Vol. 3 Issue 3 JuneJune1998 1998 J OBS AND E DUCATION ¥ Animation on the Internet

¥ Glenn VilppuÕs Life Drawing

¥ CanadaÕs Golden Age?

¥ Below the Radar WHO IS JARED? Plus: Jerry BeckÕs Essential Library, ASIFA and Festivals TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 4 Editor’s Notebook It’s the drawing stupid!

6 Letters: [email protected]

7 Dig This! 1001 Nights: An Animation Symphony

EDUCATION & TRAINING

8 The Essential Animation Reference Library Animation historian Jerry Beck describes the ideal library of “essential” books on animation.

10 Whose Golden Age?: Canadian Animation In The 1990s Art vs. industry and the future of the independent filmmaker: Chris Robinson investigates this tricky bal- ance in the current Canadian animation climate.

15 Here’s A How de do Diary: March The first installment of Barry Purves’ production diary as he chronicles producing a series of animated shorts for Channel 4. An Animation World Magazine exclusive.

20 Survey: It Takes Three to Tango Through a series of pointed questions we take a look at the relationship between educators, industry representatives and students. School profiles are included.

1998 33 What’s In Your LunchBox? Kellie-Bea Rainey tests out Animation Toolworks’ Video LunchBox, an innovative frame-grabbing tool for animators, students, seven year-olds and potato farmers alike!

INTERNETINTERNET ANIMATIONANIMATION

38 Who The Heck is Jared? Well, do you know? Wendy Jackson introduces us to this very funny little yellow fellow.

39 Below The Digital Radar Kit Laybourne muses about the evolution of independent animation and looks “below the radar” for the growth of new emerging domains of digital animation. UNE

42 Tools for Internet Animation Robert Gonzales shares his insight on the various tools currently available for creating animation on the J Internet.

46 Animation Sites: Some Stellar Attractions Michelle Klein-Häss surveys the best animation web sites on the Internet, from her own Animation Nerd’s Paradise to Spumco’s George Liquor, Michelle tells us where to spend our time on the ‘Net.

OTHEROTHERS

49 ASIFA And Festivals:A Changing Relationship In the wake of Annecy going annual, ASIFA International president Michel Ocelot discusses the history and significance of ASIFA’s selective sponsorship and patronage of international animation festivals.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. April 1998 2 ANIMATION WORLD MAGAZINE TABLE OF CONTENTS JUNE 1998 VOL.3 NO.3 THE STUDENT CORNER

51 Vilppu Drawing Online: Gesture Renowned drawing instructor Glenn Vilppu offers the first installment in his new bi-monthly Animation World Magazine online drawing course.

FESTIVALS,FESTIVALS & EVENTS EVENTS

56 Crashing BrainCamp Wendy Jackson reports on the second annual BrainCamp, an exclusive think tank for executives in the kids’ entertainment industry.

FILMS

61 Quest For Camelot:Warner’s Bid for the Round Table Ilene Hoffman reviews Warner Bros. Feature Animation’s highly-anticipated first fully-animated feature film, Quest for Camelot. Does it make the cut?

HIDDEN TREASURES

64 The Animation World in the Library of Congress Patrick Loughney, Ph.D. defines the animated treasures waiting behind the massive doors of the Library of Congress in Washington, D.C.

1998 NEWS

66 Animation World News Henson, Hallmark to Launch Kermit Channel, SIGGRAPH Documenting CGI History, Boop Is Back, And More...

78 On A Desert Island With. . . . Internet Animators Brad deGraf, Jan Mallis and David Vogler.

AWN COMICS UNE 79 Dirdy Birdy by John Dilworth J

80 Next Issue’s Highlights

6 This Month’s Contributors

Cover: Who is Jared? Read our profile in this issue to find out. For all intents and purposes, Jared is a creation of Freeverse Software (www.freeverse.com). © 1998 Freeverse Software.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. April 1998 3 ANIMATION WORLD MAGAZINE by Heather Kenyon It’s the drawing stupid! ing at the very prestigious California Institute for the hen I was at USC Film Arts, he has also held train- School in the Filmic ing sessions in a number of WWriting Program the slo- large studios. Follow along gan, “It’s the writing stupid!” hung every other month as scrawled on a white board in our Glenn feeds us a lesson. director John Furia’s office. It was This is really a treat and true and we all knew it. Yes, you absolutely free. Also includ- could make excuses. Yes, you ed will be monthly install- could procrastinate. But it all came ments direct from Barry down to the words written on our Purves’ production diary as pages. The same holds true in ani- he helms a series of shorts mation. for the U.K.’s Channel 4, I hate to be the bearer of focusing on Gilbert and Sul- bad news but...yes, you have to livan. Want to hear all of be able to draw to work in anima- the ups and downs and tion (naturally excluding stop- what really happens motion, puppet animation, throughout a production? motion-capture, etc.)! Nothing Barry has promised to supply us a product for television is a market changes this one simple fact. Yes, very complete, sincere and accu- that seems to be still growing. computers now play a big role but rate representation. Wearing his However, gone are the days of time after time after time produc- emotions on his sleeve as usual, those crazy stories about artists ers tell us they would rather have Barry’s first installment is delightful. being held, without work to do, someone who can animate and We are honored to be taking this on incredibly hefty salaries, just to knows timing than someone who ride with him and wish him all the be guarded against competing knows how to click a button. best of luck on a successful job studios snatching them up. Yes, Friends, students, do yourself a well done. talent is still in demand but it is for favor. Do not neglect the drawing. As this is the Jobs and Edu- a very specific honed craft so be It will be your strongest calling cation issue I’d be remiss if we did- prepared to apply and get turned card. n’t point out that the talent feed- down a few times. Persistence Our annual Jobs and Edu- ing frenzy of the early and mid pays off in the end. cation issue is an exciting one this 1990s is over. I think it will be a On a more humorous note, year because we are kicking off very long time before a phenome- the recruiting frenzy has led to Animation World Magazine’s first non like that reoccurs. The launch- some absolutely outrageous two ongoing series: Glenn Vilppu’s ing of so many feature film com- rumors. I recently received an e- Drawing Online and Barry Purves’ panies, combined with the mail that asked, “Is it true anima- Production Diary. I feel that stu- expanding production of existing tors make $1,000 an hour in Cali- dents will truly benefit from both companies, stretched recruiting to fornia?” Another recent e-mail of these series. Glenn Vilppu is unbelievable limits. Now that bal- declared, “I’ve heard that every- one of the world’s foremost life loon is beginning to shrink. Yes, one is so desperate for people in drawing educators. Besides work- there is a lot of work and yes, the animation industry that you don’t really even have to know ANIMATION WORLD MAGAZINE April 1998 4 how to draw sure Tom Sito would quickly set a to get in. So, story like that straight! ‘Do I really do I have to go need to go to school?’ Write/call a to school?” recruiter at a studio. Ask them Once again it where their last recruits came is talent and from. You might get nowhere, training, not that tried and true endless phone luck, not fate, transferring into oblivion tech- but talent and nique, but you might get a really training that kind soul, a Phyllis Craig angel, makes one a who gives you some straight success. answers. So. Check the resources. Here’s anoth- Poke around in the magazine, Ani- er myth. “Well, mation World Village and beyond. he got the job Read the info on the sites and because his learn a thing or two before you brother is open your mouth. People respond friends with to direct specific questions that the produc- have obviously been written by er...” It is true someone who has done a little that relation- research. ships like this Kudos go to this month’s can help one Dig This! 1001 Nights is yet, get the old another use of animation that “foot in the pushes the boundaries of how door,” but I animation is perceived and used know from within the larger arena of the arts. experience I was especially impressed by the when a dead- artwork exhibit that accompanied line arrives and it. The pieces ranged from inspira- the work isn’t tional art to storyboard pages to done, it does- the finished cels. Not only was the n’t matter to display beautiful but also educat- whom one is ing to those that may not be ani- related! What mation aficionados. Exhibits that matters is that help describe to the public not there is a red- only the wonder of animation but faced producer also the difficult, sometimes jumping up tedious, nature of producing this and down and precision art form deserve support going over- and recognition. I hope that the budget by the film and exhibit tour and urge you minute. to attend if it happens to come to What pays a town near you. off is research. ‘Do animators Until next time... really make Heather $1,000?’ Call the Union. I’m ANIMATION WORLD MAGAZINE April 1998 5 [email protected]

ANIMATION WORLD NETWORK Thanks to Manga More Birthday Congratulations 6525 Sunset Blvd., Wow! Thanks for writing Two years old. That went Garden Suite 10 Hollywood, CA 90028 such a glowing review of our film fast. Hope you’re celebrating! Phone : 213.468.2554 Beat the Meatles (Segall 3.2). This There’s nothing on the Web that Fax : 213.464.5914 is especially gratifying to me can come close to what you’re Email : [email protected] because Spike passed on the film doing...and unlike the print publi- for his festival. I e-mailed him the cations, I can count on each issue review. I love doing that to him. arriving on time! Keep up the Thanks for giving me the ammo. good work. Like everything else in [email protected] animation (including training!), PUBLISHER Keith Alcorn quality means longevity. Ron Diamond, President DNA Productions, Inc. Dan Sarto, Chief Operating Officer Don Perro, Coordinator EDITOR-IN-CHIEF It’s Our Birthday! Commercial Animation Program Heather Kenyon Happy 2nd birthday — you Capilano College ASSOCIATE EDITOR guys are cool! Wendy Jackson CONTRIBUTORS : Mike Dietz Jerry Beck The Neverhood/Mike Dietz Studios Robert Gonzales Michelle Klein-Häss Ilene Hoffman Opportunities that you Wendy Jackson Heather Kenyon won’t outgrow. Kit Laybourne With award-winning creative programming that’s setting the standard for kid’s Patrick Loughney, Ph.D. entertainment, Nickelodeon is the #1 cable network for kids. Our audience is constantly growing (literally!) and when you bring your talents to our ever-expanding Michel Ocelot network, you’ll discover why opportunities at Nickelodeon are pretty hard to outgrow. Currently, we have the following freelance positions available: Barry Purves Animators Kellie-Bea Rainey MAC experience with After Effects and Photoshop required Chris Robinson Digital Designers • Digital Artists • Digital Compositors Glenn Vilppu 3-D Animators performance animation or game production a plus OPERATIONS Systems Administrator Annick Teninge, General Manager NT, UNIX and MAC experience required WEBMASTER Storyboard Artists Ged Bauer

We offer a competitive salary with benefits available in some areas. DESIGN/LAYOUT : For prompt consideration, send your resume with salary history and requirements to:MTV Networks-Nickelodeon, Staffing Resources, Ged Bauer/Dave Buxton Dept. CG/DVS, 1515 Broadway, 16th Fl., New York, NY 10036-8995. We are an equal opportunity employer. ADVERTISING SALES We will also be conducting interviews at the 1998 Siggraph Conference in Orlando, FL. North America :Dan Sarto Germany :Thomas Basgier UK: Alan Smith

ANIMATION WORLD MAGAZINE April 1998 6 DigDig This!This! 10011001 NightsNights:: AnAn AnimationAnimation SymphonySymphony by Wendy Jackson scored by David New- man, the film is com- prised main- ly of elabo- rate, colorful drawings on paper as well as some computer animation created with © 1998 1001 Nights tion/Bellsystem24. © 1998 1001 Nights Production/Bellsys- 3D Studio tem24. 001 Nights, a new animat- MAX and film. Hopefully, if the show is ed film set to live music Digital Fusion by CGI director Nori- remounted, so will this fascinating 1premiered on April 30, aki Kaneko at Blur Studio. exhibit. 1998 at the Dorothy Chandler Hyperion president Tom Pavilion, kicking off the Filmhar- Wilhite said the project came monic, a series of collaborations about as a “happy accident” when What else should we dig? Every between the Los Angeles Philhar- their discussions with Amano, month, Animation World Maga- monic Orchestra and filmmakers. which started a year and a half zine will highlight the most inter- Director, co-producer and ago, coincided with L.A. Philhar- esting, exciting happenings in ani- animator Mike Smith oversaw pro- monic conductor Esa-Pekka Salo- mation, in “Dig This!” Send us your duction of the film at Hyperion Stu- nen’s idea for the Filmharmonic ideas, suggestions, videos, prod- dio in Glendale, California, where series, which will also include col- ucts or works-in-progress today. he and a staff of more than 120 laborations with filmmakers Paul You dig? people created the 23-minute film Verhoeven, Tim Burton, composer in just over six months. Based on Danny Elfman and others. 1001 Editor images conceived and designed Nights played in Los Angeles for Animation World Magazine by Japanese artist Yoshitaka only a few days, but co-producer 6525 Sunset Blvd. Garden Suite 10 Amano, and created simultane- John Lanza, Jr. said the perfor- Hollywood, CA 90028 U.S.A. ously with its musical component mance may have future life in E-mail: [email protected]. other venues, such as the Holly- wood Bowl or with Philharmonic orchestras elsewhere in the coun- try. An exhibit of the exquisite art- Wendy Jackson is associate editor work from the film was displayed of Animation World Magazine. in the new Sunset Landmark gallery space. The exhibit show- cased storyboard, concept draw- Note: Readers may contact any ings, exposure sheets and the Animation World Magazine con- detailed paintings and drawings tributor by sending an e-mail to © 1998 1001 Nights Production/Bellsys- [email protected]. tem24. on paper which were used in the

ANIMATION WORLD MAGAZINE April 1998 7 TheThe EssentialEssential AnimationAnimation ReferenceReference LibraryLibrary

by Jerry Beck f watching car- at AWN and this tions of factual data, and no library toons is my first piece is an of animation is complete without Ipassion (and it attempt at an them. My own Looney Tunes & is), then reading answer. Of Merrie Melodies: A Complete Illus- about animation course, it all trated Guide To The Warner Bros. holds a very close depends on Cartoons (Henry Holt), written second place in what kind of with Will Friedwald, lists every- my heart. I’m an information you thing the Warner studio made information junkie are seeking. Ani- from 1930-1989; Television Car- and have been mation Histories toon Shows, 1949-1993 (McFar- collecting books or Encyclope- land) by Hal Erickson is a well-writ- and data about dias? Animator ten overview of TV cartoon history. cartoons for over Biographies? George Woolery fills in another 25 years (yikes!). I How to Ani- gap with Animated TV Specials have also been mate? 1962-87 (Scarecrow), while Den- lucky enough to Here are my nis Gifford provides us two excel- contribute to the Jerry Beck picks for each: lent reference volumes, American animation infor- Animated Films: The Silent Era mation collective with some books Animation History 1897-1929 (McFarland) and British of my own. Leonard Maltin’s Of Mice & Animated Films 1895-1985 So, which ones are the Magic (Plume) is one-stop shop- (McFarland). Another good print absolute best books through ping for American animation histo- reference is The Whole Toon Cata- which to explore the world of ani- ry. Twelve chapters covering each log (Facets) which lists almost mation? animation studio of Hollywood’s every animation video tape & disc That’s a common question golden age with complete filmo- currently available. New reference graphies will answer most of your books appear each year, and the basic questions of who did what recent The Simpsons : A Complete and when in classic cartoons. To Guide to Our Favorite Family go a little further in depth on each (HarperPerennial), Disney A to Z studio, I highly recommend the (Hyperion) by Dave Smith and The following: Steve Schneider’s That’s Enchanted World Of Rankin/Bass All Folks! (Henry Holt) for a lavishly (Tiger Mountain Press) by Rick illustrated and closer look at Warn- Goldschmidt are excellent addi- er Bros. cartoons, Leslie Cabarga’s tions to any animation library. The Fleischer Story (DaCapo) for the tale behind Betty Boop, Pop- eye, and Gulliver’s Travels, and For me, the definition of an Maltin’s own The Disney Films “essential” book, is a book I refer (Hyperion) and Kaufman & Merrit’s to often in my doings as a profes- Walt In Wonderland (John Hop- sional animation historian. kins University Press) for the com- plete story on the Disney studio. Leonard Maltin’s Of Mice & Magic We are at a point now is one-stop shopping for American Just the Facts, Ma’am where book-length surveys of car- animation history. Encyclopedias are collec- toon stars are common place.

ANIMATION WORLD MAGAZINE April 1998 8 recommend John Canemaker’s Don Hahn gives one the step by excellent Winsor McCay: His Life step process in the making of Dis- and Art (Abbeville Press). Other ney’s recent feature films, in partic- bios worthy of note include tomes ular. on pioneers Emile Cohl (Princeton) by Don Crafton and Walter Lantz I’d like to take this opportuni- (Putnam) by Joe Adamson. ty to recommend anything written by John Canemaker, How To Animate Leonard Maltin, Donald Books explaining the ani- Crafton, and Joe Adamson... mation process are always in demand. The Animation Book For me, the definition of an (Crown) by Kit Laybourne is one of “essential” book, is a book I refer to the best basic books on the sub- often in my doings as a profes- ject, covering all the techniques sional animation historian. If I only The Simpsons:A Complete Guide to Our and styles. Disney-MGM veteran had the titles listed above, I’d be in Favorite Family is an excellent episode guide. Preston Blair has written the most great shape. However there are Books devoted to the histories of essential guide to character anima- many other good books not listed Bugs Bunny, Tweety & Sylvester, tion with Cartoon Animation (Wal- above [for example, Experimental The Flintstones, School House ter Foster), and it should be noted: Animation (DaCapo) by Russett & Rock, Tom & Jerry, Felix The Cat, this is the book with which every Starr, The Anime Movie Guide Speed Racer and Donald Duck are animator in Hollywood started. (Titan Books) by Helen McCarthy some of the best of this genre. Frank Thomas and Ollie Johnston’s and The 50 Greatest Cartoons Disney Animation: The Illusion Of (Turner) by yours truly] that you Life (Abbeville Press) is a must read, should not ignore. I’d like to take Books explaining the anima- and also darn entertaining and this opportunity to recommend tion process are always in lavishly illustrated. anything written by John Cane- demand. Cartoon Animation: Intro- maker, Leonard Maltin, Donald duction To A Career by Milton Crafton, and Joe Adamson and Animator biographies and Gray (Lion’s Den Publications) is a plug two great books due in autobiographies are a great way great book for anyone wanting to 1999: Michael Barrier’s long-await- to peek into the minds of the field’s understand today’s animation ed Hollywood Cartoon (from top talent. One of my favorites is industry in general and Disney’s Oxford University Press) and Keith Shamus Culhane’s Talking Animals Animation Magic (Hyperion) by Scott’s untitled Jay Ward history And Other People (St. Martin’s (from St. Martins Press). I’ve already Press, and current reprint by made space on my bookshelf! DaCapo Press). Culhane worked everywhere, Disney, Fleischer, Warner Bros., Lantz, etc., and Jerry Beck is a cartoon historian, doesn’t mince words about his col- writer and animation studio exec- leagues and employers. Walt Dis- utive. He was editor of The 50 ney: An American Original (Simon Greatest Cartoons (Turner), & Schuster) by Bob Thomas is a recently co-wrote Warner Bros. great Disney bio that is well-writ- Animation Art (Levin) and is cur- ten with lots of straight facts. rently a freelance writer and con- Chuck Jones penned a pair of rem- sultant through his own compa- iniscences, Chuck Amuck (Farar, ny, Cartoon Research Co. Strauss & Giroux) and Chuck Reducks (Warner Books), which Note: Readers may contact any are loaded with anecdotes, stories Animation World Magazine con- and drawings from his remarkable tributor by sending an e-mail to career. I’d be remiss if I didn’t also Chuck Jones’ indispensable autobiogra- phy, Chuck Amuck. [email protected].

ANIMATION WORLD MAGAZINE April 1998 9 WhoseWhose GoldenGolden Age?:Age?: CanadianCanadian AnimationAnimation InIn TheThe 1990s1990s

by Chris Robinson

“Canadian animation is heading in the direction in which it is per- ceived that Canadians minds are heading.” - Marv Newland For some, the 1990s are the new golden age of Canadian animation. Canadian production is booming. NELVANA and Cinar are among the world leaders in televi- sion animation output, and schools like Sheridan College (which recently received $12 mil- lion from the Ontario government to open a New Technology Cen- The National Film Board Of lumbered with political agendas. ter), Vancouver Film School, and Canada [A]t its best the NFB has provided Algonquin College are expanding The National Film Board of the opportunity for work requiring to accommodate increased Canada remains the calling card real investigation and experimen- demand for enrollment. Teletoon, for Canadian animation. “[M]any tation, such as Two Sisters by Car- Canada’s first animation specialty have benefited,” noted Canadian oline Leaf, How Wings Are channel, went to air in September animation legend, Frédéric Back, Attached to the Backs of Angels by 1997, and Walt Disney has “from the inventiveness, liberty of Craig Welch, and Strings by opened studios in Vancouver and creation, and technical progress Wendy Tilby, to name obvious Toronto. [that Norman McLaren] inspired examples.” and favored.” However a combi- Ellen Besen, a former NFB Technology, special effects, and nation of budget cuts and lack of animator and currently an instruc- violence are used to catch creative vision suggest that this tor at Sheridan College, feels that large audiences without con- “card” is an illusion built on past the decline of the NFB goes siderations for the social con- successes rather than current reali- beyond budget cuts and back to sequences. - Frédéric Back ties. “The NFB is no longer a seri- the early 1980s, when a bureau- ous player in arts and communica- crat named Doug McDonald, tion,” said former NFB producer, who had no animation back- However, for others the Derek Lamb. “[The NFB is the cre- ground, was given control of the 1990s are viewed as the decade ation] of a post-war, industrial age, studio. During this time, Besen of the demise of Canadian anima- managed by aging industrial noted, the board desperately tion. For them, such factors as mindsets, who will not, and can- wanted a specialty channel and huge cuts to Canada’s fabled not be expected to provide vision- clamped down on the films to National Film Board of Canada ary, artistic leadership now or for ensure that they were market-dri- (NFBC), and the terrible state of the future.” Nevertheless, Marilyn ven and followed a specific agen- the Canadian independent anima- Cherenko (Emily Carr School of da. Furthermore, McDonald tion scene, indicate a dimin- Design) notes that “‘court art’ like immediately altered the physical ished—if not impoverished—inde- the NFB is still extremely valuable layout of the animation studio. pendent animation community. though guidelines for submitting “The NFB used to have this great projects have become increasingly open social area. When McDonald ANIMATION WORLD MAGAZINE April 1998 10 came in, it became his office. A beyond the industry. Sheridan Col- lano College. “That’s inevitable windowless storage room became lege, Vancouver Film School and because the business people have the new ‘social’ rendezvous for Algonquin College (Ottawa) are discovered that there’s money to animators. The whole atmosphere being flooded with new appli- be made. But not all schools are of the studio changed,” said cants. The downside, based on ‘churning out factory workers.’ Besen, “Ideas used to be wel- my exposure to Canadian student Emily Carr and Concordia Universi- come. Dialogue existed between work during the 1997 Internation- ty are still promoting the concept producers, executives, and film- al Student Animation Festival of of one artist, one film. And the makers. Today, it is just producer- Ottawa (SAFO), is that the work is program at Capilano is not meant driven. They simply try to find a overall very mediocre. Films from to mass-produce people to feed niche.” The Rights from The Heart the Royal College of Art (UK), Turku the need for crap.” series, is perhaps the most explicit (Finland), and Baden-Wurrt- example of the embarrassing polit- temburg (Germany) in com- ically correct nature of the board petition at SAFO suggest today. that these schools tailor their students towards per- sonal expression and tech- If art could be considered as nical experimentation. The vital to everyday existence as work coming out of North beer, cel phones, deep fried America, and especially food and masturbation this question would not have to be Canada, is dominated by asked. - Marv Newland often unfunny, gag-orient- ed classical narrative struc- tures. “These shorts, one to Of course, budget cuts ten minutes long, are have had a significant impact on almost always one-offs,” the NFB and should not be over- noted Marv Newland of looked. The cuts combined with International Rocketship. the erasure of creative vision have “The students make one pic- turned the NFB from a stimulating, ture and then go into a creative environment into what career as an animator of TV Besen deems “a formless, impossi- commercials, or as story- ble labyrinth.” Despite the harsh board artists for bulk anima- Sheridan College recently received $12 million from criticism of the NFB, it is essential tion producers like NEL- the Ontario government to open a New Technology that we not forget that the board VANA or DIC. There is no Center. Photo courtesy of Sheridan College. was created to serve as a propa- second film, no develop- ganda tool. Canada is fortunate ment or growth, no risk, no pain, “Many young people are that NFB founder, John Grierson, no exploration.” Indeed, Canadian attracted to the [animation] indus- who animation critic, Marc Glass- animation schools seem to be try because they believe it is a way man deems “a closet effete,” went merely a breeding ground for a to earn a living as an artist,” said out of his way to get Norman generation of factory workers, animator/teacher, Leslie Bishko. McLaren and allowed him com- who are trained to be animators in “For me, animation and cinema plete artistic freedom in running the same way one is trained to be are in my blood. I’m not certain the animation studio. an auto parts expert. that the vocational institutes of “Yes, there’s a lot of crap out today are cultivating this attitude Prostitutes of the Art: Holly- there and a lot of semi-skilled tech- towards the medium. Yet, how wood, Schools and the Canadi- nicians cranking the stuff out for can they, when the demand is an Government the cash,” noted Don Perro, Head purely vocational? People can The animation “boom” of the Commercial Animation learns skills, but to study the medi- extends, not surprisingly, well Department at Vancouver’s Capi- um requires breadth, depth and

ANIMATION WORLD MAGAZINE April 1998 11 context.” autonomous individuals able to for private profit. Canadian taxpay- “You must also remember,” make choices of the kind of art of ers are funding educational institu- added Besen, “that Sheridan Col- communication in which they tions so that they can train stu- lege must respond to the needs of want to evolve. Or able to adapt dents for export. This is what its community.” Lamb concurred, to the kind of work they may find, makes the government ransacking “Sheridan College is a community and transform a ‘job’ into ‘creativi- of the NFB all the more frustrating. college whose mandate is to pre- ty!’” Too many continuities are Regardless of whether you think pare students for a career in the made without art, beauty, poetry, McLaren is a genius or an artsy community, and that’s what they or inspiring qualities of ideas. They wanker, it is important to realize have, by and large, that the current been successfully success of the doing.” This is of Canadian anima- course true, (the tion industry simply same can be said of would not have Ottawa’s Algonquin happened if not for College), but to the NFB. Yes, the which community is NFB has garnered the Ontario-based awards from all college responsible? over the world for How much will the their animation. $12 million being Yes, the NFB has given to Sheridan attracted animators for the creation of a from around the new technology world to Canada center really benefit (eg. Derek Lamb, the Ontario com- Kaj Pindal, Gerald munity when it’s a Potterton, Paul given that a majori- Driessen, Ishu Craig Welch’s How Wings are Attached to the Backs of Angels. Image courtesy of ty of these gradu- the National Film Board of Canada. Patel, Co Hoede- ates will be lured by man, who also, a the almighty U.S. dollar to suppos- are time killers for a growing num- cynic might add, merely took edly greener pastures? “The mil- ber of children. Technology, spe- advantage of a free ride), but they lions they are throwing at Sheri- cial effects, and violence are used have done so much more. The dan College are made essentially to catch large audiences without NFB laid the foundations, along to make tools for the industry,” considerations for the social con- with the National Research Coun- said Frédéric Back. “If, for [some] sequences. It is really the prostitu- cil, for the Canadian computer reason, the animation industry col- tion of a kind of art which has a animation scene, which is now lapses, all these young people wonderful potential.” among the most respected in the who have been taught a certain “Poverty sucks,” countered world. Cinar and NELVANA are way to work in animation will be Perro. “If my students are success- two of the most sought after co- jobless, without another way to ful and can make a living and raise production partners international- find a living. Too many times we a family because they are properly ly. Would this be the case without see the results of such short- trained, then I’m doing my job the NFB, who fostered co-produc- viewed politics which lead to big and I can retire happily, knowing tion initiatives long before either scale disasters (e.g. Korea’s recent that I helped people realize their company materialized? Would the collapse).” dreams.” Ottawa International Animation “In those schools,” Back However this is more than Festival (which brings millions into continued, “they should teach arts a debate over art vs. industry. the country) be one of the most and culture in an academic way What is most disturbing is the respected animation events in the first, in order to prepare trend towards public investment world without the NFB? Of course

ANIMATION WORLD MAGAZINE April 1998 12 not, but the modern mind thinks to haunt the Canadian filmmaking tion productions,” said Back short-term and seems to suffer scene. “The outlets and distribu- “Another solution could be the from a common 20th century ail- tion systems are what [animation] obligation for the industry to ment known as historical amnesia, needs,” said Marv Newland. invest a certain amount of their quickly forgetting the long-term “Canada has a history of making benefits into short animation pro- investment made by the NFB. the most and best independent ductions and let them be seen!” Thanks to the NFB, companies like animated movies, yet we have lit- His comments were echoed by NELVANA, Cinar, and Funbag, tle or no way for folks to see them. Marc Glassman who feels that reap the benefits from Canada’s Even the so-called animation “broadcasters like Teletoon, should current status as one of the most channels do not show them.” set up a broadcast fund to pro- respected producers of animation. “It’s true that Spike and Mike duce independent shorts and air Without the NFB, these compa- and the International Tournees them.” nies would be no more than a tiny provided screening venues that speck in the human eye. But as were not available before, but the Art is the watchdog of science, Derek Lamb noted, this sort of range of work could be wider,” the conscience of society, and “amnesia” is not surprising, noted Marilyn Cherenko. “For like never before it should be “[S]ome of the biggest detractors example, I was told by a represen- watched and questioned. - of the NFB, some who led the tative at the Spike and Mike Festi- Derek Lamb political blood hunt, are them- val, in response to my request to selves, people who got their first see Quest (Thomas Stellmach and Pierre Hebert, animator start in filmmaking there, people Tyron Montgomery’s 1997 Oscar and producer of the NFB’s French who learned their craft at the winning short) in the new collec- studio, feels that the industry board.” Is it not time then that tion, that this piece was too ‘arty’ might have other motivations for these companies give something to appeal to a general audience. It supporting independent work: back to the community which is indeed odd that, despite anima- “Maybe some of the producers of nourished them? tion’s bursting at the seams of industrial animation are at a point humanity, festivals still remain the where they need to produce at central site for viewing ‘stimulat- least some auteur films for prestige While it is deliciously tempting ing’ animation.” So much for reasons.” The most recent exam- to denounce the current domi- progress. ples being Pascal Blais who pro- nation of bland animation pro- “The old system that duced The Old Lady and The duction in Canada, it is also worked well for many years is Pigeons and are currently produc- foolish. dying,” said Ellen Besen, “so we ing the new IMAX film by Alexan- have to look to the dynamic der Petrov (The Cow). “UPA, the model provided by the USA (eg. NFB, and Channel 4 (United King- Hockey, Masturbation and Art: Sesame Street, MTV) and UK dom) demonstrate that there is still Re-Stimulating the Indepen- (Channel 4) and create partner- hope for the rebirth of waves of dent Scene ships between commerce and talents who do not only look at The independent anima- independence.” One of the immediate pay-off,” adds tion scene is currently on thinner these new models might Back. In fact those who sug- ice than a Canadian franchise in evolve out of an initiative at gest that “artistic” animation the National Hockey League. Out- Sheridan College to create a doesn’t make money are sim- side of the Atlantic Filmmakers Co- post-graduate program ply wrong according to Back, operative (Halifax), Quickdraw Ani- aimed at allowing students “Radio-Canada is still getting mation Society (Calgary), and to make their own film. © NFBC. money from the sales of ani- International Rocketship (Vancou- The feeling that the mation films made since 1970 ver), there simply isn’t much of an industry should provide payback at the animation studio initiated environment for stimulating ani- to its nurturers is echoed by many. and directed by Hubert Tison until mation. Even then, the perennial “The cultural industries should 1993. ‘Artsy,’ inspiring, and useful problem of distribution continues react by sponsoring short anima- animations are always in demand

ANIMATION WORLD MAGAZINE April 1998 13 and paying.” then look inside of animation, it is currently slanting However, someone else’s towards the industry. For years there are others head, see some- there were no opportunities for who feel that thing made by Canadian animators, now there things really aren’t one person, not are an abundance. The boom so bad. “The state made by a market- can’t go on forever and it seems of animation in ing committee. If the current imbalance will eventu- Canada is pretty art could be con- ally even out and perhaps lead to good, I think,” sidered as vital to an even richer and stronger ani- noted Don Perro. everyday exis- mation community. This is not “More kids realize tence as beer, cel such a bad thing if one believes that it’s not unrealis- phones, deep the words of the Pre-Socratic tic to dream of a fried food and philosopher, Heraclitus, who said, life as an animator masturbation this “Opposition brings concord. Out and there are now Toronto-based NELVANA is one of question would of discord comes the greatest har- the most sought-after co-producing real paths that will partners in the world, not only for not have to be mony.” help a dedicated the value of its production but also asked. The word Thanks to Derek Lamb, person get there.” for the value of the Canadian dollar. ‘artsy’ should be Leslie Bishko, Clive Smith, Pierre The studio is currently producing Clive Smith echoed six series, including Dumb Bunnies replaced with the Hebert, Marilyn Cherenko, Don Perro’s comments, (shown here) for the U.S. broadcast- word ‘stimulat- Perro, Ellen Besen, Tom McSorley, “I imagine that the er, CBS. Image courtesy of NEL- ing’. Stimulation is Frédéric Back, and Marv Newland VANA, © 1997 D. Pilkey. animation industry worth some- for participating. today is by far healthier for ‘inde- thing,” Newland continued. Special thanks to Marc pendent animators’ than ever it Glassman who laid the foundation was 25 years ago. The renewed What The Hell Is Art Anyway? for this article. interest and incredible demand for While it is deliciously tempt- animation has created opportuni- ing to denounce the current dom- ties galore. I believe that the 1990s ination of bland animation pro- have been the golden age of ani- duction in Canada, it is also fool- Chris Robinson is executive direc- mation for everyone in the indus- ish. There is room for both “art” tor of the Ottawa International try, the larger studios, the smaller and industry and both should be Animation Festival and the boutiques and for independent embraced, with moderation. As founder and director of SAFO, animators.” Derek Lamb suggested, “Whatever the International Student Anima- But perhaps the issue of forms serious art takes, whatever tion Festival of Ottawa. In his stimulating the independent the techniques-art and science spare time, Robinson is vice presi- scene expands well beyond the must never be separated. Art is the dent of ASIFA-Canada, and man- animation industry and is instead watchdog of science, the con- aging editor of FPS Animation Magazine. Robinson has curated more complex and deeply-rooted science of society, and like never film programs (AnimExpo, Images in the human psyche. “Defuse the before it should be watched and Festival, and Olympia Film Festi- marketplace approach to life,” said questioned.” val), served on juries (AnimExpo, Marv Newland. “Convince For over 40 years, Canada World Animation Celebration), humanity that convenience has been privy to an environment and written articles on animation should not have such high priority which has produced innovative for Animation World Magazine, in their mode of selecting what and creative animation. Ironically, FPS, and Take One. they eat, where they bank, what because of the success of this cre- they listen to, look at, and wear. ativity, animation has become, at There are no more physical fron- the expense of the independent tiers to explore, have a look inside environment, a major industry in Note: Readers may contact any of your head if you want a real Canada. So, after years of the bal- Animation World Magazine con- scare, and if that lets you down, ance swinging in favor of “artistic” tributor by sending an e-mail to [email protected]. April 1998 14 ANIMATION WORLD MAGAZINE Here’s A How de do Diary: March

by Barry Purves Editor’s Note: Lumps, warts and National Opera, start- script, some colorful all, for the next eight months Barry ed performing the paintings, a few story- Purves will share his personal pro- operas without being board drawings, a duction diary with us for his cur- tied to traditional budget, and a lively rent project with Channel 4, ten- staging and design. piano and vocal demo tatively titled Here’s A How de do. It was then that ‘my tape (I’ve since careful- This film will take a look at three eyes were fully ly misplaced that tape men: Gilbert, Sullivan and Richard opened.’ These of Wyn and I singing D’Oyly Carte. D’Oyly Carte operas still have so the whole thing). brought Gilbert and Sullivan much joy for us Four months later, together and formed the D’Oyly today. we started work for Carte Opera Company, which per- Here’s a How real, though it was not Barry Purves. formed Gilbert and Sullivan operas de do has been in as easy as that. Clare for 100 years. While the trio my head for many years, though I had not envisaged any money worked together for roughly 25 originally saw it as a one-off half- until 1999, but she pushed, and years, their relationship was hour special. There has seldom my producer pushed harder, and strained at best. How will the pro- been such a perfect marriage of money was found sooner. In the duction of their story go? All we words and music as in these four- meantime, I was training up three can do is read along monthly and teen operas - but I loved the ironic animators, Steve, Justin, and find out... way that this harmony belied the Joanne, for Cosgrove Hall, as well ‘marriage’ between the three men as training the animator, Sue Introduction responsible for these masterpieces. Pugh, to be a director there as Gilbert and Sullivan, like the As always, I am fascinated by what well. All this took a lot of juggling sources for my other films, have goes on behind the scenes, the and planning, but I couldn’t grum- long been part of my life. I think I story behind the icon. ble as this followed a two-year hia- saw my first opera when I was ten. tus after Mars Attacks during This was The Mikado, and I was which I scarcely worked. The characters now exist as hooked. I was not always so keen lumps of clay, and already on the D’Oyly Carte Opera Com- there is a life to them. Here’s Who’s Involved with pany, not because of their perfor- Here’s a How de do mance style, but because of their • Wyn Davies - a much respect- audiences who refused to allow Clare Kitson, commission- ed conductor and arranger. Gilbert and Sullivan to move with ing editor of Channel 4, and I first We worked for months on the other theatrical developments. It seriously talked about Here’s a musical scores, sitting ‘round was about the dozens of crusty How de do back in February his piano out in the country, amateur societies who unques- 1997, and I worked through the singing snippets, honing the tioningly and badly reproduced summer trying to think of a way of music down. For me that has the D’Oyly Carte productions that I getting my too-plentiful ideas into been a perfect job - working wrote a rather angry, and proba- the five three-minute slots she had with people who are as pas- bly not very well argued, thesis at available. She was happy with my sionate about their craft as I University. There must be life in solution, and in September 1997, am about mine. He also had a these masterpieces, I hoped, and we received some development career dip, but just as we got when the copyrights elapsed, money. Two months later, Clare the go ahead, he was inundat- companies such as the English had in her hand a pretty detailed ed with work and spent sever-

ANIMATION WORLD MAGAZINE April 1998 15 al months in New An Omnibus pro- Zealand. gram was on TV last • Christopher O’Hare night about various G - my producer. This and S festivals in the is the first time we world. It will surely set have properly back the argument for worked together, so performing G and S by there’s a lot of dis- several years. The real covering how each joy of G and S for me, other works. This (i.e. - the works them- produces several selves) was clearly not parallels to Gilbert on display. A lot of and Sullivan them- people in very tacky selves. costumes, giving sec- • Mark Wright - Chris’ ond hand perfor- assistant. • Gilbert, Sullivan, D’Oyly Carte - mances. It was easy • Karen Cain - my assistant. well, I hope their story will for me to be snobbish about this, • Mackinnon & Saunders - prob- become clear over the next which is a little frightening. ably the best, and most versa- eight months. Have not really been able tile puppet makers around. We to get on today, because of a loca- have developed alongside We aim to start shooting on tion shoot with Sue and 30 manic each other for years, and we June 15th, and deliver the film in children, which included a child are all survivors of the Mars the second week of November. from Hell! Attacks experience. They have Play away the overture... a large staff, including Joe Hol- March 17th man and Darren Marshall, the A totally manic and breath- sculptors responsible for the Five years ago tonight I was at less day, squeezing in a day’s work- puppets. Also, Geraldine Corri- the Oscars with Screen Play. shop at a Sheffield College. The gan and Clare Elliott will be journey was a nightmare, and doing the costumes through saw me arriving in a bit of a state, this company. March 16th having gone ‘round the one way • Cosgrove Hall - the animation Still waiting for the contract system far too many times. How- studio in which I have an office to appear, which is a little worry- ever, I burst into the classroom fir- and for whom I’ve been run- ing, as a lot of people are already ing on all cylinders and more. I ning several training schemes. working away in various corners. think I managed to get them all Like many animators, I also The characters now exist as lumps excited and hopefully inspired. I learnt my craft here. of clay, and already there is a life to may not ever have anything pro- • Nick Barnes - a young theater them. The orchestrations are found to say, but I do feel that I designer. I’m keen to work whizzing back and forth to New can say it with a passion that is with people in other disci- Zealand, where Wyn is trying to infectious - I hope. I think after a plines, and this is the first film conduct L’heure Espagnol in the day with me, students realize that where I’ve actually employed a blacked-out city of Auckland. A bit you can’t be half-hearted about designer. concerned about not knowing animation. I was not half-hearted • As and When Men - Jeff, Rick whom we will have behind the today, and came home exhaust- and Richard, the set builders. camera. Paul Smith is very keen, ed. I’m not sure this expenditure of • Flix - the editors I have worked but obviously being away from effort is rewarded with the £70 with for years. the family is not easy. Tyron Mont- fee. • Clare Kitson - the commission- gomery is also keen, though he The G and S contract ing editor of Channel Four, for has work offers coming in, and he arrived today, so we are on. I whom I have made Screen lives in Paris, with whatever com- should have leapt up and down Play and Achilles. plication that brings. celebrating, but I just want to get ANIMATION WORLD MAGAZINE April 1998 16 down to business. We are still try- our cameraman. So no camera- just what I need, extra pressure. ing to persuade Tyron Mont- man and no studio yet, but most We are still arguing about the title. gomery to be on the camera for other people are on board. I’m a Here’s a How de do seems to be us. His film, Quest, was gorgeous bit anxious that the puppet makers too confusing, and I am certainly to look at, and thoroughly are racing ahead before Nick, the resisting calling it The Gilbert and deserved the Oscar last year. designer, has had time to con- Sullivan Story. I may concede, to tribute his ideas. show willing, and call it “G & S - the Long and the Short of It!” Also, We are just designing the sto- March 19th Clare is a little sad that “Fair Moon ryboard now and with this par- Raced into Mackinnon & to Thee I Sing” has gone in favor ticular film there is so much Saunders to look at the three plas- of more storytelling songs. There information to get in on each ticine sculpts, and they look won- will be some conflict here, but is it page. derful. They are clearly going to a matter of personal taste or what work well. The cross-hatching is right for the film? I’m worried effect is not right yet. Joe is sculpt- that Channel Four sees this film as March 18th ing it too fine and too literal. I no more than a collection of jolly In the office all day, but dis- must encourage him to be looser ditties. tracted with training the anima- and free. The drawn lines on the The brain was truly addled tors, and Sue as a director. She faces must be very bold and illogi- tonight, and I had to shut myself was cutting her vox pox (sound cal. away for a while just to be able to track composed of interviews with A chat this afternoon to think straight. the public at large) together - Clare Kitson - profuse thanks for there is a very fine line between getting this far. It is clear that this is March 20th me advising her, and me interfer- a large budget by Channel 4 stan- A full office and too much ing. dards, and that they are expecting admin have taken up the day. The I’m eager to get going with enormous things from the film - storyboard is sitting there, beg- the storyboarding. We are just ging to be filled in, and I’ve designing the storyboard now hardly picked up a pencil. and with this particular film The battle for the title contin- there is so much information ues, with me getting increas- to get in on each page. The ingly frustrated. I despair that music helps both to lock “The Gilbert and Sullivan things down, but also to make Story” is a realistic sugges- things even more complicat- tion. I’m also finding it diffi- ed. The boards will have to be cult that Chris is so tied up a little loose here, as I’m not with so many projects. I going to have the music tim- know that I’m not easy to ings for several weeks which is work with, and rather somewhat frustrating. demand people’s attention Getting frustrated too when I need it. It’s odd but I with the hiring of the voices am already turning into the for Sue’s development pilot. stubborn Gilbert, who, once We need versatile actors who his mind was made up over can do a variety of voices, but something, would not guess what? They do not budge. Once something come cheap, and Cosgrove seems to work, it is very diffi- Hall only has a small budget cult to change it. for this pilot. Usual moans ... we need the best to sell this For I’m a peppery kind of project but can’t pay for them. One of Mackinnon & Saunders’ plasticine sculpts. kind Sadly, we lost Tyron as Image courtesy of Barry Purves. Who’s indisposed for parley- ANIMATION WORLD MAGAZINE April 1998 17 ing with this, but I have at last moved board is now being churned out, To fit the wit of a bit of a chit on. I don’t have the music yet, so though I laugh at my appalling And that’s the long and the short I’m slightly making up the exact drawings. I am pleased that it’s of it. words. starting to come together - the Five years ago tonight I boys have met, and already Sometimes I fear that the was at the Oscars with Screen Gilbert is being difficult. No deci- process of animation does Play. Tonight, I’m doing a free talk sion on the title, but all the con- make a lot of involved people at the local cine club. Is that tracts are signed and the orches- very dull, blinkered and artisti- progress? I’m hoping Joanna trations are being engraved. cally impotent. Quinn will win, and Judi Dench of A good day really, as my course. trainee animators are doing won- Yet another fax about derfully, and Sue’s development One nice phone call came another exciting job that we can’t project is leaping into shape. from the Sheffield College, where I do. Where was everyone last We’ve made what was little more did a workshop on Tuesday. year? than some disjointed drawings Apparently the students are still into a cohesive and unique series. buzzing from the games and exer- March 24th cises, and my passion for anima- Sadly, Joanna did not win March 25th tion. They were also excited at my the Oscar for Famous Fred (nor I was on such a high last doomed Noye’s Fludde project did Judi Dench for Mrs. Brown - night, having seen the stage pro- and are sending me a fiver to get now that is a crime ). Watching duction of the Marx Brother’s Ani- it going. They want to see it: the Oscars is very uncomfortable. mal Crackers. Wonderful physical everyone does, except the people Was I really once part of all that? acting. It’s exactly that, that I’m in charge of money. Of course, I’m reminded that to after for Gilbert and Sullivan, so, Also, a fax from Cartoon have been nominated was an bold as brass. I went up to them Network about an exciting title enormous achievement, but it also and hopefully they are coming sequence, right up my street, but I makes me feel that perhaps that round next week to work on some doubt it can happen. Two years was the peak of my career; or was gags and bits of business for G out of work, and now it’s all flood- it just a fluke? But what really sad- and S. The production was ing in, more than I can handle. dened me when watching the thrilling, crammed with marvelous whole affair was being reminded gags and pratfalls, and all so March 23rd of what a ghastly mistake I made inventive. I shall enjoy working Still trying to find a title that in the guest I took. It hurts me to with them. I get an enormous kick pleases everyone. “D’Oyly Carte think how much my late Ma out of performers. I think I’m a per- Remembers Gilbert and Sullivan” would have loved every second of former at heart, but sadly, I lack does not please me at all! “Gilbert it, and how thrilled she would the talent. and Sullivan : the Long and the have been. Instead, she had to Talking of G and S: things Short of It,’ I could live with. settle for trying to watch it in a aren’t looking too good today. No Called in to see a newly hotel that only had Sky news. studio yet, no cameraman, and no sculpted version of Sullivan: the Tragically, I’ll not have that chance finished script, as Channel 4 wants lines on his face are much rougher to please her again. Sometimes, I me to alter slightly episode four. and we are heading in the right think it might have been easier not They want me to reinstate a song direction. to have been nominated. It gave I cut after the demo as it held up I spent some time over the me the deluded notion that per- the plot, but I feel that this does weekend, sat on the roof garden haps I was somehow entitled to not matter to Channel 4 as they trying to start the storyboard: the be there (which made the subse- see still it as little more than a pot- first shot is at least 30 seconds, quent career hiatus even more dif- pourri of melodies. Hopefully, I’m and there is so much to set up so ficult with which to cope), and giving them more than that, a lot quickly, as it covers not only the certainly no offers of work came in more. The title could now be dream idea, but also their first as a result. “Never Mind the Why and Where- meeting. I went round in circles With G and S, the story- fore” which I’m happy with, but is ANIMATION WORLD MAGAZINE April 1998 18 it any different to “Here’s a How de to start his new film, well a small I hope I managed to have answers do?” chunk of it. We both admitted to for everyone. We’ve discarded a the appalling nerves and insecuri- few of the many options I had, March 26th ties before filming. I do not sup- which is very useful. I like to set A quiet day with the head pose that we will ever be satisfied myself restrictions and conven- down, though I’ve not done any with what we do - it’s as if we only tions and keep to them. We are storyboarding. Had a good chat ever get to do a dress rehearsal. still trying to find appropriate to Henry Anderson at Blue Sky Having shot something, we get a images for all the tableaux, about doing some effects for feel for it and then we can see though we have found a witty “Never Mind.” It’s so good to talk how it should be, but it’s too late. one for HMS Pinafore, with the to someone with so much passion Sue did not make it in characters at sea in a dinghy, and and love of the arts. We have to today as her arthritis got the better Pinafore suddenly looming up at work together somehow. of her. There is no worse or no them. The Mikado has stumped us Still the search for camera- more ironic situation than for such for a moment. I’m concerned that men and studios goes on. We a talented animator to slowly see I am being the haughty Gilbert, have approached Tristam from her hands grow twisted and wanting everything my own way. Aardman. He would be mar- painful. Nick’s design ideas are great but velous, especially as he loves I did a spur of the moment he keeps going off into creative Gilbert and Sullivan. live radio talk today - I never cease flights of fancy. I must try to keep to be amazed at how little them within our budget and March 27th research researchers do. The inter- schedule, but also within my con- A satisfying day overseeing viewer could not have got more ventions (such as, are we basing Sue recording the voices for her wrong if he tried. everything on Victorian stage development project. Her produc- machinery, or on variations of cer- er and I clashed. This project tain images?). I was, unfortunate- involved two characters playing I’m concerned that I am being ly, a bit stroppy with Chris as well, together and I’d rehearsed the the haughty Gilbert, wanting who wants to go very colorful in actors verbally bouncing off each everything my own way. the tableaux - I want to be selec- other and ad-libbing. They gave tive with the use of color. This can me a wonderful spontaneity and The Episode One music still be spectacular. energy. The producer glared at score arrived today. We have some Quite a satisfying and exhil- me, as if I was in the studio for the great and hopefully witty orches- arating day, but heavens, I’m shat- first time, demanding that the trations. I think the score will tered. Not many gray cells left voices be recorded separately with sound fresh and original, though tonight. air between the words. Sadly, the I’m not experienced enough to spontaneity died drastically. Had read the score and actually hear all supper with Jo and Chris, the voic- the parts in my head. Barry Purves is a Manchester- es, and what a joy that was - such based filmmaker. Through his vitality and enthusiasm. Some- March 31st production company, Bare times I fear that the process of ani- Bedlam all day - trying to Boards Productions, he has mation does make a lot of get the animators going and look- directed several stop-motion ani- involved people very dull, blink- ing after Sue as a director was bad mated films and commercials, ered and artistically impotent. enough, but it has been more including Next, Screen Play, Rigo- Went to Animal Crackers than a full day with G and S. We letto and Achilles. again and am still full of breathless had our first production meeting, energy, and that’s just from being and this was witnessed by a docu- in the audience. mentary film crew. I think it went Note: Readers may contact any very well, (I was certainly talking fit Animation World Magazine con- March 30th to bust and making sense - makes tributor by sending an e-mail to A good chat to Paul (Berry) a change!) with us eventually all [email protected]. over the weekend, who is about heading off in the same direction. ANIMATION WORLD MAGAZINE April 1998 19 ItIt TTakesakes ThreeThree toto TTangoango compiled by Heather Kenyon hen it comes to educat- toward producing filmmaking ing students for the job Industry Representatives: What auteurs. Choosing a school may W market there are three do you think about the skills most be one of the most important deci- very distinct partners that play a graduation students have that you sions you will ever make. In order role: students, educators and see? What areas do you see lack- to make the most informed con- industry representatives. How ing most frequently? What advice clusion and avoid future disap- these three very different groups do you have for students trying to pointment, one must do careful communicate their expectations is break into the business? What skills investigation and research. crucial to successful careers, should they possess/focus on? In order to help you locate schools, businesses and projects. What should they expect? and contact schools in which you We asked each group sev- are interested, AWN is publishing eral pointed questions and found Students: What are your expecta- its first annual Animation School that the recent animation boom tions about your career upon Directory. This free publication pro- has certainly created a strong graduation? vides listings and contact informa- working relationship between all tion for hundreds of schools of these entities. Students should realize that worldwide and will be available different schools have different June 15, 1998. Educators: How are you prepar- educational philosophies. Some ing your students for a career after institutions focus on placing their Heather Kenyon is editor in chief graduation? What skills are you graduates in the entertainment of Animation World Magazine. stressing? industry, while others strive

ANIMATION WORLD MAGAZINE April 1998 20 It Takes Three To Tango: Educators

Joe Cloninger, Director, DH Institute of Media Arts, Santa Monica, U.S.A. efore anyone starts here we make sure the expectations Bare sensible and they know the great rewards as well as the harsh realities of being in this industry. We point out weaknesses and strengths that an individual may have so they are on solid ground to build a true career path. Once they get into the program we expose them to people in the industry through a lecture series and encourage them to get out and explore the industry them- selves through SIGGRAPH meet- ings, events, conferences, user groups, etc. We also organize stu- dio tours. Standard career devel- opment skills are also taught with an emphasis on the entertainment industry. As always, the most impor- tant career tools will be the demo reel and a traditional portfolio. This is the constant career preparation throughout the 1 year of day and evening programs. A computer-generated frame created by a student at DHIMA. Image courtesy of DHIMA. Through classes and self learn- software, but also traditional art, ment of animation must be tem- ing the students will gain a the production process, and story- pered with hard work (and/or good understanding of what is telling. We don’t want students to obsessiveness), a little insanity, and required to create an animat- make just great eye candy. We patience. To keep perspective it’s ed film from start to finish. - want them to be life-long students good to be a student of life and Robert Stephenson of animation and film history with explore other interests. We encour- a trained eye. Team and solo pro- age this and feel this sort of bal- Our training program jects are created to challenge and ance helps the work in the end. stresses the importance of art with gauge student progress. technology to create animation. Very quickly a student Don Perro, Department Head, Not only do students learn the learns that their love and enjoy- Commercial Animation Pro-

ANIMATION WORLD MAGAZINE April 1998 21 gram, Capilano College, North dents choose one “career” to spe- French ( Animation Works) to Vancouver, Canada cialize in: Character Animation, name a few. The two-year, non-profit, Special Effects Animation, Layout The graduate diploma Commercial Animation Program Design/Posing, Character involves one year of full-time inten- began in 1995. Its sole objective is Design/Storyboards. This allows sive study and is comprised of to build the local animation indus- students to concentrate their classes in screen writing for anima- try by providing highly skilled and efforts in areas they are most profi- tion, directing and movement and specialized, commercial animators cient at in order to improve their is supported by instruction in cam- and animation designers (as chances for success. Before gradu- era operation, computer anima- opposed to independent filmmak- ation, students are placed in local tion, sound recording and sound ers). Faculty continue to work in studios for a two week practicum. and picture editing. Students can the industry and the local studios With only two graduating classes experience a broad range of tech- serve as an advisory committee. to date, we have been very suc- niques in traditional and experi- Tuition is kept low ($1,400 per cessful. Graduates currently work mental styles including under cam- year for Canadian residents) in at Disney Canada, Studio B, Nat- era, stop-motion, 2-D & 3-D com- order to attract the strongest appli- terjack, Bardel, Cinar, Funbag and puter animation and cel anima- cants. a.k.a. Studios and have assisted on tion. Through classes and self In first year, we emphasize features including Space Jam, learning the students will gain a key animation, timing and princi- Anastasia and Prince of Egypt. good understanding of what is ples, animation design and life required to create an animated drawing. Animation history, layout film from start to finish. design, story and film principles Robert Stephenson,The School are also taught but the real focus of Film and Television at the Vic- of first year is character animation. torian College of the Arts, Mel- New York University Tisch The workload is intense and struc- bourne,Australia School of the Arts Animation tured, since two years is not a lot The School of Film and Tele- Program has one of the coun- of time to get to the level where a vision at the Victorian College of try’s most varied animation job is guaranteed (at least in the the Arts in Melbourne conducts curriculums. - John Canemaker Canadian industry). Australia’s leading course in anima- tion. It has an excellent reputation At the end of the year, each world wide and in 1997 there was student will have completed a The division emphasizes an a retrospective screening at the major animated production of up integrated approach to anima- International Animation Festival in to six minutes which they will have tion and digital arts. - Vibeke Annecy. Productions from last written, animated and directed. Sorensen year’s students have screened this They will also have other first year at St. Kilda, Melbourne and semester exercises as part of their In second year, students Sydney Film Festivals, as well as at portfolio. continue to improve their skills, many international festivals. Stu- The course is made up of producing a demo tape of key ani- dent works have also taken out two 16 week semesters starting in mation (a “rough” sequence, major awards at the AFI, Sydney February and is a demanding designed to demonstrate ability Film Festival and the Melbourne experience which requires stu- rather than serve a story or put Comedy Festival. dents to commit daytime Monday over a gag) and a portfolio of lay- The course has produced to Friday as well as many evenings outs, life drawing, design pack- successful film industry practition- and weekends to be able to com- ages, and storyboards. Computer ers including Dennis Tupicoff, Sab- plete the projects. The school is animation (3D Studio MAX and rina Schmidt, Peter Viska ( Mickey well equipped with 16mm ros- Character Studio) is introduced in Duck Animation), Maree Woolley, trum cameras, a 3-D stop motion second year but plays a minor John Skibinski, Adam Elliot, Antho- studio, computers for PEGS (a 2D role. In the final four months, stu- ny Lucas (3D Films), and Steve animation system), Softimage, and

ANIMATION WORLD MAGAZINE April 1998 22 AVID editing equipment. animation (i.e., stretch & squash, Thomas, Ollie Johnston, Faith and anticipation, follow-through, stag- Emily Hubley, Nick Park, Joe Ranft, Professor John Canemaker,Ani- ing, arcs, exaggeration, etc.) and and Pete Docter, among many mation Area Head, New York communication through classic others. Talent recruiters from major University Tisch School Of The film “language.” The development studios also visit annually, includ- Arts Animation Program, New of each student’s skill in storytelling ing DreamWorks, Disney, Warners, York, U.S.A. and characterization is stressed, Blue Sky|VIFX, MTV, among others. New York University Tisch whether they choose to concen- In additional to Professor School of the Arts Animation Pro- trate on traditional drawn anima- Canemaker, who teaches Action gram has one of the country’s tion or computer-generated Analysis, Storyboarding, and most varied animation curricu- imagery. A strong set of prerequi- Advanced Animation, the other lums. Courses include: Intro to Ani- site craft courses (such as Action full-time presence is Peter Weishar, mation Techniques, Advanced Ani- Analysis, Life Drawing, and Story- who supervises the computer ani- mation, Storyboarding, Stop- boarding) guide students toward mation courses and teaches Intro, Motion/Puppet Animation, Action the advanced courses, in which Intermediate and Advanced 3-D Analysis I & II, History of Animation, they are encouraged to use their Computer Animation. The adjunct Animation Camera Technology I & communicative skills to make a instructors are working profession- II, Character Animation in a Work- personal statement in a completed als in the field, and include John ing Studio, Life Drawing, Intro and film/video with sync sound. Culhane (History of Animation), Intermediate 2-D Computer Ani- Each year, special guests Michael Sporn (Character Anima- mation and Intro, Intermediate, enrich the curriculum. In recent tion), Eugene Salandra (Life Draw- and Advanced 3-D Computer Ani- years NYU TSOA Animation has ing), John La Sala (Intermediate 2- mation. benefited from the wit and wis- D Computer Animation), Laura The emphasis in the class- dom of visiting artists, such as Margulies (Intro to Animation Tech- room is on essential principles of Chuck Jones, Marc Davis, Frank niques), Dean Lennert (Stop

ANIMATION WORLD MAGAZINE April 1998 23 Motion/Puppet), and Keith Purdy freelance work and sponsorship. character animation and optical (Animation Camera Tech). Representatives from industry reg- printing to state of the art interac- ularly present work to the students tive computer graphics, students Joan Ashworth, Course Direc- to give a realistic picture of job learn a broad range of concepts tor, Animation, The Royal Col- prospects. and techniques in a hands-on lege of Art, London, U.K. Students learn to budget environment, grounded in a live- The Royal College of Art is and schedule their projects as an action film program. Taught by the only exclusively post-graduate introduction to basic business internationally acclaimed artists university of art and design in the studies. and animators, the rigorous world, with the authority to confer course work includes history and Masters and Doctoral degrees. We To keep perspective it’s good theory of animation, writing, life are the most concentrated com- to be a student of life and drawing, film and video produc- munity of young artists and explore other interests. - Joe tion, traditional character anima- designers to be found anywhere. Cloninger tion, as well as experimental and No matter where you are you will computer animation. Electives and probably find that a graduate of Also, the course staff act as workshops range from acting for the Royal College of Art has con- informal agents for graduates animators, layout and design, to tributed to the visual culture which making sure that inquiries about lighting for digital cinematography surrounds you. the students are connected with and specialized software tutorials. the appropriate graduates. As the Advanced students often do inno- Our graduates are expected to College retains copyright of the vative research in interactive tech- be capable of tackling personal students films the course is respon- nologies such as virtual reality and and commissioned work with sible for distribution and license the World Wide Web. The MFA original and innovative skill. - sales. degree program culminates with a Joan Ashworth Our graduates are expect- Thesis project, wherein the stu- ed to be capable of tackling per- dent demonstrates mastery of the sonal and commissioned work art form through the creation of The Animation Course at with original and innovative skill. an ambitious, original work. While the Royal College of Art seeks to embracing a broad, firm founda- develop and extend existing skills Vibeke Sorensen, Professor and tion, the program encourages and to produce innovative practi- Chair, The University of South- innovation and experimentation, tioners in animation. The course ern California, School of Cine- and emphasizes imagination, cre- offers the opportunity to combine ma-Television Division of Ani- ativity, and critical thinking. new and traditional forms to cre- mation and Digital Arts, Los ate exciting and original methods Angeles, U.S.A. Most film schools, I fear, are a of image making. Sound is given The USC School of Cinema- bit indulgent and naive with particular emphasis with work- Television’s Division of Animation their students, and don’t really shops and specialist seminars and Digital Arts prepares students prepare them for the pres- developing an aural awareness for leadership positions at the cut- sures of a working studio. - enabling new skill levels to be ting edge of animation and new Barry JC Purves developed. The two-year course media by encouraging them to culminates in the award of an MA explore what is still to be imagined (RCA). Research degrees in anima- and produce work that expands Traditional facilities include tion may be studied to MPhil or the frontiers of the art of anima- individual workspaces with draw- Ph.D. Approximately 11 students tion, and thus the industry that is ing desks, two Oxberry animation are selected each year. quickly growing around them. stands, pencil test machines, as Students are encouraged The division emphasizes an well as an optical printer, among to make industry contacts during integrated approach to animation other pieces of equipment. Com- their course through placements, and digital arts. From hand drawn puter facilities are extensive, with

ANIMATION WORLD MAGAZINE April 1998 24 approximately one machine per opportunities for exposure to the feels right. student. Hardware includes Silicon industry and contemporary fine We started with the most Graphics O2s, Macintosh, Sun and arts, including internships and basic of exercises, then slowly built Intel workstations, an Abekas employment. up to complex actions with several Diskus, a Solitaire Cine II film We offer an MFA in Film, characters in the same shot. I so recorder, as well as video and film Video and Computer Animation enjoyed watching the animators editing systems. Software includes and an Undergraduate Minor in rise to the challenges. Alias/Wavefront Maya, Softimage, Film, Video and Computer Anima- I tried to get the students to Pixibox, Animo, and many other tion. watch movement as a thing in packages. The School recently itself, whether it was a ballet became the first university in the Barry J.C. Purves, Course dancer, a mime artist, an animal or world to host a Quantel Domino Instructor of Puppet Animation just someone in the street, and to workstation for 35mm film digital For Cosgrove Hall Films, Man- see why it works. What was it that compositing and special effects. chester, U.K. gave that movement that charac- These facilities, when combined As a result of an available ter? with the school’s extensive depart- animators shortage, I was asked I was also keen that each ments of film, television and sound by Cosgrove Hall Films to run two animator should plan each shot production provide an extremely courses with the specific purpose (and stick to it) and be aware of broad range of capabilities for pro- of training up a total of six anima- the rhythm of that shot and how it fessional quality artistic explo- tors who would then be able to fits in with previous and subse- ration. go straight into production. quent sequences. Basically, I was Upon graduation, our stu- Obviously the priority was keen that the animators should dents possess both depth and to teach them not only how to ani- always be aware of the film as a breadth, thus positioning them mate sophisticated characters, but whole, and not just the frame they perfectly for leadership roles in the also how to produce the required were animating. I tried to stress field. Such positions usually require daily footage of a high standard, just how important planning and vision, scope, creative problem- and how to work in a studio situa- preparation was in making filming solving skills, adaptability to new tion. Most film schools, I fear, are a go smoothly. concepts and working methodolo- bit indulgent and naive with their Sadly, we had little time to gies, as well as excellent “people” students, and don’t really prepare study the history of animation skills. We expect our students to be them for the pressures of a work- (though we did talk about theory ambassadors for the field to the ing studio. From our very first day, and the psychology of seeing), but field. Graduates of our program I made it clear that I expected the I did try to get each animator to have gone on to Disney Feature students to work quickly and pre- criticize constructively their work Animation, Microsoft Graphics cisely. I don’t have much time for or others, as well as having a cer- Research Group, Fox, Warner animators who dither and dither tain eloquence when discussing a Bros., Digital Domain, Pixar, over certain moves. The best ani- shot with the director. Communi- DreamWorks SKG, Pacific Data mators, for me, have an instinctive cation is often a skill lacking in Images, Industrial Light and feel for performance. The worst many animators, but it is so neces- Magic, among others. We are are those who do it mechanically, sary when working as part of a delighted that Nickelodeon has measuring every move. To encour- team. become a new sponsor of our pro- age these instincts, I rationed the I’m pleased that each of the gram. availability of any video assists and six animators is now in the middle The School of Cinema-Tele- sometimes, the animators shot of a 12-month contract at Cos- vision, in downtown Los Angeles, lengthy and complicated scenes grove Hall, and everyone is is also in close proximity to many ‘blind’ without any technical help. delighted with their work. of the leading studios and major The results were very encourag- All schools participating in this art museums in Southern Califor- ing. I’m quite a believer in just get- survey can be contacted through nia that provide students with ting on with it, and doing what Animation World Magazine by e- mailing [email protected]

ANIMATION WORLD MAGAZINE April 1998 25 Academy of Art College

Over 500 Computers and 50 Different Computer Courses in *3-D Animation • Interactive Digital Media and Game Design • Web Design • Electronic Print Production • Motion Pictures and Video Special Effects * The only authorized Silicon Studio in Northern California. Call: 1•800•544•ARTS www.academyart.edu 79 New Montgomery Street, San Francisco, California 94105 ItIt TTakesakes ThreeThree TToo TTango:ango: IndustryIndustry RepresentativesRepresentatives

talented people. The Yvette Kaplan, Feature skilled background Director, MTV artist who understands Generally, I have been perspective, the gifted very impressed with the animator who under- level of student work stands weight and tim- these days. Drawing skills ing, the organized, are strong, and most pre- detail oriented layout sent a solid portfolio with artist, all are necessary a good representation of parts of the whole. Ani- figure drawing, animal mation is a team effort, studies, and individual and creativity a many design samples. Anima- faceted trait. You don’t tion sample reels are quite have to be a ‘star.’ We technically proficient, due only need one of those in part to the huge per show. What we do amount of computer need are many patient focus and availability in © MTV. artists ready and will- schools. Students are well pencil test. Show me some charac- ing to listen and learn versed in the use of current soft- ter designs and pose sheets, and work to make the product ware. The student films I have expression charts, personality stuff. great. been seeing are unusually profes- Show me your enthusiasm and My advice for breaking into sional-looking. Technically, they your obsession, your love of the the business - draw, draw, draw. appear as if ready to air on TV. process. Show me you know how You can focus on character or Media-savvy and visually sophisti- to do a layout, complete with field background, or both, but good cated students know how to guide. Show me a well thought- draftsmanship and a good eye are achieve “the look.” out storyboard so I can get a sense invaluable skills. Understand the of your storytelling. Show me your enthusiasm and A point I can’t help mak- your obsession, your love of ing, and I don’t mean to sound the process. - Yvette Kaplan, discouraging, quite the contrary MTV in fact, is that not everyone is a ‘filmmaker.’ Not everyone is an However, and I am gener- idea person. We can’t all be Mike alizing of course, the content and Judge or Trey Parker or Matt story, the animation itself and the Stone. Yet everyone wants to be. timing, the reason for being of Everyone’s pitching something. many of these films, does not Even instructors are pushing always match the technical level of their students to finish a film, the presentation. Many times I find seeming disappointed if a stu- myself wishing that these young dent wants to perfect his anima- animators would simply show me tion skills instead. Remember: no a stack of drawings to flip through. animated film or TV series has A full color, full sound finished film ever been completed without with credits is not always neces- the dedication and skills of many sary. Show me a well-animated © Film Roman.

ANIMATION WORLD MAGAZINE April 1998 27 basics about animation. Learn Good work is rewarded. The ani- er the real training/learning how to do a layout. Learn about mation industry today holds many begins. Make sure your portfolio is camera pans and fields. Learn opportunities. You are in the right versatile, understand what jobs how to read and prepare an expo- place. Welcome, and the best of are being offered and most impor- sure sheet. If you are on an inter- luck to you! tantly be persistent! view, be considerate of your inter- viewers time constraints and edit Jay Francis, Director of Talent your portfolio. Show your best Recruiting, Film Roman work, not everything you’ve ever Having just recently visited Basically, you must learn to done. If you have obvious strength a number of prestigious schools manipulate the technical in one area over another, and if it throughout the United States and aspects before you can get cre- happens to be the area you are Canada, I am most impressed by ative. - Jana Day, DreamWorks most interested in, by all means the computer animation talent Animation make that clear by your portfolio that is becoming available to the choices. It’ll help the interviewer cartoon industry. While most stu- see how you might enhance a cer- dios are looking for artists, not just Jana Day, DreamWorks Anima- tain department and a job offer computer technicians (Film Roman tion Recruiting just might follow. included), I have found a wealth Generally speaking, the of talent that is proficient at both skills we see from the animation traditional and computer design. schools around the world are very Make sure your portfolio is good. Each year our college versatile, understand what jobs There is, however, a tendency at recruiting trips identify several stu- are being offered and most some schools to over-emphasize dents that we begin to develop importantly be persistent! - Jay the computer while not paying relationships with over the next Francis, Film Roman close enough attention to the fun- few years. damentals of drawing and design. The top animation schools What to expect? Well, if you Yes, the computer is here and yes, study all areas of animation, so get that job, I can tell you what it is not going away, but the com- there really isn’t one area that is will eternally endear you to me. puter still needs a true artist to lacking. I think the most difficult Listen and learn. Follow instruc- exploit fully the technology. area for students is experience in tions and ask questions. Then ask Any student looking to the ‘real world.’ I would recom- more questions. Be concerned break into the industry should mend that all students try to get with deadlines. Do what is asked, expect a long, hard battle. The internships or complete as many then go further. If the job you are competition is as fierce as it has student films as possible. Plus, hired to do is not the one closest ever been. The first thing that I tell great life drawing and draftsman- to your heart, don’t be impatient. a student is to go where the jobs ship skills are always essential. are. A student Most graduates start out as spends a lot in in-betweeners or in clean-up ani- time and mation. It may not sound very money to hone glamorous, but it is great training their skills. It experience. We find that if anima- makes no tors can gain the technical experi- sense not to go ence first, then their creative style to the industry will naturally follow the animation centers (Los process. Basically, you must learn Angeles specifi- to manipulate the technical cally, New York aspects before you can get cre- to a lesser ative. extent), where as an entry © DreamWorks. level design-

ANIMATION WORLD MAGAZINE April 1998 28 It Takes Three To Tango: Students

Lyn Hart, Capilano College Commercial Animation Pro- gram, North Vancouver, B.C. Here I am; a squeaky-clean, fresh- out-of-school animation graduate. With my portfolio in hand and a slightly hesitant smile, I’m stepping out into the real world. But what has my two years of sweat and toil in Capilano College’s Animation Program done for me? For starters, it did exactly what it was supposed to do by providing me with the important basics I needed to land my first job. Some might have expected more. I must admit, I thought I was pretty hot stuff when I first began my animation education. I soon realized a good school could only teach me so much. The rest was up to me. There was a lot to learn and it was going to take plenty of hard work, discipline, and humility to succeed. Art by USC’s Rebecca Rogers. Image courtesy of USC.courtesy of USC. future may bring but I hope there’s The expectations for my future in I never turn down the oppor- never a shortage of work. I hope the art of animation are rich and tunity to learn from someone to succeed and become good at exciting. I went into this genre of who wants to share their expe- what I do but that is always chal- art specifically because of the vari- rience. - Lyn Hart, Capilano lenging. I hope I’m always gra- ety of career choices I felt I had. College cious to students trying to enter Currently I’m intrigued simply by the industry no matter how suc- the study of movement. It has cessful or unsuccessful I become. I opened up a whole new way of I was very fortunate as hope that no matter where I am, I looking at art for me, visually and were others in my class. At our never turn down the opportunity conceptually. All areas of anima- grad show, studios were invited to to learn from someone who wants tion have interested me and I view our portfolios and reels. I to share their experience. And last- would probably be happy work- received interest from several com- ly, I hope I can one day afford the ing in any field whether it be hand panies including Studio B and two-week vacation in Hawaii I’ve drawn animation, 3-D modeling Bardel Animation in Vancouver, always wanted! or special effects in film. I came to and Nelvana in Toronto. It was a school to try and learn it all (Ha! tough decision but I went with Rebecca Rogers, MFA Anima- Ha!). My number one expectation Studio B. I felt they could give me tion Program of the Animation is to someday be involved with the best training in my chosen and Digital Arts Division of the stereoscopic animation combined area, character design and story- School of Cinema-Television, with live performance. I get boarding. University of Southern tremendously excited when visual- Who knows what the California, Los Angeles izing 3-D animation in the form of ANIMATION WORLD MAGAZINE April 1998 29 characters, particles or environ- Linda Sharp, Capilano College illustrations (former career), more ments in congruence with live per- Commercial Animation Pro- skill development, or the ever pop- formers. Presently you need a gram, North Vancouver, B.C. ular “I have this idea for a film...” screen to project these stereoscop- I can’t think of anything I I believe that animation is in ic images, but I want to someday would rather be paid for than ani- a renaissance, building on the pos- realize the possibility of animating mating. I am currently halfway sibilities generated by new tech- three-dimensional holograms. I through a two-year commercial nology, and the excitement of believe I will have the chance in animation program at Capilano new markets. I hope that the my life time to play with this idea, College. Character design and lay- industry will be able to absorb a maybe even in the near future. out are my current obsession, but substantial number of the many we have much more to learn in students presently training in ani- the upcoming year. mation. I get tremendously excited When I graduate next year Human plans are often the when visualizing 3-D animation I hope that the industry will be in playthings of the gods, so I don’t in the form of characters, par- a hiring frenzy. My chief concern is discount the possibility that one ticles or environments in con- to obtain a job upon graduation. aspect of animation will absorb me gruence with live performers. - In the best of all possible worlds, I so completely that my career path Rebecca Rogers, USC will be able to work full-time in a will dictate itself. studio for three to five years. After For now, at the University that necessary grounding in reali- Glenda Wharton, MFA Anima- of Southern California, I will first be ty, I would like to work part-time tion Program of the Animation concentrating on learning how to and take courses to learn more and Digital Arts Division of the animate. I plan to accomplish this sophisticated computer skills. I School of Cinema-Television, amazing task by making hand- then plan to return to full-time University of Southern Califor- drawn projects, studying anima- work, but to keep developing my nia, Los Angeles tions frame by frame and learning skills. Two years ago, I came to from our professors. Regarding my I am keenly aware of the California to study at the MFA Ani- studies in computers I will begin to cyclical nature of work in the ani- mation Program of the Animation learn about stereoscopic anima- mation industry, especially for the and Digital Arts Division of the tion in a class next semester titled novice. If I am faced with down- School of Cinema-Television. I “Virtual Reality and Stereoscopic time I have the option of doing already had a Master’s of Fine Arts Animation, Expanding 360 Degree Painting to Virtual Environ- ments.” The remainder of my time at the University will be spent con- tinuing to study animation film, and stereoscopics. At the same time I will be applying this knowl- edge to my semester projects and finally my thesis. With the availabil- ity of the SGIs here at school and the support of my professors, I feel I have every opportunity to gradu- ate and achieve the vast number of animation career opportunities of which I have dreamed. As for animating 3-D holograms, I plan to continue working towards the idea and see it realized.

A painting by Glenda Wharton, another MFA student at USC. Image courtesy of USC.

ANIMATION WORLD MAGAZINE April 1998 30 from Columbia University, and I seemed to be something in me ing the diversity of animation tech- was an assistant professor of art at that only cinema could satisfy. niques. a university in North Carolina. As I feel that I have found for an art professor, I had created a what I was looking. I came into I believe that animation is in a computer animation lab and the program to learn computer renaissance, building on the designed a computer animation animation, but, I have learned so possibilities - Linda Sharp, and digital arts program. much more. The USC program is Capilano College I already had two careers— special because traditional anima- one as an exhibiting artist, one as tion, experimental animation, and This expressive melange a college professor —but still was the visual expression of pure cine- transmutes digital technology into not satisfied. For all of my life, I ma are beautifully interwoven. We cinematic art. This rich preparation had flirted with cinema. There learn creative expression by explor- gives depth to my digital anima- tion, so that I am not merely a “mouse monkey,” aping to the TEMASEK crowd, climbing aboard the band wagon of new technology. POLYTECHNIC This broad vision of anima-

Temasek Polytechnic was established in April 1990 and is fully supported by the Singapore tion has allowed me to bring the Government. The 30-hectare campus which overlooks a reservoir is an architectural landmark diversity of my artistic background in the eastern region of Singapore. The campus offers excellent facilities and have a full range of new, state of the art technology and equipment. The four Schools of Business; into animation. I did not have to Design; Engineering and IT & Applied Science currently offer a range of 26 Diploma courses. throw out my painting, sculpture, To help us achieve our mission, “To prepare school-leavers for a future of dynamic change, drawing, dance, theatrical talents with relevant knowledge, life-long skills, character, and a thirst for continuous improvement”, we are looking for exceptional people with the talent to inspire and the ability to help others or visionary instincts. The mastery find their niche and fulfil their potential. of all of these tools—along with If you are looking for a CAREER that both challenges and rewards, write to us now. the computer—is shaping me into LECTURERS/ a formidable artist animator. Based within Cosgrove Hall’s SENIOR LECTURERS working studios, we were able (Gross Salary : S$26,900 – S$80,600 pa) to relate what we learned to Applicants must have a recognised degree with at least 2 years of relevant ongoing productions... - Joanne work experience. A passion and genuine interest to care and mould character, teach and interact with young adults and the ability to teach in the following Chalkey, Bare Boards/Cosgrove diploma/subjects is essential. Hall training scheme

School of Design Interactive Media Design: Animation — Mac/PC/NT/SGI Workstations, Visual Because of my heavy art Communication, Fine Arts, 2D/3D Computer Animation, Computer Peripherals, background, I see my introductory Scripting, Storyboarding, Visualisation, Animation Production, Film, TV or Multimedia, High-end Computer Animation place in the industry in conceptual development, storyboarding, or Salary will be commensurate with qualifications and experience. the creation of art for inspiration. I love science-fiction and I would Fringe Benefits also be interested in visual effects • Annual Vacation Leave • Subsidised Medical & Dental Benefits design and animation. • Use of Sports Facilities • Child Care Facilities • Subsidised Housing for foreigners My ultimate goal will be to Please send a detailed resume stating qualifications, working experience, current & develop animated films which expected salary, name of two referees, recent photograph together with a copy of reflect the cultural diversity of the academic qualifications by post, fax or email to: world. As a woman of color, I can TEMASEK POLYTECHNIC Human Resource and Staff Development Department add a distinctive spice to Holly- 21 Tampines Avenue 1, Singapore 529757 wood’s table of delights. Fax No. (65) 789-8214 Email: [email protected] Home Page: http//www.tp.ac.sg Joanne Chalkey, Bare Only shortlisted applicants will be notified.

ANIMATION WORLD MAGAZINE April 1998 31 Boards/Cosgrove Hall training turning off our monitors. University of Southern Califor- scheme, February to April 1998, nia, Los Angeles Manchester, U.K. My expectations about my Based within Cosgrove Hall’s My excitement at being career upon my graduation are working studios, we were able accepted onto the Bare very high. The Division for Anima- Boards/Cosgrove Hall training to relate what we learned to tion and Digital Arts at the Univer- scheme was only slightly dulled ongoing productions... - Joanne sity of Southern California’s School when, on our first day Barry Chalkey, Bare Boards/Cosgrove of Cinema-Television is providing [Purves] gave us each a black Hall training scheme me with a very well rounded expe- wooden block, stating that we rience in all forms of animation would not get puppets for at least The practical and financial and production. I have completed three weeks. We found the block support offered by the Cosgrove two years of the three year pro- work invaluable, the strong shape Hall Sponsorship allowed us to gram, and I have tried my hand at showed every judder and mistake concentrate on our training and everything from scratching on film and taught us control. My fellow gave us positive input and a to fully rendered digital images, trainees, Justin and Steve, and I all wealth of advice from the anima- and just about everything in had very different experiences tors, producers and directors work- between. prior to training. This showed in ing within the building. Based I feel confident about hav- our often different interpretation of within Cosgrove Hall’s working stu- ing a successful career because a given exercise, allowing us to dios, we were able to relate what the instructors and the classes at see there is more than one way to we learned to ongoing produc- USC have done an excellent job in tackle a shot. tions and toward the end of our showing us that as long as we’re We worked on building a training we had the opportunity to good animators and artists, it move, starting with a simple work occasional days on ‘live’ doesn’t matter what medium we movement, then adding character, shows, easing us more gently into choose, we will have the tools to often doing a move wrong to see the work environment. be successful. So with that in why it did not work. We were We have now each moved mind, they have taken great encouraged to be aware of the on to three very different produc- strides to train us in traditional shot and its position within the tions and our training has pre- character animation, experimental scene. We concentrated on bal- pared us well. We are concentrat- animation and computer anima- ance, strong poses, and how to ing on building up our speed and tion. They also make sure that we anticipate a move. Barry stressed bending our skills and styles to suit have a strong sense of story, so we must think from where the each program. The best aspect of that even the most experimental energy within the movement is the training was Barry’s hugely projects have very clear themes coming. We studied dance, the- infectious enthusiasm for anima- and narratives. ater and comedy to help our tion and, beyond the basics Not to mention the fact choreography. Starting simply taught, he has encouraged us to that we are apart of USC’s School enabled us to build our confi- observe life and theater, enabling of Cinema-Television, which is dence and by week 12 our pup- us to continue to improve our ani- regarded by many as the finest film pets were juggling, running, mating skills. I think we are all school in the world. As a result, we dancing and more. extremely grateful to have had the have access to all of the film school One quality vital to the ani- opportunity to be taught by Barry. classes, and are able to mix a well mator is patience. Barry tested Joanne is now animating rounded film education with a ours at an early stage by making on a series called Rocky and the well rounded animation educa- us move our blocks across the set Dodos, which is currently showing tion. This could prove to be a huge as slowly as possible. After five on British television. advantage upon graduation. hours of nudging the block with the very tips of our fingernails I Brian G. Smith, MFA Animation think we were all ready for a fight! Program of the Animation and On his more sadistic days Barry Digital Arts Division of the would make us work blind by School of Cinema-Television,

ANIMATION WORLD MAGAZINE April 1998 32 WhatÕsWhatÕs InIn YourYour LunchBox?LunchBox?

by Kellie-Bea Rainey

“We instantly ‘better’ ways to execute what I noticed an increase already know. Before I even in the quality of the looked at it, I was already asking animation and the myself, “What’s this thing got that’s fact that, suddenly, so darn cool?! Why should I both- there were a lot er? I don’t need another ‘thingy’ to fewer reshoots...an learn and get frustrated with. invaluable What’s in it for me?” tool...frees the ani- mator to concen- trate on perfor- The LunchBox brings the stu- mance rather than dent back to what animation is registration.” - Doug all about: art, self-esteem, Aberle, director/ani- results and creativity. - mator, Will Vinton Gary Schwartz Studios These are great questions. To Good To Be Questions that all of us in the Animation Toolworks’ Video LunchBox. © Animation Tool- works. True? industry, whether we are newbies When I got this or 20-year veterans, would be ask- LunchBox holds more than assignment, I had my doubts. I’m ing. But as we all know, most just pastrami on rye these an independent art director and good advancements come from Adays. That’s right, there’s producer and I’m pretty tired of someone’s cry for help. Shooting more going for a LunchBox then learning supposedly ‘new’ and tests of animation is necessary to housing HB pencils, water- help the animator and colors, and charcoal sticks. director see how the shot Now, I’m not talking about will work before they dedi- fly fishing hooks and live cate it to film or video. The worm bait, nor am I talking Video LunchBox answers about wrenches, screw- the cry for an easier pencil drivers and duct tape. test machine, or ‘framegrab- Don’t be confused ber.’ by its ordinary name, for inside Animation Toolworks’ Talking to Users Video LunchBox lies quite “The Video LunchBox was another innovative story. designed for teaching ani- mation as well as for the “A terrific tool for professional animator as a stop-motion and cel anima- pencil test or reference test tors...the world’s best test- device. It is superlative at ing system for animation.” - improving productivity dur- Webster Colcord, senior ing the early stages of cel character animator, Pacific animation, or during the Data Images Inside the LunchBox...© Animation Toolworks. ANIMATION WORLD MAGAZINE April 1998 33 compare art direc- works Video LunchBox and a tion, positions, and monitor. This allowed us to get composition. I store instant feedback while animating, one reference, make as the LunchBox is capable of stor- modifications and ing and playing back 256 frames then store the com- of animation.” parison.” Sue Conklin Playback Is Key is producer of the Educators agree that one annual Animation of the most exciting features about Camp at Will Vinton the LunchBox is this ability to play- Studios where back footage. Gary Schwartz, pro- campers spend a fessor of experimental animation Animators at Will Vinton Studios use more than 25 Video LunchBox units for the production of stop-motion com- day doing their own at the California Institute for the mercials and TV series. © Will Vinton Studios. hands-on anima- Arts stated that he’d much rather tion. “The Video use the Video LunchBox then the filming of stop-motion animation. LunchBox is revolutionizing video-based Lamb/Lyon-type pen- With the Video LunchBox, the ani- schools’ ability to teach animation. cil test systems. “I love the Lunch- mator, you, get to see your anima- We used to be able to grab only Box. I can’t live without it!” tion instantly. You can learn to use 64 frames at a time with the sys- Across the country, Karl it in minutes.” - The Animation tem we created here at the studio. Staven, a professor at the Universi- Toolworks press kit The Video LunchBox has extended ty of the Arts in Philadelphia, is also I began my research by our ability to check work before it singing praises of the LunchBox. indeed interviewing professionals goes to final stages.” “We’ve had the LunchBox for sev- and educators alike. Miraculously, While working on Skull- eral months now, and it is becom- like the press kit said, both groups monkeys, the CD-ROM sequel to ing the pencil test system of praised the usefulness of this the game The Neverhood, anima- choice. We used to, and still use, machine. Granted, how the tor Mike Dietz explains how he Lamb/Lyon type systems; VCRs strengths of the product is utilized used the Video LunchBox in pro- that can record a single frame at a varies between the two groups duction, “We had a second video time.” However, one of the cons but what is important is that every- feed coming out of the camera with this technique is “the play- one using this little machine seems hooked up to an Animation Tool- back of animation, particularly pretty darn happy. extremely short The pros are excit- tests, is clunky ed by the prospect of in comparison being able quickly and to the Lunch- easily to see shots before Box.” dedicating them to film or But the video. John Ashlee ani- Lamb/Lyon is mated on the award-win- not the only ning Tropicana Fruitwise other system Smoothie commercial for pencil test- Bravefruit at Will Vinton ing. How does Studios and describes the LunchBox how he used his Lunch- fare against the Boxes when in produc- other competi- tion. “I have two Video tors? Jason LunchBoxes. I use them to Reiner is the compare different aspects 03B Here’s Gesine Kratzner (closest to camera) instructing advertising Media Arts spe- of my shoots, especially agency producers how to use the LunchBox framegrabber. cialist and lighting. However, we also Image courtesy of Gesine Kratzner. Media Center ANIMATION WORLD MAGAZINE April 1998 34 Maybe There’s Something To All you need, I was told, is This a monitor and a camera, and a Hmmm...this is a lot of pos- VCR, if you eventually want to itive talk and since frame accuracy save your animation by recording is monumental in animation, I’d it to tape. When you get the sys- really be interested in the Lunch- tem there’s a two minute tutorial Box. Then again, it’s another piece included. ‘What can you possibly of hardware I’d have to learn and learn in two minutes?’ I thought. teach others. Lord knows I hate But Reiner agrees with wasting my time dorking around Schwartz, “We used computers to Mike Dietz of The Neverhood, animating with equipment. What really stinks create animation, but they are puppets for the game Skullmonkeys.© he is getting one of my tech-heads in more difficult to explain and the Neverhood. to tweak it all the time. It probably playback features are more coordinator for the Bay Area Dis- won’t be compatible with all the tedious. The elegance of the covery Museum. Jason has been other things (read expensive design for the LunchBox makes it using the LunchBox for eight things) that we already use in the best educational tool for ani- months with kids from 5-10 years house, and, if it’s like computers, mation available today”. old. Yes, that’s right. Children 5-10 it’ll need to be upgraded every 3- years old can use the LunchBox. 6 months. If this is the case, I think It’s That Easy? “We used to teach animation with I’ll resort to brown-bagging my Okay, so I can presumably Hi-8 video cameras, turning the lunch. do it all myself. This sounds camera on and off as fast as we promising so I’ll try it out. Here I could to capture frames. This was go, opening up the box. Let’s see definitely a cumbersome way to Just about anyone can learn to what we have in here. Here’s the teach animation, but it got the animate; from professional ani- actual LunchBox and man, is it basic idea across and people still mators and art students, to lightweight. What else have we loved it. The LunchBox has helped seven-year-olds, to even got in here? Two BNC cables for us immensely because the play potato farmers? the camera and the monitor, a back is instantaneous and it plays power cord, and a few loose leaf back in all sorts of ways. The way documents. That can’t be it! we used to do it, you had to No Geeks Necessary Where’s the 500 page manual record multiple frames on the In most cases, computers rewritten from a foreign language camera and then playback the as framegrabbers offer more com- that no one, button-pusher friend- tape which required a lot of expla- plications than solutions. Many ly beginner included, can compre- nation and tedious detail for chil- frustrations stem from the com- hend? Where’s the step-by-step dren 5-10 years old. The Lunch- plexity of learning the computer, CD-Rom with the ever-annoying Box removes that level of tedium the software and it’s constant and frustrating actor/sales person and lets the kids really explore upgrades. But one of the things instructors? Maybe there’s another how animation works. By allow- Gary Schwartz likes most about package with an encyclopedia of ing the user to play back either the LunchBox is that the system instructional materials...Wait! frame by frame, 24 or 30 frames, requires no techno-geeks. “Com- Here’s a one-sided 8.5 x 11 inch they can easily see how things fit puters are too complex and the sheet of paper with a 15 step tuto- together and move. It is an excel- technology upgrades are so fre- rial. Only 15 steps?! That can’t be lent educational tool for young quent that the learning curve it. Knowing me, it’ll take me five animators because it allows for keeps you from mastering the hours and it’ll be in 200 pieces. immediate playback. They can tools. It seems that computers are Now that I’m all heated up, comprehend how each small taking the focus off the art. The I decided rather than further dis- movement becomes a smooth ani- Video LunchBox has a minimum couraging myself, I’d go back to mation and try a variety of play- learning curve with no upgrade my interviews and see what they back options to see what works manuals. Everything is in the box, had to say. best.” just plug it in.” ANIMATION WORLD MAGAZINE April 1998 35 Potato Farmers Can Animate Howard Mozeico, CEO and the mate! After many stories, a com- man with all the answers at Ani- Yippee! Look Houston, we mon theme was revealed. Just mation Toolworks. He explained, have an image! That was quick, about anyone can learn to ani- “You cannot insert or delete easy and most of all, painless. I mate: from professional animators frames, but you can replace want to do more, and more, and and art students, to seven-year- frames. So, it doesn’t truncate if even more. olds, to even potato farmers? you replace a frame. This is handy Gary Schwartz has taken when you accidentally have your Here’s a one-sided 8.5 x 11 the Video LunchBox to places that hand in the image, or you record inch sheet of paper with a 15 animation could never go before. the wrong image. It also makes step tutorial. Only 15 steps?! “The system is light enough to rotoscoping possible. By using the carry into a rural country town, real-time capture, you can store a plug it into a socket, and play it. It’s reference, say a real person The next time you hear that simple. I took it out to a pota- mouthing some words, within the from me I’ll be having fun, teach- to farm and taught the farmers LunchBox. Then, by using our flip- ing my own animation classes and how to make animation all in one flop mode, which toggles making my own characters come day.” between the live image, your to life. I think Gary Schwartz says it The system can do time- drawing, or clay, and the stored best, “The LunchBox brings the lapse animation as well. Karl image, the real person, you can student back to what animation is Staven revealed that the two draw accurate lip-synch. You can all about: art, self-esteem, results recent projects include pixilation in then replace the real person that is and creativity.” a school hallway which was then stored, with your animated char- On this note, I send you digitized and composited with ani- acter. Proceeding frame by frame, away to consider what you’ll be mation created in Softimage you replace your real person with wanting in your LunchBox. The enthusiasm that work- your animation. After giving this product ing with the Video LunchBox gen- the full test, I compiled the follow- erates is most evident as Jason I Gotta Try ing reference list: Reiner describes his experience at After hearing everyone’s the Aquarium. “I teach stop frame experiences, I felt I’d really be Video LunchBox Features and animation drop-in workshops at chicken salad on pumpernickel if I Details the museum on Saturdays. During didn’t try it out. So, here it goes. • It can quickly and easily cap- that time, kids and their families I took the two-minute tuto- ture single frames, or full can drop by the lab and walk out rial and taped it to the wall. I motion video. of the museum with their own ani- cleaned off a work table and set • It can play back animation, mated short, complete with sound up a stage and a character. Then I and loops at 15, 24 or 30 and music. The look on a seven- put my Sharp Slimcam on a tripod. frames per second, with no year-old’s face when you hand To plug my camcorder into the delay between the first and last them their tape that they made in LunchBox, I needed to get a cord frame of the loop (a problem under an hour is so incredible! with a RCA adapter (under $10 at with some PC based systems), They can’t wait to show their any electronics store). Most indus- so one can get an accurate friends and family members what trial or professional cameras can evaluation of animation cycles. they have created”. use the BNC adapter which came • It appears to be extremely easy with the LunchBox. Once the to use. You don’t have to learn Making Mistakes camera was plugged into the how to use a computer, worry Yes, it sure does seem easy LunchBox, I focused it on my ani- about manipulating files, or enough for anyone to use, most mation set-up. Next, I plugged in dealing with all the complexi- impressive. But what about shoot- my monitor. ties of a computer system. ing on twos or more? Is there any All the machines were on • Because it is dedicated hard- way to insert frames into an ani- and all the lights were green, ware, it’s capabilities, and limi- mation? What if I make a mistake? standing by. It’s time to hit the red tations are absolute. It is not I posed these questions to button on the LunchBox and ani- upgradeable in any way (other ANIMATION WORLD MAGAZINE April 1998 36 than perhaps frame capacity). a little less than standard VHS • Everything is performed in real It will never be a system for video quality, but this reduces time. editing animation, or provid- the frame capacity by half (i.e. • There is no delay in capturing ing other features besides the 256 frame version can only frames, or playing them back. being a pencil test or reference record 128 high quality • It can even record full motion test device. frames). video in real time. This makes it • Because it is dedicated hard- • The input and output is not easy and fast to test several ver- ware, it performs the functions broadcast quality, so it’s unlike- sions of an idea or to experi- that it does, the shooting and ly that you would want to use ment with different tech- playing back of animation it to produce actual animation niques. tests, extremely well, and very for recording to video. It is a simply. device for testing and experi- Warranty, Durability • One ability that it does not menting with different types of • Because there are no moving have is a way to capture or animation. components, and all the play back audio for lip-sync • It may be useful to use as a images are stored in computer tests. final recording / output device memory, it is very robust. Ani- for multimedia quality, but the mation Toolworks claims that Input / Output user should evaluate it first. one of their demo devices has • In order to use the LunchBox, • Again, it’s an animation test survived more than ten round you will also need a video cam- machine, not a recording trip flights going through the era and monitor to provide device. airline baggage system with- input and output. out damage. • It only supports NTSC cameras Technology • It comes with a one-year parts and monitors, so it wouldn’t be • All frames are stored in the and labor warranty. ideal for users in the U.K., or device in a digital format, so other PAL-format countries. there is no loss of quality by For a current model description and • You can use a NTSC video repeatedly capturing and play- price list, visit the Animation Tool- recorder (i.e. VHS VCR) to ing back animation. works web site at http://www.ani- mationtoolworks.com. record animation to video • Storage is provided with solid tape. state computer memory (RAM), so it is extremely fast, and reli- able. There is no hard drive, so The Video LunchBox answers no moving components, and it the cry for an easier pencil test Kellie-Bea Rainey is in the anima- is not susceptible to being machine, or ‘framegrabber.’ tion and SPFX industry and has dropped or bumped. produced both traditional anima- • The fact that everything is tion and computer animation. Quality stored in RAM probably influ- Kellie-Bea has worked for Pacific • The advertised capacities (256 ences it’s cost significantly. RAM Title Digital, National SIGGRAPH frames, 512 frames, etc.) are is much more expensive than ‘95, The Baer Animation Compa- for what they call “normal” res- hard drive space (but also ny, and most recently, Jim Hen- olution. This means a resolu- much, much faster, and more son Interactive. Kellie-Bea is cur- tion of approximately 512 x robust). rently the owner and president of 256 pixels, or roughly half that • Because storage is in RAM, all her new studio and school, The of standard video. This quality frames are lost when the Better Mouse Trap. is likely sufficient for any test device is turned off. If you animation and line tests, for need to keep a copy of your which the LunchBox is animation to review later, you designed. need to output it to video tape Note: Readers may contact any • For better quality, you can use before you turn the device off. Animation World Magazine con- the “high quality” mode to get tributor by sending an e-mail to resolution of 512 x 512 pixels, Performance [email protected]. ANIMATION WORLD MAGAZINE April 1998 37 WhoWho thethe HeckHeck isis Jared?Jared?

by Wendy Jackson ou may have What’s next seen him on for this irreverent, Ythe Web. You pixilated crooner? may have seen him Freeverse has in the office. Or per- smartly retained haps you’ve seen all rights to the him on the new character. Asked if Blockbuster Video there is an ani- television commer- mated TV series in cial. Chances are, its future, Colin you’ve seen him replied, “We’re somewhere. Move not really in that over dancing business. We baby...It’s Jared, and 01 © Freeverse Software. haven’t South he’s everywhere! was just too funny not to share Park-ed Jared yet, with everybody.” So Colin and Ian but we’re open...” Any offers? e-mailed the file to a few friends. Contact [email protected]. Fan mail poured in from The rest, as they say, is history. around the world, and many Friends mailed it to friends, who fans created their own ver- mailed it to more friends...people People gathered around office sions... gathered around office computers computers to view and hear to view and hear the howling the howling wonder which Jared is a self-contained ani- wonder which soon became soon became known as “Jared: mated application created by known as “Jared: the Butcher of the Butcher of Song.” brothers Colin, Ian and Jared Song.” Fan mail poured in from Smith. Colin and Ian own and around the world, and many fans operate a New York-based free- created their own versions such as Note: Readers can download ware game producer, Freeverse “pimp daddy Jared” and “the Jared Jared directly from the on-line ver- Software. Real-life brother Jared is choir” (pictured on our cover), sion of this article. a social worker with a bent for which are displayed on the web http://www.awn.com/mag/issue singing in Spanish. “About two site, where Jared t-shirts and a CD 3.3/3.3pages/3.3jacksonjared.ht and a half years ago, we were in are also available. Freeverse has ml the office, recording sound for a even begun licensing the charac- video game. Our brother Jared ter. Young & Rubicam, the ad Wendy Jackson is associate editor [Smith] was visiting, and he sang agency for Blockbuster Video, of Animation World Magazine. this song,” licensed it for use in a television She has been known to play recalled Colin, commercial which is currently air- Jared repeatedly on her comput- “Our mother’s ing heavily on U.S. stations. What er. birthday was does the real Jared think of all this? coming up, so He was admittedly shy at first, but, Note: Readers may contact any we created this lit- said Colin, “Now that he has Animation World Magazine con- tle application for 01 © Freeverse become a media celebrity, he’s tributor by sending an e-mail to Software. her as a gift. It starting to enjoy it.” [email protected].

ANIMATION WORLD MAGAZINE April 1998 38 BelowBelow TheThe DigitalDigital RadarRadar

by Kit Laybourne

t is Marshall McLuhan’s fault that looking for answers here. We 20th Century art, literature or film. I’m a sucker for new technology. want good questions!” They are sculptural. They are elec- I In this article I’ll try to tric. They are kinetic. They are visu- As I try to reconstruct the squeeze out some good questions al tone poems. They are more damage, there are two particular about the emerging domains of from the East than the West — “think bombs” that McLu exploded digital animation. I’ll do this by call- from the inner world of meditation in my mind back in the early ing attention toward a world I am and mandalas. 1970s when I happened to sit in constantly stumbling over—and on one of his classes at the Uni- delight in. It is the world of self- The second screen savers versity of Toronto’s Center for Cul- engendered, spontaneous, ver- examples are pretty representative ture & Technology. nacular art. It is not the world of of the commercialization of this The first is one of his clas- cyber-art or of galleries, grants and odd backwater within computer sics. Professor McLuhan observed artistic pretensions. art. They are licensed properties that the content of a new medium My method is to present that are not so much little stories was the form of the medium it some screen grabs that will as little echoes, playing off the replaced. Thus it is that TV is filled remind you of similar stuff that you characters jammed into our head with film just as today’s Internet have undoubtedly come across. by comics and television and the (we can deduce) is filled with TV. Together, let’s scan five backwaters movies. This precept has provided me a of Animation. I think of these as Doesn’t this evolutionary lasting fascination with new “Below-the-Radar.” progression—from something media forms: home video, cable new and fresh to something very TV, computer software, multime- Screen Savers familiar—seem to be going in the dia, the Internet and—most The first screen savers had wrong direction? Can we do recently—the yet unborn promise their origins in something purely something that will liberate screen of interactive television. digital. They were created not by savers from the fate of being con- trained artists, but by computer signed to a world of pre-pack- programmers. Early screen savers aged, pre-digested iterations of Together, let’s scan five back- tended not to be narrative at all, the popular culture? For instance, waters of Animation. rather they were kaleidoscopic can we create a web site that and geometric. They were based would curate, with spirit and irrev- Professor McLuhan’s in math and in random algo- erence, a renaissance of screen unleashed fury imprinted me even rithms. They seem, to me at least, savers? more deeply. I remember holding closer to 20th Century music than my breath while the guru screamed at a Web Animation very smart graduate The Internet is pep- student who, pered with anima- moments earlier, tions ranging from had blown me simple GIFs to Quick- away with a bar- times to Shockwave to rage of insights on Java. These little ani- some topic or other. mation shards func- “Stop wasting our These still frames from a shareware package called “Darkside” for the tion as sign-posts. time!” shouted the MacIntosh exhibit the non-narrative, often mathematical designs of early They call out for professor. “We’re not screen savers. attention; to urge the ANIMATION WORLD MAGAZINE April 1998 39 aggression or “the twitch response.” The basic pull here is that of interaction. At heart we are a curious species and most of us don’t want to be told how to do anything. We like to find our own pathways. We strive to be individuals — to Shadow Puppets, Chuck Gamble’s short ani- mated film created entirely on a desktop mark our passage with the decla- computer is representative of a whole new ration that we are unique. Digital era of independent animation. One step beyond flying toasters:This frame gaming points to this root impulse grab from a recent Cartoon Network screen and asks.... finished piece, complete with digi- saver illustrates how much this mini-medium How can we make the dig- tal tracks. has evolved to portray narrative material. © The tools are there, but you Cartoon Network. ital media more responsive to its end users? How can we harness have to look hard to find places surfer to pause for a moment and the impulse to explore, to earn our where the alternative, experimen- click on the cycling image. They victories and to feel our mastery tal, private voices of animation can make you want to find out what’s evolve through direct experience? be found on public and commer- underneath; to find out, literally, Can we use video games as a tem- cial airwaves. what the motion is all about. plate that might bring and hold How can we support Could these artifacts be the young audiences to matters of showcases for the cream of desk- first primitive signs of a new visual substance in the arts and humani- top animation? How do we build code system? I think of them as ties? audiences for alternate fare? Is peripatetic, jitterbug logos. They there a way to get money to the screech out in a way that is imme- makers? The non-theatrical market diately accessible to any 21st Cen- At heart we are a curious for films and videotapes has died. tury viewer. Can those of us who species and most of us don’t Can we replace it with something? find ourselves designing such bill- want to be told how to do any- You know the conundrum as well boards push them further toward thing. as I: can there be free and open an international short-hand that expression within communications doesn’t require literacy in English? media that are controlled by com- Desktop Animation mercial interests? Digital Gaming With the designation “desk- The guys in the movie and top,” I mean animation that has There are a lot of other television business don’t really been created by independent hotbeds for Below the Radar Ani- know that video games are a artists for the purpose of personal mation. For instance, some really multi-billion, global industry that is expression. Although the art world powerful work is coming out of bigger than movies. They don’t has long recognized parallel exam- places like the Digital Club House get it that the incredible draw of ples of “expanded cinema” and in San Francisco, where teams of computer games is far, far deeper “experimental video,” the general teacher/artists work with commu- than some form of adolescent public sees very little of it. In that nity citizens to fuse animation and sense it is “Below-the-Radar.” live-action to produce their own As the readership of Anima- multi-media biographies. In class- tion World Magazine well knows, rooms at both college and high- today the tools and techniques of school level, innovative animation desktop animation are accessible is cranking. I’ve seen it. Even at the to everyone. With off-the-shelf high end production houses, software driving inexpensive scan- places where you might expect ners and digitizing cameras, pro- each nanosecond to be monopo- duction is an integrated process lized by big-buck clients, you can whereby one file evolves from sto- find talented animators, writers, Scott Snibbe’s GIF animation, Bubbles.© ryboard to animatic to leica reel to directors and techies joining Scott Snibbe. together in an exuberant and ANIMATION WORLD MAGAZINE April 1998 40 almost clandestine exploration of doing pencil tests, in-between- what animation can be. ing and digital ink & paint. But aren’t computers their own art We can see that the medium form? We can see that the medi- has begun a new and vibrant um has begun a new and expansion. vibrant expansion. Where will this go and how do we cele- In the Spirit of McLu... brate breakthroughs? What is the unique voice of Visit these new digital tools? We know http://www.awn.com/anima- that computers are wonderfully tion to view a gallery of simple adept in supporting the traditional GIF animations created by vari- aesthetic and production tasks ous artists. Gas Planet by Pacific Data Images (PDI) artist Eric Darnell is an example of the that reside in making any piece of fusion of high technology and independent animation. Computers help in sto- art which is occurring as artists are given ryboarding, making animatics, access to studio technology to make inde- pendent films. Image courtesy of PDI.

The Bell Centre for Creative Communications Kit Laybourne. (www.bccc.com), a Centennial College Kit Laybourne is behind one of campus in Toronto, is a remarkable blend of high technology and the sweetest shows on TV (Gul- traditional methods. In partnership with SGI and Bell Canada the facilities are of the highest standards, with fast networking and the lah Gullah Island) for Nick- latest SGI workstations. elodeon and the most twisted (Liquid Television) for MTV. He is The Bell Centre offers a wide variety of full and part-time courses currently executive producer of and programs, with a particular for continuous training and Hank The Cowdog, an animated employee upgrading. feature film and television series being developed by Nickelodeon. Our full-time animation program offers an extremely intensive 7 During the 1995-96 academic months of training culminating in year, he taught the Advanced a final month placement with a Animation Seminar at NYU’s Tisch professional production company. School of the Arts. He also This is a program tailored for authored one of the standard those dedicated to take full advan- texts on animation, The Anima- tage of the latest releases of soft- tion Book, with a new edition ware such as Alias Maya, Side covering digital animation to be Effects Houdini and Microsoft published by Crown in Septem- Softimage. Each student, accepted ber 1998. into the program, is guaranteed the use of a workstation and 24/7 access. Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to [email protected]. ANIMATION WORLD MAGAZINE April 1998 41 AnimationAnimation onon thethe Internet:Internet: TheThe ToolsTools by Robert Gonzales elcome to the constant- companies have implemented need additional software to show ly changing world of slightly different versions of this animations; Requires some level of Wanimation on the Inter- technology, so sometimes one has audience expertise to load soft- net. It wasn’t too long ago when to choose which browser type to ware the simple Gif89a, known as the support or create two different ver- DHTML animated GIF, was the only game sions of the animations. Benefits: No plug-ins need- in town. However, with first the ed; Allows for animations and use of plug-ins for browsers, and What Type Of Animation Do scripting of animations then the invention of cascading You Want To Create? Drawbacks: Need the most style sheets and DHTML, the world In determining which tools recent browsers to use; Compet- of animation on the Internet is to use you first have to decide ing standards require different ver- exploding. what type of animation you want sions of content This look at the current sta- to create. Below I’ve listed the dif- tus of animation tools for creating ferent types of Internet animations, The First Animations animation on the Internet is based and what they are generally used The GIF89a technique on different levels of complexity for for, plus, I have included the bene- allows for multiple images to the audience browsers. Animated fits and drawbacks for each tool: reside in one file, and then be GIFs are the most universally played back in sequence after viewed by the Internet audience. being downloaded to a browser. Most of the client browsers can In determining which tools to Once a series of images is created view this type of animation with- use you first have to decide using such image editing tools as out any additional software. what type of animation you Adobe Photoshop, Adobe Illustra- Animations that require want to create. tor, Macromedia Freehand, Corel plug-ins, or additional software Draw, etc. or video authoring add-ons for browsers, allow for tools like Adobe Premier, they are greater diversity and more interac- Gif89A imported into a GIF89a tool for tion, but require the audience to Benefits: Both repeating the animation composition. download additional software to and single animation; Plays on be able to view them. This was almost all browsers with no plug- Old Favorites: GIF89a Tools more troublesome in the recent ins needed. Windows: GIF Construction past, but luckily this process is get- Drawbacks: No interaction; Set (Alchemy Mindworks) ting more automated in the more Entire file has to be downloaded This shareware tool allows for both recent browser versions. before starting; Complex anima- transparent and interlaced GIF cre- Most recently, the latest tions create very large file size; No ation, as well as video-to-GIF ani- browsers allow for animations audio mation conversion. This program without plug-ins, but these brows- Plug-ins also has an Animation Wizard to er versions haven’t been fully pop- Benefits: Greater interac- simplify the process for the new- ulated among the Internet audi- tion; Audio can be used; Ability to comer. For Windows 95, there are ence. Known as Dynamic HTML start animation before entire file is more deluxe features such as (DHTML), this style of animations is downloaded; Can transfer existing greater pallet choices, transitions viewable with the 4.0 or greater animations into some formats. and special effects. browsers. Unfortunately, browser Drawbacks: Most browsers Macintosh: GifBuilder: This

ANIMATION WORLD MAGAZINE April 1998 42 freeware utility from Yves Piquet more recent versions of both same time, Real Media sells their has a scriptable utility for creating Netscape and Microsoft’s browser, server software which is available Animated GIFs from PICT, GIF, TIFF, this has become much easier to in various flavors of Unix and NT. and Photoshop images, as well as do. Ask your Internet service provider Quicktime and FilmStrip file con- For your existing anima- or hosting company about this ser- version. tions or animations created on cur- vice. rent animation software, exporting Netshow, from Microsoft, is Cross-Platform Tools the animation to Quicktime or AVI a similar product, but the server is WebPainter: From Totally will allow you to place this into a free for NT servers. The early ver- Hip comes an inexpensive tool to web page. There are many places sions of this technology were not create animations that combine on the web that will show you at the same quality level as Real standard design elements (spray how to format your web page to Media, but Microsoft is introducing can, various brushes, smudging, insert this media type into the Netshow 3.0, which will be a etc.) with animation features such HTML. For the viewer to play this great improvement. as onion skinning (layering). You file, they will have to download While Internet video, either can download a free sample of the entire file before playback, so downloaded or streaming, can be this product from the Totally Hip keep an eye on file size. One way used for your animation, it is high- web site. to address this in a large animation ly compressed and appears in a piece is to break the animation up small (160x240 pixels) window in New Products on the Block into smaller pieces, and allow the the browser or helper window. Both Adobe and Macrome- user to download a segment at a For full screen animations, or dia are introducing new tools to time. greater interaction, you need to aid in the creation of web graphics To reduce the delay to the create your animation in the tools and animated GIFs. Both Adobe’s viewer of having to download the designed for Internet Animation. Image Ready and Macromedia entire piece, there are streaming Let’s review the current Fireworks promise to combine video technologies that will allow tools and their pros and cons for image creation, animation and you to encode the animation in a original Internet plug-in anima- image compression tools in one. format that requires a special plug- tions. While both of these tools cost in to view. The two most prevalent more than the freeware or share- technologies of this type is Real Old Favorites: Plug-in Anima- ware tools shown above, they tion Tools promise to become one stop shop- Shockwave (Macromedia – For full screen animations, or ping for web image creation. greater interaction, you need PC and Mac): This technology These tools will be available for to create your animation in twist from Macromedia allows for both the Windows and Macintosh the tools designed for Internet Director files to be compressed platforms. Animation and played back in your viewers’ browsers. Bundled with both Plug-ins:The Next Evolution Microsoft and Netscape browsers, These groups of tools allow Network’s Real Media and this allows for the interaction and for much more interactive capabil- Microsoft’s Netshow. animation capabilities of Director ities or the ability to take your exist- Real Networks Real Media to be available to your Internet ing animations directly to the web. allows for an animation piece to audience. It will allow you to con- They require a plug-in or addition- be encoded in a specific file type, vert existing Director files into a al piece of software to be included and then streamed or down- Shockwave version, and in recent in the viewer’s browser. Sometimes loaded and played in real time versions of Director, allows you to these plug-ins ship with the brows- across the net. Adobe’s Premiere determine if you want to have the er, such as Apple’s Quicktime, or and other digital editors will export entire file downloaded before the viewer must download it onto into this format. For multiple view- playing or streaming to the brows- their computer. Luckily, in the ers to see this animation at the er. This is the most prevalent inter-

ANIMATION WORLD MAGAZINE April 1998 43 active animation tool on the Inter- than Director, and doesn’t include easy to author in, and syncs high- net, allowing for bitmap graphics, the variety of tools found in higher er quality sound with streaming audio files, Quicktime embedding end traditional animation tools. animations. Look to Macromedia in files and many other advanced However Flash allows for simple or Real Network’s web sites for features, but file sizes are large and animations that create fast and examples of this style of Internet easy roll-over buttons and anima- animations. The new kid is Dynamic tions with simple sound use. HTML, which allows for ani- Real Flash (Real Networks, Coming Down The Pike mation, style sheets and other Macromedia): Recognizing the Based upon the success of ways to better format HTML. small and fast file transfers of this the products listed above, many technology, Real Networks and newcomers are looking at plug-in Macromedia have worked togeth- based animation tools for the it requires more viewer memory er to create Real Flash, a streaming Internet. One new one is Liquid for acceptable playback. animation program that combines Motion (Microsoft), which allows Flash (Macromedia – PC the streaming audio capabilities of for both ActiveX utilization (on IE and Mac): This is a simple vector- the Real Network’s Real Media serv- 4.0 and greater browsers) and a based animation program that er with the vector graphics capa- Java implementation on other keeps getting better with age. By bilities of Flash. This allows for browsers. This tool set appears to using vector based graphics, this streaming vector-based anima- be competing with Macromedia’s format allows for smaller down- tions, and is pushing the Internet Flash, and we should wait to see loads and scalable graphic sizes closer to real-time animation. what the adaptability of this new (the same graphic will automati- Many content companies are cre- tool will be. The beta is available cally scale for the browser size win- ating original animations for the from the Microsoft web site. dow). The tool is less complex web using this technology. It’s fast, 7th Level is presenting

ANIMATION WORLD MAGAZINE April 1998 44 Agent 7 technology in both stages. At some point the stan- ation tools, but can be a little Netscape and Microsoft, but only dards board will finalize the specifi- imposing to those authors unfa- for Windows clients. This is an cations for this format, and both miliar to HTML authoring. interesting streaming 2-D anima- Microsoft and Netscape have tion program, but the tool set for agreed to conform to this specifi- But Wait...There’s More! creating this style of animation is cation. It may not be able to do There are many more tools not yet announced. Watch the 7th the complexity of animations and for creating animation on the Level site for more details. interactions that the plug-in tools Internet then we have time to will allow, but it is the easiest for- explore. Many tools for creating all The key is to create animation mat for complex animations for types of animation are used every- on the Internet, that starts the user since animated GIFs. day in the web industry, and most with...the understanding that Windows: Dynamite of them have very loyal users. The your audience is a diverse and (Astound, Windows): This stand- best way to keep up on this field is non-homogenous viewing envi- alone DHTML tool allows for the to use the on-line search engines ronment. creation of DHTML for Windows for tools in these areas. Yahoo has based platforms. This tool allows a very good listing of multimedia For an alternative way of for simple DHTML creation, but tools. delivering animations to the desk- doesn’t allow the customizing of Most important is for you to top, Togglethis allows for delivery some of the other tools. However, find a tool that you are interested of animations via the Internet’s first for most people however trying to in using. You may want to stay killer application, e-mail. After learn this style of animation cre- with a tool from a provider with downloading a player from their ation, this tool offers good training whose interface you are accustom site, an animation can be delivered and an on-line tutorial. to working. You may feel more via e-mail. This allows for a much Macintosh: CyberStudio 3.0 comfortable on Adobe or Macro- smaller file size (10-25 kilobytes), (GoLive):This update to the top media’s layout. True innovation, but the animations play back on ranked Macintosh web site cre- however, will come from the small- your desktop, not within the ation tool has added the capability er tool providers. The key is to cre- browser. Warner Bros. Online and to author DHTML pages. It allows ate animation on the Internet, that Togglethis have created Bozlo the for many pre-authored effects, starts with a good idea, a desire to Beaver, a new Warner Bros. car- along with the ability to author draw, and the understanding that toon character. Look for this crea- and store your own animation your audience is a diverse and ture at either one of their sites. techniques. It is only available for non-homogenous viewing envi- the Macintosh, and is not yet ship- ronment. By keeping your audi- DHTML:The New Kid ping. A beta is available from the ence in mind, along with the type The new kid is Dynamic GoLive web site. Cyberstudio of browser and operating system HTML, which allows for animation, appeals to authors from a page that they use to view your work, style sheets and other ways to bet- layout, less programming level of you will have a great start for ani- ter format HTML. There is a grow- comfort. mating on the Internet. Good luck, ing set of Internet tools that will and I’ll see you on-line. allow you to create DHTML. One Cross-Platform Tools benefit is that it works across Dreamweaver (Macrome- browser types and needs no plug- dia; Both platforms): The first Robert Gonzales is director of ins for playback. One problem is industrial strength web site cre- Technology & Operations at that Microsoft and Netscape have ation tool, Dreamweaver excels at Warner Bros. Online. different implementations of DHTML. It allows for both pre- design specifications, so the HTML defined and author created ani- Note: Readers may contact any plays back differently on each mations, and can author out to Animation World Magazine con- browser. either browser type. It also keeps tributor by sending an e-mail to DHTML is still in its early cleaner code than other site cre- [email protected].

ANIMATION WORLD MAGAZINE April 1998 45 AnimationAnimation Sites:Sites: SomeSome StellarStellar AttractionsAttractions

by Michelle Klein-Häss or almost 2 1/2 years now, I Shockwave Flash runs best Shockrave...Go to the Source have been compiling a list of on fast computers, because it is so Macromedia has put up a Fsome of the real standout ani- highly compressed and requires a web site featuring a lot of the com- mation-related sites on the Inter- lot of computing power to run the mercial uses of their technology. net. It’s called the Nerd Tour and it decompression algorithm. On the http://shockrave.macromedia.co is the most popular area of my PC side, you *can* run it on a m/ is the address, and as well as web site, Animation Nerd’s Par- 486, but you will be sorely disap- being a convenient place to get adise. (http://anp.awn.com/) The pointed by SLOOOOOOOOOW the plug-in, it’s a place where a lot good folks at Animation World performance. An Intel Pentium, of the commercial Flash web car- Magazine asked me to give a little AMD K5 or AMD K6 with a clock toons are located. tour of the best of these sites, par- speed or power rating of 133 or ticularly those which include ani- higher is a must for a real-time per- mation viewable on-line. formance. On the Mac side, I sus- Want to see a Dilbert cartoon pect a sufficiently fast well before the UPN series Quadra would be able to premieres? do okay, but Flash truly shines on second and third Want to see a Dilbert car- generation Power PC toon well before the UPN series chips. premieres? You can here, and you The Shock- wave Flash plug-in is available two ways: as part of the huge Shockwave plug-in package or Flash-only. There is http://anp.awn.com/ also a third plug-in to support RealFlash. Here now is the cream of RealPlayer 5.0 and above the crop...the best and the bright- support a hybrid of RealAu- est. For some of these sites, you dio and Flash animation. will need to get the Shockwave RealFlash seems to be an http://shockrave.macromedia.com/ Flash plug-in for Netscape Naviga- improvement on the tech- tor or the Shockwave Flash ActiveX nology, in that it loads quicker and get a choice of RealFlash and reg- control for Microsoft Internet the sound is a little snappier than ular Flash 2 versions of it. Want a Explorer. If you are skittish about in the original product. The only wholesome cartoon experience? enabling ActiveX (and I don’t trouble is that RealFlash requires The venerable Peanuts is here. blame you...I don’t have it enabled the industrial strength version of Want a less-than-wholesome car- on my PC) then go get Netscape the RealServer, which is an toon experience? Comedy Central Navigator 4. It’s free and you don’t expen$$$ive proposition. Don’t simulcasts South Park shorts here have to get the entire bloated expect to encounter a lot of as well. There are also several new Communicator suite if you don’t RealFlash out there because of series, most produced by Smash- want; Netscape unbundled it that. ing Ideas, a commercial outfit that about a year ago. does Flash animation for many of

ANIMATION WORLD MAGAZINE April 1998 46 the branded characters represent- ed on the site. Shockrave also features the interactive games that have made Shockwave one of the early tech- nological stars of the Internet. However, be aware that some- times a Shocked game is not very stable. You might find yourself thrown out of your browser with a Type 1 error if you are on a Mac or a, “This program has performed an illegal function and will be shut down,” if on a PC.

Spumco did some pretty amazing stuff with ... Ren & Stimpy, and they are continuing that tradition.

http://www.berksalive.com/dantesinferno.html Spumco:The Best of the Best tions of the Flash format. Spumco George Liquor and Jimmy The The most eye-popping use did some pretty amazing stuff with Idiot Boy have finished their break- of animation in Cyberspace right limited, TV-style animation when fast repast and we are left with now is going on at the web site they helmed Ren & Stimpy, and George running to pick up the run by the wild men of animation, they are continuing that tradition. phone. How long will it take until Spumco International. An entire The art is astonishingly good, the the main story takes off? Well, I cartoon, Babysitting The Idiot, fea- unfolding story is funny albeit suppose that’s up to Spumco and turing Spumco flagship characters gross and crude, and the trade- their talented crew. It also seems to Jimmy The Idiot Boy and George mark Spumco style is very much in be up to Spumco’s sponsors, as the Liquor, American, is unspooling at evidence. episodes usually end with a pitch their site. The story seems to be tak- from an advertiser. The animation is pretty ing a little while to develop. As it Spumco has been instru- impressive considering the limita- stands now, five episodes in, mental in suggesting changes to Flash. Their input promises to improve this new technology in the next version which is currently in Beta testing.

Dante’s Inferno: Cultural Satire from a Different Neck of the Woods On the opposite coast from Spumco’s Hollywood digs is Berk- sAlive, an on-line cultural cyberzine from the Berkshire Valley in Pennsylvania. For several months now, Bob Cesca has been releasing a Flash cartoon called Dante’s Inferno, featuring a sarcas-

http://www.spumco.com tic worm named Dante and his

ANIMATION WORLD MAGAZINE April 1998 47 boy Jimmy. (http://www.berk- Among anime sites, this stands only a handful. salive.com/dantesinferno.html) as one of the most unique. This Luckily not every studio or not only covers anime but network has been so draconian. Japanese and Japanese-Ameri- Comedy Central seems to be toler- Cesca’s artistic style might be can culture, particularly as it ating a massive wave of South a little crude, but his wit and manifests in Los Angeles. Park fan sites, and MTV also seems ability to skewer pop culture is • AniTou to be tolerant of Beavis and Butt- very powerful... http://www.art.uiuc.edu/local Head and Daria sites. But as the /anle/ANIMATION/animation_i Web grows, one should expect ntro.html more of this behavior. Most media Unlike Spumco’s epic, This is a detailed and very companies raid these fan sites on Dante’s Inferno is released in bite enjoyable tour of the process the pretense of “dilution of copy- size chunks; stand-alone shorts of animation. It’s a lot like the right” and in some cases on and series that go on for no more “Animation 101” segment of grounds of concern about how than two or three episodes. It’s less the Warner Bros. Animation their characters are being por- a cartoon than an animated comic web site except it provides trayed on these sites. Certainly a strip. Cesca’s artistic style might be more detail. site showing cartoon characters in a little crude, but his wit and abili- pornographic poses would be an ty to skewer pop culture is very You can find more cool ani- understandable target. However, powerful and had me falling off of mation sites on the Animation sites that are put up with the web- my computer chair laughing, par- Nerd’s Paradise Nerd Tour: master’s own time and money and ticularly his succinct and right-on- http://anp.awn.com/nerdtour.ht provide definitely positive views on target lampoon of The X Files . This ml corporate “properties” make for satire covered all the bases, includ- puzzling targets for these compa- ing cheeseburger implants, The nies’ legal departments. What the Smoking Man and alien abduc- media suits do not understand is Rather than encouraging the tions. that their actions are counterpro- free publicity that these sites Currently, Dante has The ductive, and come at a toll of fan generate, several big media Wonder Years in its sights. Drop in goodwill. The fans who build companies ... have unleashed and see what will happen when these sites are a subset of their fan their lawyers on the webmas- Jimmy and Dante date the same base. If they continue these puni- ters... girl. tive actions, they run the risk of alienating the fans who actually Some Great Sites That Aren’t A Note About Fan Sites pay their bills and write their pay- Necessarily Animated But Some of the best sites that checks. Nonetheless Rule are connected to the Nerd Tour Not every good animation are fan sites about one cartoon or related site has animation on it. another. Often, these sites are bet- Michelle Klein-Häss is a San Fer- Here are a few cool picks from the ter than anything the studios or nando Valley-based writer, pho- Nerd Tour: the networks put out. Rather than tographer and webkeeper. Her • The Toon Tracker encouraging the free publicity that flagship web site is Animation http://ftp.wi.net/~rkurer/ these sites generate, several big Nerd’s Paradise, one of the Ani- This site specializes in informa- media companies like Fox, Para- mation World Network family of tion about cartoons from the mount/Viacom and Warner Bros. animation sites. ANP can be visit- first wave of U.S. television. No have unleashed their lawyers on ed at http://anp.awn.com/. cartoon is too obscure for Ron the webmasters of these sites, Kurer. intimidating them into pulling them down. Most notorious has Note: Readers may contact any • Black Moon been the campaign against King Animation World Magazine con- http://www.black- Of The Hill fan sites. From dozens tributor by sending an e-mail to kat.com/blackmoon/ of KOTH fan sites, there are now [email protected].

ANIMATION WORLD MAGAZINE April 1998 48 ASIFAASIFA AndAnd Festivals:Festivals: AA ChangingChanging RelationshipRelationship by Michel Ocelot Respect Of Films And Film patronage may not appear as vital Makers as in the initial years. Still, some The rules on respect of films festivals keep the idea of the and creators, independence and renewed official ASIFA Patronage internationalism were first worked as a base in their strategy. (Patron- out within the framework of the age has to be obtained anew for Annecy festival, the first festival, each installment). Withholding of Editor’s Note: It is no secret that which was born at the same time the patronage has indeed the declaration by the Internation- as ASIFA. These rules are now well occurred for some regrettable al Animated Film Festival at recognized, and used, totally or breaches against filmmakers. This Annecy to go annual sent shock- partially, by all the animation festi- rare measure has brought forth a waves through the world anima- vals that we know, whether or not betterment after some wavering, tion community. Besides every- they have official ties with ASIFA. It or the disappearance, of certain one’s query about which festivals is currently only a matter of being festivals. to attend this crowded summer, watchful that this is not eroded by this announcement brought up big business and market forces... The Hidden Part Of The Ice- questions regarding the relation- However there is more to berg: More Letters ship between ASIFA and festivals. say about aiding the festivals. Official patronage is the vis- On that note, we invited ASIFA ible part of ASIFA’s intervention, International president Michel which ASIFA has come to realize is Ocelot to write on the subject. ASIFA patronage gave a sense not that visible after all, as this dis- This article will be repub- of authority to festivals which tinction was not publicized lished in the next ASIFA Interna- needed it and assisted them in enough. Often letters are written, tional newsletter. For further infor- making themselves heard. on the request of festivals, by the mation about ASIFA International President or the General Secretary and the discussion revolving to personalities or institutions to around Annecy, as well as a list of Help to Festivals, Ministries And obtain particular aid or solve new current ASIFA patronized and City Halls crises. approved festivals, visit their web ASIFA Patronage has a pre- site accessible through AWN’s Ani- cise and fundamental use: these mation Village. festivals partially depend on public “Judges” money. To obtain this funding, After each festival, the I am often asked, “What is they need to show proof of their ASIFA Board of Directors sends the ASIFA Patronage for festivals all quality and of being recognized festival staff an evaluation of the about?” Well, here are some by the profession, internationally if recent festival, detailing qualities answers. possible. Not all civil servants in and defects, compliments and crit- ministries may know about ASIFA, icisms, and wishes for the next edi- Raison D’Etre but the full title, International Ani- tion. This critical overseeing has ASIFA Patronage and the mated Film Association, or a brief brought forth ambivalent feelings Rules and Regulations attached to presentation, speaks for itself. in festival directors but ASIFA is not it, are meant to have films and film ASIFA Patronage gave a sense of a union. Festivals are not its makers respected, and to help fes- authority to festivals which need- employers, but there is sometimes tivals which seem to be the more ed it and assisted them in making this feeling between them. Some positive ones. themselves heard. When the repu- directors may feel like breaking tation of a festival grows, this away from the ASIFA watch and

ANIMATION WORLD MAGAZINE April 1998 49 recommendations, whereas, con- a catalogue should have been ASIFA patronized festival regula- versely, the ASIFA report is usually done, as things are easily forgot- tions prevented ASIFA from sup- well used when it is laudative. I ten. porting some estimable manifesta- believe this “supervision” brought tions. Last year ASIFA went around a discipline which did not harm Good Sentiments this difficulty by reinstalling an old these festivals. Another provision in favor distinction, “ASIFA Approval.” The of selected festivals was promoting excellent Espinho festival in Portu- good relations between them. gal was the first to be granted this ASIFA is not a union. Festivals Regulations, linking festivals distinction. are not its employers... among themselves and with the ASIFA Board of Directors, stated that festival directors invited each The two year frequency does Individuals Who Help other to their manifestations, that not fit the present tendency, On par with this critical these festivals took place every due to the huge increase in observation, ASIFA has always two years, alternatively, so as to animation production. been there to help on the spot not inconvenience the others, and whether it is supplying informa- that they would be at least four tion, working at the event, supply- months apart, when taking place 20 Years Old ing forgotten helping hands or big in the same year and continent These ASIFA patronized fes- retrospectives, from everyday (unless the two festivals agreed tival regulations are now around needs to a rescue from a grave sit- otherwise). As for ASIFA, it pledged 20 years old, and have had a few uation. There was no catalog not to grant patronage to more amendments made along the made of this. Each individual vol- than two international competitive way. They are now being remold- unteered one’s help without hav- festivals, per year, on the same ed, taking into account the enor- ing it noted and published. Maybe continent. mous changes in the animation scene. The two year frequency What Now? does not fit the present tendency, It is worth due to the huge increase in ani- pointing out mation production. that ASIFA has also been help- To Be Continued... ing manifesta- ASIFA will go on proposing tions, with no guidelines on how it believes a official links with good festival is set up, defending the association the art of animation. It is currently but which look defining new proceedings to fos- worthwhile, ter quality, independence, and with official or usefulness of festivals. unofficial letters When these proceedings and/or assis- have reached a more developed tance. Appeals conclusion, we will do our best to for ASIFA Patron- let the animation community age have come know. in throughout Michel Ocelot is president of the the years and International Animated Film Asso- some are ciation (ASIFA). presently being examined. Note: Readers may contact any Cramped Animation World Magazine con- Restrictions tributor by sending an e-mail to dictated by the [email protected]. ANIMATION WORLD MAGAZINE April 1998 50 VilppuVilppu DrawingDrawing Online:Online: GestureGesture by Glenn Vilppu Introduction drawings of the past were used his is the first in a series of primarily in planned stages toward articles on drawing for ani- the creation of paintings, sculp- Tmation. In these articles I will tures, and murals. As such, they be presenting the theory and prac- were practical pragmatic steps in tice of drawing as a “how to” representing ideas. The classical instructional series. The lessons are approach of constructing forms in based upon the Vilppu Drawing an effort to create the ideal perfect Manual and will in general follow form, along with the desire for the basic plan outlined in the man- clarity, transition, and ease of ual. This is the same material that I understanding, are the same base my seminars and lectures on requirements of good animation at the American Animation Insti- drawing. The main difference is in tute, UCLA, and my lectures at Dis- the ideal of the form created. ney, Warner Bros. and other major animation studios both in the U.S. ‘Drawing from imagination and in their affiliates overseas. toward a conceptualized ideal is Each lesson will also have short the norm in animation.’ Glenn Vilppu.All drawings in this article video clips of me demonstrating are by and © Glenn Vilppu the material discussed. Drawing from the imagination child, learning to speak, starts by toward a conceptual- mimicking the sounds that he ized ideal (the model hears and slowly develops the rela- sheet) is the norm in tionship of sounds and meanings animation. The draw- that we call speaking. This is unlike ing that we do from most training in drawing given the human model is today that teaches to mimic nature research that helps us without an understanding of the to better understand elements of visual communication. the human form and Of course, there are those individ- its movements. Unlike uals who through an innate talent the illustrator, learning have developed this ability of com- to copy the model has munication in the same way that very little value for us. there are accomplished musicians Rarely do we work who do not read music. from the model except Alexander Marshack was in training situations. commissioned by NASA in 1963 to One of the primary write a book in collaboration with requisites in order to Dr. Robert Jastrow “to explain how Drawing, as it is practiced create is the ability to draw from man reached that point in science in the animation industry today, our imagination. Understanding and civilization to make it possible most approximates classical draw- and being able to create believ- to plan a manned landing on the ing in the tradition of Raphael, able attitudes and movements, i.e. moon.” The research led to his DaVinci, Pontormo, and other bringing our characters to life with book The Roots of Civilization. Mar- great draftsman of the past. The our acting, is the basis of our art. A shack draws the conclusion that

ANIMATION WORLD MAGAZINE April 1998 51 one of the basic elements that dis- out actually under- tinguishes man from most other standing that each animals is his ability to think in level of develop- sequence. He uses the analogy of ment is, in effect, a sending a man to the moon; in his level of complexity discussion he talks about how that must be impossible the task of sending a absorbed before man to the moon is when consid- one advances to ered as a whole, but taken as a the next level. Try- series of small steps or problems, it ing to skip levels of becomes possible. As each step is development only broken down into even smaller slows you down steps, the impossible becomes and creates frustra- possible. The main element is the tions that jeopar- building of one step upon the pre- dize the achieve- vious in a time factored manner. ment of your long- me that the majority of students’ The pace of learning of any given term goals. Yet to accomplish any- problems in drawing are with the subject, after the initial rapid thing complex there are three basic elements, or tools of our advancement, seems to move basic elements that are required. trade. If you think of all the possi- upward in ever shortening steps, First, you need a plan or ble visual elements that you must while the time between those approach; second, you need the learn as keys on a piano, the more knowledge to put the keys you have, the wider range of plan into effect; and possibilities you can enjoy. Of third, you must have the course, you can make music with spirit to carry it through just a few keys, but that should be to completion. based on choice not limitations.

‘Each step being broken Trying to skip levels of devel- down into even smaller opment only slows you down steps, makes the impossi- and creates frustrations that ble become possible.’ jeopardize the achievement of your long-term goals. The basis of my teaching is the develop- ment of an approach Since the basic approach that allows you to that I use in teaching is one where acquire knowledge and we analyze the model, and not visual skills in a systematic copy it, the approach itself helps way, building upon your us acquire the knowledge needed understanding and abili- about our subject. I use the word ties in logical simple subject, not model, because the steps. I have made a real basic elements of this procedural effort at trying to keep approach apply to drawing any- each step as simple, clear, thing, be it a tree, interior, or fig- and logical as possible. ure. You cannot really draw some- steps seems to stretch out longer In fact, many of the steps in my thing unless you know what it and longer until we begin to won- basic approach seem so simple looks like. The more knowledge der if there is any movement at all. and basic that quite often the stu- you have of whatever it is that you Everyone talks about being dent tends to ignore developing are drawing, the better off you will on a plateau, or hitting a new these fundamental skills, feeling be. level, or experiencing the learning that he has advanced beyond An extremely important ele- curve (a classical example), with- them. My experience has shown

ANIMATION WORLD MAGAZINE April 1998 52 ment of knowledge is that we which exemplifies the pursuit of must develop our ability to use our drawing excellence that we can Lesson 1: Gesture emotions. Probably our most only hope to achieve. The action of a figure is usu- important skill is to be able to com- “From the age of six I had a ally expressed as “gesture.” It municate our feelings through our mania for drawing the shapes of means the movement and attitude drawings and to draw upon of the figure. It is body lan- our own emotional experi- guage and all of those subtle ences at will. One of my differences that characterize favorite sayings is, ‘You have individuals, whether they are to be emotional about your human or animal. In this intellect and intellectual regard, when I refer to the about your emotions.’ model, I mean not only a A particular difficulty I model posing for short poses have in teaching such a sys- of thirty seconds to three tematic approach to drawing minutes, but also people is that the end result can too who are not posing and are easily be a mechanical and in real life situations. We use boring formula. I continually essentially the same learning have to keep reminding the procedure in what is referred student that there are no to as the “quick sketch.” It will rules. What I am teaching are be assumed that for the sake visual tools and strategies for of learning, at this point, approaching the figure, a they are the same. Other means for helping students terms used for what we call to understand what they are look- things. When I was fifty I had pub- gesture are “attitude” and “body ing at. In the end, it is up to each lished a universe of designs. But all language.” individual to bring to his drawing I have done before the age of sev- that spark of life. enty is not worth bothering with. ‘Gesture is the single most impor- You will find me stating At seventy-five I have learned tant element in the drawing.’ over and over again, ‘There are no something of the pattern of rules, just tools.’ Visual tools are nature, of animals, of plants, of fundamental concepts used not trees, birds, fish and insects. When My experience has shown me only to aide us in drawing but in I am 80 you will see real progress. that the majority of students’ At ninety I shall have problems in drawing are with cut my way deeply the basic elements, or tools of into the mystery of life our trade. itself. At a hundred I shall be a marvelous No matter how well a artist. At a hundred drawing is rendered, without that and ten everything I feeling of individuality that we create, a dot, a line, experience in looking at real life, will jump to life as the drawing is nothing more than never before. To all of an academic exercise. Long before you who are going to we can actually see a person’s seeing. These, in some cases, con- live as long as I do, I promise to face, we can recognize him by all sist of procedures and, in other keep my word. I am writing this in those elements that make up that cases, elements such as the box my old age. I used to call myself individual, such as his general and sphere. A large part of this Hokosai, but today I sign my self bearing, proportions of his body, course is in fact the development ‘The Old Man Mad About Draw- how he dresses, how he walks, of these tools. ing.’” (The Drawings of Hokusai, and holds his head. I will end this introduction Introduction by Stephen I am going to present this with my favorite quote by an artist Longstreet, Borden Publishing Co.) material in a series of steps stop-

ANIMATION WORLD MAGAZINE April 1998 53 ping to explain and clarify points is important to try to grasp the as I go. In reality, of course, it is total before you put a line down. never quite this neat or simple. Practice looking at your subject Many of the steps are actually and then drawing it from mem- done simultaneously. The total is a ory. This exercise is particularly summation of the action in simple useful when you don’t have terms and is essentially what this your sketchbook with you lesson is about. The illustrations (which should never happen), are examples of this total which is or are in situations where it is what you should, in a sense, see awkward for one reason or before you start the drawing. another to be drawing. When drawing in your head, go through the same steps and use Visual tools are fundamental the same imaginary lines you concepts used not only to aide would if you were drawing on us in drawing but in seeing. paper. You draw with your mind, not your hand. Then when you can, redo the draw- ‘You are not only learning to draw ing on paper. With practice you but to see.’ will be amazed at what you can ly the action of the head. Practice looking at your do, but it takes practice. subject and then drawing it from Step Two memory. When doing gesture The Basic Procedure Draw a line from the head, sketches, you do not usually have You should do each draw- representing the neck. This line is the luxury of models holding still ing using the same series of steps not necessarily any actual contour while you draw. Practice this skill until it becomes second nature to or line that you see on the model continually wherever you happen you, like how driving a car but a general feeling of the atti- to be - on the bus, watching tele- becomes almost automatic. Start tude of the model. Continue this vision, or in the shopping mall. In the drawing with simple lines that line, representing the neck, pulling looking at the action, or gesture, it take in the total action of the fig- from the head, into the upper ure, without worrying body down to the hips. You about the shape. A should be more concerned with simple sequence of the how the lines show the action steps is indicated in the of the model, rather than any following examples. actual line that you see on the Remember, there are model. Look at the examples on no rules, just tools! this page to see the variety of ways that this can be accomplished. Step One These are not the traditional stick Start with a simple figures that you see in many basic oval for the head, books on drawing. They are lines imagining a central that show the flow of the move- axis so that the oval ment and relationship of the parts clearly represents the in a simple way. tilt and lean of your subject. Use a simple Step Three “dot” on the top to Continue in the same way, indicate when the drawing the legs. Notice that all of head is tilting toward the lines do not have to be con- you, and possibly an nected. Remember, there are no ellipse for the eyes to rules, just tools. It is important to help show more clear- remember the simple fact that

ANIMATION WORLD MAGAZINE April 1998 54 what the viewer sees is the lines should take you a maximum of 30 tor Glenn Vilppu demonstrating you put down on the paper. The seconds with 10 to 15 seconds drawing techniques that every ani- lines have to convey the sense of being the average. mator should know! action in your subject by them- You should practice these http://www.awn.com/mag/issue selves. To give a sense of move- simple steps as often as you can. In 3.3/3.3pages/3.3vilppudrawing.h ment and continuity, you must a regular day class I will have the tml draw each line in such a way as to students doing this lesson for six have one line lead you into the hours. next. Continue this simple first Glenn Vilppu first wrote for Ani- step in feeling the form, then go a mation World Magazine in the step further and start pushing out- June 1997 issue, “Never Under- Gesture is the single most ward with your lines. “Feel” how estimate the Power of Life Draw- forms contract and stretch, pinch important element in the ing.” His drawing manuals and and expand. Look at the sample drawing. video tapes may now be pur- drawings. chased in the Animation World The hardest part of this les- Store, on-line at Step Four son is to overcome the desire to http://www.awn.com/awnstore Now, add the arms and copy the model. Remember, we hands in the same manner that never copy the model but analyze we drew the legs. Again, they do it. not necessarily have to be Note: Readers may contact any attached but must indicate the Animation World Magazine con- movement and general place- Note: The on-line version of this tributor by sending an e-mail to ment. article includes two Quicktime [email protected]. In practice, these steps movies of master drawing instruc-

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ANIMATION WORLD MAGAZINE April 1998 55 CrashingCrashing BrainCampBrainCamp

by Wendy Jackson reca, and in partnership Unlike other industry semi- with animation industry nars aimed at offering “networking executive Fred Seibert opportunities” to aspiring achiev- and event planner Lina ers, BrainCamp is a small, invita- Maini, BrainCamp was tion-only event reserved for a limit- born, as an “informal, ed number of high-caliber atten- free-wheeling forum dees. “BrainCamp is an exclusive where ideas are event. We make no bones about exchanged, insights are it,” explained Leib. “While we will gathered and new probably grow a little larger over alliances are born.” Seib- time, I never want us to become ert, who drew some of one of those ‘cattle car’ events his inspiration for Brain- with hundreds of people crowd- Camp’s format from the ing a stage after each presentation Monterey TED (Tech- hoping for 30 seconds of a speak- nology/Entertain- er’s personal attention.” The high ment/Development) price tag for admission ($1,795. ith the countless indus- conference, said it is intended to two months in advance, $1,995. try conventions, confer- be “the only thing in the kids busi- afterward) insures that attendees Wences, trade shows, ness that people will ‘want’ to go are of serious rank. symposiums, seminars and festi- to rather than ‘have’ to go to.” So what makes busy execu- vals being offered these days, The first BrainCamp took tives shell out nearly two thousand there is little room in anyone’s cal- place in New York in June, 1997. dollars to hear their own peers endar. Ironically, this is the senti- Presentations were given by John speak? My curiosity was peaked. I ment that inspired the launch of a Kricfalusi of Spumco, Shelley Day went to New York to check out the new industry event, BrainCamp, of Humongous Entertainment, second annual BrainCamp. which recently held its second edi- Joel Ehrlich of DC Comics, Amy tion, March 25-26 in New York Friedman of Nickelodeon’s Cre- BrainCamp is a small, invita- City. ative Lab, Tom Corey and Scott tion-only event reserved for a Nash of design studio Big Blue limited number of high-caliber A Brief History Dot, Diana Huss Green of Parents’ attendees. BrainCamp co-founder Choice, Ben Cohen of Ben & Howard Leib, a New York-based Jerry’s and Ron Dubren, co-creator attorney, consultant and jack-of-all- of the top-selling toy, Tickle Me Going Undercover trades, has been organizing a Elmo. “We have to get speakers The first day started out recurring event called Kids Enter- who are interesting enough that a with an 8:30 a.m. breakfast, tainment Seminars (KES) for five room full of corporate presidents where I greeted familiar faces and years. “As the children’s entertain- and vice presidents want to hear met new ones. The entire event ment industry grew,” he recalled, what they have to say,” said Leib, took place on the seventh floor of “I felt there was a need for a forum “BrainCamp is a place to really the Coleman Conference Center, a for the ‘big guys’ to play, to get meet your peers and get to know few blocks from Times Square. The together and exchange informa- them on a one to one basis.” elbow-rubbing included top-level tion and ideas.” With input from executives, presidents and CEOs of industry players such as Tom Bar- A-List Attendees a varied group of companies

ANIMATION WORLD MAGAZINE April 1998 56 including Cartoon Network, Warn- president Herb Scannell started every day, five days in a row. The er Bros. Feature Animation, Dis- things off by filling us in on the his- risk has paid off with record high covery Channel, Mattel, MGM, tory of Nick Jr., the brainchild of ratings, a consumer-induced mer- Universal, Harper Collins and Nick- Brown Johnson. The pre-school chandising campaign and an elodeon. I counted 35 people in program block was launched in expansion which includes a web the room, and a few others who 1993 with what Johnson said are site, a magazine and CD-Rom made brief appearances (Viacom’s three main principals: “problem games coming in the fall from headquarters are nearby, so there solving, partnering and planning.” Humongous Entertainment. The were a lot of people stopping by Reeling with excitement from a next day I visited the Blue’s Clues from MTV and Nickelodeon). glowing article in the previous production studio and was We settled into seats at day’s New York Times (“Move Over, amazed by the fact that the entire round tables facing a podium, Big Bird: A New Blue Dog’s in show is animated and composited chalkboard and two TV monitors Town”), Angela Santomero and in Adobe After Effects software, by in an intimate, very air-conditioned Traci Paige Johnson, two of the a relatively small team of artists. room. Howard Leib and Fred Seib- three co-creators of Blue’s Clues, But this is another story... ert warmed up the crowd, saying described the rules which were The second presenter was Michael Silberkleit, chairman of Archie Comic Publications. He talked about the rebirth of the Archie Comics property which is “still going strong” after 57 years. They have one weekly and six daily comic strips in syndication, an animated series in production and a live-action feature in devel- opment, as well as several ancillary projects in the works such as a chain of family restaurants and a new pop music group (remember “Sugar, Sugar”?). Admirably ever- green though the Archie property may be, however, I found Sil- berkleit’s presentation to be dry and out of touch with the present From left: Nickelodeon’s Angela Santomero, Herb Scannell and Brown Johnson at state of the entertainment indus- BrainCamp. New York, March 1998. Photo by Howard Leib. try. BrainCamp is like “the best kind of broken with the series and the A delicious buffet lunch pre- cocktail party,” and encouraging intensive research and testing sented an opportunity to meet an open dialogue during the process used in the show’s ongo- and greet. Leib, Maini and Seibert event’s frequent breaks. ing development. We were shown make it their duty to introduce a split-screen tape of kids watching everyone. Next, Rhino Records the show. The kids talked to the vice president of strategic market- BrainCamp is a place to really TV, pointed and jumped around in ing, Neil Werde talked about the meet your peers and get to a manner that was anything but a growing kids music business, know them on a one to one passive television viewing experi- revealing such interesting tidbits as basis. - Howard Leib ence. While the show’s interactive “the kids [music] business is still 60- nature may seem like an idea 70% cassettes, not CDs” and “com- The first presentation was whose time has come, Nick- petition is driving prices down like given by several people involved elodeon took a big risk, admitted in the video market.” Rhino recent- in Nick Jr. and its hit pre-school Scannell, by agreeing to air one ly struck a deal with Nickelodeon series, Blue’s Clues. Nickelodeon episode a week: the same episode to release product based on Nick

ANIMATION WORLD MAGAZINE April 1998 57 properties, such as “The Best of Henson’s death in 1990. The stu- as a result of the trend of small, Nicktoons.” Licensing deals like this dio now has a deal to produce 3- independent projects “from the have been the key to Rhino’s suc- 5 features a year with Disney. Ear- margins” taking off as big hits, stu- cess. Their product line lier this year, the com- dios are deliberately creating mar- includes more than 40 pany made a bold gins of their own to develop new titles based on animated move by hiring former material. Nickelodeon, where Lay- properties: from School- Fox Kids CEO Mar- bourne currently works as execu- house Rocks to The garet Loesch as presi- tive producer of an animated TV Simpsons to Hanna-Bar- dent of its new Televi- series and feature in development bera theme songs. sion Group, a move called Hank the Cowdog, has Another strategy lies in which Rivkin said, taken this route with its Creative packaging, and what “has already changed Lab and Oh Yeah! Cartoons pro- Werde calls “product our company dramati- ject which is spearheaded by Fred bundling.” In a big cally.” The company Seibert and modeled after Hanna- department store, “it’s 04 Jules Feiffer was on has since made a deal Barbera’s What a Cartoon! series. hand to sign copies of his better to be in the new book, I Lost My to produce a hybrid This Animation World Magazine action-figure aisle than Bear! puppetry and CGI editor was so impressed with Lay- the audio aisle,” he series, BRATS of the bourne’s presentation that he was noted. So, Rhino is packaging its Dark Nebula, for Kids WB! and invited to write an article, which is audio products with toys to get announced plans to launch a included in this issue. better placement in stores. cable network, The Kermit Chan- Speaking with attendees nel, with Hallmark Entertainment. after BrainCamp, one of the Rivkin said the company is looking Group conversations between favored presentations was by to the future while firmly rooted in presentations were lively, often Charles Rivkin, president and CEO concepts instilled by its founder: launching into debates. of The Jim Henson Company. innovate, act with integrity at all Rivkin, who joined Henson in times and “when in doubt, throw 1988 (he was previously in invest- penguins.” Day Two ment banking), has seen the com- Another enlightening pre- The second day of Brain- pany through the tragic death of sentation was given by Kit Lay- Camp was notably less energized, it’s founder and central figure, and bourne. Titled “Below the Radar: with about half of the attendees the subsequent restructuring of Emerging Voices in Digital Anima- and few of the previous day’s pre- the entire company. He talked tion,” it looked at the development senters. Bob Friedman, president about what the company has of desktop animation as today’s of New Line Television spoke most- been through, including the can- equivalent to the independent ani- ly about the company’s feature film celed merger with Disney after Jim mation movement. He noted that efforts such as Lost In Space, BonusBonus HTMLHTML FeaturFeatureses 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 spe- cial 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/issue3.3/3.3pages/3.3cover.html ¥ Vilppu Drawing Online: Gesture This article includes two Quicktime movies of master drawing instructor Glenn Vilppu demonstrating drawing techniques that every animator should know! http://www.awn.com/mag/issue3.3/3.3pages/3.3vilppudrawing.html ¥ Who the Heck is Jared? Readers can download the singing animated application ÒJared,Ó featured on our cover. http://www.awn.com/mag/issue3.3/3.3pages/3.3jacksonjared.html

ANIMATION WORLD MAGAZINE April 1998 58 which was screened for BrainCam- Prague. if you can afford it. Group conver- pers the night before, along with Disappointingly, in place of sations between presentations the 1961 Oscar-winning animated an ill, London-bound Anna Home, were lively, often launching into short, Munro, based on a story by chair of the World Summit on Tele- debates. Overall, participants Jules Feiffer. Feiffer himself made a vision for Children, Carole Rosen seemed energized by the interac- rare appearance as a presenter, from HBO and Linda Kahn from tion with their peers, and even with a delightful slide show in Scholastic filled in by giving a hasty with their competitors. At this level which he recalled highlights of his encapsulation of the event, includ- of executive, many people know career as a cartoonist, including a ing the formation of a new 26- each other and have even worked stint at the fledgling Terrytoons country co-production, Animated together in the past. studio, where he met Gene Tales of the World. Deitch, who eventually directed So, did it work? Is Brain- Party Favors the film Munro from his studio in Camp tuition worth the price? Yes, Did I mention the goodies? If nothing more, go for the party favors. Thanks to corporate spon- sors and presenters’ companies, each and every participant went home with a full bag of gifts. I CAREERCAREER counted the following: branded t- shirts, baseball caps and bags; sou- venir programs from Feld Enter- CONNECTIONSCONNECTIONS tainment’s Barnum & Bailey Circus and Hercules on Ice, Batman Animation World Network’s comics from DC Comics, a Betty recruiting section offers free postings Boop book from Kitchen Sink Press (a publisher recently purchased by and access to artist resumes Fred Seibert), books from Jules as well as recruitment advertisements Feiffer, a Blue’s Clues note pad, a Big Comfy Couch book, a TVLand board game, a video of animation “The recruiting site for babies and one about Christian reaches thousands of artists music, and a few CDs from Rhino. A few weeks after the event, every from all disciplines, quickly BrainCamper received a package and efficiently. AWN including pre-printed rolodex cards with the contact information certainly lives up to its for each participant. All this and a giant chocolate bar! name world-wide.” Next year’s BrainCamp will -Machi Tantillo take place March 25 and 26, 1999 in New York City. For information, Director of MTV Animation contact Lina Maini at mainiac- [email protected] or (516) 593-5494.

- RECRUIT TOP TALENT Wendy Jackson is associate editor AT A FRACTION OF of Animation World Magazine.

THE COST OF PRINT ADVERTISING Note: Readers may contact any Animation World Magazine con- www.awn.com/career tributor by sending an e-mail to [email protected].

ANIMATION WORLD MAGAZINE April 1998 59 ANIMATION WORLD MAGAZINE April 1998 60 QuestQuest ForFor CamelotCamelot :: WarnerÕsWarnerÕs BidBid forfor thethe RoundRound TableTable by Ilene Hoffman t is a glorious time when talent- Ye Olde, Familiar ed filmmakers are taking the art Tale Iform to new and exciting The film, heights, where anything one can directed by Frederik imagine is possible. du Chau, takes place But not for Warner Bros. during the heyday Their newest animated feature, of King Arthur’s rule Quest for Camelot, cannot seem when knights were to find a seat among the knights of brave, victorious, the industry’s round table. Like trustworthy and— many a young but inexperienced well, men. One of squire, Quest fights hard to claim a these knights, Ruber Quest for Camelot’s blind hero, Garrett. In the background is the two-headed dragon, Devon and Cornwall, and Gar- rightful place among its more (voiced by Gary Old- rett’s eventual love interest, Kayley. © 1998 Warner Bros. memorable peers, The Lion King, man), is definitely a All Rights Reserved. Beauty and the Beast and now, man but not so trust- lier by Ruber. To avenge her Anastasia. However, instead of worthy. A hater of all that is good father’s death, save the kingdom journeying out on its own to con- in Camelot, which means just from complete ruin and prove her quer undiscovered realms in ani- about everything, the wicked knightliness, Kayley sets out to find mation, it merely imitates its prede- Ruber plots to overthrow Arthur by Excalibur. She also plans to reach cessors and ultimately, falls short of capturing the king’s powerful Camelot in time to warn an them. sword, Excalibur. He nearly suc- injured Arthur and his surprisingly ceeds when his fumbling sidekick, passive wizard, Merlin, of Ruber’s Griffin (Bronson Pinchot), acciden- evil plan. Like the fabricated forest tally drops it. through which they venture, Out to stop Ruber is our Splendor in the Forest Kayley and Garrett’s relation- heroine — a high-spirited, plucky A veritable Dorothy travel- ship appears contrived. young woman named Kayley (Jes- ing to Oz, Kayley is soon joined in salyn Gilsig). Kayley is bright, beau- her quest by a host of reluctantly tiful, and physically a dead ringer helpful outcasts. The most attrac- for Belle from Beauty and tive is Garrett (Cary Elwes), a the Beast. Like her Disney young blind man and would-be counterpart, she believes knight who becomes Kayley’s love that women get short- interest, for no other reason than changed, especially at he is human and the only eligible Arthur’ s Round Table suitor present in the film. Believing where they are not per- no one would want a blind knight mitted. Despite these seated at the Round Table, he has utterly Medieval gender elected to live a hermetic life in the restrictions, Kayley’s Forbidden Forest, an enchanted dream is to be a knight place where a host of strange Kayley is bright, beautiful, and physically a dead like her late father, Sir flowers and other plants come to ringer for Belle from Disney’s Beauty and the Beast. Lionel, killed ten years ear- life in a very bizarre and unreal © 1998 Warner Bros.All Rights Reserved.

ANIMATION WORLD MAGAZINE April 1998 61 fashion. It’s a kind of Dark Ages romance is fairly standard. Howev- Fern Gully that seems to exist only er, one of the nicer moments in to boost the animation potential of the film is the tender and melodic the film. love duet they share, “Looking Like the fabricated forest Through Your Eyes,” in which Kay- through which they venture, Kay- ley and Garrett, now totally in ley and Garrett’s relationship love, blend into the beauty and appears contrived. It’s a formulaic harmony surrounding them. Devon and Cornwall. © 1998 Warner love story that lacks a powerful While Kayley can see the Bros.All Rights Reserved. reason for these two to get togeth- world through Garrett’s inner achieve their powers. It’s a won- er. Prior to meeting Garrett, the vision, unfortunately, we can’t. A derful theme, simply illustrated highly independent Kayley pre- blind character in animation is def- and readily accessible for kids. Plus pares to make the journey on her initely unique, and it’s a shame the it is commendable that this side- own. However when she meets filmmakers did not explore his kick does more than look cute and someone who is relatively hand- vision more creatively, offering provide enormous merchandising some, she suddenly decides it very surreal and experimental potential. would be a good thing for him to views of the world he sees in his Unfortunately, the filmmak- be her guide. One gets the impres- mind’s eye. It is also a shame that ers cannot leave well enough sion that if he weren’t so attractive Garrett’s blindness does not create alone. Rather than allow this (to her, at least) and available, the any real sexual tension or function refreshing character to evolve on fearless damosel would get along as a believable obstacle between its own, Du Chau and his crew fine by herself. At first, Garrett him and Kayley. Their relationship, fashion him after Aladdin’s Genie refuses to help her, stating that he one can be sure, will not become in his anachronistic zaniness. The doesn’t need anybody leeching one of the most memorable musical number, in which Devon onto him, especially Kayley. romances of all time. and Cornwall fantasize about Though what she has done to being physically separated, echoes offend him so strongly we’ll never Double Dragon Genie strongly in the frenetic know. Kayley pleads and pleads, Lumbering awkwardly shapeshifting and pop references. and eventually, Garrett gives in behind Kayley and Garrett is a At one point, the two heads imag- with a simple shrug and an, comical two-headed dragon ine themselves as Sony and Cher. “Okay.” Can you feel the electrici- named Devon and Cornwall. This animated wackiness is fun, ty? I couldn’t. Delightfully voiced by Eric Idle and but also jarring and unfaithful to Don Rickles, Devon and Cornwall the more reverent tone of the rest are one of the better features of Self-deprecating, whimsical of the picture. It’s a cheap, imitative the film. Simply put, they embody and full of attitude, the shot at humor that just does not the familiar comic team of tall, grotesquely-formed dragon belong. We can only assume that sophisticated, slim guy versus utters the best line in the the sequence is present because short, crude, fat guy — Abbot and movie:“We’re the reason the filmmakers knew audiences cousins shouldn’t marry.” Costello in one body. Self-depre- loved that kind of shtick in Disney’s cating, whimsical and full of atti- Aladdin, and therefore they’ll be tude, the grotesquely-formed sure to love it here. Don’t they The hermit eventually falls dragon utters the best line in the know audiences expect more? in love with the girl for her coura- movie: “We’re the reason cousins geous and headstrong ways, shouldn’t marry.” Constantly dis- Ruber - Demented Villain though he wishes she would stop agreeing, Devon and Cornwall Outnumbering Devon and yakking all the time. Kayley falls for lack the two things that make Cornwall’s weaknesses are those of him when she learns to appreciate other dragons so fearsome — the Ruber. As a villain, he lacks a con- the world through his eyes, or ability to fly and breathe fire. Only vincing motive, a workable plan of rather, his heart. So far, their by working together, can they action, and an overwhelmingly

ANIMATION WORLD MAGAZINE April 1998 62 sinister presence. He is as boringly should be simply structured to expensive, it would have been bet- evil as King Arthur is boringly allow room for gags and elaborate ter to computer animate Ruber’s good. Moreover, Ruber’s motiva- sequences, Quest is a little too lin- evil sidekick, the Griffin. tion is mishandled. Why does he ear to be thoroughly intriguing. Besides good battling evil wait ten years after killing Kayley’s Throughout the journey, and women asserting themselves father to seize Camelot? Moreover numerous musical numbers do against a patriarchal society, Quest in pursuing Excalibur, he always their dutiful job of forwarding plot offers few unique themes. We remains a convenient three steps and enhancing character. But with can’t help but ask the question, behind Kayley. From the moment the exception of the love theme, ‘Why does this story need to be we meet him, we know Ruber is very few of veteran composers told?’ For Warner Bros. Feature Carol Bayer Sager Animation’s first produced, fully and David Foster’s animated feature, it is curious that songs leave a last- they would choose Medieval Eng- ing resonance. land as the subject of their film. What’s worse, the After all, the Dark Ages has already composers make been exhausted by Disney in us suffer through much earlier and better films such two numbers of as Sleeping Beauty, Robin Hood the already and their own tale of Camelot, The overkilled Celtic Sword in the Stone. Maybe WBFA “River Dancing.” thought a “dungeons and drag- In live-action this is ons” film was a safe bet for The evil villain, Ruber. © 1998 Warner Bros.All Rights painful enough. In younger audiences. Undoubtedly, Reserved. animation it is the video release will become a going to lose just as we know Kay- pure torture. reliable baby-sitter. ley is going to win. Their stories In addition to a mediocre While Kayley and her are utterly predictable. story, the film manifests an aver- friends ultimately achieve their age production value. Essentially quest for Camelot, the filmmakers Below The Bottom Line — flat character designs blend into fail to achieve their quest for a suc- Story, Production and Song their pastel backgrounds. Ruber cessful animated feature devoid of Predictability would not and his mechanical henchmen the clichéd devices of its predeces- necessarily be a bad thing if Kay- make for cool television animation sors. Perhaps in the future, they ley’s journey— both her physical but fall far short of feature quality. should learn from their own char- and emotional quest—were more And while Arthur’s castle shines acters that taking risks—especially compelling. Screenwriters Kirk De brilliantly during one nighttime in filmmaking—is a worthwhile Micco, William Schifrin, Jacqueline shot, it reveals its lackluster quality adventure. Feather and David Seidler tell an during the day. Ilene Hoffman is a freelance essentially clunky tale that takes a writer who served as director of long time to begin. It isn’t until we Quest is a little too linear to development for Turner Feature meet the dragon about halfway be thoroughly intriguing. Animation and as manager of through the film that we become development for Hanna-Barbera moderately engaged. The struc- Cartoons. She is currently pursu- ture is entirely formulaic: present a The most ambitious and ing her Masters Degree in English problem, go on an episodic jour- successful visual effect in the film is Literature. ney, defeat the bad guy, win the a computer-generated Ogre — girl and live happily ever after. massive, haunting and thoroughly Note: Readers may contact any Nothing new here. Nor are there spectacular. Unfortunately, state- Animation World Magazine con- any interesting subplots, twists or of-the-art technology is wasted on tributor by sending an e-mail to turns. While most animated films a minor character. Though more [email protected].

ANIMATION WORLD MAGAZINE April 1998 63 The Animation World in the Library of Congress by Patrick Loughney, Ph.D. he Library of Congress began motion pic- ries out its man- collecting motion pictures at tures in place date to collect, Tthe end of the 19th century of the actual preserve and as part of the copyright registra- films. That make available for tion process. (The U.S. Copyright changed, research the Office is part of the Library of Con- however, in largest collection gress.) The first copyrighted May 1942, of American pro- “movie” was a series of Edison when duced motion Kinetoscopic Records registered Archibald pictures in the on October 6, 1893 by a key assis- MacLeish world. Broadly tant to Thomas Edison named (Librarian of Congress from 1939 described, the Library’s motion pic- W.K.L. Dickson. Dickson was the to 1942) founded a division to col- ture collection has grown continu- primary inventor of the first practi- lect and preserve motion pictures, ously since 1893 and now cal motion picture camera, the in addition to providing filmo- amounts to over 250,000 film Edison Kinetograph, and the first graphic information for prints (35mm and 16mm) and peephole viewing machine, the researchers. MacLeish saw that more than 300,000 television Edison Kinetoscope. From that movies, radio broadcasts and broadcasts in film and video for- date to the present, the Library has recordings in all formats, constitut- mats. In scope, these materials collected descriptive documenta- ed essential records of American encompass the entire history of tion and other materials relating to history. He believed it was appro- American film production and a virtually every movie copyrighted priate for audio-visual materials of considerable selection of foreign in the United States, including ani- all kinds to be accorded an equal films over the past one hundred mated theatrical and independent place in the nation’s Library— years. short subjects, feature films and TV alongside books, newspapers, broadcasts. The earliest animated photographs, maps and other tra- Preservation is Key film in the Library of Congress is ditional forms of library materials— As one might imagine in a the stop-motion so they could be collection of this scope and size, The Enchanted studied by future the number of silent and sound Drawing (Edison, generations for era animated films in the Library of 1900), featuring information about Congress is unsurpassed, largely the work of movie contemporary his- because of its efforts to recover pioneer J. Stuart tory and culture. and conserve what remains of Blackton, who later Today, the America’s motion picture heritage. went on to co- Library of Congress Over half of all movies made in found the Vita- is the nation’s America between 1893 and 1951 graph Company of largest publicly have been lost through deteriora- America. funded motion pic- tion and neglect. Animated films ture research and of the silent era have suffered in Audio-Visual preservation cen- particular. However, due to the Materials Come ter. Through the Library’s preservation efforts over of Age activities of the the past thirty years, a consider- During the Motion Picture, able number have been preserved first half of the 20th Broadcasting and in their original 35mm format and century the Library The earliest animated film in the Recorded Sound are listed in the 1995 finding aid of Congress was Library of Congress is the stop- division and its Silent Animated Films at the largely content motion The Enchanted Drawing (Edi- Motion Picture Library of Congress, an eighty son, 1900), featuring the work of with collecting doc- movie pioneer J. Stuart Blackton. Conservation Cen- page guide to silent “cartoons” umentation about ter, the Library car- now available for on-site viewing ANIMATION WORLD MAGAZINE April 1998 64 to qualified researchers. The guide Winky Dink and You. materials continues. Thousands of includes many examples of both new items come into our collec- classic and long-forgotten animat- tion every month, including ani- ed works, such as Aesop’s Fables, Over half of all movies made in mated films and videos from Alice Comedies, Felix the Cat, America between 1893 and around the world. And, as our Goldwyn-Bray Pictographs, 1951 have been lost through dedicated staff has for more than Hearst-Vitagraph News Pictorials, deterioration and neglect. one hundred years, they will be Katzenjammer Kids, Mutt and Jeff, cataloged and preserved for pos- Tony Sarg’s Almanac and the time- terity, for both the present genera- less Out of the Inkwell series. (In Sheltering History tion of researchers and those not 1995 the Library issued a six-part Today, the goal of the yet born. series of videos presenting rare M/B/RS division remains the same films preserved in its collection, as when it was defined by including one with selections MacLeish at mid-century: to main- The Library of Congress is devoted to the Origins of Anima- tain an on-going collection of unsurpassed, largely because of tion, 1900-1921. motion picture, broadcast and its efforts to recover and con- recorded sound materials that serve what remains of America’s The Library carries out its broadly document the history and motion picture heritage. mandate to collect, preserve creativity of the American people. and make available for In 1989 the U.S. Congress estab- research the largest collection lished the Library of Congress Viewing Information National Film Preservation Board The Library of Congress is of American produced motion to promote awareness of the need located on Capitol Hill in Washing- pictures in the world. to preserve America’s film history. ton, D.C. The motion picture col- To help accomplish that mission, lections are available through the Sound era animation is Congress also created the Library’s Film and Television Reading Room, strongly represented in the National Film Registry, requiring located in the James Madison Library’s collection of original that the Librarian of Congress, Dr. building (LM-338) at 101 Indepen- 35mm camera negatives by many James Billington, select twenty-five dence Avenue, SE, Washington, Warner Bros.’ animated shorts pro- American films per year to be sin- D.C. 20540. Public hours are from duced during the 1930s and ‘40s, gled out for their historical, aes- 8:30 a.m. to 5:00 p.m., Monday and by the projection prints thetic and cultural importance. through Friday. Film and television and/or research copies of a major- Two hundred and twenty five films programs are available for viewing ity of the theatrical animated fea- have been added to the Registry on the premises and only to those tures and short subjects distrib- to date and the animated films working on a project leading to a uted in America since WWII. Televi- already chosen include Snow formal publication. For Internet sion broadcasts have White and the information on the motion picture been collected by Seven Dwarfs collections and other resources of the Library since the (1937), Winsor the Library of Congress, please see 1950s and the series McCay’s Gertie the http:/lcweb.loc.gov or for which selected Dinosaur, Fanta- www.loc.gov programs are avail- sia (1940), Magi- able range from cal Maestro Patrick Loughney is head of the Beany and Cecil, (1952) and Chuck Moving Image Section of the Deputy Dawg, I Am Jones’ What’s Motion Picture, Broadcasting & the Greatest—The Opera, Doc? Recorded Sound Division of The Adventures of Library of Congress. Muhammad Ali, Thus, the Walt Disney Library’s mission Presents, Walt Dis- to collect motion Note: Readers may contact any The Library of Congress is located Animation World Magazine con- ney’s Wonderful on Capitol Hill in Washington, D.C. picture and World of Color, to Photo courtesy of the Library of recorded sound tributor by sending an e-mail to Congress. [email protected]. ANIMATION WORLD MAGAZINE April 1998 65 by Wendy Jackson Paragon: Going, ident of Sunbow, and while the Gone? Paragon company will be an integrated, Entertainment, the wholly-owned subsidiary, Sony Toronto, Canada- Wonder will keep it’s in-house cre- based company ative affairs department, headed which took control by Becky Mancuso-Winding, and of Ottawa-based will continue to acquire and devel- animation compa- op new properties. The key func- ny Lacewood Pro- tion of the deal is to allow Sunbow Business ductions in July 1997, is in a state Entertainment to distribute Sony of financial uncertainty lingering Wonder titles internationally and FOX Expands Family Affair. Fox between an imminent purchase or to have Sunbow’s product distrib- Kids Worldwide has been bankruptcy. Paragon is operating uted under the Sony Wonder label renamed Fox Family Worldwide, with half of its employees on a domestically. Sony Wonder distrib- Inc. to reflect accurately the com- loan from its shareholders, while utes animated home videos such pany’s expanded focus on target- Yorkton Securities, an investment as Arthur and The Rainbow Fish ing adults and teenagers as well company in Toronto, is assessing and the made-for-video “Enchant- as children. The principal business- the company’s value and possible ed Classics” line which mimics the- es of Fox Family Worldwide are liabilities. In January 1997, the two atrical releases based on public- the Fox Family Channel, Fox Kids companies made an initial agree- domain stories such as “Anastasia.” Network, and Saban Entertain- ment that Paragon would pur- Sunbow has a large library of live- ment. “The children enjoying Fox chase a 75% stake in Lacewood, action and animated series, most Kids programming today through- but by July 1997, Lacewood was of which are financed through out the world are likely to become unable to repay loans to Paragon, international co-production. Sun- the Fox-brand loyal teenagers and and Paragon took ownership of bow’s Burbank, California studio is adults of tomorrow,” said Chase the entire company. Starting currently producing an animated Carey, chairman and CEO of Fox anew, Lacewood founder Sheldon series called The Brothers Flub, Television and co-CEO of News Wiseman founded a company which will air on Nickelodeon U.S. Corp. Fox Family Worldwide chair- called Amberwood Productions, and U.K. C.J. Kettler said the deal man Haim Saban added, “By which planned to co-produce an “will provide the crucial support embracing the ‘Family’ designa- animated series called Zeroman, that will insure Sunbow’s growth tion in our corporate name and but this project is on hold while in an increasingly competitive mar- broadening the demographics, the production partners at Cloud 9 ketplace.” we are more accurately acknowl- Media, are seeking financing to edging our target audience and keep their own company afloat. People business objectives.” In a seeming- ly opposite move, Fox Family Films Sony Wonder To Acquire Sun- Musical Chairs. Disney-owned recently renamed itself Fox Anima- bow. Sony Wonder, the kids and effects studio Dream Quest tion Studios, honing it’s focus to family entertainment division of Images has hired Andrew Mill- animation. This is clarified by Fox Sony Music, has entered a defini- stein as vice president and gener- Family Worldwide’s expansion, tive agreement to acquire New al manager. He was previously which will include live-action fea- York-based independent produc- director of visual effects for The ture films. tion company, Sunbow Entertain- Walt Disney Company’s Motion ment. C.J. Kettler will remain pres- Picture Division. . . . Walt Disney

April 1998 66 ANIMATION WORLD MAGAZINE With the new division, Pearson mined when the annual WAC fes- and Penguin intend to exploit tival will take place in 1999. . . . existing Pearson animated proper- Laurie Hollinger has joined Dig- ties such as Dangermouse and ital Domain as vice president of Wind in the Willows while devel- human resources. She was a vp at oping new ones based on Pen- Paramount. . . . Karen Schmidt, guin Books. . . . Film Roman has formerly director of recruiting, hired Andi Copley and Danica training & development for Warn- Katz as vice presidents of devel- er Bros. Feature Animation, has opment. Copley, who will oversee returned to The Music Center prime time and live-action televi- where she is now chief of staff. . . sion development for Film Roman, . The Art Institute Of Pitts- was previously an executive pro- burgh (API) has hired Alan Andrew Millstein. Photo courtesy of ducer at the Disney Channel. Katz, Hyers as president, replacing Dream Quest Images. who will focus on Saturday morn- Dennis J. Fantaski. Television Animation has pro- ing, cable and direct-to-video moted two of its top executives, development, was previously Santa Monica, California-based Sharon Morrill and Barry Blum- director of programming at Fox Porchlight Entertainment has berg, from senior to executive vice Kids Network. . . . Another recent named Stephanie Slack director presidents. Morrill, who joined Dis- departure from Fox Kids Net- of worldwide sales. She was previ- ney in 1993, will oversee develop- work is Sidney Iwanter, who has ously employed in the sales and ment and production of Disney left his post as vice president of acquisitions department of Pando- Video Premieres, Movietoons and programming and acquisitions. ra Cinema in Paris. . . . Toronto- TV Specials. She currently has Roland Poindexter is filling in based Spin Productions has more than 60 projects in develop- while Iwanter’s replacement is named Dave Geldart director of ment and production. Blumberg, found. . . . its CG Animation division, Dale who joined Disney in 1994, will Smith creative director of Design oversee all development and pro- Los Angeles-based NELVANA and Gary Thomas senior Henry duction for network and syndicat- Communications (the U.S. office artist and designer. . . . Steve ed animated series. . . . Animation of Toronto-based NELVANA) has Walsh has relinquished his duties historian and author of several promoted Barry L. Levy from as managing director of EVA books on animation, Jerry Beck, manager to director of develop- Entertainment, to focus on over- has left his full-time consulting post ment. . . . DIC Entertainment seeing the completion and launch at Walt Disney Television Anima- has hired M.J. Chisholm as vice of the company’s first feature film, tion to focus on his own consult- president of merchandising. She ing business, The Cartoon previously ran her own licens- Research Company. He is cur- ing/marketing consulting firm, rently working on projects for Har- Chiseled Steel. . . . Palo Alto, Cali- vey Entertainment, Time-Life Enter- fornia-based Pacific Data Images tainment and The Disney Chan- (PDI) has promoted Cindy nel, and is represented by Bur- Cosenzo to executive producer, bank, California-based agency, Commercials. She joined PDI in Animanagement.. . . . John Bulli- August 1997 as a producer, after a vant, former head of co-produc- producing post at London-based tion and acquisitions for U.K. dis- Pizazz Pictures. . . . Leslie Sullivan tribution company HIT Entertain- has left her post as director of the ment (Brambly Hedge), has been World Animation Celebration, recruited by Pearson Television to as has former festival coordinator head up a new animation division Marisa Materna, who recently which will be a partnership with joined Klasky Csupo as director its sister company, Penguin Books. of recruitment. It is not yet deter- Barry Levy. Photo courtesy of NELVANA.

ANIMATION WORLD MAGAZINE April 1998 67 ed feature, Princess Mononoke, launch of their theatrical feature which will be released theatrically film, A Monkey’s Tale. in the U.S. by Miramax this sum- mer. The highly anticipated U.S. Elton John’s “Just-So” With Dis- release will feature a dubbed Eng- ney. According to a report in Daily lish voice track, but neither the Variety, Walt Disney Feature Ani- music or the picture will be mation has made a deal with pop changed, per the strict distribution singer Elton John’s London-based agreement with the film’s produc- company, Rocket Pictures to devel- ers, Studio Ghibli. . . . While it has op a feature film called Just-So Sto- increased its development depart- ries, based on the book of tales by ment, Film Roman has down- Rudyard Kipling, author of The sized in the publicity arena. For- Jungle Book. The deal reportedly mer internal publicist Tricia Haar- calls for Elton John to write songs er and Suzy Missirlian have left, for the film, as he did for The Lion and the company is now being King. It also says the film, which represented by external agency will be developed over the course Stephanie Slack. Photo courtesy of publicist Michael Saltzman. . . . of the next year, is likely to be pro- Porchlight Entertainment. duced using computer animation. A Monkey’s Tale. . . . Art Vitello is Films However, Disney officials declined no longer directing Fox Anima- to comment on the project at tion’s second feature film, Planet Film Roman Gets First Look At press time. Ice, as the studio announced he Mischel. North Hollywood, Cali- was in February. The film, the fornia-based animation studio Film MGM, Cosby To Tell “Noah” majority of which will be done in Roman, producers of The Simp- Tale. MGM Animation has signed computer animation, is now being sons and King of the Hill, are mak- a deal with entertainer and come- directed by Blue Sky|VIFX ing a push into both animation dian Bill Cosby to produce an ani- staffers Henry Anderson and and live-action feature film devel- mated feature film based on Chris Wedge. . . . Actor Daniel opment, by signing up for a first- Cosby’s stand-up routine, “Noah,” Stern (The Wonder Years, Home look deal with The Mischel Com- which first appeared more than 35 Alone) has been cast as the voice pany, a new producer/distributor years ago on his album, Bill Cosby of Dilbert for the animated series formed by former Live Entertain- is a Very Funny Fellow Right! based on Scott Adams’ comic strip. ment vice president Rick Mischel. Cosby will write, executive pro- Additional voices which have In an unrelated deal, Film Roman duce and star in the film, which been cast are David Letterman is currently developing a hybrid will be MGM Animation’s first ani- Show comedian and Tostitos live-action and animation feature mated feature intended for the spokesperson Chris Elliot as Dog- with Universal called There Goes theatrical market. MGM Anima- bert, comedienne and Suddenly the Neighborhood. “As Film tion, a division launched in 1993, Susan star Kathy Griffin as Alice, Roman looks to expand into fea- is currently producing three ani- Mad About You writer/director ture films, we look to Rick Mischel mated TV series and several direct- and voice actor/director Gordon to help bring us strong indepen- to-video titles. Hunt (father of Helen) as Wally, dent projects,” said Film Roman actor Larry Miller as the pointy- senior vice president Jon Vein, Quest For Camelot, Warner Bros. haired Boss and actress Jackie “Rick’s background in acquisitions Feature Animation’s first fully-ani- Hoffman as Dilmom. Dilbert is and development make him ideal- mated feature film, opened in U.S currently in production at Colum- ly suited to find us the kind of qual- theaters on Friday, May 15. The bia TriStar Television for UPN. . . . ity projects that we want to devel- film, initially planned for a holiday Miramax Films has hired comic op and produce.” The Mischel 1997 release, has been in produc- book creator Neil Gaiman (Sand- Company also has a deal to repre- tion for over two years at Warner man) to write an English-language sent the U.K. company EVA Enter- Bros.’ animation studios in Lon- script for Hayao Miyazaki’s animat- tainment in the U.S., including the don, U.K. and Glendale, Califor- April 1998 68 ANIMATION WORLD MAGAZINE nia. The voice cast includes perfor- Florida. The film is scheduled to early Saturday morning!) at 12:30 mances by Pierce Brosnan, John premiere at the SIGGRAPH confer- a.m. On the kids’ side, Hyperion is Gielgud, Gary Oldman, Bronson ence in Los Angeles in August in production on another season Pinchot, Jane Seymour and Jaleel 1999. Carl Machover and John of Happily Ever After: Fairy Tales White. The ballad-heavy sound- Hart are executive producers, for Every Child for HBO . . Nick- track includes vocals by LeeAnn Steve Silas is producer with Joan elodeon recently premiered John Rimes, Steve Perry and Celine Collins as co-producer, Judson Schnall’s short film produced Dion. In addition to a moderate Rosebush is the writer and Frank through Nickelodeon’s Creative advertising campaign, Warner Foster is directing. Foster said, “We Lab, Short Films for Short People: Bros. is promoting the film are framing the story around the The Great Switcheroo. It was cre- through a partnership with human story of the graphics and ated by manipulating still pho- UNICEF which will link the film to animation pioneers. The stories tographs in the computer and UNICEF fundraising through radio behind the incredible imagery, are pasting the images onto cels PSAs and libraries and bookstores. in many ways, just as impressive as which were filmed frame by The 80-minute, G-rated film is the images themselves.” frame. Nickelodeon’s Los Angeles based on the book, The King’s For background informa- Nicktoons studio is gearing up Damosel by Vera Chapman, and is tion on the development of com- for the production of a new ani- directed by Frederick Du Chau. puter graphics and the SIGGRAPH mated series, Sponge Bob. . . . . Read Ilene Hoffman’s organization, visit Animation Mr. Bill, the not-quite-animated review of Quest for Camelot in this World Magazine’s August 1997 clay star of Saturday Night Live issue of Animation World Maga- issue featuring SIGGRAPH: Past past, is coming back to TV (Oh, zine. and Present by Joan Collins. nooo!) as host of a new sketch Read Heather Kenyon’s comedy show called Ohhh, interview with Warner Bros. Fea- Television Noooo!!!, Mr. Bill Presents, which ture Animation president Max will air on Fox Family Channel Howard in the April 1998 issue of TV Tidbits. HBO launched its after its launch in August. . . . Animation World Magazine. second season of Spawn on May DreamWorks’ animated science- 15, and will air five additional new fiction drama, Invasion America SIGGRAPH Documenting CGI episodes on Friday nights (very will air on the WB network this History. The Story summer, as a prime of Computer time mini-series Graphics, SIG- which will air one- GRAPH’s anticipat- hour episodes for ed documentary four weeks starting film about the his- on June 8 at 9:00 tory of computer p.m. The show was graphics has originally intended begun production to air as a half-hour through 213TV in series but is being Los Angeles. The tested as an hour- feature-length film long program will include inter- instead. . . . Film views with George Roman has signed a Lucas, Robert Abel, deal with Claster John Lasseter and Television (owned Ed Catmull. Filming by toy company will also take place Hasbro) to produce at the upcoming The Mr. Potato Head 25th annual SIG- Show, a hybrid ani- GRAPH conference mation/live- in July in Orlando, Todd MacFarlane’s Spawn. Image courtesy of HBO. action/puppetry April 1998 69 ANIMATION WORLD MAGAZINE tion on John cast will begin in September 1998 Kricfalusi’s two in Asia and Latin America, where “Yogi Bear” car- Hallmark’s own 24-hour channel, toon shorts for the Hallmark Entertainment Net- Cartoon Net- work (HEN) is already carried. work. . . . Additional territories will be Granada Media launched in the future. The opera- Products is pro- tion will be jointly overseen by ducing a sec- Henson Television Group presi- ond season (13 dent Margaret Loesch and Hall- new episodes) mark Entertainment Network pres- of the animated ident and CEO George Stein. Each series Titch and company will have 50% owner- Tom and Vicky ship of the network and will con- for the ITV Net- tribute programming from its work in the U.K. library. As a result of the joint ven- Sailor Moon. © DIC Entertainment. Random House ture, both companies will also pro- series for Fox Kids Network’s fall will produce a duce new programming to be fea- 1998 Saturday morning line-up. line of tie-in children’s books to tured on the channel. Animated Doug Langdale (Earthworm Jim) coincide with releases of Titch series within each of the libraries will write the show, and Chiodo videos (comprised of episodes include Space Monkeys, Fat Albert Brothers Productions (Teenage from the first season) in 1999. . . . and Archie (Hallmark), and Mup- Mutant Ninja Turtles) will also be pet Babies (Henson). “The creation involved, designing and fabricat- Nick & CTW Launch New of the Kermit Channel is some- ing puppets. Film Roman’s recent- Cable Net. Nickelodeon and Chil- thing that we have been working ly-appointed vice president of dren’s Television Workshop (CTW) toward for quite some time. [This development Andi Copley will be have formed a joint venture to is] an incredibly exciting step for executive producer. . . . launch an educational television us,” said Brian Henson, president network for kids called Noggin. and CEO of The Jim Henson Com- Cartoon Network will include The 24-hour cable channel is set pany. the animated series Sailor Moon in to launch in the U.S. in January its “Toonami” weekday afternoon 1999 with a slate of second-run Bohbot Gets Into Production. program block, starting June 1 at programming from both partner’s Kids’ programming syndicator 4:00 p.m. . . . On June 22, Com- libraries, including Blue’s Clues Bohbot Entertainment is getting edy Central will expand its ani- and Sesame Street. Nickelodeon into the production side of the ani- mation line-up by following Dr. president Herb Scannell said the mation business with a new ani- Katz with the debut of Bob and network, aimed at 2-14 year-olds, mated series being produced Margaret, the prime time animat- will aim to “make learning cool.” under a new banner, Bohbot Stu- ed series based on Alison Snow- He added, “This is an idea whose dios. To facilitate this production, den and David Fine’s animated time has come.” Continuing with Bohbot plans to acquire Epoch short, Bob’s Birthday. The show its international expansion, Nick- Ink, a Los Angeles-based anima- will simultaneously debut on U.K.’s elodeon also recently announced tion studio founded and run by Channel 4. . . . Tokyo-based TMS plans to launch its network in Joe Pearson, who is signed on as Kyokuichi Corporation and Van- Hungary. supervising producer of the series. couver, Canada-based Network In addition, Rick Ungar (Bike Mice Of Animation (NOA) are co-pro- Henson & Hallmark To Launch From Mars) will be executive pro- ducing an animated series called Kermit Channel. The Jim Henson ducer and Greg Weisman (Gar- Cybersix. Thirteen half-hours will Company and Hallmark Entertain- goyles) will be writer and produc- be available in April 1999. Korean ment will launch a new 24-hour, er. Titled Roswell Conspiracies- studio Galaxy World is in produc- global pay-television channel Aliens, Myths & Legends, the sci- called The Kermit Channel. Broad- ence-fiction series is based on the April 1998 70 ANIMATION WORLD MAGAZINE concept that a NATO Alliance was Morris Agency and P. Kevin Morris buyers to purchase advance formed to seek out and destroy of Barnes Morris & Yorn. blocks of air time in this year’s alien trespassers. It will combine delayed “kids’ upfront” ad market, CGI with traditional 2-D anima- Kids Upfront Update. The adver- Cartoon Network closed promo- tion, and each of the 22 episodes tising buying period referred to as tional sponsorship deals, valued at will run one-hour, intended for a the “kids upfront” advertising mar- over $53 million, with several Saturday afternoon time slot. For ket has finally taken place, after major advertisers for the ‘98 sea- weekday afternoon slots, these nearly three months of delays. Tim son. Turner Kids/Turner Broadcast- episodes will be cut in half, mak- Spengler, senior vice president of ing Sales senior vice president Karl ing 44 episodes, for sale to broad- national TV for one of the buyers, Kuechenmeister said this marks casters which prefer 30-minute Western International Media, said, the network’s “most profitable blocks. The per-episode budget is “It looks like it will be very similar to year-long schedule of corporate- $850,000. last year.” After all was said and sponsored on-air events in its his- done, it is estimated that media tory.” In addition to co-branded Boop Is Back! Betty Boop, the buyers for companies targeting contest promotions, sponsors will curvaceous cartoon star of yester- kids, such as cereal, toy and fast also receive commercial air time day, may soon be making her tele- food sellers, spent about $750 mil- for advertising not related to the vision debut in a new animated lion on advance ad purchases this contests. Some of the promo deals series called Betty Boop’s Misguid- year. But while the ad budgets are are part of larger package deals of ed Tours, being developed by about the same as last year, buy- upfront advertising buys for the Warner Bros. International Televi- ers’ options have expanded. The rest of the year. Six Flags Theme sion Production and Fleischer Stu- addition of new kids program- Parks and Got Milk?™ will sponsor dios. Richard Fleischer, son of Betty ming venues has increased the “Coaster 2 Coaster,” a spring con- Boop creator Max Fleischer and inventory of ad units, and has also test to send kids on a roller coaster president of Fleischer Studios, resulted in lower ratings (i.e. fewer journey across America. Discovery developed the series concept and viewers) per network. Advertising Zone will sponsor “Dexter’s Dupli- will be executive producer. An air rates range from U.S. $3 to $20 cation Summer” tying in with the date and broadcast outlet will not per thousand viewers, or CPMs. weekday prime time launch of be confirmed until a series com- This year, ABC and Kids WB! sold Dexter’s Laboratory. LEGO will mitment is announced. CPMs at a price increase over last sponsor “Zoinks!,” a Scooby Doo- year, while Fox sold at a decrease. thon in October, and Hasbro will South Park-ed On Com Central But Spengler points out that ad sponsor a holiday toy giveaway Til 2000. Comedy Central has sales are “very relative,” and can’t called “Say When.” In June, Nin- ordered two additional seasons of be judged according only to tendo is sponsoring a giveaway the animated series South Park, a increase or decrease in CPM contest of game units and games move which will bring the total prices. For instance, Fox Kids new to promote its upcoming release, number of episodes to 73 and sister cable network, The Fox Fam- Banjo and Kazooie. “Stay Tooned,” keep the show on air until at least ily Channel, will bring an addition- a recent three-month marketing the year 2000. Series co-creators al seven days of kids program- program Cartoon Network ran for Trey Parker and Matt Stone will ming—that’s 800 ad units—per Kraft Foods, ended last week stay with the show, even while week when it launches in August. when an 11 year-old girl from they plan a South Park feature film, Still confusing? For further New Jersey was randomly chosen which is in development for a pos- reading on this subject, delve into from more than 60,000 kids to sible spring 1999 release. Comedy AWN’s September 1997 issue and “star” in a two-minute animated Central president and CEO Doug read Buzz Potamkin’s article, “The short. Herzog said, “Matt Stone and Trey Cost of Eyeballs: Advertising Dol- Parker have truly visionary talent. lars & TV.” Commercials We are thrilled that they are on board through the millennium.” Cartoon Net Ties Up ‘98 Tie- Spotlight. Hollywood-based Parker and Stone are represented Ins. While many television net- Acme Filmworks created a 30- by Mike Simpson of The William works were still waiting for media second commercial for Tallon Ter- April 1998 71 ANIMATION WORLD MAGAZINE an animated The animation, inspired by 1960s logo for VH1’s experimental “op art,” was direct- Divas Live spe- ed by Mike Bade of the agency cial, and Amster Yard/McCann Erickson and worked on a animated by Curious’ David Kelley. 30-second live- The spot will air in Spain, Greece action/anima- and Italy. . . . tion teaser for The Rugrats Chicago-based The Story Com- Movie with panies directed animation for a Klasky Csupo 30-second commercial for The Commercials. National Pork Producers Council. The spot will The spot daringly depicts the appear on the Three Little Pigs rediscovering suc- Acme Filmworks’ spot for Tallon Termite. Image courtesy of direct-to-video cess, as “the other white meat.”. . Acme Filmworks. release, A . . mite. Director Ashley Lenz used Rugrats Thanks- A reminder to commercial hand-drawn character animation giving. . . . directors, producers and agencies: with digital ink and paint com- positing by Virtual Magic. . . . New York-based Santa Maria, California-based J.J. Sedelmaier Computer Café created 3-D logo Productions creat- animation for a commercial for a ed a 30-second new Sony PlayStation game called spot for the Episco- Bloody Roar.. . . . Santa Monica, pal New Church California-based post production Center, as part of and effects studio, POP created 2- the radical advertis- D and 3-D animated effects for a ing campaign, “Got live-action Mobil gas commercial. a Problem With the The director was Janusz Kaminski. Church?” In order . . . New York-based Manhattan to achieve a low- Transfer, working with design budget, education- firm, The Attik, created multiple al-cartoon style, variations of 30-second spots for Sedelmaier pur- The Story Companies’ spot for The National Pork Produc- ESPN’s National Hockey League posely used six lev- ers Council. Image courtesy of The Story Companies. and Major Soccer League pro- els of cels to distort gramming. The studio also created the color and added dust We can’t write about your animat- scratched to make it look “like ed commercials if we don’t know the print has been laying around about them! Send your press on a shelf too long.”. . . . New releases and credits to us at edi- York-based Tape House Digital [email protected]. Please also note created computer animation that the October 1998 issue of and effects for a 30 second com- Animation World Magazine will be mercial for Sprint, as well as for a focused on commercials. two-minute promo spot for WNBC-TV. The main production Home Video company was Zooma Zooma. . . . New York-based Curious Pic- MGM Gets Funds For New Fea- J.J. Sedelmaier’s spot for the Episcopal New tures created a 15-second ani- tures. MGM Animation has Church Center. Image courtesy of J.J. Sedel- mation sequence for a 60-sec- reached a co-financing agreement maier Productions. ond Martini & Rossi commercial. with Stone Canyon Investments April 1998 72 ANIMATION WORLD MAGAZINE for the development and produc- productions as Snow White, Sleep- ing issues of Animation World tion of at least three new animat- ing Beauty and Pinocchio, has Magazine and will soon be avail- ed films over the next four years formed an official Marc Davis Col- able in the U.S. through Indiana which will be released on home lectors’ Society to offer his fans, University Press, distributors of video and may also be released and especially galleries, to access Giannalberto Bendazzi’s historical theatrically. The first two titles will (read: purchase) new, limited edi- volume, Cartoons: 100 Years of be based on classic stories “Tom tion art based on materials from Cinema Animation. Other recent Sawyer” and “Swiss Family Robin- his vaults. Membership to the soci- books include Gene Deitch’s For son.” Executive producing credits ety is limited to 5,000 people. A the Love of Prague and Jan and will go to MGM’s Jonathan Dern $275.00 lifetime membership Eva Svankmajer’s Anima Animus and Paul Sabella, and Stone includes a hand-signed, limited Animation. Animation World Mag- Canyon’s Ibrahim A. Moussa and edition lithograph based on a azine features reviews of these Ovidio Assonitis. Founded in design for the “Pirates of the books in the upcoming July and 1993, MGM Animation has pro- Caribbean” ride at Disneyland, a recent May 1998 issues, respec- duced three home video titles: All newsletter announcing future lim- tively. Dogs Go to Heaven 2, The Pebble ited edition releases and an invita- Do you want to expand and the Penguin and Babes in tion to an annual “Marc Davis Con- your animation library? This issue Toyland, and will release The vention.” In forming this society, of Animation World Magazine fea- Secret of Nimh II and An All Dogs Davis is taking a path chosen by tures an opinion piece on “the Christmas Carol this year. other retired animators such as Chuck Jones, who Anastasia Stages Royal Promo. are making new careers Twentieth Century Fox celebrated out of their respective pasts the April 28 home video release of in animation’s “Golden their animated feature Anastasia Age.” with a contest which will award For information, visit one winning contestant with an www.marcdavis.com. authentic royal title ship. The con- testant who writes the best 25- Books word essay about “why they would like to become nobility and Hot Of The Presses. Sev- what good deeds they would eral new animation books endeavor to do,” will be awarded have recently become avail- with the title, Lord or Lady of able. Rockport Publishers Whinnymoor, Nottinghamshire, has released Computer Ani- England, an actual title which Fox mation: A Whole New purchased for this giveaway. The World, an image-rich book winner also receives U.S. $5,000 highlighting computer ani- and a trip to England and France. mation design, by Women Entries were due by May 11. In Animation founder Rita Details are available at retail outlets Street. Australian publisher selling Anastasia, which is avail- John Libbey has published able now for U.S. $26.98 (collec- David Kilmer’s The Animat- tors edition $79.98). ed Film Collector’s Guide: Worldwide Sources for Car- Animation Art toons on Videotape and Laserdisc, a comprehensive Marc Davis Collecting Fans. Vet- resource, and Jayne Pilling’s eran Disney animator and design- A Reader in Animation Tilde, a motion-capture animated character creat- er Marc Davis, who worked at the Studies. Both of these books ed by Medialab Studio L.A. for ZDTV. Image cour- studio from 1935-1978 on such will be reviewed in upcom- tesy of Medialab.

ANIMATION WORLD MAGAZINE April 1998 73 essential animation library” accord- 3D Studio MAX and Character Stu- Rom game based on the HBO ani- ing to animation historian Jerry dio software to create a multime- mated series and Quest for Beck. dia performance called “Hand- Camelot Dragon Games concur- Drawn Spaces,” which will be rently with the release of the Technology shown at SIGGRAPH and subse- Warner Bros. animated feature last quently in museums, on film and month. Both titles are part of Tools of The Trade. Medialab on the web. . . . Digimation will Knowledge Adventure’s “Play Studio L.A. created two 3-D per- distribute a new 3D Studio MAX Zone!” series of games for Win- formance animation characters for modeling plug-in called daVin- dows and Macintosh platforms. . . ZDTV, a new cable network about ci3D, developed by New Tech- . Disney Interactive will release computers launched last month. nologies, Inc. A demo of the prod- Disney’s Mulan Animated Story- Medialab provided their CLOVIS uct is currently available on the book on June 16, the day that the technology and performer/techni- web site, www.davinci3d.com. new animated feature Mulan cian training for San Francisco- The final version will be available opens in U.S. theaters. . . . Elec- based ZDTV, which will use the as of June 1, for $595.00. . . . Sil- tronic Arts has acquired Tiburon characters (“Dash” and “Tilde”) as icon Graphics has created an in- Entertainment, producer of spokespersons and segment hosts house consulting division called sports games for various plat- for both live and taped program- Entertainment Professional Ser- forms. . . . Santa Monica, Califor- ming. . . . San Francisco-based stu- vices. The division will work on the nia-based animation and special dio Protozoa used its motion-cap- development of creative and tech- effects studio, The Motion Syndi- ture system, Alive!, to help create nical solutions for the TV and film cate created the animated ending the Virtual Ed Sullivan Show which industries. . . . movie (FMV) for the aired on UPN on May 18. Proto- Namco/PlayStation game, Tekken zoa used the same technology to Internet & Interactive 3, which was released on April 28. create “Virtual Bill Clinton” for MTV . . . Activision has released Inter- in January . . . . Animation Tool- Quick Bytes. Digital Planet cre- state 82, the sequel to its popular works has sold 26 of its Video ated a Flash animation series 3-D animated racing game, Inter- Lunchbox units to Portland-based called Super Postal Workers for state 76. Activision also recently Will Vinton Studios. The product The U.S. Postal Service web site made agreements to publish will be used to record reference (www.usps.com). The monthly games created by Engineering tests for stop-motion animation, series features six installments. Dig- Animation, Inc. (EAI), Presto Stu- much like a line-testing system for ital Planet also has a content dios and Sony Music Entertain- 2-D animation. The current issue license agreement with Macrome- ment. . . . . Jaleco released a of Animation World Magazine fea- dia to create games for the web PlayStation game based on the tures an article about the Video site, ShockRave animated series, Speed Racer.. . . . Lunchbox. . . . Alias/Wavefront (www.shockrave.com) using Acclaim released Batman & recently demonstrated the NT ver- Flash2 software. Digital Planet’s Robin, an animated action game sion of its next-generation 3-D ani- Fire in the Hood is one of 45 for PlayStation. . . . Psygnosis has mation software Maya, and its games created for ShockRave . . . . released Shadow Master, an modeling component, Artisan, to Mad Morgan Galleries is show- action shooter game for PC CD- artists in Hollywood. It will be casing and selling animation art Rom and Rascal for PlayStation. available to the public in time for from Jack Kirby and Ruby-Spears Rascal features a character SIGGRAPH in July. . . Cambridge animated properties such as designed by Jim Henson’s Creature Animation will also release a Win- Micromites and Gargoids.. . . . Shop in London . . . . Cavedog dows NT version of its Animo Ax- Comic legend Stan Lee now has Entertainment released Total Cel 2-D animation software in time his own web site in The Marvel Annihilation: The Core Contin- for SIGGRAPH. . . . Experimental Zone, at www.marvelzone.com . . gency for Windows. . . . The dancer and choreographer Merce . Knowledge Adventure, a divi- Learning Company released Cunningham is following in the sion of Cendant Software, released Reader Rabbit’s 2nd Grade, an footsteps of the phenomenal Happily Ever After: Fairy Tales for educational CD-Rom game for “dancing baby” by using Kinetix’s Every Child Activity Center, a CD- Macintosh and Windows, featur- April 1998 74 ANIMATION WORLD MAGAZINE ing animated characters. . . . short films, simulation, education Ima Bugg (Fries/Film Group); Par- and training, students, music rotmania and Sallie’s Histories Call for Entries videos and titles, idents and stings. (Angel Films Denmark); Puss in For program information and Boots and the Princess (Showcase Cinanima 98, the 22nd edition of entry forms, contact Films International); Jungle Empor- the International Animated Film [email protected] or visit www.dig- er Leo and My Father’s Dragon Festival of Espinho, Portugal, will media.co.uk. (Shochiku); Magic 7 (Marie Hoy take place November 10-15, Film & TV) and Hermes, Mermaid 1998. Submissions for the festival Events Island and Mercenary (Sceneries competition are being accepted International). until August 1, 1998. For entry Canadian Anime Expo, or forms and information, contact CNAnime, will hold its first event Last Month In Animation [email protected] or cinani- June 26-28, 1998 at the Metro The following is a list of events [email protected] Toronto Convention Center, in which took place since the last conjunction with the fourth annu- issue of Animation World Maga- Golden Marble, Anyone? Bruin- al Canadian National Comic Book zine was published. These listings co, the publisher of KidScreen Expo. Both events are organized are published weekly in the Ani- magazine, is launching a new by Hobby Star Marketing. For mation Flash, a free newsletter awards show called The Golden information, visit www.hob- which is distributed by e-mail. Sub- Marble Awards, dedicated to “cel- bystar.com/cnanime. scribe now! Are there animation ebrating creative excellence in events going on in your area? advertising to children.” Seven ad Animation At Cannes. The 51st Share your regional event news agencies—Foote, Cone & Belding, Cannes International Film Festival with the international readers of Grey Advertising, Griffin Bacal, J. took place May 13-24 in Cannes, the Animation Flash! Please send Walter Thompson, Leo Burnett, France. While the event is mainly announcements to Ogilvy & Mather and Saatchi & an upscale market/festival for live- [email protected], at least eight Saatchi—are co-founding patrons action feature films and glamorous days in advance. of the awards, which will hold its stars, it did also include some ani- first show on September 10, 1998. mation. One place to look was the • Monday, May 4—Friday, May Additional sponsors include Car- MITIC (International Market of Cin- 8. Long Beach, California, toon Network, Nickelodeon and ema Techniques and Innovations), U.S.A. The Computer Game Fox Kids Network. More than 40 a new marketplace within Cannes. Developers Conference took categories will include “best use of Over five days, MITIC focused on a place at the convention center computer animation” and even daily different theme: special in Long Beach. The event, pro- “best breakfast food commercial.” effects, new projection tech- moted as the place “where June 19 is the entry deadline for niques, DVD, digital film restora- games are born,” featured commercials produced between tion and training with new tools. more than 200 exhibitors and April 15, 1997 and April 15, 1998, At the general film market, animat- five sessions. For information, which are targeted at kids age 6- ed films included: Hans Christian visit www.cgdc.com/sp or call 13 years old. Andersen and the Long Shadow (888) 234-9476. (Trust Film Sales); Annabelle’s Wish LEAF. The London Effects and (Goldcrest Films International); A • Thursday, May 7 and Friday, Animation Festival will take place Chinese Ghost Story: The Tsui Hark May 8. North Hollywood, Cali- November 17-19, 1998, during Animation (Fortissimo Film Sales); fornia, U.S.A. The annual Cal the Digital Media World conven- Simsalagrimm (Niklas and the Sor- Arts student animation shows tion at the Wembley Conference cerer) (Magus Entertainment); took place at the TV Academy Center in London. Entries are Starworkers-TV Series (Primefilms, Theater located on Lankershim being accepted until September 1, SAGL); Tom Sawyer (Stone Canyon Blvd. at Magnolia Blvd. Thurs- in the following categories: com- Investments); The Warrior Prince day’s show, featured films by mercials (animation), commercials (Movie Reps International); The students in the character ani- (live-action effects), feature films, Wind in the Willows (IAC Film); mation program, and Friday’s April 1998 75 ANIMATION WORLD MAGAZINE show included work from the Animation Los Angeles was 5. For information, call (401) experimental animation pro- held at Rhythm & Hues Stu- 454-6233. gram. dios, 5404 Jandy Place in the Marina del Rey area. • Thursday, May 21. San Francis- • Thursday, May 7—Saturday, co, California, U.S.A. The May 9. Northridge, California, • Saturday, May 16. San Francis- Sprocket Ensemble continued U.S.A. The California Sun Inter- co, California, U.S.A. ASIFA-San its Ideas in Animation series, at national Animation Festival Francisco and the Exploratori- the Roxie Theater, with live took place at Cal State Univer- um Film Program screened the music set to accompany ani- sity, Northridge. Call (818) 677- winners of the 1998 ASIFA-East mated films. For information 2488. Animated Film Festival, includ- and booking, call (415) 681- ing films by John Dilworth, Bill 3189. • Wednesday, May 13—Sunday, Plympton, John Canemaker, May 24. Cannes, France. The Mo Willems, Emily Hubley and • Friday, May 22 and Saturday, Cannes International Film Festi- others. May 23. Rowland Heights, Cal- val. See above news item for ifornia. The Rowland Anima- program information. • Saturday, May 16. Sun Valley, tion program at Rowland High California, U.S.A. The Car- School (LPV-ROP) held an open • Wednesday, May 13—Friday, toon/Fantasy Organization house and an homage to ani- May 15. Los Angeles, Califor- (C/FO) held its 21st anniver- mation’s heroines and female nia, U.S.A. The Large Format sary meeting. The new villains. For information, call Cinema Association (LFCA) laserdisc of the Japanese ani- (626) 965-3448, extensions held a conference and film fes- mated feature, Jungle Empor- 195, 196 197. tival at the California Science er, the 1997 sequel to Kimba Center. Programs include the White Lion, was shown. • Tuesday, May 26—Sunday, screenings of several animated For information about the May 31. Annecy, France. shorts in 15/70 format, includ- organization, call Fred Patten Annecy ‘98, the first “annual ing three new works produced at (310) 899 9451. edition” of the 22-year-old for this festival, by Christine Annecy International Animated Panushka, Jules Engel and Bar- • Tuesday, May 19—Friday, May Film Festival and Market (MIFA) bel Neubauer. 22. San Francisco, California, took place. AWN president Ron U.S.A. The 3D Design Confer- Diamond and general manag- • Thursday, May 14. New York ence and Exhibition took place er Annick Teninge were pre- City, New York, U.S.A. Women at Moscone Center. Highlights sent. Also present was Buzz In Animation New York and included a keynote address by Potamkin, who is reviewing Animazing Gallery co-hosted Will Vinton Studios’ CEO Tom the proceedings for Animation “A Tribute to New York Ink and Turpin and more than 60 class- World Magazine’s July issue. Paint Artists,” at Animazing es and seminars teaching Scheduled events included ret- Gallery, 415 West Broadway everything from AutoCAD to rospectives of animators Priit (between Prince and Spring Maya. For information, visit Pärn, Leif Marcussen, Len Lye Streets). Animation historian www.3dshow.com and Tex Avery as well as pro- Howard Beckerman and ani- grams of Rumanian animation, mation artist Janet Scagnelli • Wednesday, May 20—Satur- Belgian pioneers, Nordic ani- gave presentations. For infor- day, May 23. Providence, mation, and films featuring cre- mation, call Animazing at (212) Rhode Island, U.S.A. Rhode ations by British puppet-makers 226-7374. Island School of Design (RISD) Mackinnon and Saunders. presented the 1998 Senior Also, Fantôme’s Georges • Saturday, May 16. Los Angeles, Film/Animation/Video Festival Lacroix has organized a three- California, U.S.A. The first every night at 7:00 p.m. in the day conference, “New Tech- meeting of the Computer Ani- RISD Auditorium. The show nologies in the Art of Anima- mation Group of Women In will also be repeated on June tion,” which featured panel dis- April 1998 76 ANIMATION WORLD MAGAZINE cussions with representatives Karaali, for its combination of clas- The U Ground, Los Angeles. from Pixar, Blue Sky|VIFX, sical animation and computer DreamWorks, Disney, PDI, Pro- technology. Television/Cinema - tozoa, Gribboulle, Medialab, Animation–Film, Bronze Ex Machina, ZA Production Final Emmy Winners. The ani- Awards: and many others mated series, Arthur took home • Super Mom for Coca-Cola. Ani- (http://www.awn.com/fan- the Emmy Award for Best Chil- mation Company: Wild Brain, tome/annecy) dren’s Animated Program on May Inc., San Francisco. 15 at the 25th Annual Daytime • Young Guns II for Nike. Anima- Awards Emmy Awards ceremony. The tion Company: Russell Brookes. series is produced by Boston- • Special Selections for Camp- Cartoonist Awards. The National based PBS affiliate WGBH and bell’s. Production Company: Cartoonists Society held its annual Canadian production company, Acme Filmworks, Hollywood. convention and awards show last Cinar Films. WGBH’s Carol Green- month in Pasadena, California. Dil- wald accepted the award. Addi- Television/Cinema - bert creator Scott Adams was hon- tional award winners were Animation–Computer, Gold ored with the Rueben award announced previously: Awards: (named after Rube Goldberg), as • Special Class-Animated Pro- • None in this category. well as the award for best news- gram: Warner Bros.’ The New paper strip. Dilbert is currently Batman/Superman Television/Cinema - being produced as an animated Adventures. Animation–Computer, Silver series by Columbia TriStar Televi- • Outstanding Sound Editing- Awards: sion. Also receiving awards on Sat- Special Class: Nickelodeon’s • The Face of Technology for urday night were Nik Ranieri (Dis- Angry Beavers. Comdisco. Animation Compa- ney) for feature animation, David • Performer in an Animated ny: TOPIX/Mad Dog, Toronto. Feiss (Cartoon Network) for televi- Program: Louie Anderson, As • Cookie Jar for Diamond Wal- sion animation, David Gantz for Dad/Little Louie In “Life With nuts. Production Company: newspaper panel, Bob Staake for Louie,” Fox. Industrial Light + Magic, San newspaper illustration, Glenn Rafael. McCoy for editorial cartoons, Don Clios. The 1998 Clio Award win- • Goose for Pepsi. Animation Perlin for comic books, B.B. Sams ners were announced on May 15. Company: Digital Domain, for advertising and illustration, Winners in animation categories Venice Guy Gilchrist for magazine and are listed below. Winners in other book illustration, Mark Tonra for categories, which include some Television/Cinema - gag cartoons and Dave Coverly animated productions, can be Animation–Computer, Bronze for greeting cards. viewed on-line at Awards: www.clioawards.com. • The Battery Gym for Panasonic Ankara. The tenth annual Ankara Alkaline Battery/Matsushita Film Festival recently took place in Television/Cinema - Elec. Animation Company: Turkey. The jury included festival Animation–Film, Gold Awards: Omnibus Japan, Tokyo. programmer and Animation • Backstage for Lipton Brisk Iced • Orkin Man for Orkin Extermi- World Magazine contributor oTTo Tea. Production Company: nating Company. Animation Alder. The animated films awarded Loose Moose, London. Company: RG/A Digital Stu- are: • Rocky for Lipton Brisk Iced Tea. dios, New York. First Place: Flatworld by Daniel Production Company: Loose • Launch for Dodge Intrepid. Greaves. Moose, London. Animation Company: RG/A, Second Place: Silence by Sylvie New York. Bringas and Orly Yadin. Television/Cinema - Third Place: The Chain by Phil Mul- Animation–Film, Silver Award: loy. • Heritage/Springfield for Con- Special Mention: One by Lamia verse. Production Company: April 1998 77 ANIMATION WORLD MAGAZINE compiled by Wendy Jackson On A Desert Island With....Internet Animators his month, we asked a few executives involved in creating animation for the Internet what animated Tfilms they would want to have with them if they were stranded on a desert island. Brad deGraf is president of Protozoa, a San Francisco-based, hi-tech animation studio which has pro- duced several projects for the World Wide Web, including 3-D Dilbert and Floops. Jan Mallis, herself a former member of the Protozoa team, is currently president of blitcom, a company founded in 1997 to create VRML programming for the Web, using technology such as Netscape Netcaster, Marimba Castanet Transmitter and Cosmo Player technology. David Vogler is a self-described “graphic artist gone interactive,” who was very recently appointed vice president/creative director for Nickelodeon Mediaworks. He was previously vice pres- ident of Kid’s Content for Disney Online. Brad deGraf’s Top Ten: I mostly like wacko characters and stories. Technique is great if it’s in service of that, but writing and voice are really what’s critical. 1. The Wrong Trousers (Aardman) for the writing, characters, staging, and animation, perfectly concocted. 2. The Great Cognito by Will Vinton. 3. Quasi at the Quackadero by Sally Cruikshank. 4. Panspermia by Karl Sims: computer animation, no characters, but a story nonetheless. 5. The Wizard of Speed and Time by Mike Jittlov. 6. Betty Boop’s Sleeping Beauty (Fleischer Studios): the one with Cab Calloway as a ghost doing “St. James Infirmary.” 7. George Pal’s Puppetoons. 8. Futuropolis by Steve Segal and Phil Trumbo, and every artist that lived in Richmond, Virginia in the late ‘70s. 9. How to Kiss by Bill Plympton. 10. Family Dog by Brad Bird and Steven Spielberg.

Jan Mallis’ Selections: 1. Farmer Alfalfa cartoons (Terrytoons). 2. The animated TV series, Crusader Rabbit , “The Case of the Missing 18th Hole” episode by Jay Ward and Alexander Anderson. 3. I Love to Singa by Tex Avery (Warner Bros.). 4. Duck Dodgers in the 24 1/2th Century by Chuck Jones (Warner Bros.). 5. What’s Opera Doc? by Chuck Jones (Warner Bros.). 6. A double Disney dose: Rescuers Down Under and Fantasia (Disney). 7. Toy Story (Pixar). 8. Family Dog by Brad Bird and Steven Spielberg. 9. The Nightmare Before Christmas by Tim Burton/Henry Selick (Disney). 10. Floops : all 65 episodes (Protozoa).

David Vogler’s Favorites: 1. The Ren & Stimpy Show, when it was directed by John Kricfalusi. 2. The Simpsons (20th Century Fox/Film Roman). 3. A Charlie Brown Christmas by Charles Schultz/Bill Melendez. 4. The Penny cartoon on The Pee Wee Herman Show (Aardman). 5. Patchhead by Gregory Harrison (Carolina Pictures). 6. “Oh Yeah! Cartoons” (Nickelodeon). 7. Inside-Out Boy (Nickelodeon). 9. All Warner Bros. shorts from the 1940s and 1950s featuring Bugs & Daffy, and directed by Robert McKimson, Chuck Jones, etc. 10. Any Charlex animated TV ad or music video from the 1980s. (Charlex, NYC).

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April 1998 79 ANIMATION WORLD MAGAZINE ADULT ANIMATION AND COMICS BOOKS JULY 1998

ur July issue is going to feature an article by Karl Cohen on the 20th anniversary of The Yellow Submarine. We will also include a survey on where some of the film’s artists Oare today. Sean Murch takes a look at the growing mainstream adult animation mar- ket while Fred Patten whisks us far, far away from the masses as he investigates the U.S. anime porn market. Peter Chung discusses the differences between animation and comic books and Dennis Kitchen looks back on his years in the comic book industry and toward the future. We will also reveal what April held for Barry Purves’ Channel 4 production. New York’s Museum of Modern Art will take us inside for our monthly Hidden Treasures column. Buzz Potamkin will review the charged Annecy International Film Festival and Market and Joseph Szadkowski will take us to the high-flying antics of E3. We will also review Come- dy Central’s new show Bob and Margaret. In addition, we will feature two book reviews. For the Love of Prague by Gene Deitch will be looked upon by his former partner’s son, Adam Sny- der, a film distributor. Plus, we will finally feature a very exciting interview with Ollie Johnston and Frank Thomas by Charles Solomon regarding Pierre Lambert’s book Pinocchio. Animation World Magazine 1998 Calendar

Asian Animation (August)

Television (September)

Indepedant Filmmakers (October)

Licensing and Merchandise (November)

ANIMATION WORLD MAGAZINE April 1998 80