters past the camera. Close Shave was actually created In The Wrong Trousers’ train chase scene, animators This previous season using a combination of clear hair moved the wall in the background to create a realistic we’ve worked with a gel and glass beads. We asked six motion blur. © Aardman. variety of substances stop-motion maestros to reveal a ranging from Aloe Vera gel to sim- few more tricks of the trade: Henry Barry Purves (U.K.) ulate fried Alien, to mixing all three Selick, Barry Purves, David Fain, Director, Next, Screen Play, colors of Nickelodeon “Smud” with Andrew Ruhemann, Voltaire and Rigoletto, Achilles water and tempera paint to pro- Mikk Rand. Here’s what they had to “For blood, I use a cosmetic duce the substance Meltman oozes say: toothpaste. It’s red and slightly dyes in the show’s opening sequence.” the gums a deeper shade, in effect making the teeth whiter. Mixed with I can’t look at one of my death a little glycerin to make it look wet, I ended up creating a mixture scenes now, without smelling of it’s easily animatable and does not of cinnamon, nutmeg, cayenne spearmint! -Barry Purves run or dry out. Unfortunately, it pepper and instant coffee smells of spearmint. I can’t look at grounds. - Voltaire Henry Selick (U.S.) one of my death scenes now, with- Director, The Nightmare Before out smelling of spearmint!. . . . KY Andrew Ruhemann, Passion Christmas, James and The Giant lubrication jelly is also wonderful for Pictures (U.K.) Peach tears.” Producer, Doppelganger. “In The Nightmare Before “KY Jelly was used as a sub- Christmas there is a grotesque foun- stitute for snot in the making of tain in the town square that looks to Doppelganger, a Reebok commer- be choking itself. The trick was the cial. It was used to show that the water. What we did was make a evil Ryan Giggs double is a dirty, series of replacement sculptures out slovenly kind of chap!” of translucent plastic and used a replacement cycle. We didn’t use Voltaire (U.S.) any water at all. We based the This gruesome scene from Barry Purves’ Director/animator, commercials (Sci- movement on traditional animation Screen Play used a special red toothpaste Fi Channel, MTV and USA Network) and then cast it in a queer resin.” to simulate blood. © Bare Boards “For a Halloween promo Productions.

ANIMATION WORLD MAGAZINE February 1998 40 that I animated for the Sci-Fi Channel, I had to create stop- motion skeletons with pumpkin heads. The skeletons were made of armature wire and plumber’s epoxy. Plumber’s epoxy is a resin that you mix and in four minutes it turns to stone. Needless to say you have to be a fast sculpt! I wanted the heads to be jack-o-lanterns, but for them to look dried out and old. Rather than the usual route which is sculpting them in clay, making a mold and then casting them in rubber, I made shrunken apple heads. I carved the faces directly into the apples and then let them dry out. It created a really wrinkly, old look. Voltaire’s station id for The Sci-Fi Channel. Image courtesy of Voltaire. “For the set I was looking for some kind of texture that would We were getting down to the wire Kutt) and Edgeland Tales by make the ground, which was pri- and hadn’t yet built the house, so I Mikk Rand & Priit Tender. We also marily craft paper and water putty, sent one of my assistants to use corn, rice, rye, wheat, bar- look very earthy and organic. I Starbucks and asked him to liberate ley and oats together in the ended up creating a mixture of cin- about 200 wooden stirrers. We cut water because they fall at dif- namon, nutmeg, cayenne pepper them like miniature wooden siding ferent speeds and look more and instant coffee grounds. I then and built a little forced perspective natural. spray-mounted it to the paper and house out of the stirrers. Then we it really looked like earth. The nice spray painted the entire thing black. • Another way we have created thing is that each one of these pow- It is probably the quickest and snow was to use salt from ders has a distinctly different color to cheapest mansion ever built!” Byelorussia [Republic of Belarus] it, so by mixing them in different for the film Christmas Story (Dir: proportions and by individually Mikk Rand, Nukufilm (Estonia) Aarne Ahi). sprinkling them, you end up get- “When we animated the film ting a really organic modeled tex- Back to Europe, directed by Riho • Licorice was used to imitate the ture. All of the dried out foliage Unt, we thought we had discov- maggots in Back to Europe (Dir: came from a dried flower and plant ered making water by using hair Riho Unt). store. These thorny, seed casings gel! and podlike things ended up giv- • Coffee made with half the liq- ing the landscape a very macabre “Anyway, here are a few more uid, so that it is extra strong, look. We used these instead of examples: looks like oil. We used this tech- sculpting trees. • Cotton wool was used to imi- nique in Back to Europe (Dir: tate smoke and smog in Riho Unt).” When we animated the film Kaerajaan (Dir: Mikk Rand) and Back to Europe, directed by Back to Europe (Dir: Riho Unt). Heather Kenyon is Editor-in-Chief Riho Unt, we thought we had Cotton wool was also used to of Animation World Magazine. discovered making water by create snow in The Elf’s Tree using hair gel! - Mikk Rand, (Dir: Rao Heidmets) and The Elf’s Coming (Dir: Heino Pars). Nukufilm Note: Readers may contact any Animation World Magazine con- • Rice in water was used for falling “At the very end of the spot tributor by sending an email to snow in Underground (Dir: Mati there’s a Victorian haunted mansion. [email protected].

ANIMATION WORLD MAGAZINE February 1998 41 California Summer School for the Arts: More Than an Education by Jon Roslyn

Note: The photos in this article, faculty, devel- r egarded courtesy of instructor and photog- oped pro- more as a rapher Gary Schwartz, are intend- grams, sched- craft than an ed for 3-D viewing. To view them uled the stu- artistic appli- properly, bring your face ten inch- dents’ days, cation.” es from the page and cross your and planned (However, eyes to blend the left and right to teach ani- Dave Master, images. mation histo- currently of ry, life draw- Warner Bros. rior to 1987 extremely talent- ing and take Feature CSSSA students learn the abstract technique of ed, artistic high school students the students drawing on film. 3-D photo courtesy of and © Animation, Pdidn’t have too many oppor- to studios to Gary Schwartz did begin the tunities to meet with and learn from spawn a new La Puente leaders in the entertainment field. generation of innovative animators. Valley ROP Rowland High School Then the California State Summer Gary Schwartz, an Emmy animation class around this time.) School for the Arts [CSSSA] was cre- and Oscar nominee, has been a fac- The CSSSA is backed by a prestigious ated and this opportunity of a life- ulty member for six years and was Board of Trustees and Directors that time has been experienced by the first faculty member that embody significant experience in all almost 4,500 young artists to date. Panushka brought on board. “The walks of the seven disciplines. Their The CSSSA began as a unique pri- truth is we are jealous,” said network ensures that the school vate/public partnership giving high Schwartz, “We are giving the stu- draws excellent teachers and guest school students a place to pursue dents what we wish we had when lecturers. seven different arenas of artistic we were their age. I think it is the The program was first based interest in a summer camp type of best program of its kind in the at Cal Arts, then moved to Loyola setting. By 1992, the CSSSA’s ani- United States.” Marymount, where, ironically, there mation program had blossomed were no animation facilities. The into a bona fide power house. This in-depth animation pro- next summer it was relocated back This in-depth, one month to Cal Arts, only to move again to gram for high school students animation program for high school Mills College. A final move for the students was the brainchild of well- was the brainchild of Christine summer of 1992 brought the pro- known animator Christine Panushka. gram back again to Cal Arts where Panushka. Panushka has won it has flourished. The program’s notable awards including the 1986 Ruth Hayes, an independent growth curve would make any ana- Aspen Film Festival animation grand animator, agreed. “It is the high lyst proud. In 1989, 24 aspiring ani- prize for Nighttime Fears and point of my teaching year,” she said. mators sketched until their fingers Fantasies: A Bedtime Tale for a “The students are wonderful to were raw. In 1997, 250 applicants Young Girl. and the Golden Gate work with because they are so vied for the fifty available slots. Award at the San Francisco eager. It is great to work with them Today the program has U.S. International Film Festival for The because they want to, not because $600,000 in private endowments. Sum of Them in 1985. Recently, she they have to.” Corporate sponsors are proud to be has garnered attention and success a part of this innovative program. with her online animation festival A Real Animation Program The Walter Lantz Foundation recent- Absolut Panushka. Panushka, a vis- A substantial animation pro- ly contributed substantially in the iting professor at USC’s division of gram at the high school level was form of a $100,000 grant that will animation and visual arts, was given an idea so fresh, it was startling and be payable over four years and will authority by Rob Jaffe, Director of Jaffe loved the concept. “In 1987, to initiate the Walter Lantz Foundation the CSSSA, to chair the new CSSSA my knowledge, animation wasn’t Endowment Fund. However, it isn’t animation department. She hired taught in any high school. It was just the private sector that realizes

ANIMATION WORLD MAGAZINE February 1998 42 the importance of this program. Disney. Everyone was great and I dents have created.” Portfolio Rosalie Zalis, Senior Policy Advisor made tons of friends.” reviewers take notes on every appli- to the Governor, explained, “The Ursula Glaviano shares cant. Upon request, an unaccept- California Summer School for the Corinne’s enthusiasm. “The screen- able candidate can have a CSSSA Arts provides an opportunity for stu- ing on the last day was incredible. staff member review their notes with dents representing all of California’s Other people come from other them over the phone so that they unique diversity to increase their departments and you get to hear may strengthen their portfolio for artistic, creative and problem-solv- their responses to your work. The the following year. For considera- ing skills which will afford them the program made me really, really sure tion to enter, applicants present valuable tools necessary for today’s that there were no other options for three pieces of still work: one tech- emerging industries in entertain- me but to go into animation.” nical, one exemplary of their char- ment and high technology.” acter, and a third of their choice. Participation such as this insures a They then explain each in writing. In 1997, 250 applicants vied for steady stream of talented animators Students find out about the pro- in years to come. the fifty available slots. gram through word of mouth, art Students come from every classes in high school, and the orga- conceivable group all throughout Monica Martinez loved the nization’s web site. California. “The program is so program so much, she’s attended The four week summer pro- diverse. From tiny rural areas to three times. “I wasn’t sure what I gram is one of seven departments major metropolitan ones, this pro- wanted to do in art. Now I’m work- at the CSSSA which includes visual gram gives students access to the ing on my portfolio and I want to arts, animation, music, film/video, arts that normally would not have it. major in experimental animation at writing, theater and dance. After a For the first time they are exposed Cal Arts.” One student from brief orientation, animation students to a serious art experience,” said Connecticut worked two waitress- immerse themselves in life drawing Hayes. Moreover, the caliber of stu- ing jobs for a year in order to amass and animation screenings. One of dent is extraordinary. “They are the $3,000 for out-of-state tuition. the first exercises is to create a smart, talented kids,” Hayes contin- Clearly a testament to how serious- zoetrope. No matter who one ued. More than 50% of these stu- ly these students take their work speaks with, from students to fac- dents receive some scholarship assis- and how beneficial and special they ulty, the one word that is repeated tance from the school. While stu- know the program to be. is “intense.” In fact, all of CSSSA’s pro- dents out of California are encour- Bobby Podesta is currently grams are designed to be taught at aged to apply, there are currently an animator on A Bug’s Life at Pixar a college level. For the duration of no scholarships available for them. and had little art training before the program, the students work six CSSSA. He was highly motivated days a week and get little sleep. Students React and exhibited a second sense for Former student, Corinne motion in animation - one of the Lambalot raved, “I loved it. Before I more difficult aspects of animation Just because they’re high went I wasn’t sure I wanted to go production to master. Seeing these school students, they’re judged into animation. After, I was moti- gifts, professors saturated him and no less sternly than college ani- vated to be an animator. I’m mak- he loved every moment. “It is quite mation students. ing my portfolio a lot better to focus frankly one of the most amazing on animation as a major. I want to experiences of my life and if you talk be a key character animator for to anyone at the program they will No Breaks say the same. In main- Today, several high schools stream school there just have begun offering rudimentary isn’t anything like it.” animation programs. Budgetary restrictions at these other schools, The Application Process however, mean supplies and com- Panushka warns puter programs are limited or out applicants of common of date by the time students get reasons for rejection. them. Panushka noted, “We don’t “Don’t copy Simba or let our students use computers. Spiderman,” she said. “We They need to get animation in their always receive twenty to hands, in their blood, to develop a From left to right: Christine Panushka, Phil Roman thirty of those. We want sense of timing essential for believ- and Corny Cole. 3-D photo courtesy of and © Gary to see characters the stu- able character motion.” Schwartz.

ANIMATION WORLD MAGAZINE February 1998 43 Just because they’re high animators upon returning home. school students, they’re judged no One mother wrote, “What did you less sternly than college animation do? My son’s cleaning his room!” It students. Panushka continued, takes a lot of focus and organiza- “College students take one year to tion to make an animated movie. do one minute. Some of these kids It’s only natural that these traits do it in a week and a half. At the would carry over into other aspects end, we splice together all the strips of students’ lives. Hayes pointed out on one reel. Kids cheer and rejoice Life drawing is a critical aspect of the that the students “...have to go at the sight. I’ve never seen students CSSSA program. 3-D photo courtesy of home and they have to figure out and © Gary Schwartz work as hard as these.” how to continue this artistic prac- Many benefits to the pro- ies. Guests from all walks of the tice on their own without support.” gram are only apparent a few days industry, from recruiters to writers The students walk away into the course. The students to production executives, donate from the program with lifelong mature. For some it’s the first time generous amounts of their time. friendships, professional leads and a they’ve been away from home. As the students follow the feeling of self-worth gained from Perhaps, they’ve always been the month long schedule, they march strange kid that sits and draws in ever closer to their final project. In when hundreds of drawings the back of the classroom. “You 1997, they were each given two become a single living entity. “It was meet people who are just like you weeks to create an animated piece the first time I had seen something for the first time,” Podesta explained. by hand which had to be at least of my own move. It blows you Schwartz related that indeed the ten seconds long and include ani- away,” Podesta confirmed. students do change. “You see kids mation of flying, swimming or leap- Moreover, the program who are totally transformed human ing, metamorphosis and the use of seems to be just as rewarding for beings.” two colors and sound. the faculty. “If I were a millionaire, Students use paper cut outs, wherever I was, I’d come back to No matter who one speaks paintings, drawings and other teach CSSSA and that’s the truth,” with, from students to faculty, materials to translate their ideas into Gary Schwartz said. Panushka the one word that is repeated visual images to be shown to their added, “Students come back all the is “intense.” classmates at the end of the pro- time to say thank you. That’s not gram on the premiere night. something they have to do.” Students scream and shout, rejoic- To learn more about the The Curriculum ing in their artistic triumphs. They California State Summer School for Students do a spectrum of learn about animation, but they also the Arts and their upcoming activities but core basics like life get much more. They learn they March 1 application deadline, visit drawing (taught by Cal Arts’ mas- must give everything they’ve got to their web site (accessible from the ter, Cornelius ‘Corny’ Cole) occur succeed. AWN Animation Village, on the every day. One day might include internet at life drawing, animation, then a visit Results That Last http://www.awn.com/awneng/vi to Disney. Students are required to The program is now a llage.html) or contact them at the go to theater and dance classes to decade old. The groundbreaking following address: help them understand movement. educational venture has reaped a “We focus on introducing them to rich harvest of gifted animators who California State Summer School for other art disciplines,” Hayes con- are now ensconced in some of the firmed. Another component of the most respected animation facilities in the Arts day is an hour long screening of the world. CSSSA alums are in the 4825 J Street Suite 120 animation which can include works ranks of such animation houses as Sacramento, CA 95819 from Eastern European animators Disney, Pixar and Warner Bros. (916) 227-9320 to early Fleischer cartoons. There Feature Animation among others. John Roslyn is a Los Angeles- are also talks with the likes of Craig Podesta is currently working with based freelance writer and artist. Bartlett, creator of Hey, Arnold!, to five CSSSA alums at Pixar. “Now is French animation theorist and cre- when we are beginning to see the ator of Fantastic Planet, Rene impact of the program in the artis- Note: Readers may contact any Laloux. Not many local high schools tic world,” he said. Animation World Magazine con- offer such informal contact with Parents are amazed by the tributor by sending an email to industry stars and artistic visionar- behavioral changes in their young [email protected].

ANIMATION WORLD MAGAZINE February 1998 44 The Havana Connection

by Cesar Coelho

ne of the reasons one thirty years back in time. The build- should visit Cuba during ings are those from the Fifties and Othe month of December is Sixties. On the streets, there is a con- the “Festival Internacional Del stant display of vehicles that are 30, Nuevo Cine Latinoamericano” (The 40 and even 50 years old. These International Festival of New Latin- include well-maintained ‘57 Chevys! American Cinema) which is held in The same holds true for the cine- Havana. In it’s 19th year, the Havana mas. Most of them still have the big film festival is the biggest cine- screening rooms which hold up to matographic event dedicated entire- 1,000 and 1,500 seats and display ly to Latin cinema. Spain and Latin- a gigantic screen with a curtain that American countries participate with opens prior to the screening. I features, medium and short fiction thought I would never see this films, documentaries, a poster and again. The sound is okay, although script contest, and last but not least, the picture quality could be animated films. Besides the festival, Cuba itself is a marvelous attraction; improved. not only for its natural beauty and The Festival Internacional Del Nuevo Cuban television, which is Cine Latinoamericano catalog. breathtaking architecture, but for its state-controlled, has very limited pro- people and their lifestyle which is enough, Cubans can buy a pass for gramming. Air time only runs for based on values that are very dif- the entire festival at US $0.94. certain hours. The major attraction ferent from ours. Most theaters in Havana are is the Brazilian soap operas which quite old. However, when one spread a fever among the popula- Besides the festival, Cuba itself arrives to this enchanting island, the tion and lead the country into is a marvelous attraction... first impression is to feel that you’re stasis.

A Festival With an Audience During the two weeks of the festival, Havana is host to a multi- tude of film stars, producers, directors, intellectuals and critics. However, the festival’s most respected participant is the Cuban audience. Cinema in Cuba is still a strong force, as it was in Brazil in the Sixties, when ticket prices were lower, theaters were bigger, and competition with television and the VCR wasn’t a part of the scene. In Cuba, ticket prices are subsidized by the government, and their cost is the equiv- The old world charm of Havana is seen in this photo of the Cine Prayet theater. Photo alent of US $0.35. As if that isn’t courtesy of and © Cesar Coelho.

ANIMATION WORLD MAGAZINE February 1998 45 Cinema is a major attraction dance and sensuality. Filminutos, directed by Jorge Valdés for Cubans who flock to the festival With six films each in com- and Mario Rivas. This series, now screenings, creating long lines and petition, Brazil and Cuba had the up to 40 episodes, is composed of packing all of the sessions. They are highest number of animation films that are five minutes long, with highly educated, and it’s proven by entries. From Brazil, Hello Dolly! and various gags from 30 seconds to a this festival that they can be con- Kaos, both directed by Daniel minute long, and is a big success sidered sharp and sophisticated film Schorr, are each one minute long. in Cuba. On a technical level, the critics. They also become absorbed Their themes are about the changes series is done with traditional cel in the plot so easily, that they that have taken place during this animation. In En La Tierra De applaud and argue during the pro- millennium. In Recital, also from Changó (In The Land Of Changó), jections. The entire city mobilizes Schorr, he uses an interesting orig- director Mario Rivas uses a sophisti- around the majestic and charming inal technique. The drawings are cated narrative about the Yoruba Hotel Nacional. It is the headquar- done in pencil, shot in black and gods and myths originally from ters for the festival, and many peo- white, and then color is applied Africa, that are common to Cubans ple take time off during this event to directly to the film. and Brazilians. be able to attend all of the screenings. Cuba’s Animation Industry The Cuban films are pro- The Animated Films duced by the government agency The animation category had responsible for all film production very few film entries, but was still a on the island, the ICAIC. For more current Latin American production than 20 years the ICAIC has kept it’s showcase. Participating in compe- animation studio active in a cozy tition from Argentina was the short three story building, with facilities Tanto Te Gusta Ese Hombre (So for animating, lay-out, filming and Much Do You Like That Man), direct- production. Whatever they lack in ed by Vicky Biagiola and Liliana resources and technology, Cubans Romero, a color pencil animation, compensate for with improvisation Recital by Daniel Schorr. © Daniel Schorr. and Dibu - La Película (Dibu - The and creativity. In the entire anima- Movie), directed by Carlos Olivieri tion studio, I only saw one com- and Alejandro Stoessel, which was Technique is also a main puter which was used for pencil the festival’s only feature length ani- concern in Telmo Carvalho’s film, tests. However, after using an mation. The film is technically well Campo Branco (White Field). The Oxberry camera for the first time, done, a combination of animation actors are mimes, filmed in live- technicians from the ICAIC con- and live-action characters. It tells the action, printed on photographic story of a couple with four children, paper, cut-out and later applied structed a second one utilizing parts three of which are made of flesh onto cels over colorful painted back- designed from the first. and bone, the fourth is animated. grounds. They interact with traditionally animated characters, nar- The ICAIC has been trying to rating Northeastern Brazil’s struggle step into the world animation In Cuba, ticket prices are subsi- with drought. In Una Casa Muito market, offering it’s broad dized by the government, and Engraçada (A Very Funny House), experience in traditional ink their cost is the equivalent of and paint. US $0.35. Toshie Nishio, uses a simple technique to illustrate a very well known Brazilian children’s song. Finally, Films are produced by an Noche (Night) directed by Nino, directed by Flavia Alfinito, was enormous crew with a very rigid Tomás Welss represented Chile in the only clay animation work in the hierarchy. The amateur starts as an the festival. Using color pencil on festival. inbetweener. After some time the paper, it’s a very loose and expressive From the six Cuban films par- artist becomes an assistant, then an animation, although a little too ticipating, five are part of the series animator, and finally, after many long. It depicts a night of party,

ANIMATION WORLD MAGAZINE February 1998 46 YYourour AdAd CouldCould BeBe HerHere!e!

For rate cards and additional information about various opportunities for exposure at Animation World The winner of the Coral Negro prize, Desde Adentro (From Inside) by Dominique Jonard. Network, © Dominique Jonard. contact our years, a director or an animation dren from a Mexican government Los Angeles supervisor. This factor shows the correctional institution made this office at excellent training done by the stu- film using paper cut-outs to relate dio. Each artist is also a teacher of their life experiences in the streets, 213.468.2554 three or four students under his/her their involvement with drugs, street responsibility. gang wars, and their abandonment or e-mail Despite the harsh economic and exclusion from society. The chil- any of our sales crisis that has been hurting the dren’s ingenuity using the cut-out representatives: country, the animation studio has technique, and the humor origi- never stopped producing films. In nated by their interpretations, cre- an attempt to move forward with ated a deep contrast with the vio- North America: new productions, the ICAIC has lence implicit in the theme. This Dan Sarto been trying to step into the world unexpected paradox gave the film animation market, offering it’s broad a strong impact, making it unques- [email protected] experience in traditional ink and tionably the winner. paint. So far, part of a Spanish ani- I found the festival in Havana mated series is being developed in to be not just an attraction, but a Europe: the Cuban Animation Studios. reminder that there’s another world, Thomas Basgier made of film, alive, and well on the The Grand Winner island of Cuba. [email protected] Finally, with a certain amount of suspense, the first prize Translated from Portugese by in the animation category, the Alejandro Gedeon. U.K. grand winner of the Coral Negro Alan Smith (Black Coral) prize, was awarded to Cesar Coelho is an animator and [email protected] Desde Adentro (From Inside), direct- co-director of the Anima Mundi ed by Dominique Jonard, who rep- animation festival in Brazil. resented Mexico in the competition. The Award demonstrates the social Note: Readers may contact any Other Location: Animation World Magazine con- concerns of the festival jury, who [email protected] valued content over form. Under tributor by sending an email to Jonard’s guidance, delinquent chil- [email protected].

ANIMATION WORLD MAGAZINE February 1998 47 Contato em Havana

de Cesar Coelho Festival Internacional del As salas de cinema festival, toda a cidade se Nuevo Cine Latino-ameri- de Havana são antigas. mobiliza em torno do festi- Ocano é mais uma razão Aliás, quando se chega a val e muitos tiram férias para se visitar Cuba no início de Havana, a impressão que nesta época para assistir a Dezembro. Em sua 19ª edição, o se tem é a de se ter volta- todas as obras. Festival de Havana é o maior even- do trinta anos no tempo; to cinematográfico inteiramente as construções são as Os Filmes de Animação dedicado ao cinema latino, sendo mesmas dos anos 50 e Na sessão de ani- muito prestigiado junto aos produ- 60. No trânsito, é enorme mação, embora com O Programa do tores, diretores e artistas destes país- a quantidade de veículos Festival pouca quantidade de es. Reúne longas, médias e curtas com 30, 40 é até 50 anos Internacional do filmes, foi possível se traçar metragens de ficção, documen- de idade, incluindo Novo Cinema um painel da atual pro- Latino-Americano. tários, um concurso de cartazes e incríveis Chevys 57 super dução latino-americana. Da de roteiros e, at last but not at least, bem conservados. O mesmo se Argentina, estavam na competição filmes de animação. Além do festi- passa com os cinemas que, em sua o curta Tanto te gusta esse hombre val, Cuba, em si, é a outra atração maioria, ainda são aquelas porten- / dir: Vicky Biagiola & Liliana que vale a visita. Não só por suas tosas salas de espetáculos de 1,000 Romero, uma animação em lápis de belezas naturais e arquitetônicas, a 1,500 lugares e tela gigante com cor sobre papel usando as difer- mas, principalmente, por seu povo cortina que se abre antes da sessão entes texturas destes materiais como e seu modo de vida, baseados em (e eu pensei que nunca mais ia ver recurso narrativo, e Dibu-La pelícu- valores bastante diferentes dos nos- isto...). O som é razoável, porém a la/dir: Carlos Olivieri & Alejandro sos. qualidade de projeção podia ser Stoessel, que era o único longa melhor. metragem de animação no festival. Um Festival com Público A televisão cubana, que é Tecnicamente bem feito, com per- Durante as duas semanas estatal, tem uma programação bas- sonagens animados contracenan- do festival, os hotéis de Havana tante limitada. Funcionando ape- do com atores, o filme apresenta ficam lotados e a população da nas algumas horas por dia, sua um casal que tem quatro filhos: três cidade se mobiliza para acompan- maior atração são as novelas de carne e osso e o quarto é um har as sessões competitivas e retro- brasileiras que são uma febre entre cartoon. spectivas. Em Cuba, o cinema ainda toda a população e param o país Noche/dir: Tomás Welss, rep- é a grande atração, como era no todos os dias na hora dos episódios. resentou o Chile no festival. Brasil nos anos 60, quando os Assim, o cinema é um preços eram mais razoáveis, as salas grande programa e a população de exibição maiores e mais requin- comparece em massa, fazendo filas tadas e a competição com a tele- kilométricas nas portas dos cinemas visão não era tão acirrada. Aqui, os e lotando todas as sessões. Com um preços dos ingresso são subsidiados nível cultural muito elevado, os pelo governo e custam o equiva- cubanos acompanham os filmes lente a US$0.35, sendo que, com com um senso crítico apurado, se exclusividade para os cubanos, é envolvendo na trama dos filmes, possível comprar um passe para aplaudindo, discutindo e opinando todas as sessões do festival por cerca durante a projeção. Começando no O charme do velho mundo em Havana é de US$0.94. belíssimo Hotel Nacional, sede do visto nesta foto do Cinema Prayet. Foto de cortesia de e © Cesar Coelho.

ANIMATION WORLD MAGAZINE February 1998 48 Utilizando papel e lápis de cor numa são realizados na tradicional cel-ani- da animação de uma série espan- animação bastante solta e expressi- mation, En la tierra de Changó/dir: hola é realizada nos estúdios va, embora um pouco longa, o Mario Rivas, usa várias técnicas cubanos. filme mostra uma noite de festa, numa narrativa sofisticada sobre dança e sensualidade. deuses e mitos de origem africana O Grande Vencedor Com seis tão comuns em Cuba quanto no Por fim, com uma certa dose obras na com- Brasil. de suspense, o grande vencedor petição, o do Coral Negro: o primeiro prêmio Brasil, ao lado A Industria Cubana de Animação na categoria de animação foi para de Cuba, tam- Todas as obras cubanas são Desde Adentro/dir: Dominique bém com seis produzidas pelo ICAIC, que é a com- Jonard, representante do México na filmes, foi a panhia estatal responsável pela pro- competição. A premiação demon- Recital de Daniel maior represen- dução cinematográfica. Há mais de stra a preocupação social do festi- Schorr. © Daniel tação no pro- vinte anos, o ICAIC mantém ativo o val, valorizando mais o conteúdo Schorr grama de ani- estúdio de animação num agradáv- mação. Hello Dolly! e Kaos, ambos el prédio de 3 andares com salas dirigidos por Daniel Schorr, são de animação, arte-final, filmagem e filmes curtos de 1 min cada, que produção. O que lhes falta em têm como tema a mudança do recursos e tecnologia - em todo o milênio. Também de Daniel, Recital, estúdio, eu só vi um computador usa uma técnica original: os desen- que é usado para pencil-test - os hos foram realizados em papel e cubanos compensam com impro- lápis, filmados em B&W, e a cor foi visação e criatividade: a partir de aplicada diretamente sobre o neg- uma câmera de animação Oxberry, O vencedor do prêmio Coral Negro, ativo pelo autor. os técnicos do ICAIC construíram Desde Adentro de Dominique Jonard. © A técnica também é o per- uma outra acrescentando mais Dominique Jonard. sonagem principal do filme de alguns recursos. Telmo Carvalho: Campo Branco. Os filmes são produzidos por que a forma. No filme, menores Mímicos, filmados quadro a quadro, uma equipe numerosa cuja a hier- delinqüentes internos de uma insti- copiados em papel fotográfico, arquia é bem rígida: o iniciante, tuição correcional do governo mex- recortados e aplicados em acetato, após um período de estágio, icano, contam, usando animação atuam em cenários de pintados e começa como in-betweener, após de cut-outs e muita sensibilidade, contracenam com personagens ani- algum tempo, torna-se assistente, suas experiências de vida na rua: a mados, para contar a luta do povo depois animador e, assim, leva-se convivência com drogas, as guer- do nordeste brasileiro contra a seca. muitos anos até se tornar um dire- ras de gangues , o abandono e a Já em Uma Casa muito engraçada, tor ou supervisor de animação. marginalização. A ingenuidade da sua diretora, Toshie Nishio, usa a Porém, deve-se ressaltar o bom tra- técnica e o humor contido na inter- simplicidade para ilustrar uma músi- balho de treinamento realizado pelo pretação dos meninos contrastam ca infantil muito conhecida no estúdio, cada artista é também um com a violência implícita no tema, Brasil. Finalmente, Ninó/dir: Flávia professor três ou quatro alunos sob isso só aumenta o impacto causa- Alfinito que era o único filme real- sua responsabilidade. do pelo filme fazendo-o, sem dúvi- izado em massa de modelar no fes- Apesar da grave crise da, merecedor do prêmio. tival. econômica que há anos atinge o Agora, sobre a outra atração Dos seis filmes cubanos, país, o estúdio de animação nunca de Cuba: a sociedade cubana, seu cinco fazem parte da série deixou de produzir seus filmes que, modo de vida, seu lado positivo e Filminutos/dir: Jorge Valdés & Mario como já dissemos, têm excelente seu lado negativo...Isto é assunto Rivas. Esta série, já com 40 episó- repercussão entre o povo. para mais alguns artigos e muitas, dios, é composta de filmes de 5 Procurando viabilizar novas pro- muitas discussões acaloradas. minutos cada, com várias gags de duções, o ICAIC vêm buscando Cesar Coelho é animador e co- 30 segundos a um minuto e são prestar serviços em sua especiali- um enorme sucesso em Cuba. dade: animação tradicional e pin- diretor de Anima Mundi, Festival Diferentemente dos Filminutos que tura de acetato e, atualmente, parte Internacional de Animação / Brasil.

ANIMATION WORLD MAGAZINE February 1998 49 NATPE 1998: It’s A Tough Market But Someone is Selling...

by Heather Kenyon

with 300 out of ABC in the near future, some of the 700 booths major U.S. networks are spreading occupied by the wealth between the large ani- companies mation companies. Kids WB! is cur- from outside rently showing programming that the U.S. In fact, has been produced at Columbia Tri- NATPE sites Star Television and DreamWorks, that more than SKG. Fox will now be showing two 90 countries of Gaumont Multimédia’s shows, were represent- Space Goofs and Oggy and the ed at this year’s Cockroaches. market. With Columbia Tristar Television is vertical integra- a perfect example of a big studio Photo courtesy of NATPE. tion tightening without a network that has made or those of us that are most the U.S. mar- a large impact very quickly. Jumanji accustomed to animation fes- ket, both international and U.S. and Men in Black were successful Ftivals, NATPE can be some- companies without distribution out- shows. Following in this pattern, thing else. In-between the live lets are at NATPE to strike deals and the upcoming Godzilla looms on showroom floor camel rides and find opportunities for their wares. the horizon as being just as huge. armadillo races, crammed in Whether exhibitors are trying to sell Sander Schwartz, Executive Vice between mega-booths touting the to a major U.S. network, the syndi- President and General Manager likes of The Nanny, Oprah, and cation market or putting together Children’s Programming for the L.A.- Xena: Warrior Princess , one finds international deals and co-produc- based studio, said, “Even though the animated programming. Yes, tions, there was a bustle on the there are more shows being pro- animation is a big business but at floor. Despite the complaints about duced overall than ever before, and NATPE the niche gets put into per- the U.S. being closed and syndica- overall the market is very healthy, spective. tion numbers being down, many the shows are being done by fewer What was once strictly a companies with innovative pro- and fewer people.” He sites domestic television programming gramming seem to be finding a Columbia Tristar’s success on many market has changed significantly place to call home. factors including the talent and over the years. NATPE has changed management at the studio, as well to reflect the global nature of today’s “We lead with our media as the fact that when they pitch to market. A total of 17,051 attendees buying. - Shelly Hirsch. networks, they do not have any pre- descended upon the massive trade conceived baggage that might show in New Orleans from January Selling to the Majors come with a network affiliation. 19-22, 1998. Of those attendees, While it is true the small start- Currently, Columbia Tristar enjoys 3,466 were international. Exhibitors up company may not have a the best of many worlds as they are were more international than ever, chance of seeing their shows on a player with the majors but also

ANIMATION WORLD MAGAZINE February 1998 50 successful in the syndication mar- the ever-present toy sales ket. Bohbot Entertainment & Media, and you have yourself a Inc. has just acquired Columbia viable business. Tristar’s Jumanji and was actively sell- As Shelly Hirsch, Chief ing it at NATPE. Executive Officer of The How did Gaumont Summit Media Group, flat- Multimédia, a European company, ly states, “As bad as the rat- hit the pot of gold at the end of the ings are in the syndication U.S. network rainbow? Marc du market, we still make Pontavice, President of Gaumont money.” He goes onto Multimédia, said, “Haim [Saban] explain that, “We lead with knows that what made Fox suc- Starting in fall 1998, Gaumont’s Oggy and the our media buying. If the Cockroaches will join Space Goofs on Fox Kids cessful initially is by commissioning Network. © Gaumont. programming went away various, different programming.” from now kids will be watching on tomorrow, we’d still have However, he does admit that the television.” Major unattached stu- a very nice business. We are very U.S. market is a tough sell. It took a dios in the U.S. that perhaps CBS secure.” Summit is currently syndi- lot of shopping and significant might have considered for pro- cating a slate of programming that financing from Europe to get Space gramming have a completely dif- includes Mr. Men, MGM Goofs on the U.S. airwaves. Now, ferent agenda, and that is to “large- Productions’ Robocop: Alpha moving forward with Space Goofs ly support the marketing of their Commando and Pokémon. Hirsch and Oggy and the Cockroaches, major projects.” was quick to explain that the offend- Gaumont’s strong European pres- ing Pokémon scene which caused ence helps them. “The fact that we The Syndication Market a number of seizures in Japan in raise a significant amount of the Syndicators these days are December had been cut. money out of Europe, helps us with quick to point out that while their Bohbot Entertainment & the deal making,” du Pontavice ratings may be low, they are still bet- Media, Inc. has launched what they stated. ter than most cable network aver- are calling the BKN Network in an ages and that the A.C. Nielsen attempt to capitalize on the shrink- “The focus for us [at NATPE] Company is riddled with flaws and ing number of players in the syndi- has been solidifying interna- inadequacies when it comes to cation field. George Baratta, tional co-productions deals for measuring children. Still, every President, BKN Kids Network the CBS slate.” - Toper Taylor. “independent” station in the Another mid-sized indepen- United States, dent that is doing very well for itself even if they are a indeed is NELVANA. “We are going member of a to do approximately 15 series in start-up network 1998 and we are going to do 20 such as UPN or series in 1999, so I am frantically Kids WB!, have a looking for properties that we can need for pro- put into development and then programming to fill duction,” said Toper Taylor, President their afternoons of NELVANA Communications, Inc. and mornings. He also highlighted a benefit of Multiply these being independent, “Our objective hours by stations is to create very high quality, edu- Mummies Alive! is one of the shows included in Bohbot’s two- across the country hour program block,“the BKN Network.” © 1997 DIC cational programs that fifty years and, of course, Productions & Northern Lights Entertainment, Inc.

ANIMATION WORLD MAGAZINE February 1998 51 explained, “The field of play for inde- International pendent producers is seriously Deals & Co- dwindling. Saban has dropped out Productions of the broadcast syndication arena, Many compa- Claster has reduced its offering to nies use NATPE, focus strictly on Hasbro Toys and not so much to UPN has given back one hour of sell to the U.S. programming to its affiliates.” BKN market, but to has recently acquired DIC’s sell into other Mummies Alive!, Pocket Dragon international Adventures, Sonic Underground markets and final- and as stated earlier, Columbia GoodTimes Entertainment’s Animated Classics series will air on ize international Cartoon Network via satellite in Latin America. © GoodTimes co-production Tristar’s Jumanji. Denise Feeney, Entertainment. deals. BKN’s Affiliate Relations Manager, in Pajamas which according to Claude Berthier, CEO of said that at NATPE, “Our sales staff President Barbara Schweke, “has a Marina Productions, was at NATPE is really trying to sell our program- life of its own. Everyone loves them promoting among other shows, his ming as blocks.” and are aware of them.” As a result, new The Fabulous Adventures of Sally Bell, President of Claster they are bringing the program back Jacques Cousteau. While the series Television, announced that they will to the stations in September on a of 26 x 26 is co-produced by France strip their highly successful Beast weekly basis for its fourth season. 3, he is seeking television co-pro- Wars this Fall and is also looking for- Sachs is also syndicating Monkey duction partners and toy licensees. ward to premiering MGM Magic, a new fantasy/adventure The series is based on the real Productions’ new domestic come- series of both 2-D and 3-D com- Jacques Cousteau and his adven- dy, The Lionhearts, which is based puter animation produced by B- tures. Berthier was in the military on MGM’s mascot, Leo the Lion. Factory Co., Ltd., in association with with Cousteau from 1958-1959 and Sachs Family Entertainment Enoki Films USA, Inc. “It is a classic became very good friends with him. was in New Orleans with Zorro in the Asian market,” stated When Cousteau passed away last and, of course, the trusty Bananas Schweke. year, his wife, Francine, agreed to

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ANIMATION WORLD MAGAZINE February 1998 52 let Berthier produce the cartoon. including their very successful ster innovative independents and Teaching ecology lessons in each Gnomes movies, specials and series. quality programming. However, episode, the show generated quite Moreover, even Gaumont’s du even in the face of NELVANA’s suc- a lot of interest from European Pontavice mentioned the impor- cess, the average person is not fore- countries all the way to Japan. tance of meeting Latin America casting these revelations. Sander Toper Taylor stressed that, “half-way” in the U.S. in order to do Schwartz made a good point “The focus for us [at NATPE] has business. though. “The changes [in the busi- been solidifying international co-pro- ness] have been so dramatic and ductions deals for the CBS slate. We One insider told me,“The dol- drastic over the last two to four are very pleased by the reception lars buy the time slots. I know years that I don’t think it is a settled we are receiving. People are excited you don’t want to hear that, business. I think it is an evolving sit- about the fact that an international but that’s the truth.” uation,” he said. company has partnered with an One independent company American broadcaster to create Other Latin American news that is making a bid for the big time something that is dynamic and included Cartoon Network part- is Seattle, Washington-based fresh. We are finding that foreign nering with GoodTimes Headbone Interactive. Starting in countries are excited about coming Entertainment to show 39-hours of the CD-ROM world, the company in and being partners with us and animated programming via satellite has just launched a new in-house CBS. We have also received a sur- to Latin America. Called Animated animation studio, Headbone prising amount of support from U.S. Classics, the collection includes clas- Television. They are also continuing independents and other indepen- sic fairy tales and literary works. to log record breaking hits on their dents.” GoodTimes also signed a deal with web site the Headbone Zone. The An interesting trend that was Mexico’s Tycoon Entertainment, a young and vibrant company cur- noticed was the amount of major Latin American licensing rently has six projects in develop- American companies sans networks agency, for video distribution with- ment and plans to support and aug- that were at NATPE to do deals with in Mexico. Tycoon will release 50 ment their shows through the web European and Japanese production GoodTimes titles over the next three site. companies. One U.S. production years. NATPE ‘98 was GoodTimes’ As far as syndication goes... executive told me, “Maybe we’ll get first. Also the Jim Henson Company one insider told me, “The dollars buy a hit [in Europe] and be able to has entrusted over 200 hours of the time slots. I know you don’t leverage that back into the original programming to Salsa want to hear that, but that’s the American television market.” Distribution, a Paris-based leading truth.” The hot spot this year Latin American distributor. Still, Summit’s Shelly Hirsch seemed to be Latin America. remains determined, “All you need Barcelona-based, Cromosoma TV The Overall is one program. If you catch light- Produccions was there to do busi- While no one sat and cried ning in a bottle once, you can ness with many Latin American the blues about business being bad, become extremely comfortable.” companies and that they did do, a lot of producers admitted that And indeed, a lot of folks out making several deals which have their slice of the profit pie is getting there are trying to make just that yet to be officially confirmed. Pablo smaller and smaller. Competition happen. Chamorro of Madrid, Spain’s B.R.B. between viewing outlets, sports, Heather Kenyon is Editor-in-Chief Internacional, S.A., stated that while computers, VCR’s, electronic games of Animation World Magazine. the U.S. and international compa- and the general activities of just nies were important, “We are here being a kid, are splitting audiences Note: Readers may contact any predominately to do business with left and right. Animation World Magazine con- Latin America.” B.R.B. was at NATPE The speculation is that such tributor by sending an email to offering a number of properties competition for numbers will bol- [email protected].

ANIMATION WORLD MAGAZINE February 1998 53 Highlights of the Second Annual World Animation Celebration

by Joy Kennelly

his year’s Robertson, “This event is structured School will be recruiting as well. W orld to give the leaders of the industry Awards will be given at the end of TAnimation the opportunity to share points of the week during the WAM awards Celebration view in open discussions, screen ceremony. (WAC), in asso- clips illustrating the topics covered Concurrently the same day, ciation with and provide a sneak preview of web-a-holics will enjoy the Big Animation what to expect in the immediate Internet Animation Pow-Wow put Magazine and future.” on by Animation World Network WAC © 1998 Variety, takes (AWN) and Unbound Media. place at the Pasadena Civic Center Director Andrea Drougas has put The film competition is the for a command sequel. It’s a festi- together panels with such heavy- core of the festival where we val, a trade show, a conference, a weights as Sony Pictures celebrate the art of animation. job fair, a student animation Imageworks, Digital Planet, Warner - Festival Director Leslie marathon, an Internet pow wow Bros., Real Networks and more. Sullivan and networking haven all rolled into Some of the topics to be discussed one. include, “The Future of Animation Featuring tributes to artists View our web-site On the Internet,” “New such as Ray Harryhausen, Bill (www.wacfest.com) for all the lat- Technologies to Power your Studio Plympton, Corky Quakenbush, Bill est information which we up-date into the New Millennium” and Hanna and Joe Barbara, and to stu- daily. For a day by day breakdown, “Producing Content for the dios and independents such as read on. Internet.” If you register on-line you Warner Bros., Dreamworks SKG and can receive a discount. Cuppa Coffee, there’s something for Monday, February 16, 1998 everyone to watch. “The film com- Students won’t want to miss Tuesday, February 17, 1998 petition is the core of the festival the President’s Day World Animation Beginning today, check out where we celebrate the art of ani- Marathon (WAM) kick off event. the competitive screenings, inde- mation. What’s most important to High schools and colleges from pendent showcases and artist trib- recognize this year is the bridge tak- around the country are gathering utes, with Ray Harryhausen, John ing place between live-action and to create a feature Coates and Bill animation,” said Festival Director length animated Hanna and Joe Leslie Sullivan. film with the guid- Barbera receiving As a result, the World ance of AnimAction, Lifetime Achievement Summit for Feature Films and Visual Inc. (www.animac- Awards. Don’t miss Effects was launched to introduce tion.com). Ringling the Anime “Festival the changing landscape for ani- School of Art and Within the Festival” mated features and the opportuni- Design, School of featuring a Speed ties available to filmmakers. The sec- Visual Arts, Sheridan Racer tribute. ond component of the Summit will College, DHIMA, Screenings occur at examine how digital technology Gnomon, Art various times all week and visual effects are changing the Institutes Ray Harryhausen will receive a long. Some high- way Hollywood makes movies. International and Lifetime Achievement Award for lights include the According to Director Danielle the Vancouver Film his pioneering stop-motion ever-so-evolved South work. © Ray Harryhausen.

ANIMATION WORLD MAGAZINE February 1998 54 Park characters in “Big Al’s Gay Boat Prime Time?” and “What’s the Ride,” Corky Quakenbush’s reper- Financial Future for Animation toire of twisted take-offs, some of Production?” Inquiring minds want Cartoon Network’s never before to know. Experts want to tell. Listen seen Dexter’s Laboratory shorts as to HBO Animation Sr. Vice-President well as John K.’s new short, Ranger Carmi Zlotnick, the new Film Roman Smith. The schedule will be posted President & CEO, David Pritchard on the web site by Saturday, and other top executives discuss February 7, 1998. these and other issues. This was a sold-out event last year and promis- New Animation Technology Expo and es a repeat performance this year. A list of all the numerous lec- Conference’s mascot. © Miller Freeman. tures and seminars offered can and explores key computer anima- Friday, February 20, 1998 be read on the WACfest web- Friday marks the beginning site... tion issues and showcases the newest hardware and software. For of the ASIFA -Hollywood Oppor- more information, look up tunities Expo and the end of the Tuesday is also the first day of www.etshows.com or call 1 800 IBCTA. If you want a job in anima- the World Summit for Feature Films 789 2223. tion, to learn more about what it and Visual Effects. This is a defining takes to make it in animation, or just year for feature animation. Wednesday, February 18, 1998 to hang out with your peers, visit Nicktoons President, Albie Hecht, The World Summit for this Expo. A list of all the numerous Warner Bros. Feature Animation Feature Films and Visual Effects con- lectures and seminars offered can President, Max Howard and other tinues. be read on the WACfest web-site or heavy hitters will speak on such top- A Special Speed Racer trib- on the ASIFA -Hollywood web-site, ics as “How Do the Major Studios ute will be hosted by Cartoon which is located at Achieve Success in the Theatrical Network’s Vice-President of Original http://home.earthlink.net/~asifa. Marketplace?”, “A Match Made in Animation Linda Simensky with Please note, all schedules are subject Heaven: Exploring the Role of Author Elizabeth Moran. This anime to change. Digital Technology as a Tool for presentation includes old and new Traditional Animators,” and “3D episodes of Speed Racer, last year’s Come dressed in your favorite Animation: Is it the Animation popular Dexter’s Laboratory “Mock animated character costume Medium that will Dominate the 5,” and the recent George Clooney or create a costume of day glo. Next Millennium?” Listen and learn Saturday Night Live spoof. Enter the about the future of animation in fea- Speed Racer trivia contest to win a ture films. Speed Racer leather/twill jacket or Saturday, February 21, 1998 Miller Freeman’s New die-cast (Hot Wheels) collectors cars. The final day of the World Animation Technology Expo and Animation Celebration is where all Conference runs through Friday Thursday, February 19, 1998 good things must come to an end. For those of you interested Learn the results of the week-long in the “business aspect of anima- screening competitions at the tion,” The International Business awards ceremony and party on at Conference for Television Animation the Closing Night Gala with anoth- returns this year. Director Andrew er Day Glo Extravaganza. Only this Bolt said, “If you are in the business year, it’s also a costume ball. Come of creating, developing or distrib- dressed in your favorite animated uting television animation, this is a character costume or create a cos- conference not to be missed.” tume of day glo. The choice is up to Taking place at the Doubletree Hotel you. Just come. Thursday, February 19 and Friday, Note: Readers may contact any February 20, 1998, the IBCTA boasts WAC will present screenings of Bill such panels and speakers as, “Why Animation World Magazine con- Plympton’s work. Photo courtesy of and is Animation Suddenly Working in tributor by sending an email to © Bill Plympton [email protected].

ANIMATION WORLD MAGAZINE February 1998 55 His MotherÕs Voice: Dennis TupicoffÕs New Documentary film review by Emru Townsend

hat can a mother say when her son is violently Wtaken away from her? Dennis Tupicoff’s latest endeavor, His Mother’s Voice, answers the question - twice. Matthew Easdale was shot dead in a house in Brisbane, Australia in April 1995. His mother, Kathy Easdale, was interviewed for ABC (Australian Broadcasting Association) Radio a few weeks later. That broadcast provides the voice track for His Mother’s Voice, a film in which Tupicoff explores how such an earth-shattering event can res- onate with an audience. His Mother’s Voice © Dennis Tupicoff.

Feeling the Loss Of course, the whole point orful rotoscoped reminiscence, with For all the horror and strife in of a narrative is to involve the audi- thick lines and a flat color scheme the world today, it’s safe to say that ence, to the point where they reminiscent of Tupicoff’s Darra Dogs. most mothers will not have to expe- empathize with at least one person We watch a re-enactment of the rience the sudden, brutal loss of a on the screen. If Lost World can evening unfold, as Mrs. Easdale child. Fortunately, it’s difficult for make us feel even a little bit linked hears the news that something has many of us to relate to or even to a leather-jacketed mathematician happened, drives to the house, and imagine the feeling of losing our running away from cloned own flesh and blood. dinosaurs, then surely something with its roots in reality can move us. Using a curious blend of realism and styl- ization, Tupicoff does the job - but not in a way we expect. As the camera closes in on a live-action radio, the interviewer asks one question, ‘What happened on the night of the murder?’ Mrs. Easdale begins narrat- ing the night’s events, and the scene is quickly trans- A rotoscoped Mrs. Easdale in the second A brother’s anguish in His Mother’s Voice. formed into a dark but col- half of His Mother’s Voice. © Dennis Tupicoff. © Dennis Tupicoff.

ANIMATION WORLD MAGAZINE February 1998 56 discovers her son was shot. The subjective viewpoints of the direc- outside the house, lingering on a camera alternates between follow- tor, writer, and editor. (Remember dog who is oblivious to the tragedy ing her and giving us her point of that the next time you watch Truth being related within. view as she waits outside while the or Dare.) Strangely enough, it’s by paramedics try to save Matthew. Tupicoff acknowledges this watching the dog that the full Eventually, she gets the news: her when he says, “By presenting just impact of Mrs. Easdale’s loss son has died. Mrs. Easdale’s mono- two of the many possible points of becomes clear. She’s alone in her logue ends with the recounting of view that might accompany the grief. The other son has lost his Matthew’s brother’s reaction to the voice of Mrs. Kathy Easdale, I hope brother, but he won’t feel the loss news. the film leaves the audience to the same way as his mother. The imagine others, and to ponder its rest of the world just keeps on As the camera closes in on a own response to her pain.” The film going about its business. live-action radio, the interview- itself tells the audience that what er asks one question,‘What we see is not an absolute; the same His Mother’s Voice raises some happened on the night of the events, narrated by the same per- interesting questions about murder?’ son, can be observed, interpreted, documentaries in general, and and experienced in many different animated documentaries in ways. particular. Take Two Then it starts all over again. The Technique Well, not exactly. The dia- The mind game is aided by logue starts over and there’s roto- the use of rotoscoping, which Manipulation scoped footage. Only this time, the fuzzes the line between reality and Would reversing the order of footage is of the interview taking craft. The viewer’s mind jumps the two segments have changed place at Mrs. Easdale’s home, and between viewpoints. This is a real this feeling? What if, as Tupicoff the medium is rougher, like pencil radio broadcast, but it’s animated. suggests, there were other points on paper. The camera only spends The animation is based on live of view presented? Would we feel a brief time in the house before footage, but the footage is really a more sorrow, or less? wandering outside, observing the dramatization of events. Is this real Think about it. The sugges- quiet suburb, and eventually return- or is it unreal? tion that we might feel less sorrow ing indoors to close in on Mrs. Ultimately, it doesn’t matter. as a woman recounts her most ter- Easdale’s face as she recounts her After the mild garishness of the first rible loss. Whether we feel more or surviving son’s reaction. segment, the more subdued sec- less pain all depends on the direc- His Mother’s Voice raises ond half, with its drifting camera, tor’s whims. Isn’t that a little dis- some interesting questions about softly hits you with the power of the turbing? documentaries in general, and ani- experience. Hearing it for the sec- Yes, it is, and that’s just the mated documentaries in particular. ond time, the tiny details in the sort of disturbing feeling that makes Students of media literacy have long audio - Mrs. Easdale’s gradual loss for a powerful and thought-pro- recognized that doc- of composure, for voking film. umentaries are not instance - are more the objective record- apparent. Of Emru Townsend is a freelance ings of events that course, we’ve just writer who won’t stop talking many people seen and heard about cinema, animation and assume they are. the story from a computers. He is also the founder Choosing a sound- first-person per- and former editor of FPS, a maga- track, editing the spective, and now zine about animation. film, and even the we’re hearing it act of deciding again... only the Note: Readers may contact any what to record and Strangely enough, it’s by watching camera doesn’t Animation World Magazine con- the dog that the full impact of Mrs. what to ignore are all Easdale’s loss becomes clear. His seem to care as it tributor by sending an email to filtered through the Mother’s Voice © Dennis Tupicoff. observes the world [email protected].

ANIMATION WORLD MAGAZINE February 1998 57 Forbidden Animation: A Valuable Contribution book review by Mark Langer

o those of us of a cer- San Francisco, as well as editor tain age, the recent jere- of the ASIFA-San Francisco Tmiads issued by the Newsletter, has spent several Southern Baptist Convention years researching these topics, against the Disney Company motivated, in part, by the loss for it’s alleged anti-Christian of family members’ jobs forty and pro-gay policies are noth- years ago due to the FBI ing less than incredible. To informing their employers that this writer, the Magic they had “questionable back- Kingdom had always been grounds.” Therefore, it is not the paradigm of family enter- a surprise to find that Karl tainment. On the bulletin Cohen is a passionate advo- board that hangs over my cate of free speech and open desk, I have a copy of the expression on both political infamous drawing of an orgy fea- Michael Eisner and his minions from and other subjects. It is this senti- turing Disney characters that hell have been savaged by ment that holds together a book of appeared in Paul Kastner’s The guardians of morality with the feroc- wide-ranging topics. Realist in the late 1960s. It’s value in ity of a Chihuahua attacking a meat- Cohen separates his subject my eyes had always resided in the ball. Meanwhile, others in the ani- into five categories: censorship of outrageousness of showing Mickey mation industry, from Beavis and theatrical animation, stereotypes in shooting up while Goofy and Butt-head’s Mike Judge to Pink animation, uncensored animation, Minnie fornicate. Next to them, Komkommer’s Marv Newland, who censoring animation on television, Snow White and the Seven Dwarfs might interpret this parody as a sign- and blacklisted animators. In his indulge in sexual acts for which no post for one of the directions to be chapter on censorship of theatrical specific descriptive terms have yet taken by contemporary animators, animation, Cohen gives a chrono- been invented. The cultural con- have escaped relatively unaffected logical overview of censorship, tradiction implicit in having charac- by controversy. focusing mostly on America, with ters embedded in Disney whole- glimpses of the situation in Canada, Germany and the United Kingdom. someness acting like members of Catstello answers,“If the Hays the Manson family on an outing There is considerable entertainment Office would only let me, I’d value in the author’s cataloguing of with Kesey’s Merry Pranksters has give him the bird all right!” made this image a classic of ‘60s no-nos such as the nude pinups in Daffy the Commando(1943) and counterculture. He Was Her Man(1937) that some- Conservative elements today how managed to evade the cen- would see this not as parody, but A Catalogue of Censorship sor’s shears. More interestingly, as an indication of the moral squalor Those who call for a fatwah Cohen examines standards of cen- of the contemporary animation against the Great Satan of Burbank sorship in different jurisdictions, from industry. Amazing numbers of the would be well advised to read Karl Cohen’s Forbidden Animation: the Production Code administered radical right apparently spend hours under Will Hays’ Motion Picture Censored Cartoons and Blacklisted and days freeze-framing images Producers and Distributors Animators in America. Cohen, an from animated tapes and laser discs, Association, to the British Board of art historian and President of ASIFA- searching for glimpses of spicy stuff. Censors. Cohen gives examples of

ANIMATION WORLD MAGAZINE February 1998 58 the activities of various boards and images in animation is primarily Disagreements with Dalton points out the limits and contradic- devoted to the depiction of people Reymond, author of the original tions in censorship systems. The of color. “When and why did ani- Uncle Remus treatment, led to Rapf’s author concludes that the censor- mators stop making these films?” reassignment and several of the ship conducted for 34 years under Cohen investigates both the actions racist clichés were restored. Even if Hays’ office at best “protected of African-American publications the film had been made according Americans from seeing a few cow and organizations such as the to his version, Rapf now feels that udders and a few drunken animals, NAACP in making their displeasure Song of the South was inherently or hearing a few rude noises.” At it’s with stereotypes in American ani- racist, and should not have been worst, it may have tamed the most mation known. The greater part of made. extreme excesses of Tex Avery and Cohen’s investigation centers Bob Clampett. The Production Code around the production and recep- Song of the South created a itself became a source of humor in tion of Disney’s Song of the storm of protest upon it’s American animation. Cohen recalls South(1947). Based on Production release, but it’s box-office suc- such gags as the one in Clampett’s Code Administration files, interviews cess left Disney crying all the A Tale of Two Kitties(1942) in which with screenwriter Maurice Rapf and way to the bank. the cats Babbit and Catstello try to contemporary press reports, Cohen catch Tweety Bird. At one point illustrates how Disney attempted to Rapf was preceded in this Babbit says to his partner “Give me respond to pressure to modify his view by Walter White of the NAACP the bird, give me the bird!” Catstello use of stereotypes in the film. Disney and June Blythe, director of the answers, “If the Hays Office would hired Rapf, a Jew and known American Council on Race Relations, only let me, I’d give him the bird all right!” Communist, to rewrite the script in both of whom requested to see a the hope that Rapf’s background treatment of the film when pro- The Image of Racism qualified the screenwriter to avoid duction was first announced. Actor Cohen’s chapter on racist problems related to racism. Clarence Muse, one-time advisor to Disney on the portrayal of African- Americans in films, left the studio and campaigned actively against the production of the movie. The Production Code Administration contacted Disney repeatedly with suggestions to modify the script, and to “take counsel with some responsible Negro authorities con- cerning the overall acceptability...of this story.” Some of the warnings were heeded. Most were not. Song of the South created a storm of Ken Southworth shares his 50 years of experience from DISNEY, protest upon it’s release, but it’s box- LANTZ, MGM, and HANNA-BARBERA in this PBS quality office success left Disney crying all entertaining and educational video package designed for the the way to the bank. beginner. Available in both VHS, NTSC, & PAL video formats. $50.00 S&H, Tax Included Animation in the Buff SEND CHECK OR MONEY ORDER TO: Cohen’s chapter on uncen- Inkwell Images Ink sored animation examines the inde- P.O.Box 3817 pendent production of animated Anahiem CA films produced without formal cen- 92803-3817 sorship. Here Cohen looks at more informal kinds of repression, such Call 1-888-536-2276 Visa, Mastercard & American Express as the threat of lawsuits, distributors accepted. shelving films after public outrage

ANIMATION WORLD MAGAZINE February 1998 59 at previews, cuts to films in order to Broadcast Standards and Practices. duction result only in films that are avoid “X” ratings, etc. In one Cohen’s list of censorship standards acceptable to the widest possible extreme example, footage of an used in the production of television audience? These are questions experimental film made by Ben Van animation is hilarious. Creators of worth further study. Meeder was sent by the film lab to The Smurfs had to avoid any asso- Cohen’s approach to the the FBI because of concerns that ciation of their characters with material is that of an empiricist. He the film was pornographic. I was magic in order to avoid allegations appears either uninterested or particularly interested to read that the show promoted Satanism. unaware of theoretical literature that Cohen’s multiple accounts of Ralph Cohen’s quotes from BS&P memos relates to censorship or systems of Bakshi’s notorious screening of discussing “tastefulness” in regards repression. Although Cohen usual- Coonskin(1974) at the Museum of to the depiction of snot (“we expect ly works from the films themselves Modern Art in New York. As a mem- this to look clear and shiny rather and from such primary documen- ber of the audience, my memories than thick, green and disgusting”) tation as oral histories, the Hays of the event offer yet another ver- reveal the more surreal aspects of Office files, U.S. Congressional sion of what has become the censorship. Committee hearings transcripts, he Rashomon of animation evenings sometimes includes anecdotal mate- — no two accounts of what hap- rial gained in conversations with Cohen later asks, will freedom pened at that screening agree with researchers and enthusiasts as if it of expression be exercised each other. Regardless, Paramount were fact. There are occasional mainly by those who can afford executives were so disturbed by the minor inaccuracies, such as the to make films supporting their near-riot at MoMA that the film was dates of the establishment of British points of view? suppressed for years. A section of censorship categories, and far too the chapter also deals with naughty many spelling errors, such as “dig- bits inserted into animated films as nified rolls” instead of “dignified gags by bored animators or people The Blacklist roles.” But these are minor com- in the ink and paint department. Cohen’s final chapter on plaints about a valuable contribu- Such jokes as Baby Herman com- blacklisted animators brings the tion to the literature on animation, mitting an act too lewd to be book to a fairly grim conclusion. and a volume that will doubtlessly recounted to readers of Animation Although the author acknowledges be gracing many of our book- World Magazine in Who Framed that there is no way of knowing shelves. Roger Rabbit(1988) are gradually how many people lived in fear of being eliminated from animated being named by some informant, Forbidden Animation: Censored films as single-frame scrutiny on laser he does draw on oral histories and Cartoons and Blacklisted Animators discs has evoked protests from those HUAC transcripts to detail the per- in America, by Karl F. Cohen, who enjoy making an issue out of secution of people for their political McFarland & Company, Inc., such things. beliefs. Cohen rightly depicts the Publishers, 1997. 230 pages, illus- persecution of the 1950s as stem- trated. ISBN: 0-7864-0395-0. ming in part from roots in the indus- To order this book, call (in the U.S.) Creators of The Smurfs had to try’s labor action in the 1930s and 800-253-2187 avoid any association of their 1940s. characters with magic in order Although opposed to repres- Mark Langer teaches film at to avoid allegations that the sion, Cohen is aware of the prob- Carleton University in Ottawa, show promoted Satanism. lems that may result with unfettered Canada. He is a frequent contrib- expression — seen earlier in his sym- utor to scholarly journals and a pathetic approach to those object- programmer of animation Broadcast Standards and ing to Song of the South. Cohen retrospectives. Practices later asks, will freedom of expres- Perhaps my favorite part of sion be exercised mainly by those Note: Readers may contact any the book is Cohen’s chapter on tele- who can afford to make films sup- Animation World Magazine con- vision, in which the reader is intro- porting their points of view? Will the tributor by sending an email to duced to the arcane world of financial risks involved in film pro- [email protected].

ANIMATION WORLD MAGAZINE February 1998 60 Digital Cinematography: A Good Place to Start

by Bill Fleming hat is digital cinematography? Well, it’s the art of Wstorytelling on the computer. In today’s terms it typically means 3-D animation as described in Ben de Leeuw’s Digital Cinematography. I’m pleased finally to see a book that covers this crucial topic. You’ll find that my review is rather direct and critical since I like to see 3-D books that go beyond superficial explanation and actually explore the deep roots of 3-D animation. Of course, I’m usually dis- appointed, but in the case of Digital Cinematography I was pleasantly surprised. With the exception of the occasional light coverage on topics, I found the book to be a very informative resource. To keep this review from becoming a book itself, I decided to provide you with a ‘First Impression’ overview and then cover the most notable chapters in the book. While every chapter provided useful information, there were several that were especially valuable to digital cinematographers. So, what are we waiting for? Let’s take a look at Digital Cinematography.

First Impression My first impression of the text, but treat the images as an after- world examples that support their book was one of disappointment, thought. In a world of imagery such claims. In the case of the images in not due to the content, but rather as 3-D graphics, it’s difficult to take Digital Cinematography, well, I the visuals. To be specific, the exam- their discussions to heart when the don’t think anyone will ever have ple images were less than motiva- images are disappointing. If we are the need to render a stickman wor- tional. This is a problem with near- to be convinced that the informa- shipping a temple that looks like a ly every 3-D book. It seems most tion they are sharing is accurate and teapot. At least, I certainly hope they authors focus their energy on the useful we need to see practical, real- won’t. The images in the book are

ANIMATION WORLD MAGAZINE February 1998 61 barren and very unrealistic which just prefer to see a book that cov- influence of individual lights by turn- tends to make light of the subject ers all possibilities, rather than the ing off all the other lights in the matter. It’s my sincere hope that 3-D author’s personal taste, even if it scene and creating a test render to authors will soon realize the impor- happens to be good taste as is the see the influence of the light. tance of providing visually appeal- case with Digital Cinematography. Another great tip was the use of a ing and inspirational images, which Now, here’s a couple of the most backlight to make the character will make their information more useful chapters. stand out from the background, credible. As viewers, we tend to which is something cinematogra- assume that the author is utilizing Chapter1: Digital Cinematography phers and photographers have the information and techniques This chapter had a fairly been doing for years, but 3-D artists described in the book to create the good overview of film language rarely do. images. Therefore, if the images are and work principles though I felt poor, we must assume the infor- myself wanting more. It seems that It’s my sincere hope that 3-D mation is also poor. This may not several ideas are touched upon authors will soon realize the always be the case, but we will lightly, peaking our interest, but importance of providing visual- never know since we didn’t read never satisfying it with further elab- ly appealing and inspirational the book due to the poor quality of oration. For example: When using images, which will make their the images! movies as a reference source, it sug- information more credible. gests that you watch the movie sev- Of course, I’m usually disap- eral times to grasp the film’s While there was a great deal pointed, but in the case of approach. This makes sense of good information in the chapter, Digital Cinematography I was because you typically get caught up I did notice the absence of a dis- pleasantly surprised. in the story the first couple of times cussion on specularity. The chapter you view the movie, but you actu- failed to mention that specularity Okay, now that I have that ally need to view the movie on must be disabled on the fill and off my chest, let’s take a look at the videotape to be critical. The ‘theater backlights to prevent multiple ‘hot content of the book. While the book experience’ is too captivating with spots’ from appearing on the does make several good points, it the big screen and THX Sound. It’s objects in the scene. Since fill and also appears to be one-sided. For almost impossible to be objective, backlights are used to simulate example, it states that having char- particularly if you enjoy the film. You radiosity, they are considered indi- acters recognize the camera’s pres- need to critique the film’s approach rect lighting. Since specularity is only ence by looking at it is undesirable, in an environment that gives you created by direct lights, you’ll want but there are many cases where control, such as on video. It’s more to disable specularity on your fill and having the characters look at the difficult to be pulled into the story backlights. If your indirect lights are camera is a powerful tool in draw- on a small television screen without creating specularity, your scene will ing the viewer into the story. For the thunderous theater sound and appear very artificial. In film pro- instance, the movie Cuffs where giant picture. Besides, you can duction and professional photog- Christian Slater talks to the viewer pause the movie for those all impor- raphy, reflectors are used to bounce directly helps to pull the viewer in. tant bathroom and snack breaks. the light from the fill and backlights It would have been nice for the to diffuse the specularity. Naturally, book to share more than one view Chapter 2: Introduction to some 3-D programs don’t allow you on the topic. Lighting to control the specularity values of You’ll also find that the book Here you’ll find an excellent the lights. In these cases, you’ll need seems to focus on more classic cin- overview of the different light types to use several lights with very low ematography rather than modern and uses. To my knowledge this is brightness values to simulate the techniques. If you are interested in the only 3-D book that has actually effect of a singular fill or back light. the classic methods it’s a nice book, related 3-D lighting to its real-world Using lights with low brightness val- but if you lean towards the modern counterparts, which was a refresh- ues will diffuse the specularity and techniques you’ll find yourself wanting change. You’ll also find some by using multiple lights you’ll be ing more. However, this doesn’t very useful tips in this chapter. A par- able to achieve the desired bright- mean that the book isn’t valuable. I ticularly good tip was to identify the ness.

ANIMATION WORLD MAGAZINE February 1998 62 Chapter 5: Motion poor job of lighting characters, to apply the techniques so I don’t I must admit I was very which then undermines the impact waste a lot of time experimenting. impressed by the attention to detail of the animation. I can’t count the For example, it would have been in this chapter. I found it to be very number of times I’ve seen charac- good to point out that the charac- insightful with some excellent real- ters that were poorly lit or had no ter lights should have the shadow world references, which helped dedicated lighting at all. This caus- and specularity attributes disabled. drive the concept home. If you are es the character to blend in with Otherwise, the character will have interested in perfecting your cam- the background, which neutralizes lighting that conflicts with the era movement this chapter is a their impact in the scene. scene’s lighting. must. While the visuals were less While the chapter content than stimulating, the content was was informative, I was annoyed at excellent. The most important tip in the superficial discussion of the spe- I just prefer to see a book that the chapter is that you need to con- cific light types. For example, the covers all possibilities, rather form to the viewer’s expectations coverage of the use of eye lighting than the author’s personal when adding camera movements was great, but there was no expla- taste, even if it happens to be to your animations. I can’t tell you nation on how to properly stage good taste as is the case with how refreshing it is for someone to the lighting. It mentions that you Digital Cinematography. point out this critical fact. Nothing need to keep the light from being will undermine your animation like noticeable but then offers no expla- improper camera movement. nation on how to do it. When I pur- Chapter 7: Exterior Lighting chase a 3-D book I’m hoping it will This discussion on lighting Chapter 6: Working with show me how to save time by was relatively detailed. It was nice Characters showing solutions to problems. to see the different lighting scenar- I was pleased to see a chap- While introducing the technique is ios such as daylight, nighttime and ter dedicated to character lighting paramount, it is only half of the water lighting discussed individual- since most 3-D animations do a very equation. I need to be shown how ly. I did find that the detail of the discussion was rather superficial, again leaving me wanting more. To nimationnimation be exact, the discussion on night- AA time lighting failed to identify the tortoree fact that moonlight is heavily dif- WWorldorld fused. Since it is actually light reflect- SS ed from the sun, it naturally will be http://www.awn.com/awnstore diffused. It’s basically a large indirect light source. I also noticed that the discussion on outer space lighting was correct in its assumptions that the light is predominantly direct from the sun, but it failed to address the indirect light that comes from planetary bodies, such as planets and asteroids. If you are rendering Classic Limited Editions Limited Editions signed by a satellite orbiting earth, you need your favorite athletes. to backlight the satellite to account for the light that is reflected off the Available on-line earth. The same would apply if the exclusively at the moon was in the scene. The discussion on water light ANIMATION WORLD was very well done. I particularly STORE liked the segment that addressed light that bounces off the surface of Original Animation Art the water, and described how it illu-

ANIMATION WORLD MAGAZINE February 1998 63 minates the environment with cussion on the color of indirect Content: 7 organic light patterns caused by the lights. You see, light is emitted from There was an abundance of valu- light reflecting off the ripples in the the source at a particular color, but able information but I was left want- water. I’ve seen many under-water when it bounces off objects it takes ing more. There were also a few images that incorporate this effect, on the color of that object. For errors in the information provided. but I have rarely seen it used on sur- example: An incandescent light in face images. a house lamp leaves the bulb pink- Image Quality: 3 In general I’d say it was a ish orange but is changed to beige Well, the images could have used very well presented chapter, miss- when it bounces off the off-white a lot of work. ing only a few important details. walls of the room. A discussion dedicated to the properties of indirect Presentation: 8 Chapter 9: Color lighting would have made the It was pleasant to read and it kept I was pleased to discover a chapter more complete. me interested. The information was discussion on the color of natural In general, I’d say the chap- presented in a very logical format. light at different times of the day, ter was very useful but had a few ______but I was greatly disturbed to see mistakes in the colors of light and Overall Rating: 6 that the light colors mentioned definitely could have explored the were inaccurate. It states that high issues of light color in more detail. I would definitely recom- noon light is white or yellow, when mend Digital Cinematography to it is actually blue and that firelight is any 3-D animator who is interested yellow and orange when it’s actually I would definitely recommend in creating quality computer ani- red. The color of light is determined Digital Cinematography to any mations. It’s a particularly useful by its temperature, which is mea- 3-D animator who is interested book for those who are getting sured in degrees Kelvin. Basically, in creating quality computer started as 3-D animators but if you cool lights, like candles, are red, and animations. are a serious animator, you’ll prob- warm lights, like sunlight, are blue. ably want something more Photographers are very familiar with advanced. the color of light since they need to Wrap Up use special filters like polarizers to Well, I’m sure it seems that I Digital Cinematography by Ben de remove the natural blue color of have hammered the book but that’s Leeuw, AP Professional/Academic daylight. only because I want to see the qual- Press, 1997. 265 pages, illustrated. Now, we don’t see the actu- ity of 3-D books improve. I figure if ISBN: 0-12-208875-1. al color of light because our eyes I’m to invest my hard-earned money automatically convert the light to on a book, I’d like to get the biggest white through a process known as bang for my buck. While the book Bill Fleming is President of chromatic adaptation. This process was light on exploration and had Komodo Studio, one of the isn’t perfect, so some light coloration some errors, it was generally full of world’s leading Photorealistic 3-D will be visible but it’s actually only valuable information. Since I like to studios that specializes in crea- around 5%. The result is that objects quantify things I’ve rated the book tures and characters for broadcast will take on a different color tint at based on specific areas which are and film. He is recognized as a different times of the day. Try this listed below. Each area is rated in a leading authority on test. Step outside at noon and take value from 1-10, with ten being Photorealistic 3-D graphics and highest, then I’ve provided an over- a look at hills or mountains in the creature/character creation and is distance. You’ll notice that they have all score. This rating will make it eas- the author of the 3-D a bluish tint. It’s much easier to see ier for you to determine the value of Photorealism Toolkit published by the impact of light colors the fur- each area. John Wiley and Sons, Inc. ther objects are away. You should definitely do a little exploration on How it Rates your own to discover the actual col- First Impression: 5 Note: Readers may contact any ors of light. The images were less than com- Animation World Magazine con- I also noticed an omission pelling and the examples seemed tributor by sending an email to from the chapter, which was a dis- simplistic. [email protected].

ANIMATION WORLD MAGAZINE February 1998 64 The New Maya Sets Sail by Max Sims

n February 1, Alias|Wave- versal undo. ductions. One is front is beginning to ship Three Ruby’s Saloon done Otheir latest animation soft- main architectural by the in-house ware, Maya and Maya Artisan. Maya components of development team runs on Silicon Graphics hardware Maya are the and expert users. with R4000 or higher processor, 24- Dependency The other project bit graphics and OpenGL native pre- Graph, MEL script- slated to be com- ferred. Maya will perform signifi- ing and a C++ pleted by April for cantly better on current generation API. The depen- SIGGRAPH submis- hardware, i.e. Silicon Graphics O2 dency graph can sion is Bingo, direct- and Octane. Sometime after it will be distilled to ed by the Oscar- run on Wintel/NT, as well as the nodes with attrib- nominated Chris forthcoming SGI “Visual PC.” utes that are con- Landreth (The End). nected. The Bingo, a software demonstration He has recorded The salient point of Maya is the power of this is the project created by Chris Landreth Greg Kotis’ ability to remap relationships artist’s ability to using Maya, will be screened at SIG- Disregard This Play GRAPH ‘98. Courtesy of and © on the fly. reconnect or Alias|Wavefront. from the Neo- remap relationships Futurists Theater Alias|Wavefront’s position on the fly. This permits features like company and will lead a team on and ubiquity in the high-end ani- animatible construction history or demonstrating Maya’s capabilities. mation market responded to cus- using surface normals to be gener- The clown image shows a new level tomers needs by listening and ated by an entirely unrelated ani- of naturalistic human representation designing for their production par- mation. I find this alone brimming that Landreth has pursued in his art. adigm. Their aggressive technolo- with creative challenges. The next gy agenda and desire for character most accessible feature is MEL script- The mind blower is script animation lead to opening up the ing. MEL stands for Maya painting which allows MEL tools even more so than Power Embedded Language. It is the com- scripts to make custom results. Animator or Dynamation. On first mand and scripting language that impression, Maya seems like the can be utilized for creating a cus- A small group of beta sites, amalgamation of TDI’s Explore, tom UI or repetitive set of com- including this author, have been Wavefront’s Kinemation and mands. I come from an artistic back- participating in the Maya Dynamation, as well as Alias ground and see its usefulness but Development Partners Team. Based PowerAnimator. Many of the famil- won’t get into it as deep as a TD on a great deal of beta testing and iar features are there, but the salient (Technical Director) would. The resulting input, Maya has been point of Maya is the ability to remap Maya C++ API permits Plug-in or cus- through a lot of changes which has relationships on the fly. The system tom development for proprietary resulted in a delay of introduction. architecture was written from the tools. However, the stability and changes ground up for maximum perfor- were worth the wait. Contrary to mance. There is no longer 1980s Production Testing the beta agreement a great deal of legacy code that hampers devel- Alias|Wavefront has devel- production work has already been opment or simple features like a uni- oped Maya with two in-house pro- done. Dan DeLeeuw of Dream

ANIMATION WORLD MAGAZINE February 1998 65 Quest Images is using Maya for the modifying them. The sculpt surface ing. The standard tools offered are forthcoming Mighty Joe Young. tool pushes or pulls the surface more than enough to accomplish Derald Hunt is currently animating based on the brush settings. The complex character animation. Adventures of Spiderman, a key distinction is that this is not a Release 1.0 does not offer all the Universal theme park project, using texture or displacement map but tools in the entire Alias|Wavefront MEL scripting to animate easily the actual surface. Paint select CVs product suite, therefore my cut of Octo’s extendible arms and hands. are the 3-D equivalent of a lasso Daniel Hornick and Rob Aitcheson, pick, like in Adobe’s Photoshop. formerly of Alias|Wavefront, can Painting weights permit cluster (CV open up 160,000 frames of motion- groups) weights on geometry. An capture data and deal with the example would be: a cape on a complete skeletal hierarchy. This character could be set to a heavy would choke any system currently weight on the shoulders and a available. Loren Olsen from Rhonda lighter setting at the edges. A wind Graphics presented a commercial force would blow the cape by using that involved a very heavy model softbody dynamics whose anima- of the complete city of Phoenix and tion would transfer to the weighted was able to manipulate it, shading clusters. The real mind-blower is This natural scene was created using it, in real-time. Rhonda Graphics’ script painting which allows MEL Maya by G. Mundell, P. Roy and M. spot, Running Scared, for golf com- scripts to make custom results. A Kitchen. Courtesy of and © pany Ping used particles as sprites of piece of geometry can be captured Alias|Wavefront. grass while a hole eluded the golf and emitted from the brush, for PowerAnimator and 3D Studio Max ball. Maya production work has also instance, buildings for a city or vari- will still be used for advanced mod- been broadcast on Gene able sized trees. eling or polygonal tools for games. Roddenberry’s Earth: Final Conflict. The backwards compatibility with Workflow Paradigms PowerAnimator 8.0 is excellent with The current trend in digital only very minor things changing The Maya F/X package is a studios is to breakdown the work due to the new architecture. combination of Dynamation between specialists to finer and finer and PowerAnimator software categories. At ILM modelers are The only true complaint is the particles. divided between “hard” and “crea- complexity of having so many ture,” as well as Modeling TDs. tools at your disposal. Maya Artisan Maya’s openness to MEL scripting The second most significant and the C++ API at first impression product Alias|Wavefront has intro- tends to favor the very technical, in Animation Features duced is the supremely cool Artisan. order to get at the higher level func- Maya’s first iteration is geared This advanced module of Maya per- tions. Less technical people, how- for serious character animation. All mits artists to sculpt with brushes ever, are being hired by studios the advanced cluster technology and tools much easier than the because of their innate artistic skills. from PowerAnimator, sculpt tools tedious pushing and pulling of CVs Maya programmers can set up a from Explore and Flexors from (Control Vertices). The tools can be character UI that would leave only Kinemation are combined in Maya. used with a tablet or a mouse. In key framing and posing slider bars Lattices, sculpt objects and clusters many ways, this gives greater lever- to let an animator just animate. This can be layered and re-ordered. age to an artist’s ability to draw or would hide the inevitable com- Wrinkle tools and bind skin permit sculpt, not to the true techie. The plexity of the matrix of possibilities more realistic surfacing for animat- key tools are the sculpt surfaces, Maya offers. My personal opinion ing models. Overlapping Flexors paint select CVs, paint weights and at first was that the TDs had won drive deformations by transforma- MEL script painting tools. The artist the battle between science and art. tions of one or more joints. It is ideal is given a circle with a normal to the Upon closer inspection and use of for animating muscles and skin. surface and paints on the actual sur- Maya, I feel that even an art school Stitch surfaces remove gaps face geometry picking CVs and type like myself could use MEL script- between adjacent surfaces and

ANIMATION WORLD MAGAZINE February 1998 66 keep them con- The quality of results and the time it tinuous during takes me or my staff to get it done animation even factors heavily into the equation. when they are On a simple checklist all three ven- deformed. The dors have similar features but I still skeleton and prefer Alias|Wavefront’s rendering, inverse kinematics aggressive technology advance- tools are similar to ment and speed of use. The key PowerAnimator benefit of Maya is how much faster 8.5 with handy, an artist can get work done. The direct manipula- user interface and hardware shad- tors. ing alone permits me greater inter- The Maya F/X action with my work. Maya Artisan package is a com- is the coolest thing I’ve seen in a bination of long time. It would take days to Dynamation and Ruby’s Saloon is one of two in-house productions being created push and pull CVs to get a charac- PowerAnimator using Maya by the in-house development team at ter’s subtle details. Now, it will take software particles. Alias|Wavefront. Courtesy of and © Alias|Wavefront. a little longer than drawing it on The best feature is the ability to ren- in this software. paper. der on graphics hardware with The only true complaint is commensurate speed increase of Last Impressions the complexity of having so many the graphics board. Display mode Maya is a turning point for tools at your disposal. The big stu- controls include texturing, line Alias|Wavefront. It is the first of a dios that can afford a staff of TDs, smoothing, geometry mask, multi- truly new codebase that major soft- programmers and animators will be pass rendering, anti-aliasing with ware companies are starting to able to get more out of it than small edge smoothing control and release. Autodesk’s 3D Studio Max shops or studios of one. The ability motion blur using a hardware accu- was the first to evolve. The latest to combine and remap nodes to mulation buffer. Rigid body dynam- version boasts 1,000 new features attributes may be the most daunting ics are standard in the base Maya, due to the advanced architecture. paradigm. Excellent animators may while soft bodies are in the F/X Microsoft’s Softimage will be next not have the time and resources to module. Soft body dynamics are with Sumatra. Maya will hopefully create higher level controls that are great for cloth simulation or even be able to do the same, now that relatively easy to do. As I like to say, Jell-O. The particle systems are fully the architecture is easily extensible. “It’s easy...Once you know how.” integrated and extensible, therefore MAYA will also come to the NT plat- the combinations are endless. The form sometime after the SGI version. rendering is completely rewritten This is a considerable proposition Max Sims is the principal of lacking only interactive photorealis- from a perception standpoint. I still Technolution, a digital studio spe- tic rendering (IPR) and depth of field feel that UNIX is more reliable and cializing in entertainment and cameras which are to come in robust in production, while the O2 design visualization. He has writ- future releases. The unique render- platform has excellent graphics and ten for the Price Waterhouse EMC ing component is shading net- costs around US $6,000. The pric- Tech Forecast, Millimeter, and ID works. Shared textures and materi- ing is comparable to Softimage Magazine. He has used als within shading networks avoid products though considerably more Alias|Wavefront products for inefficient duplication and can be than Studio Max. By the time one almost nine years. recombined to make complex buys all the plug-ins and gets the results. The hardware acceleration system running, I feel that the faster allows artists to see where the shad- interaction with Maya makes up Note: Readers may contact any ows will fall precisely and many some of the difference. Animation World Magazine con- times faster than in other packages. The cost of the capital equip- tributor by sending an email to The graphics performance of SGI’s ment is not the greatest considera- [email protected]. O2 and Octane are fully exploited tion for a digital studio like mine.

ANIMATION WORLD MAGAZINE February 1998 67 The International Museum of Cartoon Art

by Steve Charla

he International museum’s gallery space is Museum of Cartoon Art devoted to changing exhibi- Twas founded as the tions, like the currently run- Museum of Cartoon Art by ning, “Cartoons Go to War” cartoonist Mort Walker in and the upcoming, 1974. Dismayed by the fact “Superheroes: Superman and that so many original works Other Comic Book Legends.” by cartoonists were being lost or destroyed, Walker had Exhibitions begun collecting cartoon art The museum frequently years earlier. The Museum was mounts exhibitions of original created to collect, preserve animation art as well. The and exhibit original works of museum’s Summer 1997 show, cartoon art from all over the The International Museum of Cartoon Art at 201 Plaza “24 Frames a Second: The world. In 1992, the museum Real in Boca Raton, Florida. Photo courtesy of and © Story of Animation,” featured relocated from New York to The International Museum of Cartoon Art. artwork from the productions Boca Raton, Florida, where it’s new showcases highlights from the of several major studios, including facility opened to the public in Museum’s permanent collection. Walt Disney Productions, Fleischer March of 1996. It’s collection cur- The newspaper strip area contains Studios, Warner Bros. and Hanna- rently consists of approximately original pieces covering the medi- Barbera Productions. The exhibition 160,000 pieces of artwork, includ- um’s century of existence, from art was divided into six separate areas, ing original animation art, newspa- by early masters like Richard each highlighting a different phase per strips, comic book art, editorial Outcault and Winsor McCay to the in the creative process. Storyboards, cartoons, gag cartoons, caricatures, work of more recent favorites such concept art, character model sheets, sports cartoons, and book and mag- as Charles Schulz and Bill Watterson. animation drawings, background azine illustrations. The museum also On display in the comic book area art, cel set-ups and promotional has over 10,000 books and hun- are original pages and covers by posters were all featured in the dreds of hours of film and video, Jack Kirby, Bob Kane, Curt Swan show. Also included were three- which will eventually be made avail- and others. Gag and magazine car- dimensional models, mock-ups of able to the public through an on- toons, many of which appeared in nineteenth century experiments in site research library. The New Yorker, are also repre- animation and a timeline of signifi- sented in the gallery, as are politi- cant events in animation history. cal and editorial cartoons. The It’s collection currently consists of approximately 160,000 museum’s Hall of Fame pays tribute The newspaper strip area con- pieces of artwork... to acknowledged pioneers and tains original pieces covering masters from all genres of the art the medium’s century of form. Some of the Hall of Fame’s existence... The Permanent Collection members include Thomas Nast, Roughly half of the muse- Richard Outcault, Hal Foster, Walt One of the museum’s current um’s first floor gallery space currently Disney and Chuck Jones. Part of the exhibitions, “The Gems of Disney,”

ANIMATION WORLD MAGAZINE February 1998 68 classic shorts, such as ture that deserve to be preserved Steamboat Willie, The and exhibited. Like all of the popu- Band Concert, and lar arts, they reflect the ideas and Orphans’ Benefit. attitudes of the society that pro- Several of Disney’s “Silly duced them while simultaneously Symphonies” are repre- serving as entertainment. The sented, including International Museum of Cartoon Flowers and Trees, the Art will continue to educate the first true Technicolor car- public about the art form and act toon. Also on display are as a repository for these works. works from the early Funds are currently being raised to Disney features such as complete construction of the muse- A gallery within the museum. Photo courtesy of and © Snow White and the um’s second floor, which will include The International Museum of Cartoon Art. Seven Dwarfs, a permanent gallery of animation Pinocchio, Fantasia and art. For more information on the contains approximately seventy Dumbo. Museum, call (561) 391-2200. pieces of animation art from the private collection of Mike and Jeanne Steve Charla is Collections Glad. The show covers the first Cartoons, comics and animat- Coordinator for the International twenty years of the Walt Disney ed films are pieces of our Museum of Cartoon Art in Boca Studio’s existence, beginning in the culture that deserve to be Raton, Florida. mid-1920s and ending with Bambi preserved and exhibited. in 1942. Like “24 Frames a Second,” Note: Readers may contact any this exhibition features several dif- In Closing... Animation World Magazine con- ferent types of animation art, from Cartoons, comics and ani- tributor by sending an email to inspirational paintings to finished mated films are pieces of our cul- [email protected]. cel set-ups. Included are pieces from REGISTER with Animation World Network TODAY and

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ANIMATION WORLD MAGAZINE February 1998 69 by Wendy Jackson

Business game slated for release by Ripcord Games in June. Jinx is also devel- Cloud 9 For Sale. The private own- oping a sequel to the Pulse title, Bad ers of Marina del Rey, California- Mojo. “Pulse is going to concentrate based Cloud 9 Interactive plan to on the burgeoning Internet market sell the company and its’ holdings. and we wanted to stay focused on Company co-founder, president and games,” said Jinx president and CEO Debra Streiker-Fine is in dis- executive producer Phill Simon, cussions with five potential buyers, “We’ve got some ideas for different and says a recent evaluation assess- kinds of games which can be made es that the company is worth $20 faster and more cost-effectively.” million. In September 1997, Cloud 9 formed a television production M.P.S.C. Surveys Industry. The division (AF 9/16/97), Cloud 9 Motion Picture Screen Cartoonists Marlon Schulman, vice president of Media, and announced a slate of Union local 839 in Los Angeles Bandai Entertainment’s new Home Video several projects in development, released the results of its annual division. Photo courtesy of Bandai. including animated series Zeroman member survey. 39% of the Union’s (with Leslie Nielsen and approximately 2,800 members Bandai Broadens Business. Tokyo- Amberwood Productions), I Can Be replied to the survey, which reveals based Bandai Visual, a division of Three (with Epoch Entertainment) some interesting, and sometimes toy manufacturer Bandai, has and the development and licensing amusing, information, such as: 16.9 launched a new CGI production of original animated characters from % of Local 839 members are origi- division called Digital Engine. The Cloud 9’s interactive Learning nally from outside of the U.S. . . . company has also launched Bandai Adventure CD-ROM titles. It is not 31.6% sometimes work non-union. Entertainment Video, a U.S.-based yet known what the fate of these . . . In the past year, 62.4% have division which will handle home projects will be. worked on animated features, video distribution in North America. 38.4% on television, 13.7% on Marlon W. Schulman, formerly of Pulse Alums Get Jinx-ed. Former direct-to-video and 7.8% on com- Orion, has been named vice presi- employees of Pulse Entertainment, mercials. . . . 25% claim to be afflict- dent of the new distribution divi- a game development company ed by “stress” and 18% by “irre- sion. Two animated feature films are which recently formed P7, an versible brain damage” as a work- already in production through alliance with 7th Level related ailment. . . . furthermore Digital Engine in Japan. The first Entertainment to focus on Internet- 54% do not know where their project, slated for completion in based interactive content, have membership card is. 1999, is Steam Boy, a science-fic- formed a new game development You can read the complete tion adventure set in 19th century company called Jinx. Both P7 and survey results within the January England and directed by Katsuhiro publisher Ripcord are minority share- issue of The Peg-Board on the Otomo (Akira). The second feature, holders in Jinx. Based in San Motion Picture Screen Cartoonists directed by Mamoru Oshii (Ghost Francisco and headed by co- web site on Animation World in the Shell), is tentatively titled founders Vinny Carrella and Phill Network. G.R.M. and scheduled for release in Simon, Jinx is continuing produc- http://www.awn.com/MPSC839/8 2000. The films will be distributed tion on Space Bunnies Must Die!, a 39INDEX.HTM theatrically before their respective

ANIMATION WORLD MAGAZINE February 1998 70 video releases. Additional theatrical cle, “(Colossal) Pictures Proves There Parker have ever seen the Spumco and direct-to-video content is also is Life After Chapter 11,” in the May web site. Additionally, Comedy being produced by Bandai-owned 1997 issue of Animation World Central spokesperson Laura Nelson traditional animation house Sunrise Magazine. said that the Mr. Hankey character Studio in Japan. was created 25 years ago by Trey John K. Says South Park Story Parker’s father, as a potty-training (Colossal) Turns The Page On Steals. December’s incentive for the Chapter 11. San Francisco-based debut of the South young boy. The production company (Colossal) Park Christmas spe- South Park Pictures, which filed for Chapter 11 cial on Comedy Christmas episode bankruptcy protection in May 1996, Central may have was watched by has agreed to a settlement offered insulted some con- over 4 million by Cleveland, Ohio-based compa- servative viewers viewers on ny, The Rock and Roll Hall of Fame, with its religious Wednesday, earn- for an undisclosed amount. Colossal mockery and toilet ing Comedy filed a lawsuit against The Rock and humor, but it has ani- A talking excrement in Spumco’s Central a record- Roll Hall of Fame in June 1997, mator/director John web cartoon, The Goddamn high 5.4 rating. alleging breach of contract when Kricfalusi feeling that George Liquor Show. © Spumco. In an inter- the former client canceled a multi- imitation may not be the best form view with AWM, Kricfalusi pointed media exhibit project which the stu- of flattery. Kricfalusi, who is best- out that an early Christmas episode dio was producing. The incident is known as the creator of the cartoon of Ren and Stimpy called “Son of cited by Colossal as a contributing show Ren & Stimpy, says that last Stimpy” depicted a similarly charac- factor in the company’s bankruptcy. week’s South Park episode stole terized talking fart. He also added As stated in Colossal’s Bankruptcy characters and concepts from sev- that the show uses the line, “you Agreement, the money received eral of his original properties. The sick little monkey,” popularized on from The Rock and Roll Hall of Fame South Park episode features a Ren and Stimpy, and also feels that will be distributed to Colossal cred- singing, dancing piece of human the Mr. Hankey concept draws from itors on a percentage basis. While excrement as a main character Ren and Stimpy’s pseudo-commer- the company publicized an “emer- named “Mr. Hankey.” Kricfalusi says cial “Log.” “We basically gave up on gence from Chapter 11” in he created a similar talking poop TV a couple of years ago because December, several unsecured cred- character for Dark Horse Comics we couldn’t get anyone to under- itors, including three former sales over four years ago, called “Nutty stand our humor,” Kricfalusi said, “I representatives, will be paid only the Friendly Dump,” which is still know what the audience wants, 29% of the outstanding invoices. unpublished, but was pitched to but I can never figure out what the “Colossal has gotten away with stay- many networks, including Comedy network wants. It’s frustrating when ing in business without paying their Central, as part of The Goddamn a big distribution network shows up debt. I believe the amount of George Liquor Show, which with a bunch of your jokes in one money left over for the unsecured Kricfalusi’s company Spumco now episode.” Despite his obvious frus- creditors, who will be paid last, will broadcasts as an episodic show on tration, Kricfalusi admits, South Park be little to nothing,” said former the Internet. The web cartoon’s first is “the funniest show on TV right- Colossal rep Mary Vandamme. episode, “The Babysitter,” which pre- now. Though operating on a much small- miered October 15, 1997 er scale, Colossal has had a flow of (http://www.spumco.com), intro- People commercial work during the past duced an entire family of talking 18 months in bankruptcy. In poop characters, one of which is Musical Chairs December, Colossal signed with two complete with a hat and white Saban Entertainment has named new sales representative companies, gloves, like South Park’s Mr. Hankey. Jorge Ferreiro vice president of Creative Management Partners and Comedy Central says licensing and merchandising, and Bill Rabin & Associates. Kricfalusi’s claims have “no merit,” Jamie Simons editorial director of For the backstory on this and that neither of South Park’s cre- licensing and merchandising. . . . ongoing saga, visit Karl Cohen’s arti- ator/directors Matt Stone and Trey Anne Gates has been named vice

ANIMATION WORLD MAGAZINE February 1998 71 president of business planning for Canadian animation studio, Animate! has supported 35 projects Disney Interactive. She was pre- Nelvana Limited has hired Sidney including Karen Kelly’s Stressed, Run viously vice president of finance for A. Kaufman as executive vice pres- Wrake’s Juke Box, William Latham’s Disney Consumer Products. . . . ident. Kaufman was president and Biogenesis, Kayla Parker’s Cage of Metrolight Studios has hired Mark CEO of Total Licensing Services Flame and Tim Webb’s 15th Rodahl as a senior animator, Brian which he founded in 1994. February. Samuels as a visual effects supervi- Working with Nelvana sor, Ron Simonson a post-produc- Communications president Toper In Passing... tion supervisor and Jesse Silver, Taylor, Kaufman will oversee world- formerly of Warner Bros. Feature wide merchandise licensing for Evening of Remembrance. On Animation, as an art director. . . . Nelvana properties. . . . Visual Saturday, February 7, at 7:00 p.m. Film critic and animation historian effects producer Jenny Fulle has the Motion Picture Screen Leonard Maltin has begun teach- joined Sony Pictures Imageworks Cartoonists Local 839, ASIFA- ing the “Theatrical Film Symposium” as executive producer. She was Hollywood and Women In class at the University of Southern most recently an effects producer Animation presented the third annu- California (USC) School of Cinema- for DreamWorks and previously for al “Evening of Remembrance,” hon- Television . . . .Paris-based produc- Warner Digital. . . . Charles oring members of the animation er Gaumont has named Thomas Gibson, co-founder of ten-year-old, community who passed away in Kornfeld director of international L.A.-based effects/animation house 1997. This year’s event was held at sales. In this role he will be respon- Rhythm & Hues, has left the com- the Hollywood Heritage Museum sible for the sale of television prod- pany to pursue freelance work. . . . at the DeMille Barn, 2100 North uct to Asian territories. He was pre- Jenny Bright was promoted to Highland Ave (across from the viously manager of international executive producer at 525 Post Hollywood Bowl) in Hollywood. sales for Gaumont, handling terri- Production. She has been a visual Honorees were: Marie Cornell, tories in Eastern Europe and Africa. effects producer with the Los Phyllis Craig, Lillian Disney, John . . . Julie Haddon, marketing direc- Angeles-based company since Gentilella, Stan Green, John Guerin, tor at the New York-based office of 1994. . . . Leslie M. Levine has Cameron Guess, Jerry Hathcock, Les Blue Sky|VIFX, has moved west to been named licensing consultant Kline, Charlotte Levitow, Frank Little, Palo Alto, California to take on a for Hearst Entertainment’s mer- Harry Love, Dick Lucas, Virginia post as director of marketing for chandise and licensing division, McColley, Don Messick, Milt Neil, Pacific Data Images (PDI). The which was recently relocated from Zoë Parker, Jack Parr, Jane Phillippi, computer animation studio, cur- New York to Los Angeles. Levine Frances Ross, Don Selders, Jerry rently in production on the was most recently vice president at Smith, Bruce Strock, Fred Stuhr, Dick DreamWorks animated feature Antz, Playmates Toys. . . . Thomas and Beverly Ware. also recently hired Regina Wright as director of Human Resources. She UK Council Commissions Mae Questel, best known as the was previously director of Human Creators. The Arts Council of voice of cartoon characters Betty Resources at 20th Century Fox.. . . England has doled out commissions Boop and Olive Oyl died on . Atlanta-based Internet and multi- to five artists, as part of their January 4, 1998 at her home in media service company Crawford Channel Four-sponsored “Animate!” Manhattan, New York. She was 89. Intermedia has announced the program which commissions inno- Questel was born in 1909 in the hires of Minsoo Pak (formerly direc- vative and experimental animation Bronx, New York. At age 17 she tor of multimedia at Ogilvy & for television. Production budgets started her career in entertainment Mather) as creative director, Will ranging from U.K. £12,000 to as a vaudeville performer. Then Weyer as art director, Karl £25,000 were awarded to Paul New York-based animator Max Wattenburg as a designer and Bush for a project titled Nursery Fleischer discovered Questel in her Laura Citron as production man- Poetry, Jo Ann Kaplan for An capacity as an impersonator of ager. . . . Nelvana Anatomy of Melancholy, Oliver Helen Kane, and signed her as the Communications, the Los Angeles- Harrison for Love is All, John Parry giddy, childish voice of his emerging based programming and mer- for Salvage and Tim Macmillan for character Betty Boop. One of the first Betty Boop cartoons, Stopping chandise licensing subsidiary of Ferment. Since launching in 1990,

ANIMATION WORLD MAGAZINE February 1998 72 the Show drew from Questel’s stage try declined in the mid sixties, Guess William Steig, has been in develop- experience, depicting Betty as a moved to Florida, where he is sur- ment for longer than usual as vaudeville impersonator of popular vived by his wife and one daugh- DreamWorks reportedly looked for performers such as Maurice ter. another production studio to com- Chevalier. In all, she performed Betty plete the animation, while PDI was Boop’s voice in more than 100 car- Lillian Bounds Disney, widow of busy with Antz. DreamWorks owns toon shorts produced between Walt Disney, died on Tuesday, 40% of PDI. 1931 and 1939. In the Popeye car- December 16, 1997 at her home toons, which started at Fleischer in West Los Angeles. She was 98 De Nooijers Make Exit. Paul and Studios in 1933, Questel performed years old. Walt Disney died almost Menno De Nooijer, the Dutch father the voice of Olive Oyl, and when and son animation directing team 31 years ago to the day (December the Popeye shorts were produced who have created over half a dozen 15, 1966). Lillian Bounds came to by Famous Studios from 1942 to animated shorts such as At One Los Angeles and got a job as a cel 1957, she voiced most of the stu- View and 1995:1995 have com- dios’ female characters, including painter at Walt Disney’s fledgling stu- pleted their first feature film, EXIT. Little Audrey. On occasion, she even dio in 1923. Approximately two EXIT premiered at the Dutch Film filled in for Jack Mercer as the voice years later, Lillian and Walt were Festival and will be screened in com- of Popeye! In 1988, Questel per- married on July 13, 1925, near her ing months at film festivals in formed the voice of Betty Boop in birthplace in Lewiston, Idaho. It is Who Framed Roger Rabbit? Also, Portugal, France and Germany. The on the screen, she acted in numer- believed that Lillian suggested the 80 minute live-action film features ous live action films in the 1960s- name “Mickey” for Walt Disney’s 80s, including in the role of Woody character originally named Allen’s mother in New York Stories “Mortimer Mouse.” Since Walt’s (1989). death, Lillian has been active in The March 1998 issue of charitable activities, and in 1987 she Animation World Magazine will made a landmark gift of U.S. $50 include a feature article about Mae million to the Music Center of Los Questel, written by Andrew Lederer. Angeles County, to build the Walt Disney Concert Hall which is set to Cameron Guess died on December 12, 1997 at his home in open in 2001 in downtown Los Angeles. She has also made many A disturbing image from Paul and Menno Winter Springs, Florida. He was 61. de Nooijer’s Exit. An animator and producer, Guess donations to Cal Arts animation pro- © Paul and Menno de Nooijer. worked at the National Film Board gram. Lillian is survived by one roughly 10 minutes of animation. It of Canada (NFBC) from the late daughter (Roy Disney is the son of was conceived four years ago as a 1950s until 1963. There, he worked Walt’s brother), as well as ten grand- fully-animated work, but the eco- on the animated short The Great children and thirteen great grand- nomics of time caused the project to Toy Robbery directed by Jeff Hale children. evolve in the direction of live-action. and written by Derek Lamb. After “So many animators are moving into receiving a large inheritance, Guess Films live-action features, especially in relocated to San Francisco, where Europe,” said Paul DeNooijer, “The he founded the now defunct ani- PDI Signs On For Shrek. market for short films is decreasing, mation company, Cameron Guess DreamWorks has confirmed it will and there are more opportunities & Associates in 1964. He was joined contract Pacific Data Images (PDI) to sell a feature film.” by Jeff Hale, Derek Lamb and ani- to animate their planned feature mator Barrie Nelson. The company film, Shrek, set for release in 2000. Visual Effects produced two animated shorts, The Palo Alto, California-based PDI is cur- Well (1965) and The Shepherd rently in production on (1967), the latter of which was FX Affects DreamWorks’ Antz, a partial CG fea- nominated for an Academy Award. Four Media Company, the When the theatrical cartoons indus- ture slated for release in 1999. The Burbank-based company which co- film, based on a children’s book by owns Medialab Studio L.A, has

ANIMATION WORLD MAGAZINE February 1998 73 signed a deal with Visualize, Inc. to Network, gives us an unparalleled acquire POP Studios, a Venice, programming, promotional and dis- California-based company which tribution platform.” offers digital production services Fox also announced its including visual effects and anima- 1998-99 schedule for Fox Kids tion. POP will become a wholly- Network, including eight new ani- owned subsidiary of Four Media mated series coming in fall 1998. Company, retain its present man- New to the Fox Kids Saturday morn- agement and continue to operate ing lineup will be Mr. Potato Head under the POP name. The acquisi- Saban’s Adventures of Oliver Twist will be (in development at Saban) Woody tion is expected to be complete by included in the lineup for the new Fox Woodpecker (the new show from January 31, 1998. . . . Boston-based Family Channel. © Saban. Universal Cartoon Studios), Godzilla broadcast design firm Viewpoint Prairie (Saban), Eek!Stravaganza (Columbia Tri-Star), Mad Jack Studios and Seattle-based stop- (Nelvana), All Dogs Go to Heaven (Saban) Silver Surfer (Saban) and motion and motion control studio (MGM Animation) and the live- Captain America (Saban). New to Heck Yes! Productions (formerly action series Pee-Wee’s Playhouse. weekday afternoons will be Stratos Pictures) have formed an The second block, “The Captain’s Scholastic’s The Magic School Bus alliance through which they will Treasure House,” is aimed at pre- (Scholastic/Nelvana), Spy Dogs pool resources and collaborate on schoolers with animated shows like (Saban) and Oggy and the some commercial projects. The com- The Magic Adventures of Mumfie Cockroaches (Gaumont) which will panies are already working on (Britt Allcroft Productions) and be combined with “Space Goofs” research and development for Tabaluga (EM-TV). Tic Tac Toons, an (also Gaumont) as The Space Goofs future projects, and are jointly bid- all-animation block, will feature and Oggy Show. Current shows ding on several broadcast and cable Bobby’s World (Film Roman), being renewed for 1998-99 include jobs. . . . Engineering Animation Saban’s Adventures of Oliver Twist Steven Spielberg Presents (EAI) created 3-D computer ani- (Saban), Heathcliff (Saban), The Real Toonsylvania (DreamWorks), Life mated effects for Fleet Command, a Ghostbusters (Columbia Tri-Star), With Louie (Hyperion), Spider-Man two-hour special about military train- and Classic Harvey Toons (Harvey (Saban), Ned’s Newt (Nelvana) and ing for the Discovery Channel. . . . Entertainment). The last kids block of Sam & Max (Nelvana). the day before family-oriented Television prime-time programming starts is Nick Says “Oh Yeah!” to Shorts. The Basement, which will premiere Nickelodeon will premiere its new Fox Kids, Family Channel To Get the animated series Bad Dog series of animated shorts in July, [Very] Animated. News (Saban), Monster Farm (Saban), with the first of 13 half-hour Corp./Saban co-venture Fox Kids Water Melon (Saban) and episodes comprised of new, seven- Worldwide has revealed its pro- Badaboom, (in development at minute cartoons. The series titled gramming plans for its newly- Saban) a compilation of outrageous Oh Yeah! Cartoons! is being created acquired cable network, The Fox animation. and produced by Fred Seibert, the Family Channel. The Fox Family The Fox Family Channel will former head of Hanna-Barbera Channel will launch on August 15, reach 74 million homes 1998 with a kids’ daytime schedule at its’ launch, which that includes 50% original, first-run News Corp. President & programming. Following the lead COO/Fox Group of competitor’s success with pro- Chairman Peter Chernin gram packaging, Fox Family said, “will be one of the Channel will debut with a slate of largest debuts in the his- four themed, “branded” daytime tory of television.” He blocks. “Morning Scramble” for kids added, “This, combined of all ages, will include the animat- with the 98 percent ed series Wowser (Saban), Bit the reach of U.S. house- Max and His Special Problem by Dave Wasson, one of Cupid (Saban), Little Mouse on the holds with Fox Kids Nickelodeon’s Oh Yeah! Cartoon!s. © Nickelodeon.

ANIMATION WORLD MAGAZINE February 1998 74 Cartoons and a key player behind ting deal could up the ante for experienced convulsions, vomiting, the development of the What A American independent producers fainting and other symptoms which Cartoon! shorts for Cartoon who have traditionally supplied seem to have been triggered by a Network. The shorts are being networks with programming. “This scene about 20 minutes into the directed by 17 different creators: is an enormous step for interna- half-hour episode in which a char- Mike Bell, Bob Boyle, Bill Burnett, tional independent companies to acter’s eyes flashed repeatedly and Greg Emison, John Eng, Butch get a foothold in the international a bright red explosion filled the Hartman, Larry Huber, Alex Kirwan, marketplace.” All six shows will meet screen. The phenomenon medical- Seth MacFarlane, Zac Moncrief, FCC educational requirements, and ly referred to as “television epilepsy” Carlos Ramos, Rob Renzetti, Miles are being co-financed by Nelvana’s or “photosensitive epilepsy” can be Thompson, Byron Vaughns, Pat multiple international co-production caused by strobes or flashing lights Ventura, Vincent Waller and Dave partners. Franklin, (7:00) which fol- and has been attributed to similar Wasson. lows the adventures of a cherubic reactions to some video game turtle, is based on a series of books graphics. The series Pokemon is CBS Re-Animates Its Saturday by Paulette Bourgeois and current- based on a Nintendo Game Boy AM Line-Up! CBS Television, which ly airs on The Family Channel in video game called Pocket Monsters. pulled out of animation program- Canada. Anatole, (7:30) the story Nintendo, aware of previous epilep- ming with its’ live-action-filled of a Parisian mouse and his family, tic reactions to video games, issues Saturday morning slate for the is based on a book series by Eve a health warning on all of its soft- 1997/98 season, has announced a Titus, and will teach kids about ware. Broadcaster TV Tokyo offered bold move to return to animated diversity. The Dumb Bunnies, (8:00) an on-air apology and issued a programming. The network has based on Dav Pikey’s book series, is health warning for the series, and is signed an unprecedented, two-year a comedy about a family of naive studying other episodes as a pre- deal with Canadian animation pro- rabbits, that will teach kids about caution. “Pokemon” show produc- ducer NELVANA Limited, wherein logical reasoning. From the Files of ers Shogakukan Production Co. NELVANA will produce six animat- the Flying Rhinoceros, (11:00) were surprised by the incident ed series for CBS’ Saturday morning based on books by Ray Nelson and because similar effects have been block starting in fall 1998. CBS’ Douglas Kelly, will be produced in used in previous episodes, without Saturday morning block has association with Big Daddy this viewer reaction. Investigations received consistently low ratings as Productions. Guardians of the into the incident are being con- a result of competition from cable Legend (11:30) is an action series ducted by Tokyo Police, The Health outlets such as Nickelodeon and about mythological stories, based and Welfare Ministry, The Ministry Cartoon Network, and from studio- on the Myth Men book series by of Posts and Telecommunications affiliated networks such as ABC Laura Geringer. The one show not and a panel of experts assigned by /Disney and Fox Kids/Saban. “With based on books is Birdz, (8:30) a TV Tokyo. this schedule, we are renewing our comedy about a family of birds. commitment to programming that Home Video meets the dual challenge of meet- Convulsion-Causing Cartoons. ing the FCC educational require- On December 16, 1997 in Japan, Disney’s February Flicks. Walt Disney Home Video will release sev- ments and capturing the interest of hundreds of people, mostly chil- eral animated films on home video children,” said Lucy Johnson, senior dren, simultaneously suffered in February, 1998. Hercules will be vice president of Daytime/Children’s seizures while watching an episode available on February 3 for $26.99. Programming and Special Projects of the animated series Pokemon On February 6, a collection of five at CBS. It is rare for a network to (Pocket Monsters). The highest-rated Valentine’s Day-themed titles will be buy a whole block of programming show in its weekly 6:30 p.m. time released, comprised of re-packaged from one supplier, especially from slot, Pokemon is watched by mil- shorts and TV series episodes: an international one. Toper Taylor, lions of children on the television Winnie the Pooh Un-Valentine’s Day president of NELVANA Communica- network TV Tokyo. Japanese media (30 minutes, $14.99), Mickey Loves tions, said that this precedent-set- reported more than 700 viewers Minnie (25 minutes, $9.99), Disney’s

ANIMATION WORLD MAGAZINE February 1998 75 Pictures released a video (now out tribute Hallmark home video prod- of print) containing four of the uct in the U.S. The partnership will shorts, but Just For Kids’ forthcom- effectively merge part of Hallmark ing release will be the first complete Home Entertainment into FHE. The set of Animaland titles to be released animated product that this deal on home video in the U.S. brings together includes HHE’s new For more information, read “Crayola Presents Animated Tales” Giannalberto Bendazzi’s review of line and FHE’s Rudolph the Red- the Animaland films, published in Nosed Reindeer and other the January 1997 issue of Animation Rankin/Bass holiday specials. As part World Magazine. of the deal, Hallmark Home Entertainment (HHE) president Steve Another Beauty From Disney. Beeks will become president of Live Mickey Loves Minnie. © Disney. Walt Disney Home Video will release Home Entertainment and HHE Love Tales (25 minutes, $9.99), a second direct-to-video title based senior vice president Glenn Ross will Aladdin & Jasmine’s Moonlight on the theatrical feature, Beauty join Live as president of Family Magic (45 minutes, $9.99) and and the Beast. Belle’s Magical Home Entertainment and executive Disney’s Sweetheart Stories (23 min- World, a 70-minute animated video vice president of Home utes, $9.99). comprised of three “storybook chap- Entertainment. Hallmark Home ter” episodes, will be available for Entertainment will remain a sepa- David Hand’s Animaland, a video $22.99 in U.S. stores on January rate company handling its own collection of nine animated shorts 13, 1998. marketing, merchandising, manu- produced in the 1940s, will be facturing, promotion and publicity. released in April 1998 in the U.S. by CPM Ships 3 Anime Titles. Central Just For Kids Home Video. The films, Park Media released three Japanese Internet & Interactive Ginger Nutt’s Christmas Circus, anime titles on home video on Ginger Nutt’s Forest Dragon, January 6, 1998. Legend of Absolut Adds 8 Animations. Ginger Nutt’s Bee Bother, It’s A Lemnear (45 minutes) is an action- Absolut Vodka will add eight new Lovely Day, The House Cat, The adventure film based on a popular animated films to the 23 films Australian Platypus, The Cuckoo and manga comics series which CPM is already available on its “Absolut The Ostrich and the Lion were pro- releasing concurrently with the Panushka” web site at www.abso- duced by David Hand, who video. Peacock King-Spirit Warrior: lutvodka.com. The eight new ten- became one of Walt Disney’s first Festival of the Ogres’ Revival is a 55 second experimental mini-films will staff animators in 1930, working on minute title in the mystical/fantasy premiere at the Sundance Film films such as Snow White, Bambi Peacock King series. Black Jack- Festival next week. Added to the and several Silly Symphonies shorts. Clinical Chart 5 is a 50 minute site’s roster of 23 filmmakers are In 1944, he left Disney and moved adventure title in Tezuka Tânia C. Cançado (Brazil), Nedeljko to England where Productions’ Black Dragic (Yugoslavia), James Duesing he established GB Jack series. All three (US), Caroline Leaf (US), Jan Lenica (Poland), Alexander Marinov Animation, where titles are dubbed in (Bulgaria), Ishu Patel (India) and he produced the English and available Erica Russell (UK). In addition, the Animaland and for $19.99 each. Musical Paintbox web site features new animated directory pages by the likes of Eric series for J. Arthur Hallmark Joins The Patric (US), Pawel Borowski (Poland), Rank. The films Family. Family Home Kirsten Winter (Germany), Yuriko were recently Entertainment (FHE), Senoo (Japan), Alexander Gajic restored and a subsidiary of Live (Czech Republic) and Enes Krluc released by an Entertainment, has (Bosnia). The site is curated by Italian company, David Hand’s Animaland, coming to signed a deal with Christine Panushka (USC) and fea- Alfadedis in 1996. video in 1998 from Just For Kids Hallmark Home tures a history of experimental ani- In 1992, Streamline Home Video. © Just For Kids Home Video. Entertainment to dis- mation by Dr. William Moritz.

ANIMATION WORLD MAGAZINE February 1998 76 Quick Bytes animated commercial for Alabama Associates created 27 id spots for BLITCOM LLC., a company estab- Power, through the agency The Disney Channel’s three daily lished in August 1997 by Mark Shepardson Stern & Kaminsky. The program blocks: Little Kids, Kids and Pesce and Jan Mallis, has launched spot, titled Power Lines, uses a sim- Kids & Family. The ten-second spots The Blitcom Channel ple black line to illustrate the dan- combine live-action and animation (http://www.blitcom.net), a new ger of electrical lines. J.J. Sedelmaier in scenarios such as a family enter- network for VRML programming on served as director and designer, Tom ing an animated world after riding the World Wide Web. The advertis- Yohe Jr. as art director and John bikes over a Disney Channel logo ing-supported entertainment service Paratore, Katie Sheehan and Mike painted on the street. . . . will offer users content delivered through Netscape Netcaster, Wetterhahn as additional animators. Marimba Castanet Transmitter and . . .J.J. Sedelmaier Productions Technology Cosmo Player technology... and Tape House Digital collabo- Brilliant Digital Entertainment rated on Heartburn, an animated SGI, Microsoft Turn Up Heat On has formed a license agreement commercial for a heartburn medi- “Fahrenheit.” Following their with DC Comics wherein they will cine called Prilosec. Based on illus- recent announcement of a plan to develop interactive content based trations by C.F. Payne, the 30 sec- co-produce graphics software (AF on comic super hero characters. The ond spot features cel animation by 12/16/97), Microsoft and Silicon first co-production will be Superman J.J. Sedelmaier and computer ani- graphics have further defined their joint venture, code-named Multipath Movie, to be released in mation by Tape House Digital (visu- “Fahrenheit.” The Fahrenheit pro- 1998. Brilliant Digital al effects director: Michael Suissa) . Entertainment’s line of Multipath ject will create a suite of application Movies are 3-D, interactive animat- programming interfaces (APIs) for ed stories (like a cross between a Microsoft’s DirectX multimedia archi- movie and a video game)which will tecture on the Windows operating be released on CD-ROM and the system as well as the Silicon Internet beginning in January. . . . Graphics UNIX-based platform. (An Superman is also featured in a new API is a common interface which CD-ROM game from Knowledge enables developers to maximize Adventure called Superman acceleration capabilities of a com- Activity Center. Aimed at kids ages puter.) The Fahrenheit APIs will be 5-10, the title features games and J.J. Sedelmaier Productions and Tape developed in conjunction with soft- puzzles that focus on problem-solv- House Digital’s Heartburn. Photo courtesy ware and hardware development of J.J. Sedelmaier Productions. ing skills. Superman Activity Center partners, including Intel Corp., mak- ers of the Pentium processor. The is available in hybrid . . . Loconte Goldman Design cre- Fahrenheit architecture will be the Windows/Macintosh format for ated a broadcast design package of $20.00. . . . basis for third-party graphics and main title treatments for KTLA Los visualization applications including Angeles News, using AVID and Internet, games, business, digital Commercials Henry to composite animated text content creation, CAD/CAM, med- and graphics on top of live-action ical and scientific applications. Commercial Studios! What animated film. . . . Aardman Animations, During the development of the spots have you worked on? Send innovators of the clay animation Fahrenheit project, Microsoft and your press releases and production style popularized in the Wallace and Silicon Graphics have also agreed updates to SPOTLIGHT at edi- Gromit short films, created a com- to work together in support of the [email protected] or by fax to (213) mercial for the U.S. restaurant chain development of Windows-based graphics applications for profes- 464-5914. Burger King. The 30-second clay- animated spot, directed by Steve sionals through the OpenGL APIs Box, promotes the food chain’s and the development of Windows- Spotlight based graphics applications for con- french fries with characters created sumers through the Direct3D API. specifically for the campaign (not New York-based J.J. Sedelmaier They will deliver new APIs, DDKs Productions created a 30 second Wallace and Gromit!). . . . Lee Hunt and Software Development Kits

ANIMATION WORLD MAGAZINE February 1998 77 (SDKs) in phases over the next two Effects and Animation Festival accepting entries for The California and a half years. (AEAF), presented by Digital Media Sun International Animation Festival World (the same organization that until March 1, 1998. The program Education put on November’s LEAF in London) will be selected by a panel of indus- accepted entries until January 23, try animators, and awards include ‘98 NATE Slate. The New 1998. The competition awards cash prizes. The per-film entry fee is Animation Technology Conference excellence in special effects and $25.00 The event will take place in & Exposition (NATE), an event animation in the following cate- May 1998 at California State launched at the World Animation gories: feature film, short film, University Northridge. For informa- Celebration (WAC) in 1997, has titles/idents, commercials, simulation and entry forms, visit lined up its slate of classes for the tion, education/training and stu- http://www.csun.edu/~jpr45052/a second edition, to be held February dent work. Winners will be nifest 17-20 during WAC in Pasadena, announced during AEAF, March 18- California. The event will offer more 20, 1998 in Sydney, Australia. I.D. Seeks Interactive Innovators. than 72 classes, including a special For information, visit I.D. Magazine is accepting entries keynote speech by Pixar’s chief tech- http://www.dmw.com.au for its annual Interactive Media nology officer and executive vice Design Review until January 5, president Ed Catmull. Instructors Computer Animation ‘98, 1998 (postmark). Categories include from companies including Blue Geneva. The eleventh annual entertainment/games, web sites, Sky|VIFX, Cinesite, DreamWorks, Computer Animation Film Festival advertising/promotions and student Digital Domain and Klasky Csupo and Conference will take place in work. 1997 winners include The will teach classes on using anima- Geneva, Switzerland in September Neverhood’s debut game, The tion software such as ElectricImage, 1998. Entries of computer animat- Neverhood, the Hotwired web site Animo, Toonz, Softimage, 3D ed films are being accepted until and Disktractions, a CD-ROM pro- StudioMax, Photoshop, February 28, 1998. This event is ject by two students at the Royal PowerAnimator, After Effects, Maya, held in partnership with the College of Art in London. Entry fees Hash Animation:Master, LightWave Computer Animation ‘98 range from $40 to $75 per entry. 3D and Fractal Painter. For regis- Conference in Philadelphia, For entry forms and more informa- tration information, visit Pennsylvania, June 8-10, 1998. For tion, call (212) 447-1400 or visit http://www.etshows.com. information and entry forms, http://www.idonline.com contact computer.animation Call for Entries @cui.unige.ch Events

Cardiff Gets Vital! The One Show. The One Club for Art & Slamdance, the film festival which International Animation Festival Copy, a New York organization, began in 1995 as a concurrent alter- Cardiff has been given a new name accepted entries for its annual One native to the elitism of the Sundance and design in preparation for the Show advertising competition until Film Festival, took place January 16- next edition, June 23-28, 1998. The January 30, 1998. Categories in 23, 1998 in Park City, Utah. While festival now known as Vital! which animated productions could the festival does not yet include an International Animation Festival be entered include Television animation category, there will be Cardiff is accepting film entries until Commercial, Television Campaign the end of February. For entry forms and Multi-Media Campaign. Entry and additional information, call fees range from U.S. $90.00 to Nina Caton at (44) 171 494-0506. $300.00. For information and entry Read a review of the 1996 forms Cardiff International Animation Festival, in the July 1996 issue of visit, http://www.oneclub.com Animation World Magazine. Also look for our Cardiff ‘98 review CSUN Animation Festival. in the August 1998 issue. Vidimation, an Associated Students organization of California State Steve Dovas’ Call Me Fishmael was Aussie FX Fest. The Australian University Northridge (CSUN) is screened at the 1998 Slamdance festival. © Steve Dovas .

ANIMATION WORLD MAGAZINE February 1998 78 two films screened this year that will family of the late John Halas and mation at the 1998 Santa Clarita be of interest to animation fans: Call will be showcased to the public at International Film Festival. Jules Me Fishmael, a 3 minute animated Southampton Institute’s Millais Engel began his career in the late short by New Yorker Steven Dovas, Gallery, March 19-April 17, 1998. 1940s at Walt Disney Studios where about a writer pitching his “big The conference in April will include he was first recognized for his work Hollywood script.” Also, while Trey several screenings and presentations on the Chinese and Russian dance Parker’s second film, Orgazmo, is about Halas & Batchelor, by Stan sequences in Fantasia. Later, he was screening across town at Sundance, Hayward, Pat Raine Webb and one of the original members of the the South Park co-creator’s first fea- Vivien Halas. Additional topics will studio United Productions of ture Cannibal, a musical based on a be presented by Gunnar Strom America (UPA), and with the late true story, will be screened at Slam- (early animated commercials), Mike Robert (“Bobe”) Cannon, developed dance. For screening times and Jones (early computer animation), such cartoons as Gerald Mc Boing festival information, visit Nick Phillips (Bob Godfrey), Ron Boing, Madeline and Mr. Magoo. http://www.slamdance.com Geesin (animation and sound) Engel has been a member of the Robin Allan (19th century illustra- Cal Arts School of Film and Video Games And Animation Interact tors and early Disney) and Jilly since 1970 and he has served on At MILIA. MILIA, Europe’s market Maclaren (Internet and diagram- the executive board of the Academy for interactive multimedia, will pre- matic animation). For more infor- of Motion Picture Arts and Sciences sent a conference called “Towards mation, contact for the past 30 years. Past recipients the convergence of animation and [email protected] of the “Friz” award have been its’ video games” during the second namesake Friz Freleng (1995), and third days of its annual event Animated Christmas Screenings. Stanley Kramer and Joseph Barbera in Cannes, France, February 7-11, On December 27 and 28, 1997 (1996) and Robert Wise and Marc 1998. Ten animation projects will and on January 1 and 2, 1998, The Davis (1997). Engel will be honored be presented to interactive publish- American Museum of the Moving at the fourth annual awards ban- ers at MILIA. The objective of these Image (MOMI) in New York quet on Friday, February 13 at the networking sessions and forums is presentedWishing You An Animated Odyssey restaurant in Santa Clarita. to bring together publishers, pro- Christmas, a series of classic seasonal A retrospective of Jules Engel’s work ducers and developers of interac- animated film screenings. Included will be screened at the festival, as tive products to promote partner- in the program are Harman-Ising’s will other animated programs and ships. For information about this 1939 Peace on Earth directed by shorts. For info. about the dinner partnership program, visit Hugh Harman; TVC’s 1982 special or the festival, call (805) 257 3131. Frederique Doumic’s article, “MIP- The Snowman directed by John COM Meets MILIA” in the December Coates; Soyuzmultfilm’s 1957 fea- Cinar Gets Parent’s Choice. The issue of Animation World Magazine. ture The Snow Queen produced by Parent’s Choice Foundation, a non- For MILIA registration information, Lev Atamanov; R.O. Blechman’s profit organization which offers visit the MILIA web site, accessible 1958 Cinemascope short Juggler of reports on children’s educational through Animation World Network’s Our Lady, based on the recently re- materials, has bestowed several Calendar of Events section. released 1952 book and produced honors to Montreal-based pro- by CBS/Terrytoons and Simple Gifts, gramming producer, Cinar Films. Southampton Conference & Blechman’s 1977 PBS animated spe- Awards went to four of Cinar’s pro- Archive. The Southampton Institute cial which launched the director’s grams, including two animated in England is organizing a new aca- production company The Ink Tank. series based on children’s books: demic animation conference (April Arthur (produced with WGBH 6-8, 1998) and opening The Awards Boston) and The Busy World of Southampton Institute International Richard Scarry. Parent’s Choice pres- Animation Research Archive (SIIARA). Jules Engel To Receive ‘Friz’ ident Diana Green acknowledged, An exhibit of production artwork Award. Jules Engel, the founding “It is rare that we honor one com- from the Halas and Batchelor col- director of the California Institute of pany four times in the same year.” lection, including art from the 1954 the Arts Experimental Animation animated feature film Animal Farm Program, will receive the “Friz” life- Wendy Jackson is Associate Editor has been donated to SIIARA by the time achievement award for ani- of Animation World Magazine.

ANIMATION WORLD MAGAZINE February 1998 79 On A Desert Island With....Movers and Shakers compiled by Wendy Jackson

his month we asked a few top talents in stop-motion and motion-capture animation to tell us what animated films they would want with them if they were stranded on a desert island. Corky Quakenbush is Tthe creator of more than 15 outrageous clay animation shorts which have aired on the television series MAD TV . Chris Walker is president of motion-capture animation studio Modern Cartoons, a performance animation studio in Venice, California which is currently working on a number of projects for both the European and U.S. market. Barry Purves is a stop-motion animator based in Manchester, England, whose recent credits include the short film, Achilles and pre-production work on Mars Attacks! Both Chris and Corky are admittedly influenced by live-action, and therefore, included their favorite live-action films in the mix. Barry, an avid theater fan, included just animation films.

Chris Walker’s Selections: 1. 8 1/2 by Federico Fellini. 2. Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1963) by Stanley Kubrick. Chris Walker. Photo courtesy 3. The Unforgiven (1992) by of and © Modern Cartoons. Clint Eastwood. 4. Naked Lunch (1991) by David Cronenberg. 5. Bambi (Disney). Corky Quakenbush. Photo © AWN. Corky Quakenbush’s Live-Action Films: 6. Kamikaze Hearts (1986) directed by Juliet Bashore. Treasured Films 1. Zardoz (1973) directed by 7. The Gods Must Be Crazy (1980) directed by Jamie Uys. (Corky’s getting stranded with John Boorman. 8. La Puta by Hayao Miyazaki. an awfully big suitcase...): 2. Pretty Maids All in a Row (1971) directed by Roger Vadim. 9. Crimes & Misdemeanors (1989) by Woody Allen. Animated Films: 3. What’s Eating Gilbert Grape 10. Ikiru (1952) directed by Akira Kurosawa. 1. The Big Snit by Richard (1993) directed by Lasse Condie. Hallström. Barry Purves’ Picks: 2. Gisele Kerosene by Elsa 4. Brewster McCloud (1970) “In haste, but here’s my desert Cayo. directed by Robert Altman. island selection. I have restricted it 3. Harpya by Raoul Servais. 5. Bliss (1985) directed by Ray to only animation. A live-action list 4. The Yellow Submarine Lawrence (II). would be another matter.” directed by George Dunning. 6. The Tenant (director unknown). 5. An Inside Job by Aidan 1. Tango by Zbigniew Rybczynski. Hickey. 7. Apocalypse Now (1979) directed by Francis Ford 2. The Hill Farm by Mark Baker. 6. Pinocchio (Disney). Coppola. 3. La Voix Humaine (director 7. Allegro Non Troppo by 8. Collected works of Martin Barry Purves. Photo unknown). Bruno Bozzetto. Scorsese. courtesy of and 4. Jason and the Argonauts, ani- 8. Media by Zbigniew 9. Collected works of Stanley © Bare Boards. mation by Ray Harryhausen. Rybczynski. Kubrick. 5. The Cat Came Back by Cordell 9. Neighbors by Norman 10. I Love You, Alice B. Toklas Barker. McLaren. (1968) directed by Hy Averback. 6. Baron Munchausen by Karel Zeman. 10. The Sandman by Paul 11. Harold & Maude (1971) 7. Dream of a Ridiculous Man by Alexander Petrov. Berry. directed by Hal Ashby. 8. One Froggy Evening by Chuck Jones. 11. The collected works of Ray 12. Greaser’s Palace (1972) Harryhausen. directed by Robert Downey Sr. 9. Knick Knack by John Lasseter. 10. The Water People by Paul Driessen.

ANIMATION WORLD MAGAZINE February 1998 80 The Dirty Birdy

By John Dilworth

ANIMATION WORLD MAGAZINE February 1998 81 The Art of Pre-Production: March 1998 This month we will scrutinize the work that goes on before animation begins...pre-production. The traditional pre-production process for a television show will be presented by Film Roman. LucasArts Entertainment Company will be investigated by Russell Bekins who will lead us through the gaming pre-production process. Karl Cohen will chronicle the life and career of Maurice Noble while Stephen Hagel is going to turn us onto the exciting world of...paper! Kirsten Winter will discuss how she incorporated music into the pre-production of her film Smash. We will also take a look at voice acting. Mae Questel will be profiled by Andrew Lederer and Kath Soucie, a leading voice actress, will take us through her typical busy week. Event reviews will include Toy Fair in New York City, the International Content Market for Interactive Media (MILIA) in Cannes and the Brussels Cartoon and Animated Film Festival. Of course we will also feature extensive coverage of the World Animation Celebration being held in Pasadena, California. We will also review Piet Kroon’s new film T.R.A.N.S.I.T. Book reviews will include Scott Maiko’s take on Rick Goldschmidt’s new book The Enchanted World of Rankin/Bass. Harvey Deneroff’s The Art of Anastasia will be reviewed by Dr. J. Patrice Marandel, the European Painting and Sculpture Curator of the Los Angeles County Museum of Art. And finally, this issue will include the very special feature of revered Disney greats, Frank Thomas and Ollie Johnston, discussing with Charles Solomon, Pierre Lambert’s book Pinocchio. On the software side of things, we will take a look at Real Flash from two different points of view. Bill Predmore of Pop! Multimedia will discuss using Real Flash from an artistic point of view while Pat Boyle of RealNetworks will discuss how Real Flash fits into the continually developing world of Internet broadcasting. Animation World Magazine 1998 Calendar

The Art of Pre-Production (March)

Animation in Unexpected Places (April)

Visual Effects and Experimental Animation (May)

Jobs and Education (June)

ANIMATION WORLD MAGAZINE February 1998 82