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Home , Albie Hecht, Animated sitcom, Barry Purves, Berthold Bartosch, Bill Plympton, Birdz

Vol.Vol. 33 IssueIssue 77 October 1998 Independent Filmmakers and Commercials

Balancing Commercials & Personal Work William Kentridge

ItalyÕs Indy Scene

U.K. Opps for Independents

Max and His Special Problem

Plus: The Budweiser Frogs & Lizards, Barry Purves and Glenn Vilppu TABLE OF CONTENTS

OCTOBER 1998 VOL.3 NO.7 Table of Contents October 1998 Vol. 3, No. 7

4 Editor’s Notebook The inventiveness of independents...

5 Letters: [email protected]

7 Dig This! World Magazine takes a jaunt into the innovative and remarkable: this month we look at fashion designer Rebecca Moses’ animated , The Discovery of India. INDEPENDENT FILMMAKERS 8 William Kentridge: Quite the Opposite of Cartoons The amazing animation of South African William Kentridge are discussed in depth by Philippe Moins. Available in English and French.

14 Italian Independent Andrea Martignoni relates the current situation of in Italy and profiles three current indepen- dents: Ursula Ferrara, Alberto D’Amico, and Saul Saguatti. Available in English and Italian.

21 Eating and Animating: Balancing the Basics for U.K. Independents

1998 Marie Beardmore relays the main paths that U.K. animators, seeking to make their own works, use in order to obtain funding to animate...and eat!

25 Animation in :A Start and an Abrupt Stop In the shadow of , animation in Bosnia and Herzegovina never truly developed until soon before the war...only to be abruptly halted. Rada Sesic explains. COMMERCIALS 30 Bud-Weis-Er: Computer-Generated Frogs and Lizards Give Bud a Boost As Karen Raugust explains, sometimes companies get lucky and their commercials become their own licensing phe- nomena. Anheiser-Busch has such a hit on their hands with their beloved CGI Frogs and Lizards. Includes a sidebar of Selected Licensing Programs Inspired by Advertising Campaigns. SURVEYS 37 Balancing Commercials and Personal Work:Three Directors Speak Jonathan Hodgson, Aleksandra Korejwo and , all commercial and independent directors, relate how they about the contrasts between directing commercials and their own independent works. OTHER 39 Here’s A How de do Diary: July Barry Purves is busy on his stop- Channel 4 production, and Gilbert and Sullivan are charging right along. Discover the details in this month’s installment. THE STUDENT CORNER

CTOBER 49 Vilppu Drawing Online:The Box Renowned drawing instructor Glenn Vilppu offers the third installment in his bi-monthly Animation World Magazine online drawing course.

FESTIVALS, EVENTS

O 51 The 7th Hiroshima International Animation Festival Gigi Hu reviews Asia’s premiere animation festival, the Hiroshima International Animation Festival.

54 My Hiroshima As India enters the nuclear age, the Hiroshima Festival invited a group of Indian animators to the famous Japanese city. One of the delegates, Prakash Moorthy, was moved to action.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE October 1998 2 TABLE OF CONTENTS

OCTOBER 1998 VOL.3 NO.7 56 Tenth Annual Conference of the Society for Animation Studies at Chapman University Keith Bradbury describes animation academia’s party, the Conference of the Society for Animation Studies.

FILMS

60 Antz:The First Biggie from Dreamworks DreamWorks Pictures and PDI bring this much-awaited CG wonder to screens this month. reviews what is hoped to be another animated blockbuster.

63 Max & His Special Problem - A Review Jerry Beck reviews a very special Oh Yeah! Cartoons! short, Max & His Special Problem, directed by Dave Wasson.

65 Frieden:The Tree of Peace Moved by the plight of children in war torn countries, student film maker Alina Chau, Hiu Fan made this remarkable film as a gift for the United Nations. BOOKS

67 A Reader in Animation Studies Pat Raine Webb reviews Jayne Pilling’s new book, A Reader in Animation Studies, which publishes 21 scholarly Soci- ety for Animation Studies essays for the first time. 1998 69 :A Whole New World Frank Foster reviews Rita Street’s new book, Computer Animation: A Whole New World, a photo-filled look at the many achievements and innovations of computer animation.

HIDDEN TREASURES

71 SIIARA:An Archive for the Animated Medium Located in the south of England, this new archive strives to preserve and make available animation information, art work and final films from Bob Godfrey to Halas & Batchelor. John Southall clarifies. NEWS

74 Animation World News Cardiff Closing Down, HBO Birthing Family Channel, Nabs 3 Emmys, and more.

91 On A Desert Island With....Commercial Independents Jonas Odell, Steve Box, Cynthia Wells and Peter Reynolds.

AWN COMICS

93 Dirdy Birdy by John R. Dilworth

94 Next Issue’s Highlights CTOBER

6 This Month’s Contributors

Cover: © Nickelodeon. Dave Wasson’s Max & His Special Problem is reviewed in this issue. Wasson, a 1990 Cal Arts graduate, has established himself as both a successful commercial director and an inde-

O pendent filmmaker. Fate (and ) brought together the best of both worlds when his short film, Max & His Special Problem, already in progress as an independent project, was picked up by Nick- elodeon to be produced as part of the Oh Yeah! Cartoons! program. Wasson is currently working on several more Oh Yeah! Cartoons! such as Max and the Pigeon Incident, Jack and the Beatstalk and Hamzel and Grandé.

© Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE October 1998 3 The inventiveness of independents... ne thing has become people who work for hours in clear while working on their garages, basements and Othis issue. In order to be kitchens on personal wonders. It is independent, one must not only too sad that often the only place have the ability to be amazingly to see these pieces is at animation creative in an artistic sense but also festivals, the cornerstones of artis- in an entrepreneurial sense. Inde- tic animation. If these filmmakers pendents are being forced to be only knew how grateful we were more creative in the financing of for all those times we sat in the their visions as funding from vari- dark, with goose bumps, because ous sources becomes more scarce. of their tenacity, diligence and In this world it isn’t enough to vision. have a unique vision and execute The other big newz in this it, you first have to find a way to issue is Antz, DreamWorks Pictures finance it. and PDI’s first and much awaited Independent filmmakers animated . This film worldwide work on commercials, kicks off the first of four major ani- music videos, CD-Roms, you name mated theatrical features being it, in order to raise funds. We see released from now through the in Andrea Martignoni’s “Italian end of the year. The other three Independent Animators,” Marie are naturally, The Rugrats Movie, A Beardmore’s “Eating and Animat- Bug’s Life and The Prince of Egypt. mine the content of the story. ing: Balancing the Basics for U.K. As was the case with Anastasia, Imagine if live-action films could Independents,” and the survey everyone is waiting to see Antz only be one genre! If these four “Balancing Commercials and Per- and make a verdict, not only animated films succeed individual- sonal Work: Three Directors about DreamWorks and PDI’s bid ly based on originality and story, Speak,” how independents utilize at the animation big time, but also then there is hope for us all. I think commercial work to support their the fate of feature animation units it will be wonderful to break the own projects. Once again, a mag- as a whole. I find it interesting that animated feature out of the typical azine issue of seemingly polar while the technique is as far away Disney mold and into some fresh opposites has come full circle. It is from traditional as possible, ideas. Animation prides itself on ironic that quite a few indepen- the story still revolves around a being a medium where anything dent film makers create advertise- princess! Granted she isn’t in a cas- can happen. So come on folks, ments for companies and their tle, etc, but I guess some old tradi- make anything happen! products in order to do “their own tions and habits are hard to break. thing.” It takes conviction and Still I think we are all ready to see Until Next Time, drive for anyone to make a film. the animated feature break away Heather However, when funding, equip- from the typical fairy tale mold and ment and facilities are low it takes Antz is well on the way to doing even more. I think we’d all like to just that. Animation as a filmmak- thank these often uncelebrated ing technique should not deter- ANIMATION WORLD MAGAZINE October 1998 4 [email protected]

Joe Bev is Tooned-In 1952. Duga Film was founded in Charles Solomon’s “An Afternoon Just wanted to let you 1951, after the first professional with , know how much I enjoyed the Croatian/Yugoslav film The Great and Pinocchio” (Solomon 3.4) by article “Tooning in the 1998 Fall Meeting was made by the broth- the portion of the article where he Season” (Bevilacqua 3.6), which ers Neugebauer and a group of spoke about Walt’s love of Fantasia described the upcoming season of colleagues/cartoonists from the and what he would have wanted new cartoons, by Joe Bevilacqua humorous magazine Kerempuh. to do with it in the future as a con- on AWN. With a four-year-old son Vukotic joined us at Duga Film, tinuing film. Mr. Solomon men- who loves cartoons, it helped me along with all the other artists who tioned that Disney and animation to identify which shows were wanted to try making animation itself would be extremely different most appropriate and would be as a new art. today if Walt had been able to most beneficial and educational Duga Film was not “known continue reworking Fantasia. for him—and also to know which as the Zagreb ,” I’d like to know what Mr. ones I might want to avoid. because it existed for only one Solomon’s continued thoughts on Mr. Bevilacqua obviously year (1951-1952) and was virtual- the subject are. What differences knows his stuff. ly unknown abroad. It was Zagreb would we see if Walt was able to Film, founded later (1956), that continue on Fantasia? Has he Regards, was known as “the famous Zagreb already published more on these Gina Hogan ‘school of animation.’” Vukotic was thoughts elsewhere? exceptionally important in the In Memory of Dusan Vukotic founding of the animation studio Sincerely, Thank you for publishing within , where the so Danny Keller the text on the passing of Dusan called Zagreb school of animation Vukotic (News 3.5). However, originated after 1957. Charles Solomon responds: please allow me to correct some of Thank you for your com- the information that was obvious- With regards, ments. What if Fantasia had been ly given by incompetent sources Borivoj Dovnikovic Bordo as successful as is one or people. I am one of the pio- of the great “what-ifs” of American neers of Zagreb animation from From the Editors: We apol- animation history. I’ve written the very beginning in 1950, and ogize for the incorrect information about it in a couple of was Vukotic’s colleague and close that was published. We took our Times articles and in two of my friend for the past fifty years. information from well-respected books, Enchanted Drawings: The Dusan Vukotic was a great printed historical sources. Howev- and The Dis- artist, so it’s not necessary to mag- er, this goes to show that there ney That Never Was. John Cane- nify his role in Croatian (Yugoslav) isn’t anything like first-hand infor- maker has also written on this sub- animation. He was never the “for- mation from the people who were ject. I’m not sure where Frank’s mer head of the animation unit of there. Thank you. comments have appeared. How- Duga Film.” He started learning ever, the consensus is that if the animation at Duga Film in 1951, More Info on Fantasia film had succeeded, the entire and made his first films there in I was very interested in subsequent history of the medium

ANIMATION WORLD MAGAZINE October 1998 5 would be different. Walt would viceable pegging system with a have been able to continue exper- standard 3 hole punch and some imenting in styles, technology, plastic dowel. Let me know if multi-media, etc., which would you’d like the details. It’s a little have kept him interested in anima- involved, but beats spending tion. He might have gone into $400 on an Acme. Plus, it’s more television and the amusement stable than using a 2-hole punch. ANIMATION WORLD NETWORK parks as well, but he certainly 6525 Sunset Blvd., Garden Suite 10 would have expanded the medi- Thank you again, Hollywood, CA 90028 um in ways we probably can’t Paul Phone : 323.468.2554 imagine, instead of returning to Fax : 323.464.5914 the fairy tale formula that soon Michelle Klein-Häss responds: Email : [email protected] bored him. The difficulty I was telling I hope this proves helpful. people about is that the standard Charles Solomon scanner is usually 8.5” to 9” wide, [email protected] which is insufficient space for 12- Home Studio Info field paper. PUBLISHER Ron Diamond, President Thanks Michelle Klein-Häss Since I wrote the article, Dan Sarto, Chief Operating Officer for your article “Small however, there is a *new* over- EDITOR-IN-CHIEF Studio/Home Studio: An Overview sized scanner out from Plustek Heather Kenyon ASSOCIATE EDITOR of Low-End Computer Aided Ani- which is less than $300. The Wendy Jackson mation Choices” (Klein-Häss 3.5). model is the OpticPro A3-1 and it CONTRIBUTORS : In the passage about punching has a 12” x 17” scanning area... Marie Beardmore Jerry Beck your own paper, you mention, more than enough for a 12-field Keith Bradbury and rightly so, the difference an area. I am not sure whether this is Alina Hiu Fan Chau will experience going a SCSI scanner, and can be used Frank Foster Gigi T.Y. Hu from 12-field to letter-size paper. cross-platform, or a Parallel Port Wendy Jackson However, there is another option. scanner which can only be used Heather Kenyon Instead of buying 8.5” x with PCs, but it is available Andrea Martignoni Philippe Moins 11” paper, you could pick up and through PC Zone in Seattle, WA. Prakash S. Moorthy punch a ream of 11” x 17.” If you Another thing is that with Barry Purves like, you can use it at its full size the intelligent use of a custom field Karen Raugust (which is actually pretty close to guide under your work Rada Sesic John Southall 16-field), or take it to your local out your 8.5” x 11” “window,” you Glenn Vilppu Kinko’s copy center and have them can use standard 12-field paper in Pat Raine Webb trim it to 12.5” so it more closely a pinch. The working area winds TRANSLATION : Italian: Linda Massignan approximates 12-field paper. The up being a little smaller than the French: William Moritz paper is usually a little thicker than drawing area constraints for TV. French Language Editor: Annick the bargain brand letter size and It would make perfect Teninge slightly more expensive, but it’s sense to use a 3-hole punch. A OPERATIONS Annick Teninge, General Manager usually better quality. good 3-hole punch can be had for WEBMASTER And when it comes to about $11 at Staples or Office Jeff Williams punches, you don’t necessarily Depot...and this is for the kind DESIGN/LAYOUT : Jeff Williams/ Steve Small / need an Acme punch, if you’re with an offset lever that doesn’t Danita Clark working solo and don’t mind even strain the hands. ADVERTISING SALES doing a little setup work. In the Hope this clarifies things. North America :Dan Sarto :Thomas Basgier past, I’ve rigged up a perfectly ser- Michelle UK: Alan Smith

ANIMATION WORLD MAGAZINE October 1998 6 Dig This!

Rebecca Moses Brings Animation Into Fashion by Wendy Jackson he fast-paced world of But, said Nick van der Grinten, ion show, The Discovery of India. international fashion is an their approach was “deliberately http://www.awn.com/mag/issue Tunlikely place to find ani- un-sophisticated,” which facilitated 3.7/3.7pages/3.7digthis.html mation. But fashion designer their production schedule: less Rebecca Moses has challenged than one month! that notion by using animation to The completed three-and-a- showcase her designs. half-minute animation was first Moses, an American-born, screened as a surprise introduction Milan-based designer of luxury to Rebecca Moses’ Spring ‘98 Col- apparel (her clothes sell for U.S. lection, before the models hit the $700 and up), developed the idea runway, at a show for the industry of animating her drawings while and media. “The fashion world is working on a collection inspired way too serious,” said Deborah © Rebecca Moses. by India. At the encouragement of Moses, “I think this woke them up. her sister, Deborah Moses and her It takes a lot of courage in this company Moses Media, as well as business to take chances and risks, Nick and Gretchen van der Grin- and to incorporate a sense of Wendy Jackson is associate editor ten of Detour Design, both based humor.” of Animation World Magazine. in New York, Rebecca designed For her next Spring Collec- characters which could be animat- tion show, Rebecca designed a ed. Rebecca’s designs were pop-up invitation, and a mural Note: Readers may contact any brought to life in the form of a col- installation featuring 3D props Animation World Magazine con- orful, playful and truly unique film made from her drawings. She tributor by sending an e-mail to titled The Discovery of India. would like to use animation again, [email protected]. Rebecca’s colored sketches-- but has no definite plans to do so about 20 in all--were drawn on yet. scraps of paper, complete with The on-line version of this What else should we dig? Every backgrounds. At Detour, the art article includes a Quicktime movie month, Animation World Maga- was then scanned and colored in of Rebecca Moses’ animated fash- zine will highlight the most inter- Photoshop, where the back- esting, exciting happenings in ani- grounds were separated and the mation, in “Dig This!” Send us your characters split into pieces and ideas, suggestions, videos, prod- transformed into cut-out-like pup- ucts or works-in-progress today. pets, then animated as such with You dig? . The project was a for Detour, a Editor small design studio that mainly Animation World Magazine focuses on print media and broad- 6525 Sunset Blvd. Garden Ste. 10 cast design, for which the most Hollywood, CA 90028 U.S.A. animation is often moving type. © Rebecca Moses. E-mail: [email protected].

ANIMATION WORLD MAGAZINE October 1998 7 William Kentridge: Quite the Opposite of Cartoons

by Philippe Moins ohannesburg, the end of the sacred body dedicated all of its life tion (bakelite telephones, mega- 20th Century. to this substitute for sex. phones, and stadium-style loud- J In each short animation, speakers) and measuring instru- Soho Eckstein is a fat per- Felix Teitelbaum progressively ments (theodolites and sextants) son; some kind of real-estate mag- resembles his creator William Ken- signaling unknown shores, the nate. With his striped suits and tridge more and more, like those heroes of this animated drawing pudgy features, you would place self-portraits from the Renaissance evolve—and the term animated him somewhere between Bolshe- in which the artist depicts himself drawings can be taken in its most literal sense. In contrast to the first episodes in which Soho and apartheid absolutely rule, where everything is either good or bad, black and white, as judged by our viewpoint, a more subtle, moving and sincere point of view followed, culminating with Felix in Exile, History of the Main Com- plaint, and Weighing and Wanti- ng. The uncertainty of the times and the relationships between people is mirrored in the landscape and figures which are rendered in black, sometimes soft, William Kentridge. Photo courtesy of William Kentridge. sometimes hesitant, charcoal, drawn mostly in shadows and vik caricatures of capitalists and in one corner of the picture. How- sketches rather than with well- the expressionist images of the ever, there is also something of defined details. Weimar Republic. Kentridge in Soho Eckstein, this Felix Teitelbaum we only privileged white man who thinks The Impossible Innocence see from the back—to begin with that nothing can resist him, and This animated fresco, at least. Passive and dreamy, he’s builds monuments to his patiently constructed over the around for the rise of Soho Eck- own work. years in the form of short stein, and again for his downfall, animation films, unfolded from which is the only time we see William Kentridge feels at 1989 to the present. It is the work Soho in a more humane light. home in this town of Johannes- of William Kentridge. This South Around them, South Africa, confis- burg where he creates these African artist recently came to cated by the whites, breaks free. works impregnated by the situ- Brussels to present two events: a Felix only becomes active when ation... production of the Monteverdi he deceives Soho by having an The Return Of Ulysses at the affair with Sarah Eckstein, the In a universe of devastated Festival of Arts, and an important entrepreneur’s wife. Even then, landscapes, wounded bodies, and exhibition at the Museum of Fine only his tongue is active, as if his out-dated means of communica- Arts, which will tour through the

ANIMATION WORLD MAGAZINE October 1998 8 end of the year to Munich, Ger- desperate, but always poetic; one In order to do this, Ken- many and Graz, Austria. A theme can see this best when he evokes tridge gradually refined a personal running through all of his work is visions of a state of grace, a door- animation technique. Each of his his peculiar way of representing way to paradise that can make short films is based on a series of South Africa. He does not dwell on one forget the realities and hor- some 20 to 40 charcoal drawings, the picturesque or humanitarian rors. Kentridge once explained, mostly in large sizes with some elements of the country. He does- “Certain artists, from Matisse to the enhancements in pastels. In a n’t even take a militant stance, lyrical abstract painters, have been desire for a chromatic simplicity even though his career is that of a successful in preserving a sort of with symbolic values, only colors, white progressive intellectual, with innocence or blindness and con- such as blue to represent water, a certain iconography to tinuing to work like that in our and red, are used, glaring against the politically engaged artist. times, without bad faith gnawing the subtlety of gray. Rather William Kentridge feels at at their work. I’d love to be able to home in this town of Johannes- work like them, but it’s not possi- William Kentridge is a perfect burg where he creates these ble.” 2 autodidact of animation, some- works impregnated by the situa- thing that reinforces the frag- tion of his homeland, its history Animation as Process ile, precarious side of his cre- and its contradictions. Why did this fine-artist ations. painter, draughtsman and What interests Kentridge is engraver decide to dedicate so Each of these drawings is Time; its passing, the traces it much energy to animated film? like a storyboard sketch, often leaves, the memory that The answer lies in Memo, one of filmed with no camera moves. events, beings and objects his earliest attempts at film, which Kentridge modifies his composi- leave when we close our eyes mixed pixillation with drawn ani- tion little by little between each on our past. mation. What interests Kentridge is frame shot by erasing certain parts Time; its passing, the traces it and re-drawing them. The char- leaves, the memory that events, coal technique, ephemeral and Kentridge has said, “I beings and objects leave when volatile, lends itself to this treat- haven’t been successful in escap- we close our eyes on our past. ment, particularly in that faint ing from Johannesburg. The four What technique besides frame-by- traces remain of the imagery that houses that I have lived in, my frame could better render an has been erased. The result on school, my studio, have all been account of this phenomena? screen gives a rather fragile image, less than two miles from all in nuances, quite in the each other. And in the end, manner of a man obsessed all my work is rooted in this by the idea of traces, of rem- rather desperate provincial iniscences. Unconcerned city. I have never tried to with make illustrations of techniques, not even filming apartheid, but the drawings with a true animation stand, and films are certainly William Kentridge is a perfect spawned by and feed off autodidact of animation, a the brutalized society left in fact that reinforces the frag- its wake. I am interested in a ile, precarious side of his cre- political art, that is to say an ations. It also permits him to art of ambiguity, contradic- reinvent, with all sincerity, tion, uncompleted gestures techniques discovered by the and uncertain endings. An first animators at the begin- art (and a politics) in which ning of this century. In this optimism is kept in check sense, animation is only a and nihilism at bay.” 1 process of unveiling the act His films are often Weighing and Wanting. © William Kentridge. of drawing, and can become ANIMATION WORLD MAGAZINE October 1998 9 a part of a greater community itself. whole. One can some- The William Ken- times see his hand or tridge Exhibition will be his entire body appear in Germany until Octo- in certain films. In his ber 11, 1998, at Kun- films, he acts almost stverein, Munich. It will like a stage manager, then be in Austria from integrated into his films November 15, 1998 to as he directs the com- January 15, 1999, at the bining of sets, giant New Gallery Graz at the , actors and Landesmuseum Johan- manipulators (Faust in neum, Graz. Africa!, Ubu and the Truth Commission, and 1 Michael Goldby, William the very recent opera Kentridge, Painter, Revue The Return of Ulysses). Noire No. 11, December Rather than using the 1993, January/February 1994, pp. 20-23 term ‘animated car- toon,’ with its connota- 2 Caroline Bakargiev-Chris- tions of entertainment, tov, William Kentridge (exhibi- he prefers to use the Felix in Exile. © William Kentridge. tion catalogue) Palais des term ‘drawings for pro- scale of his large formats is per- Beaux Arts, Bruxelles, 1998 jection’ to describe his work. ceptible here, in the company of the films and works specially creat- The on-line version of this article Rather than using the term ed for these circumstances. The includes a Quicktime movie from 6 ‘animated cartoon,’ with its originals of his drawings for pro- Soho Eckstein by William Ken- connotations of entertain- jection, these large charcoals, the tridge. ment, he prefers to use the last steps of a animation process http://www.awn.com/mag/issue term ‘drawings for projection’ before a camera, exude a different 3.7/3.7pages/3.7moinsken- to describe his work. force, which gives one a fresh tridge.html appreciation for the films of which By integrating these diverse these drawings are apart. Outside Translated from French by William processes, Kentridge’s films really the world of contemporary art Moritz. attain their full expression only in and the great centers of theatrical the theatre, or in installations like creation, William Kentridge has Philippe Moins is co-director of those he presented in his museum succeeded in both of these arenas the Animation Festival of Brussels, exhibit. The impact of the true paradoxically by being invited in for which he organized one of the same year the first retrospectives of William (1997) to the presti- gious Documenta Kentridge at any animation festi- Art Exhibition in val. He is the regular animation Kassel and the pres- reporter for the daily Belgian tigious Theatre Fes- newspaper Le Matin (The Morn- tival in Avignon. ing Paper). His unique use of animation has cer- tainly played a part Note: Readers may contact any in this double Animation World Magazine con- honor, which is late tributor by sending an e-mail to in coming from the [email protected]. Faustus in Africa! © William Kentridge. world animation ANIMATION WORLD MAGAZINE October 1998 10 William Kentridge, aux antipodes du cartoon par Philippe Moins ohannesburg, fin du vingtième un coin du tableau. Mais il y a A l’incertitude des temps et siècle. aussi quelque chose de Kentridge des relations entre les person- J dans Soho Eckstein, ce blanc priv- nages répond le paysage et la Soho Eckstein est un per- ilégié qui pense que rien ne lui forme, faite de noirs parfois flous, sonnage adipeux, sorte de mag- résiste et fait construire de mon- parfois hésitants, technique du nat de l’immobilier. Avec ses cos- strueux monuments au travail. fusain qui procède autant par tumes rayés et ses traits épaissis, Dans un univers de paysages ombres et par traces que par traits on le situerait à mi chemin entre dévastés, de corps lacérés, de affirmés. les caricatures bolchéviques moyens de communication représentant les suppôts du Capi- désuets (téléphones en bakélite, L’impossible innocence tal et des figurations expression- porte voix, hauts parleurs style “les Cette fresque animée, nistes de la patiemment bâtie au fil république des ans sous la forme de de Weimar. sept courts métrages d’an- Felix Teitel- imation, s’échelonne de baum, on 89 à aujourd’hui. Elle est ne le voit l’oeuvre de William Ken- pratique- tridge. Cet artiste sud ment que africain vient de présenter de dos, au à Bruxelles à la fois un départ du spectacle au Kunsten Fes- moins. Passif tival des arts (Il Ritorno d’ et rêveur, il Ulisse, opéra de Mon- assiste à l’as- teverdi) et une importante cension de exposition au Palais des Soho Eck- Beaux-Arts qui circule à la stein, puis à fin de cette année en Alle- sa magne (Munich) et en déchéance William Kentridge. Autriche (Graz). En fil- qui corre- igrane de toute son oeu- spond à son humanisation. Autour dieux du stade”) et d’instruments vre, c’est une Afrique du Sud sin- d’eux, l’Afrique du Sud confisquée de mesure (théodolite, sextants,...) gulière, éloignée de tout pit- par les blancs se délite. Felix ne balisé par on ne sait quelles cotes, toresque, fût-il humanitaire qu’il devient actif que lorsqu’il trompe évoluent les héros de ces “dessins donne à voir. Non par volonté mil- Soho avec Sarah Eckstein, l’épouse animés”, ce mot devant être pris itante, même si le parcours de de l’entrepreneur et même alors dans son sens le plus littéral. Kentridge est celui d’un intellectuel seule sa langue s’active, comme si Aux contrastes jugés progressiste blanc, avec une cer- son corps hiératique déléguait manichéens (selon notre regard taine iconographie commune aux toute vie à un substitut de son d’occidentaux) des premiers artistes “engagés”, mais parce que sexe. épisodes (lorsque Soho et l’a- William Kentridge se sent chez lui Dans chaque court partheid règnent sans partage) dans cette ville de Johannesburg métrage, Felix Teitelbaum ressem- succède une vision plus subtile, où il crée des oeuvres imprégnées ble davantage à son créateur émouvante et sincère qui culmine par la situation de son pays, son William Kentridge, il rappelle ces avec Felix in Exile, History of the histoire, ses contradictions: “Je n’ai autoportaits de la Renaissance, Main Complaint et Weighing and pas réussi à m’échapper de Johan- quand l’artiste se représentait dans Wanting. nesburg. Les quatre maisons que ANIMATION WORLD MAGAZINE October 1998 11 j’ai habité, mon école, à cette démarche, avec mon atelier, ont tous ceci de particulier été dans un rayon de qu’elle laisse subsister trois kilomètres. Et des traces de ce qui a finalement, tout mon été effacé. Le résultat à travail est ancré sur l’écran donne une cette ville provinciale image un peu fragile, et plutôt dés- tout en nuances, bien espérante. Je n’ai dans la manière d’un jamais essayé de faire homme obsédé par une illustration de l’a- l’idée de la trace, de la partheid, mais les réminiscence. Se dessins et les films sont jouant des techniques engendrés et nourris d’animation tradition- de cette société brutal- nelles, filmant avec ce isée, laissée pour qui n’est même pas un compte. Je m’intéresse vrai “banc titre”, William à un art politique, c’est Kentridge est un parfait à dire un art d’am- autodidacte du cinéma biguïté, de contradic- Weighing and Wanting. © William Kentridge. d’animation, ce qui tion, aux démarches renforce le côté fragile non abouties et aux finalités incer- qui intéresse Kentridge, c’est le et précaire de ses créations. Ce qui taines. Un art (et un politique) où temps, son défilement, la trace lui permet aussi de réinventer en l’optimisme est maintenu en échec qu’il laisse, le souvenir que les toute sincérité des procédés et le nihilisme aux abois.” 1 événements, les êtres et les choses éprouvés jadis par les premiers ani- Conception souvent dés- laissent quand nous fermons les mateurs, au début du siècle. En ce espérée, toujours poétique, dont il yeux sur notre passé. Quelle tech- sens, l’animation n’est qu’un révèle en creux les fondements nique autre que l’image par image processus de dévoilement de l’acte lorsqu’il évoque les visions d’un pouvait mieux rendre compte du de dessiner et peut faire partie état de grâce, d’une accession au phénomène? d’un tout plus vaste. Ainsi voit-on paradis qui peut faire oublier les Pour ce faire, Kentridge a sa main, voire sa personne, inter- réalités et leurs horreurs : “Certains petit à petit affiné une technique venir dans certains films. Ainsi intè- artistes, de Matisse aux peintres d’animation personnelle. Chacun gre-t-il certains de ses films à des abstraits lyriques, ont réussi à con- de ses courts métrages est basé spectacles qu’il met en scène, server une sorte d’innocence ou sur une série de vingt à quarante combinant décors, marionnettes d’aveuglement et continuent à tra- dessins au fusain, généralement géantes et acteurs/manipulateurs vailler ainsi de nos jours, sans que de grand format, rehaussés de (Faustus in Africa!, Ubu and the la mauvaise foi ronge leur oeuvre. pastels. Seules couleurs, le bleu Truth Commission et le tout récent J’aimerais être capable de travailler figurant l’eau et le rouge sont util- opéra il Ritorno d’ Ulisse). Ainsi le comme eux. Mais ce n’est pas pos- isés, dans une volonté de simplic- voit-on préférer au terme de ité chromatique à valeur symbol- “dessin animé”, tellement connoté sible.” 2 ique, tranchant avec la subtilité “entertainment”, le terme de des gris. “dessins pour projection”, lorsqu’il L’animation comme processus Chaque dessin est une parle de son travail. Pourquoi ce dessinateur, sorte de plan séquence, au Intégrés à ces divers peintre et graveur, a-t-il un jour cadrage souvent immuable. Ken- processus, les films de Kentridge décidé de consacrer autant d’én- tridge modifie petit à petit sa com- n’atteignent vraiment leur pléni- ergie à des films d’animation? La position entre chaque prise en tude que dans les spectacles, ou réponse est dans Memo, un de ses effaçant certaines parties pour les dans les installations comme celles essais déjà anciens, mélangeant redessiner. La technique du fusain, présentées dans son exposition. pixillation et dessins animés: Ce éphémère et volatile, se prête bien Toute la vraie mesure de ses ANIMATION WORLD MAGAZINE October 1998 12 grands formats y est perceptible, en com- Texte original pagnie des films et anglais de la citation d’oeuvres spéciale- (1): “I have been ment créées pour la unable to escape circonstance. Les orig- Johannesburg. The inaux des “dessins four houses I have pour projection”, ces lived in, my school, grands fusains, studio, have all been ultimes étapes d’un within three kilometers processus d’anima- of each other. And in tion sous la caméra, the end all my work is dégagent une force rooted in this rather différente, qui fait desperate provincial apprécier autrement city. I have never tried les films dont ils con- to make illustrations of stituent le matériau apartheid, but the originel. drawings and films are Souvent en certainly spawned by décalage par rapport and feed off the bru- à l’art contemporain, Felix in Exile. © William Kentridge. talised society left in its en marge des grands centres de octobre 98, Kunstverein München, wake. I am interested in a political création théâtrale, William Ken- Munich art, that is to say an art of ambigu- tridge réussit ce paradoxe d’être Autriche, du 15 novembre 98 au ity, contradiction, uncompleted invité la même année (97) à la 15 janvier 99, Neue Galerie Graz gestures and uncertain endings. Documenta de Kassel et au Festi- am Landesmuseum Joanneum, An art (and a politics) in which val d’Avignon. Graz optimism is kept in check and Son utilisation du cinéma nihilism at bay.” d’animation n’est pas pour rien 1 Goldby, Michael, “William Kentridge dans cette belle consécration, qui peintre” in Revue Noire, n°11, décembre On-line Quicktime: 6 Soho Eck- tarde à venir du côté du cinéma 93, janvier février 94, pp.20 à 23 stein par William Kentridge. d’animation lui-même. http://www.awn.com/mag/issue 2 Christov - Bakargiev, Carolyn, William 3.7/3.7pages/3.7moinskentridge- Kentridge, catalogue d’exposition, Exposition William Kentridge Société des Expositions du Palais des frch.html Allemagne, jusqu’au 11 Beaux Arts de Bruxelles, Bruxelles 1998 Philippe Moins est c-o directeur du Festival du dessin animé et du film d’animation de Bruxelles, il a organisé à ce titre une des pre- mières rétrospectives William Ken- tridge dans un festival d’anima- tion. Il tient une rubrique cinéma d’animation pour le quotidien belge le Matin.

Note: Les lecteurs peuvent con- tacter les collaborateurs d’Anima- tion World Magazine en envoy- ant un e-mail à [email protected]. Faustus in Africa! © William Kentridge.

ANIMATION WORLD MAGAZINE October 1998 13 Italian Independent Animators

by Andrea Martignoni s in other countries, Italy through a collective production similarly to what occurred during has an environment where process, to be more visible while the ‘50s and ‘60s. Among young Acreating animated movies is not becoming a form of sterile self- Italian animators, we can profile difficult and filled with obstacles, representation. It is inter- three directors as testaments to especially for independent anima- esting to note the above-mentioned state of tors trying to produce short films. the activities of affairs. It is the same old problem of a group of film- a lack of visibility for makers from On a more local level it is pos- the works that these Bologna, who, sible to encounter organiza- artists have done. As a not bound to tions which can be helpful in result, it is very difficult to anima- the creation and wider distrib- know exactly who and tion, ution of works... how many Italian indepen- dent animators are out there. In the past, and continu- Ursula Ferrara ing today, many efforts have Ursula Ferrara, born in Pisa been made to solve, or at least in 1961, has completed, from alleviate, a situation that we 1984 until now, five short films could easily define as sad. The of a total length of no more creation of an aid-agency like than fifteen minutes. Still, the ASIFA-Italia in Turin, for instance, path she has taken is a very origi- works as a means of distributing nal one, gleaning very interesting information to its members, most results. of whom are filmmakers. In addi- are work- Some of her films have tion, ASIFA-Italia is both a reference ing inside the Link been successfully submitted for point and tangible asset for find- Project, and establishing video-cin- selection in many international cin- ing materials, screenings and con- ematographic programming and ema festivals: Congiuntivo Futuro sultants. Such an organization, production, which also attracts the (Future Subjunctive) won the New however, has to face all kinds of active animators in town. York Silver Award of the Art Direc- difficulties, the least of which is However, the artistic life for tor’s Club in 1990; Amore Asim- financial. most independents is a solitary metrico (Asymmetrical Love) won There are no other struc- one, except for a few cases in the Silver Ribbon in 1991; and the tures working on a national level. which production activity is divid- recent Quasi Niente (Almost Noth- However on a more local level it is ed between personal projects and ing) earned a prize for being the possible to encounter organiza- collaborations on television series, best Italian quality short film at the tions which can be helpful in the music videos, and television and most recent Cartoombria in Peru- creation and wider distribution of cinema advertisements and com- gia. works. Specialized festivals, or mercials. In the last few years, with Ursula Ferrara’s career even short film festivals, often host the incorporation of new digital began almost by chance, thanks a special section dedicated to ani- technologies, we are witnessing a to the exhibition “Portrait mated movies. Plus, there are asso- massive return of animation in d’un studio d’animation” which ciations of artists attempting, advertising and television jingles, presented the works of the French ANIMATION WORLD MAGAZINE October 1998 14 animation studio of the National Alhambra” by F. Tarrega, played by of , where he is currently Film Board of Canada in 1984. Vincenzo Bolognese. teaching. He has earned the repu- Impressed by the pre-pro- Color has been her next tation of being a very prolific artist duction done by Viviane Elnécavé step. In Quasi Niente (Almost with a very fast production time, while involved in the making of Nothing, 1997), Ursula Ferrara and makes skillful use of most ani- her film Luna, Luna, Luna (Moon, makes use of oil paint, not on mation techniques as a result of Moon, Moon), Ursula Ferrara paper anymore, but . This rep- years of research and experimen- began working on Lucidi Folli resents a true example of moving tation. (Lucid Insanity, 1986), a film that is paintings. Moreover, for the first peculiar due to its strong black time, our author seems to follow a The artistic life for most inde- lines and the continuous meta- sketched script. The film simply pendents is a solitary one. morphosis of drawings. Uncon- shows a young family having a sciously, she repeats the tech- Sunday breakfast, with interesting niques used by the first animation flashes, portrayed by brilliant pas- Alberto D’Amico’s filmogra- filmmakers in history, such as Emile sages of animated movement, in phy, from 1987 to present, Cohl, who created his Fantas- which we visit every character’s includes about 20 short films, magorie with almost the same memory. often created in co-operation with method in 1908. The original soundtrack, other visual artists, painters, poets In the following Congiunti- with its intelligent use of surround- or musicians. In addition to his vo Futuro (1988) and Amore Asim- ing noises, and the Tuscan author’s works of great formal interest, metrico (1990), the author still great ability in realizing changes in three shorts in his repertoire are seems to be searching for her own perspective, display her continu- particularly remarkable, even if personal style. According to Fer- ous and increasing artistic growth. they are very different from one rara, this was what the films were Ursula Ferrara is already involved another. about—real exercises. Especially in in the production of her next color Le statue si amano (Statues Amore Asimmetrico, the influences film. Love Each Other, 1988), D’Amico’s of contemporary visual art strong- second film following his final stu- ly appear, with references ranging Alberto D’Amico dent work Tre Scherzi per Viola from Picasso to Cubism. The case of Alberto D’Ami- (Three Scherzos for Viola, 1987), Still drawn in pencil, these co, born in Rome in 1962, is a very was realized on Video 8, using films are the prelude to the follow- different one. As a matter of fact, stop-motion applied to the heads ing Come Persone (Like People, unlike Ursula Ferrara, D’Amico of two statues (sculptured by the 1995), her last black & white film studied animation at the Experi- author’s father, Stefano D’Amico) which is a real little masterpiece in mental Centre of Cinematography and different kinds of fruit. The the Italian scene of animated interesting aspect of this film drawings. A frantic sequence of does not mainly lie in the tech- images relates many micro-situa- nical accuracy (the film shows tions of a moving humanity few noticeable mistakes), but in (46!), all in a time length of the perfect union between text, roughly 90 seconds. Realized as written by Roberto Gigliucci, the mad dolly shot of an insane and images. The two single ele- cameraman, we can especially ments would have been less appreciate the film for its rhyth- interesting than the result mical quality, the accomplished obtained through the synergy of stylistic unity of the drawings, text/ word and text/ image. The which show great originality impossibility of physical touch and refinement even without between the two statues having precise references, and becomes the cue for an the inspired choice of music, extremely poetic discourse on which is a very lively transcrip- Amore Asimmetrico (Asymmetrical Love, 1990) by love. This metaphor for the Ursula Ferrara. © Ursula Ferrara. tion for violin of “Recuerdo de human condition, through the ANIMATION WORLD MAGAZINE October 1998 15 mythology and formal classi- duction studio that is work- cism of plastic art and the ing mainly on commission, naturalism of fruit, portrays a primarily in music videos. representation of fertility and Of his various productions infertility. a series of six shorts all gath- Pettini o Forchette? ered under the title of Short (Combs or Forks?, 1994) is Splatter Collection (1995) is developed from the contem- particularly interesting. The porary artist G. Capogrossi’s series’ first three short films, work to create a series of The Giant Communist Ant, innumerable variations on a Robo-Pope and The Atomik theme, using a number of Maguma, have been created different techniques ranging by drawing directly on trans- from drawing on paper or parent film, a technique that cels to painting on film. The is very similar to the one Vin- Come Persone (Like People, 1995) by Ursula Ferrara. © original soundtrack com- Ursula Ferrara. cenzo Gioanola employed posed by Fabrizio de Rossi and is a perfect vehicle for and Lucio Gregoretti is extremely of Leonora Del Punta’s original the ingenious and desecrating interesting. Based on the movie’s drawings. ideas of the author. The remaining storyboard, the music lends a Alberto D’Amico’s technical films, also conceived on film, rhythmical cadenza to the final expertise, accurate cultural refer- exploit short visual and sound ences to literature, visual arts and editing of images. Alberto D’Amico fragments taken from the movies music, in addition to the quality of has frequently collaborated with of the Italian comedy pair, Ciccio his collaborations with other artists musicians from the Rome area. In and Franco. Popular comic actors active in many different fields fact, a recent short film of his, com- in Italy during the ‘60s and ‘70s, make him a special, multi-faceted pletely realized on film, was pro- Franco Franchi and Ciccio Ingras- artist of animated cinema. Well- jected accompanied by an impro- sia did countless B-movies, which known in the cultural circuit of visationally based soundtrack per- were usually very funny, surreal Rome, his films have been submit- formed live. remakes of world-wide, successful ted to many cinema festivals movies created of the same peri- including the Mostra Inter- od. The film has been worked by In the last few years, with the nazionale del Cinema di Venezia Saul Saguatti not only employing incorporation of new digital (International Cinema Festival of colors but also transforming, etch- technologies, we are witnessing Venice), and have also been pre- ing and reassembling strips of the a massive return of animation sented on RAI Italian Broadcasting original films, in a frantic parody of in advertising and television Television during a special pro- a parody. jingles... gram dedicated entirely to his work. It would be nice if this art Tenga duro Signorina form could break away from Saul Saguatti (Don’t Give in Miss, 1998) was this sort of ghetto... Another example is Saul produced as the opening Saguatti, born in the Bologna area sequence for the full-length movie in 1966. He has been involved in Femminile Singolare (Feminine The director is currently the field of animation and video, Singular) directed by Claudio Del involved in the production of an since a very young age, accom- Punta, and is inspired by the experimental, abstract short film plishing his first work of graphic beginning of Raymond Queneau’s which will be created manually by animation for television in 1985 well-known work Les Oevres com- reprocessing a sampling of a few when he was just 19. In the last plètes de Sally Mara. Mixed media film fragments on the computer; few years, besides his personal has been employed, which in a sort of etching on film made works, he has been and still is includes the animation of pho- digitally on the computer. busy promoting a collective pro- tographs, in addition to animation ANIMATION WORLD MAGAZINE October 1998 16 Ruotolo, who dis- form could break away from this played a passion sort of ghetto, outside of which for abstract cine- only major television series pro- ma and Norman ductions and full-length Christmas McLaren in her films seem to exist, with a few rare first work Chemi- exceptions. Too many years have cal Marriage, and passed where all animation looks is currently the same. involved in her second short film; Translated from Italian by Linda Sara Fabbri, who Massignan. directed two remarkable little films all drawn in pencil on paper Andrea Martignoni is an Italian entitled Vetri musician and researcher. He is (Glasses) and currently involved in studying the Chiodi (Nails); From the Short Splatter Collection (1995) by Saul Saguatti. © various aspects of the relationship Saul Saguatti. and last but not least, Sandra Siso- between music, sound, and Others... fo, a young painter who has been image in animation films. Besides the above-men- recently engaged in two movies tioned film makers, who demon- entirely realized on 35mm film. strate how possible it is, in three Our highest hope is for all completely different ways, to fol- of these artists to continue to cre- low a path of animated experi- ate their films successfully and for Note: Readers may contact any mentation, other young artists quality animation films to find Animation World Magazine con- have already approached or are more and more places for exhibi- tributor by sending an e-mail to drawing near this sphere of cine- tion, besides just a few specialized [email protected]. ma. We should mention: Flavia festivals. It would be nice if this art Animation World SStore http://www.awn.com/awnstore/vilppu Never before available!!!

Glenn Vilppu’s drawing techniques manual and video tapes, used worldwide as course material for animation students.

ANIMATION WORLD MAGAZINE October 1998 17 Animatori Indipendenti Italiani

di Andrea Martignoni a situazione in cui si trova il forma di sterile autorappresen- in molti festival internazionali di cinema di animazione in tazione.1 cinema: Congiuntivo Futuro ha LItalia, come forse anche in Ma la vita artistica della vinto il Silver Award of the Art altri paesi, è difficile e complicata maggior parte degli indipendenti Director’s Club di New York nel per gli autori indipendenti che è solitaria, a parte pochi casi in cui 1990, Amore Asimmetrico il Silver relizzano cortometraggi. E’ sempre l’attività produttiva si divide fra Ribbon nel 1991, e il recente il vecchio problema della scarsa progetti personali e collaborazioni Quasi Niente si è guadagnato il visibilità che le opere di questi a serie televisive, a videoclips musi- premio come miglior cortometrag- artisti hanno. Da questo ne con- cali o pubblicità e gio d’autore italiano alla recente segue la difficoltà di poter sapere sigle televi- edizione di Cartoombria a Perugia. chi e quanti siano con precisione sive e cine- La carriera di Ursula Ferrara gli animatori indipendenti ital- matogra- inizia quasi per caso, complice l’in- iani. contro a Parigi con la mostra Por- fiche.2 In passato, trait d’un studio d’animation che Fra i come attualmente, sono presentava il lavoro dello Studio giovani stati fatti sforzi non indiffer- Francese di animazione del autori enti per risolvere o alleviare National Film Board of Canada nel questa situazione, che si può 1984. quantomeno definire dolorosa. La Impressionata dal lavoro creazione di una struttura di aiuto preparatorio di Viviane Elné- come ASIFA Italia a Torino, con cavé alle prese con il suo tutte le difficoltà in cui si dibatte, film Luna,Luna,Luna, non ultime quelle economiche, l’autrice inizia a lavorare a funziona come strumento di Lucidi Folli (1986), film che si informazione per gli associati (la caratterizza per il forte tratto più parte dei quali sono gli stessi nero e per le continue meta- autori), nonché come punto di morfosi dei disegni. Inconscia- riferimento, anche fisico, per il mente Ursula Ferrara si trova a dell’ani- reperimento di materiali da vision- ripercorrere le tecniche utilizzate mazione italiana are o da consultare. dai primi realizzatori della storia possiamo citare tre esempi Non esistono altre strutture del cinema d’animazione, come che ben testimoniano questo stato funzionanti a livello nazionale, Emile Cohl, che nel 1908 realizza- di cose. anche se spesso si incontrano va, quasi con lo stesso metodo, il ambiti organizzati a livello locale suo Fantasmagorie. Ursula Ferrara che possono essere utili per la Nei successivi Congiuntivo Ursula Ferrara, nata a Pisa creazione e per una maggiore cir- Futuro (1988) e Amore Asimmetri- nel 1961, ha realizzato, dal 1984 cuitazione delle opere stesse: le co (1990), l’autrice sembra essere ad oggi, cinque cortometraggi la rassegne specializzate o anche i ancora alla ricerca di uno stile per- cui durata totale non supera i festival di cortometraggi che ospi- sonale. Come da lei stesso quindici minuti. Ma il suo è un per- tano spesso al loro interno film di dichiarato, si tratta di veri e propri corso originale e dai risultati di animazione, oppure associazioni esercizi. Soprattutto in Amore grande interesse. di artisti che tentano, attraverso la Asimmetrico risultano evidenti le Alcuni dei suoi film sono stati pre- autoproduzione collettiva, di ren- influenze dell’arte visiva contem- sentati con successo in concorso dersi visibili senza ridursi ad una poranea, da Picasso al Cubismo. ANIMATION WORLD MAGAZINE October 1998 18 entra nei ricordi di ciascuno dei Le statue si amano (1988), personaggi. secondo film di D’Amico, dopo il Colonna sonora originale, con uti- saggio di fine studi Tre Scherzi per lizzo intelligente dei suoni d’ambi- Viola (1987), è realizzato in Video ente, e grande capacità di realiz- 8 con animazione di oggetti (Stop- zare cambiamenti di prospettiva Motion), qui applicata a due teste testimoniano della continua cresci- di statue (realizzazione dello scul- ta dell’autrice toscana, già alle tore Stefano D’Amico, padre del- prese con il suo successivo film, l’autore) e a diversi tipi di frutta. sempre a colori. L’aspetto interessante non è legato principalmente alla tecnica (il film Alberto D’Amico presenta anche alcuni evidenti Amore Asimmetrico (1990) di Ursula L’esempio di Alberto D’Ami- difetti), ma al perfetto connubio Ferrara. © Ursula Ferrara. co, nato a Roma nel 1962, è di fra il testo di Roberto Gigliucci e le Ancora realizzati a matita, fatto molto differente. Al contrario immagini. Le due componenti questi film sono il preludio al suc- di Ursula Ferrara, D’Amico ha stu- prese singolarmente sarebbero, cessivo Come Persone (1995), ulti- diato animazione, al Centro Speri- sommate, meno interessanti del ma realizzazione in bianco e nero, mentale di Cinematografia di risultato che si attua attraverso la vero e proprio piccolo capolavoro Roma, dove attualmente insegna, fra testo/parola e nel panorama italiano del disegno ed il suo lavoro si caratterizza per testo/immagine. L’impossibilità di animato. Una successione freneti- una maggiore prolificità, con contatto fisico fra le due statue è ca di immagini che narrano tante tempi di realizzazione molto rapidi, spunto per una trattazione alta- microsituazioni di umanità in movi- e l’utilizzo di quasi tutte le tecniche mente poetica, sull’amore. Una mento (quarantasei!) in circa d’animazione, frutto di anni di stu- metafora della condizione umana novanta secondi di durata. Realiz- dio e sperimentazione. attraverso la mitologia e il classicis- zato come una folle carrellata di La filmografia di Alberto mo formale dell’arte plastica e il un cameraman impazzito, il film si D’Amico, dal 1987 ad oggi, com- naturalismo della frutta: rappre- fa apprezzare per la qualità del prende già una ventina di cor- sentazione della infecondità e ritmo, la raggiunta unità stilistica tometraggi, spesso realizzati in col- della fecondità. del tratto, che senza più riferimen- laborazione con altri artisti visivi, Pettini o Forchette? (1994) ti precisi si dimostra di grande orig- pittori, poeti o musicisti. Oltre a parte dal modulo dell’artista con- inalità e raffinatezza, ed anche per lavori di grande interesse formale, temporaneo G. Capogrossi, per la indovinata scelta della musica, tre cortometraggi, molto diversi tra una serie di innumerevoli vari- una indiavolata trascrizione per loro, sono particolarmente degni azioni su tema, applicandosi in violino del Recuerdo de Alhambra di nota. varie tecniche, dal disegno su di F. Tarrega, eseguita da Vincenzo carta o su acetato, alla pittura su Bolognese. pellicola. Di estremo interesse la Il passo successivo è il col- colonna sonora originale di Fab- ore. Per Quasi Niente (1997) Ursu- rizio de Rossi e Lucio Gregoretti. la Ferrara utilizza il colore a olio, Composta a partire dallo story- non più su carta ma su acetato. Si board del film, la musica è servita tratta di un vero e proprio esempio come cadenza ritmica per il mon- di pittura in movimento. Per la taggio definitivo delle immagini.3 prima volta, inoltre, l’autrice sem- Tenga duro Signorina bra avere seguito una idea di (1998) è stato realizzato come sceneggiatura ed il film narra sem- sequenza di apertura per il lun- plicemente una prima colazione gometraggio Femminile Singolare domenicale di una giovane di Claudio del Punta, ed è ispirato famiglia, con interessanti momenti alla parte iniziale del famoso testo in cui, attraverso passaggi virtuo- Come Persone (1995) di Ursula Ferrara. © di Raymond Queneau Les Oevres sistici nel movimento animato, si Ursula Ferrara. complètes de Sally Mara. Lavorato ANIMATION WORLD MAGAZINE October 1998 19 con una tecnica mista che com- sonori che visivi, tratti da film inter- prende l’animazione di fotografie pretati dalla coppia di comici ital- oltre all’animazione di disegni orig- iani Ciccio e Franco. Attori famosi inali di Leonora del Punta. in Italia a cavallo fra gli anni ses- La valenza tecnica, i precisi santa e settanta, Franco Franchi e riferimenti culturali alla letteratura, Ciccio Ingrassia interpretarono alle arti visive e alla musica, la qual- una innumerevole serie di B- ità delle collaborazioni con altri movies, rifacimenti in chiave comi- artisti attivi in diversi campi, fanno co-surreale di altrettanti film di suc- di Alberto D’Amico un artista poli- cesso mondiale realizzati nel valente nel cinema d’animazione. medesimo periodo. In questi casi Short Splatter Collection (1995) di Saul Ben inserito nell’ambiente cultur- la pellicola viene trattata da Saul Saguatti. © Saul Saguatti. ale di Roma, i suoi film hanno Saguatti, oltre che coi colori, d’animazione d’autore riesca anco- partecipato a molteplici festival di anche trasformando, graffiando e ra di più a trovare spazi differenti, cinema fra cui La Mostra Inter- rimontando spezzoni delle pelli- che non siano soltanto i pochi fes- nazionale del Cinema di Venezia, cole originali, in una frenetica par- tival specializzati, in che l’an- sono inoltre stati presentati, con odia della parodia. imazione esca da una forma di uno speciale interamente a lui Attualmente l’autore sta lavorando ghetto al di fuori della quale sem- dedicato, alla RAI radio-televisione alla produzione di un cortome- brano esistere solo le grandi pro- italiana. traggio sperimentale, astratto, duzioni di serie televisive e di lun- realizzato rielaborando manual- gometraggi natalizi, da troppi Saul Saguatti mente al computer il campiona- decenni, con rare eccezioni, sem- Un altro caso è quello di mento di alcuni frammenti di pelli- pre uguali a se stesse. Saul Saguatti, nato vicino a cola, una sorta di incisione su pel- Bologna nel 1966. Inizia a occu- licola digitalizzata al computer. Notes parsi di animazione e video fin da giovanissimo, realizzando un Altri... 1 Interessante a questo proposito primo lavoro di animazioni gra- Oltre a questi autori, che è il tentativo di un gruppo di filmakers di fiche per la televisione a dician- dimostrano come sia possibile, in Bologna, non solo legati all’animazione, nove anni, nel 1985. modi del tutto differenti, seguire la che, all’interno del Link Project, stanno creando una struttura di produzione e di Da qualche anno, oltre a strada della sperimentazione ani- programmazione video-cinematografica lavori personali, è promotore di mata, altri giovani artisti si sono che raccoglie anche alcuni animatori che una struttura collettiva che pro- avvicinati o si stanno avvicinando operano in città. duce principalmente su commis- a questa forma di cinema. Da 2 Negli ultimi anni, complici le sione, in particolare per videoclips citare Flavia Ruotolo, attualmente nuove tecnologie digitali, ci si trova di musicali. alle prese con il suo secondo cor- fronte ad un ritorno massiccio dell’ani- mazione nelle pubblicità e nelle sigle in Nella sua svariata pro- tometraggio, che con l’opera televisione, un po’ come avvenne negli duzione, particolarmente interes- prima Chemical Marriage dimostra anni ‘50 e ‘60. sante è una serie di sei corti rac- la sua passione per Norman 3 Alberto D’Amico collabora fre- colti sotto l’unico titolo di Short McLaren e il cinema astratto; Sara quentemente con musicisti dell’area Splatter Collection (1995). I primi Fabbri, che conVetri e Chiodi ha romana. Un suo recente cortometraggio, tre frammenti (The Giant Commu- realizzato due pregevoli piccoli film completamente realizzato su pellicola, è nist Ant; Robo-Pope; The Atomik disegnati a matita su carta, e San- stato musicato attraverso una improvvisazione dal vivo durante la Maguma) sono realizzati disegnan- dra Sisofo, giovane pittrice, recen- proiezione. do direttamente sulla pellicola temente impegnata su due film trasparente con una tecnica simile interamente realizzati lavorando Andrea Martignoni, musicista e a quella utilizzata da Vincenzo su pellicola di 35 mm. studioso italiano,si occupa dei Gioanola e sono carichi di una molteplici aspetti del rapporto geniale vena ironica e dissacrante; Ci si augura che questi artisti pos- suono-musica-immagine nel cine- gli altri, sempre realizzati su pelli- sano continuare a realizzare con ma d’animazione. cola, utilizzano brevi frammenti sia successo i loro film e che il cinema ANIMATION WORLD MAGAZINE October 1998 20 Eating and Animating: Balancing the Basics for U.K. Independents

by Marie Beardmore ow do they eat? We all The Animate award only offers disappointed people. As you’d know that animation festi- commissions to a maximum of expect, most of the MOMI people Hvals are full of talent U.K. £25,000, which isn’t a lot to are apprehensive of being on dis- scouts from major studios looking make a film and keep body and play, even if only at the start. How- for the latest crop of graduates to soul together. ever once acclimatized, they soon work on their productions, but settle down, or so I’m told, and what if independence is your MOMI’s Lucky Few even start to have some fun with thing? What if you want to make There’s another difficulty the audience. For instance Sam your own personal films? In this with MOMI which has nothing to Fell, a model animator, sat stock scenario, put simply, how do you do with the selection procedure. still until he’d garnered quite a eat? How do you sustain yourself Animators selected have to work crowd and only then would start job to job? on display in a glass booth mea- to become animated himself. suring just 3m x 3m and colloqui- The latest inmate is Lizzie ally known as the ‘fish tank.’ If Oxby, who’s currently working on To the independent filmmaker, such conditions have adversely her film Villa 21, a model anima- the outside world can be a affected the work of candidates, it tion about a man that’s been hostile place. hasn’t affected the number of pushed into a madness which entrants. This year there were 80 centers around his growing para- To the applicants, and with only four noia of the telephone. Previous to maker, the outside world can be a awards a year that means a lot of MOMI, which graduates have up hostile place. A side-effect of the current boom in the genre is that more animators are being churned out, which means that filmmakers aren’t just competing against their peers but against other animators, a sort of stockpile of talent competing for the same jobs, and increasingly doing it at an international level. The compe- tition is rife and not only for work. Schemes such as MOMI and Ani- mate offer animators an opportu- nity to make personal films and get paid for doing so. The MOMI scheme, an initiative between Channel 4 and the Museum of the Moving Image (MOMI) which is now in its eighth year, is in partic- ular a lifeline to new graduates as it offers enough money to live on. Kyla Parker’s Cage of Flame. © Kyla Parker ANIMATION WORLD MAGAZINE October 1998 21 to five years to take up, Oxby has experience in the glass booth, she only champions regional anima- found a living through a variety of says, has so far been “not as bad tors as well those based in Lon- means, including producing and as I imagined it to be,” although don, but also manages to encour- directing an MTV Europe station size wise, the room is known to be age diversity as well. ident called Flick Flack and as a tough on model animators. model maker for another MTV Despite the drawbacks - the secu- logo for TV called Star. Oxby is rity camera and the vague impres- There’s another difficulty with also a keen proponent of new sion that you’re an exhibit in a MOMI which has nothing to do media and has provided the ani- zoo—MOMI retains its popularity with the selection procedure. mation for various CD-ROMs and is seen as more than a first including animating and design- foot on the ladder. Previous MOMI ing a skeleton for Real participants have included Ruth Animate Via Commission World’s CD Rom Griffin and Sabine Lingford with Death of the Maiden The Animate scheme, a col- and creating a photomontage for and Ian Clarke with Deviant, both laboration between the Arts Coun- of whom have cap- cil’s Visual Arts Department and tured international Channel 4, offers commissions up attention. to £25,000 for innovative anima- But you can tion. It’s been a godsend to the only do MOMI independent sector and has fund- once and even ed 41 projects, including Sarah though so far Clare Cox’s 3 Ways to Go, which won Kitson, commission- “Best Film Under Ten Minutes” at ing editor for Chan- this year’s British Animation nel 4, has commis- Awards, and Feeling My Way, by sioned all the films, Jonathan Hodgson, which won she’s not obliged to “Most Creative Use of New Tech- do so. Moreover, nologies.” Parker’s own Animate you can’t live forev- film is Cage of Flame, a film pro- er on one film so duced on a shoestring budget where do you turn which used pixillation and stop next? Kyla Parker motion and is based upon dreams has been an inde- during menstruation. She has also pendent filmmaker made another film called Sunset on and off for ten Strip. Despite her success and Image from a film by Hotessa Lawrence. © Hotessa Lawrence. years, having start- somewhat fame, Parker admits ed off on an enter- that it is “economically difficult to a CD Cover called Schitzoid for prise allowance scheme in 1988. It survive,” and is becoming more so Readymade Media. Her particular was, she says, one of “the odd because there are less initiatives to style of animation has also attract- good things that the Tory govern- help animators and, as aforemen- ed the attention of the music ment bought in.” Parker is one of tioned, an ever-growing supply of industry: EMI commissioned her to the few filmmakers based outside talent. You’d think the animation make a promo for an artist called London and tends to jump from boom would in itself offer some Adam F after seeing her degree commission to commission juxta- checks and balances but as Parker show, a stop frame and mixed posing her commercial work with explains, that’s not entirely the media work which won rave her own films. She’s just complet- case. “It’s harder to earn a living reviews. Oxby has also been a ed the titles for a quirky history now than ten years ago, as 1988 regular on the festival circuit with series from Channel 4, which she’ll was the end of the public access her short film The Lacemaker, follow with another personal film. workshops. They’ve virtually all which was sponsored by BBC Bris- A film maker who lives outside of gone now.” Parker also finds it tol and won a gold medal at the the M25, Parker is a fan of the Ani- tougher being in the regions but Bilbao Short Film Festival. Her mate scheme which she says not says there are compensations, ANIMATION WORLD MAGAZINE October 1998 22 Reece Millidge’s Chemical Reaction. © Reece Millidge. namely “being by the sea.” She’d whose film Fallen Angels, an ani- applying the same year they’ve like to see the current system diver- mated road movie, has received graduated too intense. The recent sified to give more sources of fund- critical acclaim. Unlike many, John- crop of RCA graduates are finding ing. For now until the millennium son has never made a film on various ways to earn a crust. however, Parker doesn’t have to either the Animate or the MOMI worry about the next commission. scheme but has funded himself The Animate scheme...offers She’s taking a breather from ani- through a variety of media jobs, commissions up to U.K. mation for her next project which including graphics and directing a £25,000 for innovative is to create a living community number of documentaries. In mak- animation. archive for the people of Ply- ing Fallen Angels Johnson mouth. Funded by the Single showed amazing resourcefulness Hotessa Lawrence has just com- Regeneration Budget, in partner- and tenacity. He set up his own pleted her two year post-grad in ship with South West Arts and Ply- studio and trained his own anima- animation and is currently living at mouth Council, “It’s a nice project,” tors. He’s currently working on his home so she “doesn’t have to says Parker, which will be adopted next film, entitled Island of the worry about the rent.” She has by locals in two years time. Dead which already has most of also been fortunate in finding its funding in place. Hopefully this commercial work as a hand artist Building Your Own Way will ensure that Johnson is able to on live-action ads for Two Rivers, a An independent filmmaker focus on making a spellbinding production company, but has also who now has a full-length animat- animated film. “done some really horrible jobs” to ed feature to his name is Tony The MOMI scheme is for make ends meet. At the moment Johnson, a Cardiff based animator new graduates but many find she’s one of many pitching for the ANIMATION WORLD MAGAZINE October 1998 23 title sequence of the Channel 4 panies, including Bermuda Shorts France and the UK that will bring show Dope Sheet but is optimistic and Susan Young in London. Next the most projects—France has 20 about the future. “I’ve only been year, though, MOMI or Animate and the UK, 16. Germany is bring- out of college a few months and I beckon. ing seven projects, Belgium six haven’t even taken my show reel and Greece and Spain five each. around. Although I have an agent Although producers can get fund- I still need to get my reel to them.” The MOMI scheme is for new ing from Cartoon, there are Her film, At the Drop of a Hat, got graduates but many find apply- caveats. For instance, any money a fair bit of feedback, she says. ing the same year they’ve loaned has to be paid back even if “Hibbert Ralph got in touch - graduated too intense. the project is never made, which they’re just waiting for work to keeps many hard-up producers come in that they think I’m suitable from even applying for funding. for.” She isn’t applying for MOMI Cartoon’s Draw yet though, as she thinks it is too Finally, you can’t talk about soon. animation in this context without Marie Beardmore is a London- Another of this year’s RCA mentioning Cartoon, part of based freelance journalist who graduates is Reece Millidge and Media II, and the only dedicated specializes in writing about the like many of his peers, he’s set on body that survived the demise of making it as an independent. A Media I intact. Every year, Cartoon international animation industry. graduate of Bournmouth where helps the animation industry tick She is also developing her own he did a degree, he’s found an over by giving development aid to animation projects which include excellent support network among projects that are pitched at its a children’s series for 4-9 year his MA colleagues at the Royal Col- annual Cartoon Forum. This year’s olds and an animated . lege. He’s another filmmaker who’s event, which is to be held on the drawn to mixed media and has Greek island of Syros, will include found expression in his film Chem- 441 hours of proposed program- Note: Readers may contact any ical Reaction. However, in the day ming, so there should be some- Animation World Magazine con- to day business of surviving, he’s thing for everyone. All of the main tributor by sending an e-mail to made ends meet by working as an European countries will attend [email protected]. assistant animator for several com- with proposals, however it’s Animation World SStore http://www.awn.com/awnstore

Never before available!! Original Production cels from the Oscar nominated film The Big Snit by director

ANIMATION WORLD MAGAZINE October 1998 24 Animation in Bosnia and Herzegovina: A Start and an Abrupt Stop

by Rada Sesic efore the war broke out in In the early Sixties, the same artist, was not a very popular technique the former Yugoslavia, Sara- along with a few other enthusi- at that time, or even in later years Bjevo, the capital of asts, started an animation studio or in other Yugoslavian centers of Bosnia and Herzegovina, in animation. The same director was a lively and impor- made a second tant center of film pro- animation two duction. Although years later called directors from Saraje- Nocturne. How- vo had always ever, after this depended on technical work he com- equipment from studios pletely aban- in Belgrade and Zagreb, doned anima- they had made their own dis- tion and tinctive contribution to the became national—that was Yugosla- known as a vian—film production, especially very sophisti- in documentaries and fiction film- cated direc- making. Animation was never a tor of docu- strong point of the Bosnian cine- mentaries. ma. One of the reasons was that Sara- During the the production was already estab- jevo. It recent war in lished in studios in other Republics was part Bosnia and Herze- of Yugoslavia: first in Zagreb (Croa- of the pro- govina (1992-1995), tia) and, later on, in Belgrade (Ser- duction he made a few films bia), then Skopje( Macedonia) and company about life during the war (Slovenia). “Bosna Film.” Their and one about ’s debut cartoon A House in the chamber , which is Flowers, made in 1962, was again especially highly acclaim-ed. Most of these films were made directed by Seselj. He became a Another director who in improvised studios in the very important figure at that time, made an attempt at animation in kitchens of animators’ homes. but he would also play a signifi- those days, but became famous cant role in the attempt to revive by directing feature fiction films the animation studio in Sarajevo, later on, was Hajrudin Siba A Limited History 20 years later. He made his first Krvavac. Like Hadzismajlovic, he Still, in 1956, Zlatko Seselj, films together with caricaturist Adi also made his debut in animation for the purposes of an advertising Mulabegovic. Mainly, their films with puppets. The film was called agency, made his first animated were very inventive commercials. Miss of the Green City. Today, this commercial. It was two minutes Artistic animation began in director is one of the most respect- long, drawn on professional cels, the same year with A Shop Win- ed personalities in the history of shot on 35 mm negative and dow by Vefik Hadzismajlovic. It Bosnian cinema, especially meant to be screened in a cinema. was a puppet animation, which because of his fiction films about ANIMATION WORLD MAGAZINE October 1998 25 the Second World War. During the a result, State officials couldn’t in nonprofessional cinema organi- war in Bosnia, he didn’t want to prove nor sue the animator over zations. As a member of the Sara- leave Sarajevo. Being a heart possible negative connotations as jevo city cinema club, “Rijeci patient, he couldn’t get proper a comment on the society. mladih” (Words of Youngsters), medical treatment and died. In the late Sixties, directors Ivan Begic made a very distinctive Slobodan Jovicic, Mehmed Fehi- cartoon. Sisters Sesic from the Aca- movic, Stanislav Busic and others, demic cinema club made a pup- Everything in socialist appeared and acted as animators pet film Timotije, which became Yugoslavia was ruled by the for a very short time. Soon after one of the most rewarded films in communist party and was in that, most of them switched to the history of Bosnian nonprofes- the hands of the State, so no documentaries and fiction films or sional animation. Hasan Ibrahim- animator could do anything on went into production jobs. The pasic from Sarajevo, Aco Dimitries- his or her own. studio “Bosna Film” economically ki from Zenica, Petar Magazin from crashed because of a very expen- Konjic and a few others, have also The production of Bosnian sive feature film production about been making important steps in animation lasted for only a few the Second World War. It forever the development of animation in more years in Sarajevo. Most of closed its doors to any further film- Bosnia. Since, they were not bur- these films were made in impro- vised studios in the kitchens of ani- mators’ homes. Bosnia and Herze- govina’s cultural funds did not sup- port animators at that time and did not provide working facilities or adequate equipment for shoot- ing. Everything in socialist Yugoslavia was ruled by the communist party and was in the hands of the State, so no animator could do anything on his or her own. First of all, film- makers were not rich enough to buy things, like a camera, editing table, film stock, or even cels and paper for drawing, for themselves.

Second, it was not allowed to pro- Goja, Munk, Lotrek. © Midhat Ajanovic. duce privately any cultural and public product like a film. Every- making. The new studio “Sutjeska dened by the expectations of thing had to be produced, con- Film” then came to prominence. other people regarding their trolled and owned by the State. Unfortunately, the leading people works, these young people could Automatically that also included there did not have any under- afford complete freedom, both State censorship, although this did standing for the enthusiasm of a artistically and ideologically. The not cause the problems in the field young generation and their des- average cost of a film made in a of animation as much as it did in perate endeavor to express their nonprofessional cinema club was the fiction or documentary genres. artistic needs in animation. equivalent to about U.S. $50, and Animators almost always succeed- money was supplied by the gov- ed in finding a way to be smarter The Amateurs Keep Animating ernment organizations for the than the state officials! Namely, In the two decades that fol- activities of youth. In the late Sev- political messages and criticisms of lowed, animation among profes- enties one of the most persistent the system were said indirectly or sionals was absolutely neglected amateur animators of Bosnia between the lines and were not in Bosnia. Nevertheless, it made his presence known. As a visible in the films on first sight. As remained very important and alive member of the Academic cinema ANIMATION WORLD MAGAZINE October 1998 26 club, Midhat Ajanovic has made won an Oscar for his film Surro- of the credit goes to Zlatko Seselj, six short cartoons. Nonprofession- gate. This remains as the only who was then, in the early Eight- als tried out a number of different Oscar in the history of Yugoslavian ies, a retired man with a lot of techniques using various materi- cinema. Since Yugoslavia was then experience and energy to start als, all animated in, maybe not a one country, that was a success something new. Of course, it was proper, but surely an interesting, for all animators, no matter not easy, because private produc- way. whether they lived in Serbia, tion companies still didn’t exist. All Bosnia, Croatia, Slovenia or Mace- cultural production was, as before, Zagreb and Belgrade were donia. Actually, the Oscar winner, financed by the State. State pro- cities where an animator from Mr. Vukotic is Montenegrian (Mon- ducers in Bosnia considered ani- any part of the former tenegro is a part of today’s new mation a waste of money. With Yugoslavia, if accepted, could Yugoslavia), but lived and worked the help of film directors Bakir go to work on animation. in Zagreb. Indeed, he still lived Tanovic and Milutin Kosovac, there at the time of his recent Seselj gathered young people, death. Dovnikovic and Dragic are who were either caricaturists, Obviously, many young Serbians, but they too always lived painters, architects or students, people in Bosnia and Herzegovina in Croatia. Dovnikovic still lives in and started an animation studio in were interested in animation, but Zagreb, while Dragic currently 1984. It was simply called, as in the production companies hesitat- lives in Munich, Germany. the old days, “Bosna.” ed to give a chance to any of In the following years, the them. In their opinion, animation success of “Zagreb Film” was Seselj gathered young people, was too expensive, took too much joined by animators from Bel- who were either caricaturists, time and required skilled people grade, Novi Sad and Skopje. In the painters, architects or stu- who were, at that time, not avail- capital of Macedonia, Skopje, a dents, and started an anima- able in Bosnia. Besides, Yugoslavia few artists started under the studio tion studio in 1984. was at that time an undivided banner of “Vardar-film” animation. country and ambitious artists Darko Markovic, known as Dar- While this studio was busy already had a place to go for Mar, created numerous cartoons with the administrative problems developing their skills and ideas. which were mainly commentary of starting a production, a journal- on political activity in Yugoslavia. ist and already known caricaturist The Impact of Zagreb and His most ambitious work Kasa, and cartoonist, Midhat Ajanovic, Belgrade won several prestigious awards. made at his kitchen table, his ani- Zagreb and Belgrade were Another important director from mation debut. The company cities where an animator from any Skopje was Boro Pjecinov who Forum financed his two minute part of the former Yugoslavia, if focused on . cartoon A Hero. The film was accepted, could go to work on Many others followed them. Films screened in cinemas before Emir animation. “Zagreb Film” in Croat- by Sarajevo directors were not Kusturica’s feature film, When the ia was from the Fifties, a very contributing to Yugoslavian suc- Father is Away?, which was pro- important place for animators. No cess at the festivals abroad. They duced by the same company. one could compete with them. were too insignificant in compari- Both films were Forum’s debut in Filmmakers such as Dovnikovic, son to the works from other the field of production. This is one Dragic, Stalter, Marks, Jutrisa, Yugoslavian studios. Plus, at that of the rare examples of animation Grgic and many others, were reg- time, it was not even possible to films, especially from Bosnia, being ularly making their cartoons and send any work abroad. Every film screened in a cinema. One year representing Yugoslavia at the fes- was a sort of representation of the later, in 1985, “Bosna” started its tivals abroad. They were especially entire country and had to be cho- production. The beginning was known by their new, reduced style sen by State officials. extremely good. Nedzad Begovic, of animation and, in a time of Dis- previously an amateur film maker, ney domination, that was accept- A New Start made his first professional anima- ed as a revolutionary step. In As for the revival of profes- tion called EKG. It was very simple 1962, Dusan Vukotic from Zagreb sional film making in Bosnia, most but revealed a brilliant idea. All ANIMATION WORLD MAGAZINE October 1998 27 phases of human animator and made life were suggest- some very impressive ed in the film by cartoons (Graphite sound, while on XXI, I Am Telling You the screen just The Story, Per Aspera one tiny line Ad Astra). The main danced as a sym- characteristics of his bol of physical, as style were: very rich, well as spiritual, colorful designs, life. This film has complex stories and won three inter- a harmony between national and two image, rhythm of national awards editing, and sound. and announced His stories would the Bosnian stu- draw viewers into a dio as a very surrealistic world of promising one. rather futuristic, cold, After this film, alienated, urban Begovic made I Am Telling You The Story. © Darko Predanic. beings. Predanic several more won a major award (Two he-goats, Homo duplex, Ajanovic was very politically at the national festival of short Insomnia, Amoeba), and then involved and almost all of his films films in Belgrade. Soon after that, gave up animation for fiction film reflected current issues in Yugosla- as an employee at Television Sara- production. Still, his importance in vian society. Using quite a mini- jevo, he began experimenting animation remains, especially malist graphic style when shaping with computer animation. Unfor- because of his desire to experi- his figures and simple animation tunately, his work was also inter- ment. He tried different styles of movements, Ajanovic artistically rupted by the war in the former drawing and various ways of ani- emphasizes important questions of Yugoslavia. He fled from Sarajevo, mating these drawings, in addi- everyday life. After spending two and now lives in London trying to tion to testing ways of connecting years in Sarajevo during the war, start computer animating again. sounds and images. During the he left his home city. Today he lives A famous painter from Sara- war, he did not leave Sarajevo. He in Sweden were he continues cre- jevo, Mersad Berber, tried with the made a few documentaries, start- ating comics, but has given up help of a film director from ed a career as a visual artist and animation almost completely in “Zagreb Film,” to animate his worked as an assistant director in order to create scripts and write drawings. This was extremely feature fiction production. novels about the war. complex in regards to technique In 1985, Midhat Ajanovic because the animation was of joined the production company In the two decades that fol- oversized drawings. This expen- “Bosna,” and made Post Scriptum, lowed, animation among pro- sive project named Tempo Secon- his second professional film. In the fessionals was absolutely do, was neither successfully done next five years he made cartoons neglected in Bosnia. or delightfully received. However, like: Rain, The Message, Champi- it did open a new page in the style on, Goja, Munk, Lotrek, Ikar and of Bosnian animation. Voyeur. The last film was made on The third person who has Another young person the eve of the war and disintegra- made a big impact on Bosnian ani- from Sarajevo who devoted him- tion of Yugoslavia. At that time, pri- mation is Darko Predanic (Deus ex self to animation was Drasko Turci- vate production companies made machina and Et cetera in 1975, novic, an architect who worked their appearance in Yugoslavia, Acerban in 1982), an architect on other animators’ films beside and this film was financed by a who started as a nonprofessional. his regular job. A few years before new producer called, . As Later, he continued at the “Bosna” the war started he began his own a caricaturist for daily newspapers, studio as a full-time professional project. It was a difficult one and ANIMATION WORLD MAGAZINE October 1998 28 required a lot of time, knowledge film Rhythm of Passing By couldn’t interrupted by the war. The ani- and experience. After two years of be finished. Executed in the paint mation studio is probably one of permanent work, he managed to on cel technique, this film, direct- the last things to be rebuilt in Sara- finish drawing. At that time, the ed with her collaborator Nenad jevo, a city that was severely dam- war was already going on. Turci- Fiser, related her views on the aged. novic spent more then three years development of civilizations in the besieged Sarajevo and final- throughout history, applying char- ly fled to The Netherlands where acteristic artistic expressions and Rada Sesic is a film critic and he took refuge. There, he was able styles of different cultures and director, who lived in Sarajevo, to finish his film. Under the title eras. Today, living in The Nether- former Yugoslavia. In the begin- The 8th Day, this film was lands, she works with Amsterdam’s ning of the war she fled to the screened at the International Film renowned director Monique Netherlands where she writes for Festival in Utrecht in 1996 and at Renault. film magazines. Recently she some other international festivals After struggling to start ani- as a Dutch representative. mation in Bosnia and Herzegov- finished the short film, Another film could be fin- ina, young artists found their own Room Without A View. ished if the painter and animator ways to learn and practice this Nevenka Sesic Fiser, having fled demanding craft. After having the city, could get her film’s thou- work selected for the festival in sands of cels and drawings out of Annecy (Goja, Munk, Lotrek by Note: Readers may contact any Sarajevo. She was one of the Ajanovic), other festivals in the for- Animation World Magazine founders of the “Bosna” animation mer Yugoslavia and being accept- contributor by sending an e-mail studio, and due to production dif- ed as members of ASIFA, anima- to [email protected]. ficulties her ambitious animation tors from Sarajevo were brutally

ANIMATION WORLD MAGAZINE October 1998 29 Bud-Weis-Er:

Computer-Generated Frogs and Lizards Give Bud a Boost by Karen Raugust nheuser-Busch introduced Super Bowl.” licensing programs. Among the its computer-generated, The Budweiser Frogs and examples are the current Taco Bell Abrand-name-croaking Lizards represent just two of the Chihuahua and its catch phrase Budweiser Frogs in a 1995 Super many licensing efforts in the 1980s “Yo quiero Taco Bell”; Wendy’s Bowl commercial. The characters and that have focused on “Where’s the Beef?” commercials; struck an immediate chord with images and tag-lines from televi- and several Anheuser-Busch cam- consumers, who began to sion commercials. (For a list of the paigns ranging from Spuds demand merchandise featuring most popular campaigns and McKenzie in the 1990s to Bud the Frogs. As a result, Anheuser- detailed information on each, Light’s “I Love You, Man” and “Yes, Busch authorized a range of prod- please see Selected Licensing Pro- I Am” in the 1990s. Still other mer- ucts, marking the first time since grams Inspired by Advertising chandised commercials feature Spuds McKenzie in the late 1980s, Campaigns.) Several high-profile puppets or costumed characters, that the company-a significant cor- merchandising programs have such as Nike’s L’il Penny and Dura- porate trademark licensor-initiated been based on animated cam- cell’s Putterman family. an ad-related merchandising paigns. In addition to the Frogs effort. T-shirts have been the most and Lizards, they include the Cali- Timing is Key successful items, but the program fornia Raisins and Coca-Cola icons TV ad campaigns tend to extended into accessories, novel- such as the computer-generated become popular quickly, meaning ties, glassware and sporting Polar Bears and Bud Ice Penguins. that merchandise must appear goods, among other items. Live-action advertising, usu- right away to capitalize on During the 1997 NBA play- ally containing a memorable tag- demand when it exists. On the offs, Anheuser-Busch premiered a line, have also been the basis for other hand, demand can end as series of spin-off ads, soon as the commer- which still air, starring a cials go off the air, pair of wise-cracking which often occurs Lizards (along with without warning to cameos by the Frogs). licensees, licensing This campaign inspired agents and retailers. a similar range of mer- In the case of the chandise. “The demand Budweiser Frogs, t- [for the Lizards] was not shirts were the first as dramatic as it was products available, with the Frogs initially,” launching three to says Cheryl Pfneisel, four months after the licensing manager at Frogs’ commercial Anheuser-Busch. “You introduction. Not only can’t discount the fact are t-shirts popular that the Frogs were with consumers, but introduced during the The primordial swamp where it all began. © Anheuser-Busch. screen-printing tech- ANIMATION WORLD MAGAZINE October 1998 30 nology allows manufacturers the control over,” Pfneisel remarks. flexibility to react quickly to market “We will continue to leverage the changes. These qualities make t- popularity of the Lizards [and shirts, as well as similar items such Frogs] through licensed merchan- as boxer shorts and sleepshirts, dise as long as the brand market- core categories for many ad-relat- ing group continues to develop ed licensing programs. and air the commercials.” Laurie Ann Goldman, direc- tor of worldwide licensing for Demand can end as soon as Coca-Cola, points out that it takes the commercials go off the air, two weeks to three months to which often occurs without develop a commercial, but 12 to warning... 18 months to develop and ship a Anheuser-Busch uses images like this one product line. “It’s not an ideal situ- of a lizard model to provide licensors “It took us awhile to get out ation,” she says, noting that tem- with guidance to keep characters “on model.” © Anheuser-Busch. on the market with Frogs mer- porary compromises are some- chandise,” Pfneisel admits, noting times necessary. Coca-Cola’s live- of Coca-Cola licensees sell Polar that many non-apparel products action “Holiday Caravan” ad, for Bear merchandise. were not available until the sec- example, featured a group of light- The short window of ond year. “We’ve been improving ed tractor-trailers decorated with opportunity and high sales levels our systems since then. Ideally, we Christmas graphics. Lighted die- associated with ad campaigns pre- would like to have merchandise in cast trucks represented a natural sent a far different situation from the market at the same time, or product category, but develop- traditional brand-licensing efforts, shortly after, the campaign is intro- ment time was too long for them which generate relatively steady duced. We are working with the to be introduced in conjunction sales over a long period. “You marketing department to get cre- with the first commercial. Instead, need to hit the market while the ative direction around the same licensees used existing molds from commercial is receiving maximum time TV storyboards are approved. other Coca-Cola die-cast trucks visibility,” says Pfneisel. “This is not We have to provide the licensees and added new graphics; the next the case with our core line of mer- graphics and direction as early as season, the line was expanded. chandise.” possible, and continue to keep One danger perceived by them updated on new graphics The Lizards represented the brand licensors is that a hot adver- that become available, in order to first time that tising character could oversaturate fully maximize the potential of merchandise...appeared on the market and dilute the core each ad campaign.” store shelves concurrently with brand, the company’s greatest The Lizards represented the the premiere of the ad. asset. “With Spuds McKenzie, first time that merchandise associ- Anheuser-Busch reacted to an ated with an Anheuser-Busch opportunity without much plan- commercial appeared on store Fitting Ad-Related Merchandise ning or tactical strategy,” Pfneisel shelves concurrently with the pre- Into the Brand Effort remarks. “With the Frogs, Lizards miere of the ad. “We did not have Brand licensors whose pro- and other more recent ad-related knowledge of what was coming grams already incorporate appro- graphics, we have been more with the Frogs,” says Pfneisel. priate categories for ad-related selective about choosing the prop- “Now we can go to licensees with graphics such as t-shirts, gifts, nov- er product lineup and licensees a tight creative direction and give elties and collectibles usually offer with the most appropriate distribu- them ample time to get the prod- advertising-related opportunities tion channels, to maximize our ucts on the market.” virtually exclusively to existing potential while still protecting the How long a life span will licensees. Forty percent of integrity of the brand image. With Frogs and Lizards merchandise Anheuser-Busch’s 100 Budweiser Spuds, the primary objective was have? “This is something we, the licensees are involved with the to maximize revenue potential. licensing department, do not have Frogs and Lizards, while 50%-75% With the campaigns of the ‘90s, ANIMATION WORLD MAGAZINE October 1998 31 the emphasis is more on enhanc- ration may want to catch the of view of the brand. “What busi- ing the brand image, while still wave while its ad campaign is ness are you [the corporate licen- maximizing revenue potential.” popular, its attention is focused on sor] in?,” he asks. “The business of other aspects of its business, espe- creating a new cultural icon or of Forty percent of Anheuser- cially if it does not have in-house advertising your brand?” Busch’s 100 Budweiser personnel dedicated to licensing. Some licensors consider licensees are involved with the “At Taco Bell, licensing is still advertising imagery to be part of Frogs and Lizards... new,” remarks Bill O’Rourke, direc- their overall property portfolio. tor of brand licensing at Hakan & The commercial icons are used as In the case of companies Associates, the company’s licens- additional graphics over time, without existing brand-licensing ing agency. “We are in a hothouse rather than licensed separately as programs, licensors or their agents type of environment. We have to short-term phenomena. For exam- must create ad-related licensing get their comfort level up.” ple, Pillsbury extensively merchan- efforts from scratch. The same is “No one creates a cam- dises the Pillsbury Doughboy, and true for licensors with existing pro- paign for its licensing potential,” Campbell’s Soup the Campbell Kids grams that involve very different says Siegel, co-chairman of as components of their overall product categories than would be The Beanstalk Group, licensing licensing strategies. relevant for commercial icons. For agent for Wendy’s during the Goldman reports that, example, Taco Bell had previously “Where’s the Beef?” craze. Siegel while Coca-Cola incorporates most licensed products to be used for points out that the overall objec- ad graphics into its broader licens- cooking and serving Mexican tives for the brand do not neces- ing strategy, there are occasional foods—categories that are not a sarily match licensees’ objectives. exceptions. A Diet Coke ad in the natural fit for the Chihuahua. When Wendy’s discontinued the early 1990s, which starred a Susan Eisner, vice president “Where’s the Beef?” campaign hunky construction worker named of licensing for Leisure Concepts, after four months to avoid Lucky, became popular among Duracell’s licensing agent, says, “It’s burnout, licensees were left with women aged 25 to 35. “This was a challenge working with a pack- excess inventory. In retrospect, not going to become a long-term aged goods company. Their focus however, Siegel believes that the enduring icon of the Coca-Cola is really on getting their products decision to end the commercials company,” admits Goldman. Still, out.” She adds that while a corpo- was the right one from the point the company authorized a select line of products, including mouse pads and calendars. Despite the challenges, there are benefits to licensing commercial images. Licensing ad- related graphics and phrases gen- erates ancillary revenue for the company. It also spreads aware- ness. “Licensed products are a means to extend the brand adver- tising message beyond the :30-:60 TV commercial spots,” says Pfneisel. (Licensing may also be necessary for trademark protec- tion.) The popularity of ad-related images can boost the success of corporate-logoed products as well. “We feel that the overall An example of an animated ad character with longevity is Pillsbury’s extensively-mer- awareness of Budweiser licensing chandised Pillsbury Doughboy. © The Pillsbury Co. has risen in the consumer’s mind ANIMATION WORLD MAGAZINE October 1998 32 ANIMATION WORLD MAGAZINE October 1998 33 as a result of the popularity of the throughout the world. Even in the Coca-Cola Santa. Products ad-related licensed merchandise,” cases when a similar campaign is based on Coca-Cola’s football-(soc- Pfneisel reports, noting that in broadcast in different countries, cer-)themed advertising—which 1995, after the introduction of popularity varies. Therefore, ad- takes advantage of the popularity Frogs merchandise, the total Bud- related licensing efforts are typical- of the World Cup but is not offi- weiser licensing program grew ly limited to one or a few coun- cially tied to that event—is more more than 50%, with 21% of total tries, rather than being extended popular abroad than in the U.S., revenue coming from Frogs mer- worldwide. particularly in Latin America, chandise. Coca-Cola has established Europe and Asia. merchandising programs in 40 Licensing for the Budweiser Broadcast Schedules Deter- countries and licenses some of its Frogs and Lizards is centered in mine International Potential commercial campaigns interna- the U.S., although satellite spill- Rarely does a company use tionally. The Polar Bears are mer- over into Canada has led to some the same advertising campaign chandised in some territories, as is merchandise sales there; some demand also exists in Canada for “I Love You, Man” products. Anheuser-Busch is looking into the possibility of extending the Lizard CAREERCAREER commercials into international ter- CONNECTIONSCONNECTIONS ritories.

Animation World Network’s Karen Raugust is the author of recruiting section offers free postings several books and reports on licensing and entertainment, and access to artist resumes including The Licensing Business as well as recruitment advertisements Handbook, International Licens- ing: A Status Report (both avail- “The recruiting site able from EPM Communications, New York) and Merchandise reaches thousands of artists Licensing for the Television Indus- from all disciplines, quickly try (available from Focal Press, from all disciplines, quickly Newton, Mass.). She also writes and efficiently. AWN about licensing, animation and other topics for publications certainly lives up to its including The Hollywood name world-wide.” Reporter, Publishers Weekly and Animation Magazine, and acts as -Machi Tantillo a consultant to the licensing and Director of MTV Animation entertainment industries. She is the former executive editor of The Licensing Letter. - RECRUIT TOP TALENT AT A FRACTION OF THE COST OF PRINT ADVERTISING Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to www.awn.com/career [email protected].

ANIMATION WORLD MAGAZINE October 1998 34 Selected Licensing Programs Inspired by Advertising Campaigns by Karen Raugust

ollowing are some of the licensing efforts based on Fanimated and live-action advertising campaigns over the last 20 years.

California Raisins The Raisins, the group of Motownesque, “I Heard It Through The Grapevine”-singing, Claymation characters created by Foote, Cone & Belding and animated by Studios for the California Raisin Board, were a fad in 1987 and generated one of the biggest ad-related licens- generated one of the biggest ad-related licensing campaigns ever. ing campaigns ever, totaling an Image courtesy of Will Vinton Studios. estimated $500 million in retail licensing effort lasted just four up five licensing deals within a sales in about a year. Products months—the amount of time that week and 15 more by the end of included virtually every category the commercials were on the air— the second week. By the end of and were popular with all ages; the program, nearly 40 licensees among the leading items were were on board. The agency had plush dolls, plastic figurines and The California Raisins were a originally been hired to license the other gifts and collectibles. A series fad in 1987 and generated one Wendy’s logo for kitchen sets, of the biggest ad-related of Hardee’s promotions involving apparel and other products. licensing campaigns ever, total- California Raisin premiums were ing an estimated $500 million... among that fast-food chain’s most Taco Bell Chihuahua successful ever. The ad icon of 1998 is the but the merchandise managed to Mexican-accented Taco Bell Chi- Where’s the Beef? generate more than $70 million in huahua. The campaign started in In 1984, the phrase retail sales in that short time, fall of 1997 with one commercial, “Where’s the Beef?” permeated all according to Seth Siegel, co-chair- created by advertising agency facets of U.S. society, thanks to a man of The Beanstalk Group, TBWA Chiat Day. That initial adver- commercial for the Wendy’s quick- licensing agent for Wendy’s. As tisement was followed by several service restaurant chain starring soon as the tag-line had become a more executions in late 1997 and octogenarian Clara Peller. The craze, Beanstalk was able to line early 1998. The first merchan-

ANIMATION WORLD MAGAZINE October 1998 35 dise—t-shirts and sleepwear— size, latex-costumed family (includ- well as sports-themed campaigns appeared on retail shelves by ing a limbo-dancing !) involving football (soccer), the March of 1998, followed by powered by Duracell batteries, NBA and the Monsters of the Grid- posters, a limited range of plush were a phenomenon for two iron, a series of ads supporting a and several other products. As of years, peaking in 1995. T-shirts National Football League promo- mid-August, approximately 15 and other novelties were licensed tion. Merchandising surrounding licensees were signed, with more at the time in an effort that some commercial series, such as pending, according to Bill endured as long as the commer- the Polar Bears and the Sun, are O’Rourke, director of brand licens- cials aired. “Our biggest success extensive, while other ads are ing at Taco Bell’s licensing agency, was the Halloween costumes with licensed for just a few products; Hakan & Associates. Retail sales for the big Duracell battery on the for instance, an “NBA Dancing Chihuahua merchandise has back,” says Susan Eisner, vice pres- Clothes” advertisement was autho- exceeded $25 million in the first six ident of licensing at Duracell’s rized for animation cels only, months of the licensing program. licensing agency Leisure Con- according to Laurie Ann Goldman, (Taco Bell has also authorized cepts. “It was so kitsch, but it tied director, worldwide licensing. products based on its core brand, the equity of the brand with some- such as kitchen electrics and serve- thing fun and different.” ware.) Karen Raugust is the author of The licensing effort lasted just several books and reports on Li’l Penny four months but the merchan- licensing and entertainment, Li’l Penny, the advertising dise managed to generate including The Licensing Business spokespuppet that promotes a line more than $70 million in retail Handbook, International Licens- of Nike athletic shoes endorsed by sales... ing: A Status Report (both avail- NBA (National Basketball Associa- able from EPM Communications, tion) star Anfernee (Penny) Hard- Coca-Cola Polar Bears and New York) and Merchandise away, has inspired a limited range Other Icons Licensing for the Television Indus- of products. The main thrust of the Coca-Cola has been adver- try (available from Focal Press, program is a line of three dolls tising its brand since the turn of Newton, Mass.). She also writes from Playmates Toys, including a the century and all of its cam- about licensing, animation and 14-inch talking version with the paigns enter the archives of other topics for publications voice of Chris Rock, who performs graphics available for licensing. including The Hollywood the role in the commercials as They include classic images such Reporter, Publishers Weekly and well. The spots, which were creat- as Norman Rockwell advertising Animation Magazine, and acts as ed by Wieden & Kennedy and fea- art and the Coca-Cola Santa, a consultant to the licensing and ture both Li’l Penny and Hard- which has been licensed since the entertainment industries. She is away, continue to air. early 1980s. In the 1990s, several the former executive editor of campaigns have generated The Licensing Letter. licensed products, notably the The ad icon of 1998 is the Coca-Cola Polar Bears, which have Mexican-accented Taco Bell Chihua been featured in six commercials since 1993 and were first licensed Note: Readers may contact any in 1994. Other campaigns include Animation World Magazine con- tributor by sending an e-mail to The Puttermans King Coke, the Coca-Cola Ice [email protected]. The Puttermans, the full- Cubes and the Coca-Cola Sun, as

ANIMATION WORLD MAGAZINE October 1998 36 Balancing Commercials and Personal Work: Three Directors Speak compiled by Heather Kenyon e asked three active val in Annecy, he said to me, “You commercial directors, have to know that making com- Wwho are also simultane- mercials is different from making ously making their own indepen- your own films.” Today I am very dent works, how they feel about grateful to Ron Diamond at Acme the contrasts between directing Filmworks for carefully guiding me commercials and independent through the commercial world. films. Jonathan Hodgson, Aleksan- My first commercial assign- dra Korejwo and Bill Plympton all ment was four animation films for have different views on the rela- Jonathan Hodgson’s Feeling My Way. the Austin Lyric Opera in Texas. I tionship between directing these remember my first conference advertising can be exciting as a two forms of animation. Many calls...It was a great experience for technical challenge, I have seldom independents find commercial me to share my own vision, my worked on a campaign which was directing a necessity in order to own point of view with other cre- creatively or spiritually enriching. support their own work: is this a ative people. It always reminds me Most advertising re-hashes existing curse or a blessing? of the discussions we had at the ideas rather than coming up with Academy of Fine Arts. I suddenly completely original concepts. This realized that commercials open my I am reluctant to give back practice has often left me feeling eyes to new ideas and horizons. too much of my creativity artistically impoverished and really For my own films I only have to to advertising. only valued for my ability as a look inside of myself. With com- - Jonathan Hodgson technician and diplomat. Having mercials I need to understand the said this I have learned a lot about client’s point of view. I need to lis- and editing which I Jonathan Hodgson recent- ten, listen, listen! have been able to utilize in my ly directed another award-win- own work and, of course, the ning independent film Feeling My money one earns from advertising Way. His most recent advertising is useful in funding personal pro- campaign was a string of Bell jects. However, I am reluctant to Atlantic commercials. Aleksandra give back too much of my creativ- Korejwo is starting her latest inde- ity to advertising. An artist’s vision pendent work and just won “Best is a priceless and fragile commodi- Commercial Film” at the Zagreb ty; a pure flowing spring which World Festival of Animated Film for can easily dry up or be polluted. It her Campbell’s Soup spot. Bill should be cherished and nur- Plympton has directed commer- tured, and not sold off to the high- cials for 7-Eleven, AT&T, Air Touch est bidder. Cellular, Taco Bell and many oth- Aleksandra Korejwo. ers. His feature film I Married A Aleksandra Korejwo Strange Person is currently enjoy- After this production Ron Before I started with com- ing a limited U.S. theatrical encouraged me to make my own mercials I had made several release. film, Impression, which won sever- award-winning films involving al awards. The next commercial I classical music. When I met Ron Jonathan Hodgson made was for Campbell’s Soup Diamond for the first time at the and it taught me to be very strict While I find working in International Animation Film Festi- with myself. With commercials, I ANIMATION WORLD MAGAZINE October 1998 37 cannot change my ideas from the clear and most importantly, my storyboard because once it is eyes are more open to other peo- approved, the clients are trusting ple’s points of view. I have just me to do exactly what I said I started animation for both my would do. It was the next lesson in own film and my next commercial. being a commercial film director I think I can say that the structure and animator. of commercial-making and the freedom of doing independent I suddenly realized that films has become a kind of harmo- commercials open my eyes to nious marriage in my artistic life. new ideas and horizons. In the end I would like to - Aleksandra Korejwo follow ’s philosophy from his book, Zen in the Art of Sometimes it is possible to Writing. He gives us three words Bill Plympton. make a commercial and be with which to approach one’s life: as they are often just carrying out absolutely independent. This hap- work, relax and don’t think exactly what the client wants and pened when I was making the title (“which results in greater creativi- expects. Commercials limit you on sequence for the ty”)! Lastly, his definition for work creativity and often I am contacted Company’s film The Wonderful Ice — love what you do. due to my signature style — that’s Cream Suit, with a screenplay by what they want, that’s what they Ray Bradbury. Brilliant designer get. I like doing commercials, don’t Bob Dawson, film director Stuart I look at commercials solely as get me wrong, but I naturally pre- Gordon, and Roy Disney all gave a vehicle by which to finance fer my own feature work. Without me a lot of space. They believed my own feature films. commercials I couldn’t do that, so that I would make this animation - Bill Plympton they are a necessity, a good as best as I could, and I did. I think means to an end. Plus, it is fun it is very important in commercials when relatives and friends see my for the agency and client to trust Bill Plympton commercial work on television! the animator/film director. I look at commercials solely When I come back from as a vehicle in which to finance the commercial animation world Heather Kenyon is editor in chief my own feature films. I can’t say of Animation World Magazine. to my own animation, I am always that they help me learn or improve more rich, my own vision is more REGISTER with AAnimatnimatioionn WWoorrldld NNeetwtwoorrkk Today and..... •Receive our weekly Animation Flash E-Mail Newsletter. •Get announcements of AWN developments. •Be a part of the global community at AWN. •Interact with animation professionals, scholars and fans from around the world. Get all this and more FREE when you register now! http://www.awn.com

ANIMATION WORLD MAGAZINE October 1998 38 HereÕs A How de do Diary: July by Barry Purves Editor’s Note: Lumps, My mind is so full of Work-related things not to warts and all, for eight G & S stuff that I do with filming keep demanding months Barry Purves have no space for my attention, but I cannot give it. will share his personal anything else, and I must be so focused otherwise production diary with keep losing impor- this film will not happen (or am I us for his current pro- tant things like my using this obsession with the film- ject with Channel 4, camera or a check. ing to shirk other responsibilities - I tentatively titled Here’s Or is this just age... hope not). There’s a few problems A How de do. This film My Japanese friend with the puppets, with mouth cav- will take a look at three in City, ities coming unstuck (it’s those men: Gilbert, Sullivan Saemi, is always find- high notes that literally put too and Richard D’Oyly ing amazingly rele- much strain on the mouth), and Carte. D’Oyly Carte Barry Purves vant things to send the white paint getting grubby. brought Gilbert and me. Today I received Sadly, there is little time/money for Sullivan together and formed the a poster for “Warship Pinafore.” maintenance, but we’ll see what D’Oyly Carte Opera Company, Saemi is going to see it next we can do. which performed Gilbert and Sulli- month, so I can’t wait to hear van for 100 years. While what she thinks. I wonder how June 25th the trio worked together for such Western music sounds to Five shots and 11 seconds roughly 25 years, their relation- Eastern ears, or will they orches- and still not enough for our sched- ship was strained at best. How will trate it accordingly? ule - this is too much. the production of their story go? I think I’m probably frustrat- All we can do is read along ing Jean-Marc as he does like to monthly and find out... Of all animation, puppets have know exactly where each puppet some spontaneity to them. will be on which precise frame. June 23rd Sadly, I don’t work like that. Oh So totally tired already. I yes, of course, I’ve spent months don’t get to sit down all day really. June 24th planning every move, and exactly We are going to have a series of A mammoth 13 seconds how much plot must be got across work experience people in over has left me exhausted, and way in each shot, but when I start, the the next few weeks which will behind with all the other work puppets lead me in various direc- help with the more time consum- that needs to be done for the tions. If a pose is looking good I ing and laborious jobs, but it’s a bit coming episodes. I should do at might decide to make the most of pathetic that we have to rely on least two hours a night after it, and sacrifice another pose. Of these people to crew our shoot. shooting, but I really am too all animation, puppets have some The puppets appeared in drained. spontaneity to them. fine voice, vibrating beautifully, lips I think it was a good day - My animation, within cer- all aquiver, as they hit a high note. after a rather bland shot of Carte tain guidelines, is quite organic. Unfortunately, we had the usual yesterday, Gilbert suddenly did a I’m not very good at repeating problem of these puppets, of the gesture that was beautifully timed, shots as they would never turn neck rubber popping out of the concise and spoke volumes. That out the same. I gather on the collars. This did get sorted out, but does not happen often, and Nightmare Before Christmas and there will still be a few frames with should the rushes be faulty, I James and the Giant Peach films, nasty goings on in the neck area. would not be able to repeat it. each shot had a couple of

ANIMATION WORLD MAGAZINE October 1998 39 rehearsals and so forth - I’d find no doubt that this problem could people who are crazy about the that hard. My animation does have been spotted earlier and a stuff, and people who are just have a lot of rough edges and is lot of angst avoided. There was crazy. I’ve asked some people with pretty raw, but it certainly has this also one reshoot due to acciden- responsible positions, and some spontaneous energy. Of course, I tally leaving on a working light whom I work with, what films would love to lose those raw (this is necessary because the they had liked at the festival: “Oh, edges... recording device we have cannot we didn’t see any films, we just cope with our light levels). This got pissed!” Say no more. I gather on the Nightmare really is filmmaking with my hands Before Christmas and James and tied. I am exasperated from being June 29th the Giant Peach films, each told that we can’t afford it! I felt the Got the required footage shot had a couple of rehearsals film slipping away tonight. out, but sadly no inspired anima- and so forth - I’d find that tion. I don’t get a break between hard. June 28th shots as there’s so much to do with In to work to do the the camera and all. I keep finding Most people are down at reshoot of Gilbert looking myself in front of the ready shot Cardiff for the Animation Festival. haughty. It was not as good sec- and thinking, “Oh yes, now what I’ve never felt too comfortable at ond time round of course. Also we am I doing?” that festival, or is it sour grapes set the new lighting state and did Had a visit from a very because I have never been asked the shot with the change. I hope I sprightly Heather Kenyon, on a to do anything by the big festival am not making matters worse whirlwind trip of the Manchester at home? Sour grapes definitely!!! now. I should have made use of animation community. There is a the fact that D’Oyly Carte intro- surprising amount of us up here. June 26th duced, for the first time, electricity In terms of the story, Gilbert An epic shot involving two into theatres. I could have had and Sullivan are currently being camera movements, and the him, as he did before the first per- persuaded to work together chaps moving but being very low- formance of Patience, holding a thanks to a large handful of cash, key. The slow movements really light bulb. This could explain the and some rather basic clumsy ani- are so much harder to control. I sudden lighting change. Hopeful- mation. The puppets could still find it difficult to let a puppet ly, I have made it work. All this is already do with a good overhaul. just sit there. because we are so stuck for cash They are exhausted and they are A bit of a setback however. that we cannot send off rushes fre- not the only ones. We got our third set of rushes quently enough, let alone look at back, and just trying to get to see them. Part of me really would like Tuesday 30th them on the Steenbeck was like an to give up all this nonsense and Last day of the month, and over elaborate episode of Mission: just go and work for a big compa- months do not come more stress- Impossible. Seeing these rushes ny where I am a small cog in a ful than this. Fortunately, the rush- and the ones from earlier this large machine. OK, so I would not es were great this morning. The week for the first time was a little do my own films, but already this new lighting looks just right and disappointing. They are really too film is running away from how I we can see every detail of the dark and gloomy. We can’t saw it due to the lack of sufficient puppets. (They did have a quick reshoot them, but I think I can back-up. This may be my fault for hair and make-up job this morn- make it work. Poor Jean-Marc is not spelling everything out. I ing; so particular, like actors!) We very upset - it’s not his fault, maybe assume people know how to do were down to our last chocolate I’ve given him too many direc- certain obvious things. biscuit this morning, but fortu- tions. It’s clear, however, that trying Heard lots of anecdotes nately glamorous Karen breezed in to scrimp on important things like from Cardiff, especially about my with bags full of goodies. It’s so being able to see the rushes on a mad stalker who was embarrass- easy to forget to eat, but she keeps regular basis is dangerous. There’s ing everyone. Animation attracts an eye on us. ANIMATION WORLD MAGAZINE October 1998 40 We are well past two min- today, bringing her up to date of, “Thank heavens - I’m not the utes now, but were slowed down with encouraging news of the only one!” I hope too, that they today by setting up a complicated film. I suggested a new title to her: show how much work, dedication Pepper’s Ghost effect of Carte con- Gilbert and Sullivan - The Very and passion has to go into a film. juring up the image of the Savoy Models. It hints at G & S as well as I really hope (how many times can theatre. If I’m being honest we animation, and some sort of stan- I use this word) that these are of could have probably done it by dards. She quite likes this, but we some use first, and interest, sec- simply bringing up the lights on a are both amazed that we are still ond. I find it therapeutic. I’ve kept flat piece of artwork. But by shoot- having these conversations. a diary for 35 years and never ing it through a piece of glass, I missed a day. Now those ones are hope to make it a little insubstan- honest!!! Part of me really would like to tial. It would really work if I had give up all this nonsense and time to walk one of the characters July 2nd just go and work for a big com- behind the ‘vision’ - but I don’t After working so late last pany where I am a small cog in have time. I can’t think of “what night, I was not really prepared for a large machine. ifs.” the shots today, and did some less Peter Dodd is with us for a than wonderful animation. Well, few days on work experience, and Out of rather drastic com- I’ll just have to live with that. As I has thrown himself into it with promise, came a piece of rather had my hands on the puppets, I gusto. With him speaking Danish funny business. Our camera was had that awful feeling, the equiva- on the phone, and Jean-Marc not able to cope with a move I lent of stage fright, where I did not French, we are pretty internation- was trying to do (unfortunately, know what I was doing. I was just al. we are basically stuck with one moving limbs for the sake of mov- I’m still anxious to see it all axis only), so I had to divide the ing something. I’d not had time to cut together, but all those people shot of all of them going through think it through. However, the who gathered round the Steen- their vaudevillian-type handshak- music carries it off. beck this morning thought some- ing routine, into two parts. Trying My old students came to thing exciting was happening. to find a reason for the cut, as I watch for a bit today. I could see Let’s hope so. Sue said that this have to do, I came up with a fresh them looking out for all the points was clearly one of my films. I think piece of humor. There, you never I’d instilled in them. that was a compliment. Nick, the know, necessity really is the moth- designer, called in for the first time er of invention. This change, of July 3rd in a few weeks, and I was pleased course, led to some wasted time Karen’s and my birthday he was pleased. and a late night, but it was worth today. There were numerous visi- it. tors to the set. I’ve come away July 1st There is pressure on me with some huge bunches of flow- We cut the rushes together from certain sources to keep these ers. Sadly, I do not have my moth- last night on the Steenbeck and diaries free of criticism, in case I er’s talent for flower arranging. guess what? It works. We haven’t present the wrong image. The Such wonderful smells filled the laid the music to it yet, but it wrong image would be to present studio. charges along, with a good filmmaking as an easy, stress-free My last birthday was spent rhythm, and we have found occupation. These diaries are not in Seattle at the Masters of Anima- enough ways to make a single an advertisement for me, my ego, tion week-end, giving a talk with, bed look interesting. Some of the or any personal grudges. Hopeful- amongst others, colors are quite glorious. Some of ly, they may suggest to anyone and . That was a real the animation could be a little approaching animation for the thrill, though I honestly felt the more refined, but it’s quite bold first time just how complex the cuckoo in the nest. and witty. whole process is. To those already Sandra Dugdale, our A good chat to Clare Kitson animating, there may be a touch soprano, also came to the set ANIMATION WORLD MAGAZINE October 1998 41 today. It must have been odd for at work. Still a day away from the not great. her to hear her voice coming out puppets worked wonders. of Gilbert’s mouth. Rushes back today. We still July 7th We were slowed down by have not been able to cut them A good day with an epic the costume changes, but sud- together however. A token glare shot. I even managed some rea- denly there is Gilbert dressed as Sir from somewhere on one frame is sonable animation. I got a little Joseph, Carte as Dick Deadeye causing a problem. How it is there ratty as the concentration required and Sullivan a very fetching Little for only one frame I don’t know, to sustain such a complicated shot Buttercup. They look wonderful, but I know I chose the worst shot as the transformation into Pinafore particularly Gilbert. I adore cos- possible for it to appear on. I can’t is enormous. The slightest change tumes so much. I love the textures reshoot it, as it was the shot of Sul- of my rhythm can put me off, and and detail and what they can say livan changing into Little Butter- one duff frame...Fortunately, I had about character, but, heavens, cup, and that was a nightmare. I’ll an assistant today, one of my ex they do make life difficult. Hats see if I can snip one frame out, but students. That relieved a lot of make the head so hard to turn, as this could ruin the already rushed pressure. I can’t now brag that I there suddenly becomes nowhere animation and put the lip synch have animated everything in all to hold, and dresses, well, they are out. my films. the worst. This is one of the rea- We spent the day setting Here’s a dilemma: a col- sons why my puppets up for the epic transformation into league has been asking me for ref- were naked. They were a joy to Pinafore. It explodes with light, erence books about a particular work with - real hand to hand but the shot will not betray the subject, as he is trying to get a film (and buttock!) contact. Direct com- amount of work that has gone off the ground. With the help of munication. I’ve yet to see a con- into it. I hope it finishes this Cosgrove Hall, he probably will. vincing costume, especially period episode with a good, satisfying Unfortunately, I feel mighty pos- costume, with CG. I’m sure I’ll be cadenza. We were, of course, sessive about this particular sub- eating my words soon though. handicapped by not having ject, as the principal character is I’m sad that this sequence enough lights to go from one my alter-ago. I have been trying to (if that is so sing derry down derry) lighting state to another, but inge- get a film made about him for has seen the puppets not being as nuity has won out; a good bit of nearly two decades. This character agile as I, or the music, would effing and blinding also helped us is so right for one of my films, and have liked, but there are those get there. It looks great but we’ve I would hate to see someone get schedules... However, the music not shot a frame today and that’s there before me and blow my has lifted us all so much. chances. Do I lend the This music just explodes books? with joy, energy and Well, who knows. I warmth. It is also so may not even be animat- infectious that we all left ing after this film. I have singing and smiling. been asked to direct a play in Moscow about a July 6th Jewish violinist. I do not Having spent have much in common yesterday being bat- there, but if animation is tered senseless on every not giving me the (well, nearly every) roller chance to do what I coaster in Blackpool want, i.e. work with a with my sister and her certain caliber of artists boys, I was a little tender and materials, with a this morning, and could AWM editor-in-chief Heather Kenyon visited Barry’s studio after decent schedule, maybe the Cardiff festival in July. Photo courtesy of Barry Purves. not get going too easily this is another option. ANIMATION WORLD MAGAZINE October 1998 42 July 8th together. I had to see that the lip I could hardly move after synch was working and that there July 10th the rigors of yesterday’s very taxing were enough frames. Guess New camera legs, and a epic shot. It still looks quite good what? It was and there were! More new episode. There’s been a lot of on the video. There was another than that, it’s not a bad three- marvelous feedback from the few long shot for me today; 13 sec- minute little film. There’s quite a people I showed Episode One to onds of talking heads. After all the few visual peaks, and a few yesterday. Mark Hall was, in partic- singing and orchestra, mere moments I’m enjoying watching ular, bubbling away about it. I’d speech sounded a little dull and again. The story seems clear. Well, certainly like to go back to Cos- flat, however witty, “What never? there’s this man in bed, and two grove Hall, if the project was right. No never. What never? Well hard- other men come along who don’t Ironically, today Channel Five was ly ever,” was. Not my favorite shot, seem too keen on each other. The showing my episode of Wind in but it tells a bit of plot. I did strug- first man offers the others some the Willows where Toad performs gle to get through it, and was sad money, and they get writing. The Pirates of Penzance in his gar- that my animation was little more Then, a huge boat comes along dens - the wheel comes full circle. than head and flappy wrist acting. and they all dance around. Per- Poor Jean-Marc is having One day, I would love an easier fectly clear. It says Gilbert and Sulli- real problems with the simplicity of schedule to see what I really am van to me. There’s masses of work the equipment available to him. capable of. to do on the grading to get the Just a simple track back becomes a colors consistent, and quite a few nightmare, reframing and refocus- There is pressure on me from sound effects and grunts and ing as we go, and that ain’t easy certain sources to keep these groans to add to help things with what we have. A track we diaries free of criticism, in case along, but one thing is clear. It has did today had a definite dip in it as I present the wrong image. energy, which is so often lacking our floor is hardly straight. Fortu- in puppet animation. It does look nately, it matched a swooping rich, and so what if there are a few phrase in the music and seems to I’ve just been to see Love cheesy moments - in the context work. The music carries everything and Death on Long Island and of things, it works. I like their horn- along with it. loved every second of it. Gently pipe very much. It was so simple paced, and very witty. The director but fits the music perfectly. There is I’ve yet to see a convincing Richard, a friend of mine, kept cut- always such a thrill for me, when costume, especially period cos- ting away to objects and other some visuals make me listen to the tume, with CG. seemingly irrelevant things. The music in a new way, and vice effect was tremendous. With my versa. animation I’m always scared to cut This rough editing took In today’s shot, all 13 sec- away from the characters, as every most of the day, and we had to onds of it, I tried to bring out the second is so valuable. Also, the strike Pinafore and get back to the complex rhythm with the anima- early films I worked on were full of normal state. We were just getting tion. My head was ready to ghastly static close-ups of books there, when the camera tripod explode, but I so enjoy listening to about to be picked up, or door keeled over, and broke a wooden the music a frame at a time, and knobs about to be turned. leg. A bit of a disaster really, plus it hearing how it is constructed, Hideous stuff, and since then I’ve is sad to think of all the things that how phrases become questions, been frightened of such close-ups. tripod must have witnessed, only and then answers. It is all mathe- to end up in a small studio in Moss matics basically, but it is so satisfy- July 9th Side. Oh, the glamour of filmmak- ing to have the patterns unraveled No filming today, and I can ing. before me. I think, well I hope, hear the tick tock of the schedule On to Episode Two, with a that all I have done on this film so screaming in my ears. However new confidence, knowing that far respects Sullivan’s music and we had to cut Episode One what I’m doing will work. Gilbert’s words. Even after hearing ANIMATION WORLD MAGAZINE October 1998 43 a section three hundred times, as I out. This would totally drag G & S need to emphasize the pose and have today, there is something so screaming into the new millenni- the weight, but that can even right about the words and the um, but I don’t think it would be make the dance rather odd. music, that I still do not tire of fair to them. Hopefully, what I am A good thirteen seconds them. doing is bringing out the structure was done. Though, on a couple of the words and music. Besides of moments, I suddenly looked at July 13th there is too much plot to get the characters and thought, ‘I Two good shots, and one across. There is nothing in these don’t know what to do with you.’ absolutely dire one, but there we films for the sake of simply liking A bit of a nightmare, but as soon go. One of the good ones saw me the music. Every note has been as I started I found a reason for animating the melody, and also chosen because it says something everything. Gilbert has now done the counterpoint tune under- about their lives, their work, or his solo, and, boy, is he glad to get neath. The two different rhythms relationship. In such short films, I rid of that clumsy large music were doing my head in. Just as it can’t go off into plotless choreo- score. Props do get in the way, as was going quite well, it all went graphic fantasies. There, I’ve talked do costumes. What a joy it was to slightly wrong, and some of the myself out of that one! I wish I had have the naked puppets in music on the barsheet was way someone that knew what I was Achilles. I could really control out. So there was a bit of swearing trying to do, as intimately as I do. I those. by me, and some quick thinking need someone at the early stages on my feet. Hopefully, I have to bounce ideas off. July 16th saved the shot of the three men I fear I am now obsessed Trevor Nunn’s production signing the contracts, but it was with this film. Everything revolves of Oklahoma! opened at the not as I had intended. around it. I was even playing The National Theatre last night to rave Rye Hannah is with us on Gondoliers in the car. reviews. I get so excited when old work experience this week and war-horses like this are reinvented has been a great help. I feel that to Incidentally, my horoscope for as though we have never had to some extent, I am on show with the day said that I must recog- sit through them before. From all my every move being scrutinized. nize that I urgently need to accounts it is visually ravishing and All these work experience people have a little time to think. he has brought out the drama aren’t exactly taking notes, but and psychology of the piece. I with whatever reputation I have, I would love the chance to get my feel I have to be on my best July 15th hands on a dusty work that has behavior and not take too many Did a complicated piece of been ruined by countless amateur shortcuts. Still, it is very flattering to choreography with Gilbert, that performances. I’m often asked have them wanting to watch me. didn’t quite come off, but still it’s about my influences, and I think It must be so boring!!! not too bad. Dance in animation is I’m expected to say or such an odd thing. It very rarely Harryhausen (and yes, of course, July 14th works. The whole thing about I’ve been influenced by them and A good day, with a decent dance when you see it live is that admire them enormously), but I amount of footage, and some you know the dancers are con- have to say that the biggest influ- interesting animation. Gilbert is quering gravity; we are aware of ences on my work have come now off pontificating about his the effort involved to make a jump from the theatre, especially Trevor own merits. I think this is going to so high with so much grace. If you Nunn’s legendary Nicholas Nickle- be quite a musical episode. Part of remove the element of gravity, as by. Something really clicked with me is wishing that I had the in an animated film, dance sud- me. I can honestly say that it courage to film it like a music denly looks rather contrived. Too changed my life. A great work of video, or like Bob Fosse in often animators rotoscope art was made accessible, exciting Cabaret, with fast cutting, and dancers, and that looks awful, as and so damn fresh. That’s what I close-ups of hands being flicked the timing is all wrong. Animators would like to do, thank you. It is ANIMATION WORLD MAGAZINE October 1998 44 about time that Gilbert and Sulli- then made the mistake of playing evening and was disappointed van were given this dusting the complete soundtrack. It went that I did not want to carry on. I down, and maybe Mike Leigh’s on forever and ever. What we don’t think he realizes the hours of film about them next year will have done seems only a minute work I have to do every night, so have this effect. I don’t think my fraction. that I can walk into the studio and film will have any effect as so few I do not know how I am keep everything going without people will get to see it. going to film another 11 minutes losing any time. It’s now after mid- Rather too many visitors in only 11 weeks. The puppets night as I write this about what I today but it was good to see Paul and costumes are already in need have to do tomorrow, but it’s taken Berry. We sat chatting away about of repair and new skins, but to a good few hours of pacing animation, bubbling with mutual take them off set means the cam- ‘round my room (much to the respect. We still have not really era stops rolling. (Although, I hesi- amusement of the cats). worked together after knowing tate to call an animation camera’s We have a new work expe- each other for 15 years. I think we action “rolling.” It is more of a spas- rience lady today, Lucie, who would be a good combination, modic twitching.) though only 18, showed an though I think he would find it As I was busy with Sullivan, enthusiasm and interest that I’ve hard to work at my pace and with both Jean-Marc and Rye fell asleep not seen in many her age. Plus, my budgets now. He was amazed in the heat of the studio. Seeing she’d seen Oklahoma! on Satur- at the lack of staff and equipment them nod off, I quickly made day. It certainly does sound so with which we are doing this film. Gilbert nod off as he sat behind exciting and innovative, and not a (I’ve just seen his huge cheese Sullivan. Clearly, Gilbert is not gingham frock anywhere. I love commercial. Wow!!!) Paul is used impressed with Sullivan’s music. things that break years of conven- to features and the luxuries of Not much inspired anima- tion. The dream is danced by the commercials. tion otherwise, but I’m still smiling same actress who plays Laurie all Twelve seconds a day is a at one gesture with Sullivan yes- night! There is no dancer specifi- real killer. I was rushing a bit today, terday, that totally encapsulated cally for the dream sequence...she and not thinking clearly. To save the essence of a conductor and is one and the same for the first time the Wandering Minstrel composer - very simple and clear, time! Of course, it makes sense, sequence is being shot out of and above all, musical. but then this is Trevor Nunn who order, and I hate this, as all flow is said, “Why should Peter be disrupted. Incidentally, my horo- July 20th played by a woman?’ and scope for the day said that I must A good set of rushes, rea- changed that ludicrous conven- recognize that I urgently need to sonable animation (film is so for- tion. Good on you, Trevor. have a little time to think. Imagine giving), and lit cleanly and consis- you are trying to write a poem, it tently. We only get one sneak look I’ve hopefully organized for the said, while the neighbors are hav- at them, as we are still waiting for puppets to have an overhaul at ing a noisy party. How true, how the Steenbeck promised us the weekend, as they are show- true... months ago (as well as a capable ing the strain. A fax from a big studio in video recorder, but heigh ho...). America got me intrigued and Nor have I been able to cut them excited and flattered, but I have together to see it they fit the July 21st not been able to act on it yet. music, as we are allowed access to Worked like crazy today, an editor only at the end of an with some 14 seconds done. July 17th episode. Yes, I do sound disgrun- Some quite energetic stuff of We were feeling a little tled. Still, it was good to see such Gilbert and Sullivan shouting at smug (which is tempting fate) as a long chunk of animation. each other, with poor Carte we have managed a whole A long static shot today, so caught in the middle. I must be minute of film this week, and are I was left to get on with it. Jean- careful that I do not rely too heav- subsequently, totally shattered. I Marc still had energy in the ily on pointing and other cheap ANIMATION WORLD MAGAZINE October 1998 45 mime tricks, otherwise it will end ends up as more of a hobble, and ing to change a sequence that’s up looking like a bad production I watch the characters slowly get- been in my head for months. Any- of Giselle, where they mime for ting shorter and shorter as their way, I climbed back on the high hours instead of getting on and joints get twisted. Walking and wire, having no back-up of course. dancing. running around does, however, I’m working blind. I’ve hopefully organized for liven up the film to no end, espe- I hate to be seen to have the puppets to have an overhaul cially when it fits the music (not so faltered, but the pressure of the at the weekend, as they are show- today). We have just started the shoot, the worries about related ing the strain. I can’t take them off Gavotte from The Gondoliers, and things away from the studio (and set without stopping the filming, it is a slow piece - how difficult are there are lots of those), the con- as they are all in nearly every shot. slow pieces! The slightest wobble stant battle with technology, or They do need a good clean and seems so obvious. I might have to the lack of it, and the necessity of touch-up, with all their joints rethink this sequence through the being creatively one hundred per- pulled straight. Gilbert did this night, as I can’t afford the time to cent the whole time is difficult. It’s flamboyant gesture today, show- do so much walking around. I’ll not un-enjoyable, but it is difficult, ing his palm in close-up - yikes!!! find a way of giving the impres- and it overwhelmed me today. His fingers were somewhat rough, sion they are walking around...But This really has to be the last film I and worn away, so I quickly devel- look at the clock. It’s already nearly animate on. There are so many oped the gesture into something midnight. Curses. Good job I don’t better animators than me, and to else, and happily, it worked. have a life or anything normal like do everything is just too much. I’m pleased with this a relationship. Hopefully, this hiccup has gone, sequence of “Conceive me if you and I’ll be fresh tomorrow. Other- can” - as it really does follow the July 23rd wise, there will be some serious musical structure beautifully, as I don’t know what hap- soul-searching. well as telling the story clearly. pened to me today, but I fell off the high wire. I went through the July 24th animator’s equivalent of an actor Now a third of the way I looked at the puppets, and dying on stage. I looked at the through, and we were all on a didn’t seem to know them, let puppets, and didn’t seem to know downer today. As I always do, alone know what I was doing. them, let alone know what I was equating it to theatre, I suppose doing. I had started this Gavotte we’ve reached that stage in a long sequence with high hopes, and run where we’ve lost sight of July 22nd could see it clearly in my head. But things a bit, and are in awe of the We nearly lost our Lucie last three slowly dancing figures hav- time still to come. This will pass. night, due to a potentially ing spasms... Eventually, at least a We were all a bit tetchy, but we unpleasant situation as she waited dozen seconds into it, I threw up must get on with it. So we don’t for a bus. Such is the tone of our my hands and abandoned it. have the best equipment or neighborhood, and such is the Gilbert and Sullivan are now largest crew or best facilities, that glamour of the movies. She seems watching Carte walk around, as is our lot, but we are doing pretty okay today. they bitch to each other. It actually damn well with what we have. I The characters spent the works for the story, but is not as did have to laugh at one point whole day running or walking exciting as I had hoped. The abili- today, where everything that around today, which slowed me ty to make every shot interesting could had conspired against me down enormously, and I didn’t left me, and I experienced some getting any footage out did - pup- enjoy filming at all. I need these terror of not being able to come pets falling to pieces, me falling to puppets overhauled (I need me to up with anything. I suppose there pieces, the camera falling to be overhauled), but I think that is must be some still moments, but I pieces, but hey, there’s another 11 just an excuse, as I’ve never been do not like having too many shots seconds. All this insecurity of very good at walking. Everything of talking heads, nor do I like hav- course, will not show on film. I ANIMATION WORLD MAGAZINE October 1998 46 watched the footage so far with a because I got myself trapped with eral frames, that it suddenly makes visitor, and saw it through his eyes. a bit of clumsy business with some sense. You do need to look at the It does work, and charges along. It papers. larger scheme of things. is an odd film without a doubt, Carte is waving a music We’ve got a lovely universi- and I do make certain assumptions sheet from Patience and I sudden- ty drama student, Ellen, with us - mainly that people are concen- ly remembered when at the age of this week. She didn’t stay with us trating and don’t miss a note or 12 or 13, I won a G & S crossword for the length of this epic shot, as frame. I think I’m disappointed puzzle with this clue “What is she had to make a pregnant that I have not pushed the move- needed when cine tape gets mud- belly for a play. I’m glad I don’t live ment and some design elements dled?” - Patience. Was I really into in the real world. to their extreme. However, it G & S so early? I did see my very would not work to dress Little But- first G & S opera when I was eight. We were all, thankfully, tercup like a mobile supermarket, All a bit frightening in what that refreshed by a weekend away which is, in effect, what she is, if says about me. from the now rather stuffy and no-one knows who Buttercup is to Had a good chat to the smelly set. begin with. Dare I assume that conductor of Showboat, David A., most of the audience are aware of about things ranging from Wagn- Gilbert and Sullivan at least? I er to Miss Saigon’s helicopters. I July 29th would have liked more dance in may not be able to talk about cur- A good day, with 13 more this film, and I know I could be rent affairs but I can certainly hold seconds thrown out, but look at capable of complex and witty my own when it comes to the arts. the state of me. I’m wrecked. dance, but it is that time curse Sadly, animation is too often seen, Everyday like this is a marathon. again. I do have to go for the not by David though, as a quaint Thirteen hours at the studio with- short cuts sadly. impostor in such circles. out sitting down, and two hours work back home, leaves me even- The ability to make every shot July 28th tually with five to sleep. That is not interesting left me, and I expe- Nineteen exhausting sec- enough, but, hey, today has been rienced some terror of not onds, which left me with bleeding manic, but fun. Three, not so little being able to come up with feet from all the pacing up and maids arrived from school, and are anything. down, and rather more worrying- now charging around the set at ly, some blind spots in my vision great speed. The contrast with last from facing bright lights at close week’s gavotte makes absolute July 27th proximity for nearly thirteen hours. sense now. The enormous Had my hair cut for the first The remedy for this I found was sit- amount of detailed work that Wyn time since February. What a few ting on the toilet quietly with a T- and I did in those early days of try- months these have been, and shirt over my head. I was worried ing to find the right shape and how cathartic it was to have the when I couldn’t see my bar sheets. pacing in each episode really hair cut. Getting rid of so much by Perhaps someone could invent a works. Well, Wyn knows what he’s association. We were all, thankful- pair of blinkers for me. doing, though I have a sneaking ly, refreshed by a weekend away What a long and busy day. suspicion he does not quite have from the now rather stuffy and I got to the end of this gavotte and the passion for G & S that I do. I smelly set. The puppets are a little I’m afraid it’s a rather dull scene. hope it’s not long before he and I cleaner, but I’m not sure I was par- However, it works as a breather are bent over another music score, ticularly inspired today. I can’t before the burst of color and discussing the structure of such blame the music or anything. It’s movement that will hopefully be and such a phrase. just a rather quiet sequence the Mikado. This is so true of a lot We left the studio skipping before the energy of the Mikado of animation - when I do a move it (in spite of the bleeding feet sequence. It looks dull now but sometimes looks too extreme, but again), as this music bubbles will work in context. It’s dull really it’s only when I’ve gone past it sev- along with wit and good humor ANIMATION WORLD MAGAZINE October 1998 47 (Mr. Gilbert’s words) as does, I before me of the three chaps in through the view finder. When we think, the film. Dressed in their rav- frocks. It does look gorgeous, get them back, they are lacking ishing and witty kimonos the three though the transformation was the strength of pose of whatever men make a striking image. not exactly as I planned it (well, we’ve seen on film. Episode Two is about to finish with perhaps I had not had time to I’m sitting here late on Fri- a bang (though I’m not sure that’s plan it enough), and I’m afraid the day with my head swimming. It the right musical expression). To all animation is as rough as anything has been a long week, but the the students I’ve ever taught, I I’ve done, but it is full of move- number of hours worked is not apologize now. I’m afraid I pushed ment. necessarily relevant to the quality these puppets, as there was no of the work. That, under these cir- way I could animate the legs July 31st cumstances, is simply how long it under those kimonos. So I slid After three very late nights, takes. them round the set at manic we all had a bit of a downer It all looks quite rosy as I speed, but in the context of excit- today, probably because we have have my hand wrapped around ed, young, clichéd Japanese no energy left. There was a lot of Gilbert, but there are so many “maids,” it looks allright. The music tension and we were all snappy. rumblings elsewhere that I either will carry it. Then the sight of three Victorian don’t know how to sort out or do For all our 13 hours work, gentlemen, dressed in dazzlingly not have the time, but (as we sing we only managed seven seconds - colored kimonos somewhat punc- in the next episode), “Oh don’t the an action-packed seven seconds tuates the atmosphere. days seem lank and long, when all though. Rather too many visitors goes right and nothing goes saw me animating one shot on wrong, and isn’t your life extreme- For all our 13 hours work, we automatic pilot. I don’t want to dis- ly flat with nothing whatever to only managed 7 seconds - an courage visitors, as people do find grumble at.” That’s one of my action-packed 7 seconds it interesting and students particu- favorite quotes, so pardon me if I though. larly get a thrill out of watching us keep quoting it. But dammit, G & in action as I did when I had the S had enormous ups and downs, chance to watch any filming years and their work was good, and July 30th ago. It’s also quite good to get that really is matters. I’ve just crawled home, my some unbiased comments about poor legs giving way under me. the film. But I do feel I’m on show Read Barry’s previous We had the added hurdle of enor- and have to go through the monthly diaries in Animation mous heat today, as we trans- whole routine. I looked at the shot World Magazine, starting with the formed into the Mikado scene. It is afterwards and it was allright. The June, 1998 issue: bright and colorful. I’ve probably three men were laughing at each (http://www.awn.com/mag/issue gone through over four liters of other in their kimonos, but 3.5/3.5pages/3.5purvesdiary.html). juice, and still I’m dehydrated. Gilbert’s wrist got twisted the Anyway, I had a good wrong way, as his gesture Barry Purves is a Manchester- phone call from Clare, with some became, unfortunately, one of an based filmmaker. Through his thankfully, positive feedback. Her insulting limp wrist kind. Not what production company, Bare comments were helpful and con- I had intended at all. Boards Productions, he has directed several stop-motion ani- structive. I am hopeless with peo- Production stills are causing mated films and commercials, ple who burst in and give some concern just now. As always including Next, Screen Play, Rigo- thoughtless and unconsidered we do not have the time to set up letto and Achilles. opinions, especially when we are things for the express purpose of a at this stage. I do snap then. Any- still, so they have to be snatched Note: Readers may contact any way, I’m thrilled (and relieved) that when I feel it looks right, but then Animation World Magazine con- Clare likes it so far. I wanted to the huge camera is in the way, tributor by sending an e-mail to show down the phone, the scene and we can’t get what is seen [email protected]. ANIMATION WORLD MAGAZINE October 1998 48 Vilppu Drawing Online: The Box

by Glenn Vilppu

his is the third beginning for a bet- Illustration No.2 in a series of ter understanding of Tarticles on my approach. drawing for anima- The box is like the tion. In these articles I sphere in Lesson 2. It will be presenting the is a critical form that theory and practice of you must learn how drawing as a “how to” to draw if you are instructional series. serious about devel- The lessons are based oping your drawing upon the Vilppu Glenn Vilppu.All drawings in skills. The ability to Drawing Manual and this article are by and © draw the box is a will in general follow Glenn Vilppu. necessary basic skill. the basic plan outlined in the man- If you don’t have a complete mas- ual. This is the same material that I tery of this, it will hinder your ful that you maintain the feeling base my semi- development as that the corners are at right angles nars and lec- an artist. Spend and that you have a sense of fore- tures on at the as much time as shortening as the sides recede American Ani- it takes to back in perspective. If you have no mation Institute, become profi- knowledge of foreshortening or UCLA, and my cient at drawing perspective, or are having a diffi- lectures at Dis- them at any cult time with this, you should ney, Warner angle or in any acquire a good book on perspec- Bros. and other combination. tive and take some time to study it. major studios in This is a skill that is absolutely nec- the animation Part One essary in your development as an industry both in Start by artist. the US and in Illustration No.1 drawing a series their affiliates of boxes free- The box is...a critical form that overseas. Each lesson will also hand, i.e. not using a straight you must learn how to draw... have short Quicktime clips of me edge. Think of the box tumbling demonstrating the material dis- through space (see Illustration No. cussed. If you have not seen the 1). Approach it as if you were ani- Part Two previous lessons starting in the mating it so that each drawing is a Now let’s take this box we June 1998 issue of Animation progression from the last. Be care- have been drawing and round off World Maga- the sides so that it zine, it is recom- Illustration No.3 looks like a bar of mended that soap (see Illustra- you do. The tion No. 2). Start by lessons are pro- tumbling it through gressive and space as we did in expand on basic Part One. After you ideas. It is sug- feel comfortable, I gested that you want you to see if start from the you can give it life

ANIMATION WORLD MAGAZINE October 1998 49 Illustration No.4 In short, become master of the box!

It is easy to relate houses, , and other inherently box-like forms to our simple box. Look carefully at the other examples on these pages to see how the box was used to help draw them. Sometimes we use the box as a and a personality the same way starting point when drawing diffi- we did in Lesson 1 (see Illustration cult angles. Remember, there are No. 3). Have it bend, twist, walk no rules, just tools. The sphere and meet other boxes. Think of fat and box are tools that help you to understand complex forms and boxes, thin boxes; in short, Glenn Vilppu teaches figure enable you to depict them suc- become master of the box! drawing at the American Anima- cessfully in three dimensional tion Institute, the Masters pro- Sometimes we use the box as space. a starting point when drawing gram of the UCLA Animation Dept., Walt Disney Feature Ani- difficult angles. Note: The on-line version of mation and Warner Bros. Feature this article includes a Quicktime Animation, and is being sent to movie of master drawing instruc- If it helps, set up some teach artists at Disney TV studios tor Glenn Vilppu demonstrating boxes. You could suspend some in , Canada and the Philip- drawing techniques that every from the ceiling by string or wire. pines. Vilppu has also worked in animator should know! It would even help to make a box the animation industry for 18 http://www.awn.com/mag/issue mannequin to draw from, using years as a layout, storyboard and 3.7/3.7pages/3.7vilppu.html blocks of wood and wire (see Illus- presentation artist. His drawing tration No. 4). manual and video tapes are being used worldwide as course materials for animation students.

Glenn Vilppu first wrote for Ani- mation World Magazine in the June 1997 issue, “Never Underes- timate the Power of Life Drawing.” His drawing manuals and video tapes may now be pur- chased in the Animation World Store.

Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to [email protected].

ANIMATION WORLD MAGAZINE October 1998 50 The 7th Hiroshima International Animation Festival (August 20-24, 1998) by Gigi Hu

ttending the Hiroshima given out this year. Animation Festival is prob- Leading the list Aably one of the most was Sylvain sought-after goals of many inde- Chomet’s comic- pendent animators around the like The Old Lady world. A biennial event since its and the Pigeons, inception in 1985, it has become which won the Asia’s premier animation festival Grand Prize of the officially supported by ASIFA, an festival. Alexander organization which is devoted to Petrov’s poetic the promotion of animation art. entry, The Mer- maid, was a close fight. However, The number of entries has due to its themes increased from 451 at the first of love and festival to 1,127 at this most revenge, the film recent one. was awarded the equally prestigious Hiroshima Prize A Friendly, if Fierce, Competi- which honors out- tion standing anima- The main focus of the festi- tion that contains val is the competition. The number subject matter of entries has increased from 451 related to love, at the first festival to 1,127 at this peace and friend- most recent one. 64 of those ship. The Debut entries were then preliminarily Prize was Anna ners are in a special class of their selected and screened three con- Henckel-Donners-Marck’s nostalgic own. They are all remarkable secutive nights before an enthusi- black and white Busby. pieces. astic audience and a panel of To honor the late Renzo international jurors. Because of its Kinoshita, a new prize was inau- Other Events competitive streak, festival director gurated in his name and the win- Throughout the festival, Sayoko Kinoshita appealed for ner was Nicolas Jacquet’s bouncy even while the competitive films understanding and ‘no hard feel- L’Aréne (Série Vermillon). Two were reserved for evening screen- ings’ at the press conference. She International Jury prizes were ings, Aster Plaza, the main venue was concerned that when the awarded: one to Jan Pinkava’s slick of the festival, was a hive of cheer- results were announced at the computer animation film, Geri’s ful activity in the day. Special end of the five-day festival, ‘friends’ Game, and the other to Solweig screenings, workshops, exhibitions could become ‘hostile;’ some neg- Von Kleist’s delightful Romance of and guest appearance discussions ative feelings she has experienced the Heart. In all, ten other films brought hordes of spectators to in the past. were honored under the Special the plaza. A total of 16 awards were Prize Category. Indeed, these win- The festival organizers ANIMATION WORLD MAGAZINE October 1998 51 worked hard to promote a special program by Ray Harryhausen, the award-winning Dynamation direc- tor whose famous works include The Beast From 20,000 Fathoms (1953),The Golden Voyage of Sin- bad (1977) and Clash of the (1981). Because of his grandfa- ther-like figure, and unassuming personality that is always ready for a laugh or two, one young Japan- ese animator felt comfortable enough to ask him about his gen- eral living habits—including the kind of food he ate!

Special screenings, workshops, exhibitions and guest appear- ance discussions brought The Debut Prize was Anna Henckel-Donners-Marck’s nostalgic black and white Busby. hordes of spectators to the © Anna Henckel-Donners-Marck. plaza. presentation by local-born Toshio media works which graduated Iwai. An interactive media artist, from hand-operated flipbooks to Other foreign presenters he seems like a child prodigy, a , and included sets of vir- included Normand Roger and 21st century Japanese animator, in tual television, video and comput- Judith Gruber-Stitzer. Both did pre- sharp contrast to veteran classic er-generated graphics and piano sentations on the topic of music animators like Kihachiro Kawamo- media performances, such as his and animation, sharing their to and Yoji Kuri, who were in the high-tech collaborative concert knowledge patiently through audience attending his presenta- with in Tokyo, translators. tion. Toshio Iwai showed us his 1996. Improvisation and experi- Most surprising of all, was a seemingly endless range of multi- mentation are his forte. His futuris- tic works not only dazed but held the audience spellbound to near numbness.

Most surprising of all, was a presentation by local-born Toshio Iwai.

Cultural Exchanges As it was an Asian anima- tion festival, I was keen to meet up with Asian animators. Celebrating the 50th anniversary of India’s independence, a record number of Indian animation films were shown under the sponsorship of the Japan Foundation Asia Center. “Time Stratum II,” a three-dimensional sculpture by Toshio Iwai.Photo cour- tesy of the Hiroshima Festival. Four Indian animators flew in to

ANIMATION WORLD MAGAZINE October 1998 52 grace the occasion: international animation eminent pioneer ani- community. mator Ram Mohan, and The amount of cul- three other younger tural exchange at the fes- animators, Prakash tival was tremendous Moorthy, Suddhasattwa and it would not have Basu and Jayanti Sen, been possible if not for who added an exotic the generous support of touch with her sari out- the city of Hiroshima and fits. her people. The exuber- The late Renzo ant participation of hun- Kinoshita and his wife, dreds of volunteers was Sayoko, are well-known the envy of any festival for their detective-like organizer. It is remarkable searching out of Asian that a city that has suf- animators and films. fered so much, now Thus, I was looking for- gives so much in return, ward to ‘The Asian Ani- especially in terms of hos- mation Collection.’ It pitality toward animators included works from Snow Fox was one of the films in the ‘Asian Animation Collection’ worldwide. One hopes Malaysia, The Philip- show. © Shanghai Animation Film Studio. that in years to come, pines, Mongolia, Thai- Hiroshima will have her land, Iran, Republic of Korea, and somehow that magic animated own home-grown animation the much awaited animation touch, that breathless grasping schools and animators and that series, Kampung Boy, based on quality that we encountered in the more foreign media will cover this comics created by Lat. past, was missing. unique festival, lending it the “We last participated seven exposure it deserves. years ago. China has been in a A complete list of Hiroshima Celebrating the 50th anniver- flux of change. Many talented ani- 1998 winners is available in this sary of India’s independence, a mators left for the lucrative com- issue’s Animation World News: record number of Indian ani- mercial sector,” said director Hu. http://www.awn.com/mag/issue mation films were shown... They were glad that they had 3.7/3.7pages/3.7newstoc.html come and been exposed to the Shanghai Animation Film Studio directors, Jing Qing Hu and Yun Chu Wu, were also present at Gigi T.Y. Hu is a Ph.D candidate the festival. Their film, Snow Fox, at the University of Hong Kong, was among the 64 selections. Department of Comparative Liter- Sounds of eagerness were heard ature. She is currently a visiting from the floor when the entry’s researcher at Sophia University, screening was announced. Per- Institute of Comparative Culture. haps, it was because it was the only other Asian competitive entry In 1996, she co-founded the First besides Japan’s four national Singapore Animation Fiesta. entries. Shanghai Animation Film Studio is famous for its painted water-color animation films. This Note: Readers may contact any distinctive tradition was reflected Animation World Magazine con- in the foxes’ resplendent golden AWN publisher/president Ron Diamond tributor by sending an e-mail to hues, so rich that it had the effect with festival director Sayoko Kinoshita. © [email protected]. of a child’s pop-out book. But AWN. ANIMATION WORLD MAGAZINE October 1998 53 My Hiroshima

by Prakash S. Moorthy

Editor’s Note: With India’s recent arrival into the circle of countries with nuclear arms, the Hiroshima International Anima- tion Festival invited a delegation of Indian animators to Hiroshi- ma so that they could witness, as artists, the devastation wrought against the city in the final days of the Second World War. Animation World Magazine is proud to present one man’s point-of-view on how this trip influenced him.

ities are full of ant-like walking, loving, hating, laughing, crying, men, C Left to right:Animators Prakash S. Moorthy, Dave Brunskill and Clive Walley in Hiroshima, women and children. It is amus- Japan.August, 1998. Photo by Ron Diamond. © AWN. ing to realize how issues that grip people and send them scurry- task, but all agree that from up in also design sets for the live-action ing like ants, look so remote and the sky, there is only one over- there. Hiroshima was insignificantly mild, when seen powering emotion one feels my first animation film festival and imagined from above. It was toward humanity: love. I wonder abroad, as well as my first trip to 8:10 in the morning and our how this city was once completely Japan. For this, I am very grateful plane was circling above Hiroshi- denied it. to Sayoko Kinoshita, the Director ma before landing. Beneath us of Hiroshima ‘98. was a city that looked like any He was more than a kilometer When I landed, I met the other city would look from above. away from the hypocenter nicest people. They were nice in Neat, simple and peaceful in the when the atomic bomb fell. Hiroshima before August 6, 1945 morning sun. Blue sky and all. too. I met one of the few who sur- Fifty-three years ago on August 6 vived. Mr. Sunao Tsuboi was a at 8:15 AM, it looked like any other I am an independent ani- young boy then. He is now the city from above too. A few sec- mation film maker from India and Secretary General of Hiroshima A- onds later it did not look like any was invited to the Hiroshima ‘98 bomb Survivors Organization. He other city — an image too horrible International Animation Film Festi- ceaselessly works, when his frail to imagine. val. I am from Kerala, India’s most health allows him, to convince Loving a neighbor can be a southern state. To make a living, I people of the terrible sickness of

ANIMATION WORLD MAGAZINE October 1998 54 war. He was more than a kilome- flowers and paper wreaths. Young granite wall; blood-stained school ter away from the hypocenter lovers stood holding hands, as if uniforms; pieces of nail and skin when the atomic bomb fell. He forever, near a huge grassy from a little boy preserved by his was on his way to school. When mound that a plaque said was a dying mother for his father who he came to, his skin was falling off mound of ashes from the hun- did not come back to see because like an old shirt. dreds of people who perished he died fighting in a far away where they stood. The image of land; a model of “Little Boy” that Jacob Bronowski by the pond at the Enola Gay carried and I wonder if there is another Auschwitz came to my mind: ‘We dropped; the hastily type-written place on earth where an event have to cure ourselves of the itch order to use the special bomb — of such violence, an event so devoid of respect to fellow for the absolute knowledge and all this and much more stood like human beings, has passed. power. We have to touch people.’ ghosts before us at the Peace I wonder if there is another Museum, wanting to be part of place on earth where an event of the new story that Dave and Smiling, he told us that he such violence, an event so devoid myself are resolved to write, draw, did not want to understand mili- of respect to fellow human beings, animate, and make into film. tary might, a nation’s security con- has passed. Is there another place Drawing inspiration from cerns, nor patriotism or national- like this Peace Park, which shows Renzo Kinoshita’s Pica-Don and as ism. He had no meanings for the no anger, no grudge, only a a tribute to Sunao Tsuboi and the words deterrence, stock-piling or reminder to future generations many others like him, we hope to bargaining power that the nations that the will to love is far stronger screen our film at the next Interna- of the world speak of today. I than that to destroy? In a short tional Animation Festival at believe he is able to see us all from time, the Peace Park at Hiroshima Hiroshima in the year 2000. We above without ever leaving the has become a place of pilgrimage have no idea where our funding ground, knowing how insignifi- to me, where, I know I will return will eventually come from, but we cant our pride and prejudice are. many times. Though I met him at are certain that it will come. He went to India and spent a lot of the airport and shook his hand, Hiroshima ‘98 has been a wonder- time with the common people in this is where I knew Dave Brun- ful experience for the films viewed New Delhi. He said that he was skill. I saw him affected, deeply and people met. Truly a festival sad to see so many poor people in moved, as he walked about from devoted to peace featuring an India. When a spirited individual cenotaph to monument. Maybe, I inspiring clutch of international asked if he had also liked the archi- made a similar impression on him films. Amazing, for a first timer like tectural beauty of the city, he was too. Later that day, we talked me, to discover that there exists apologetic and sad as he replied about the strong feelings and many others who are concerned bluntly, “I am no tourist. I did not images that we felt at the park and with the same concerns that affect go to India as a tourist.” how they would reflect in our me; to know that one is not alone At the Hiroshima Airport, I work for a long time to come. is a wonderful situation to be in. also met England’s Dave Brunskill, Soon we agreed that we should an artist/animator who works with work together on a film. children. He was invited to show Prakash S. Moorthy is an inde- his work at Hiroshima ‘98. Dave pendent animation filmmaker To know that one is not alone studied to become a furniture based in Kerala, India. is a wonderful situation to be designer but found himself doing in. animation. It was his idea to go to the Peace Park and the A-bomb Note: Readers may contact any Dome as soon as we arrived. I was We saw a wrist watch that Animation World Magazine con- overwhelmed with everything I stopped at 8:15; a twisted lunch tributor by sending an e-mail to saw there. I saw people praying, box with rice burned to a black [email protected]. both young and old, and placing mass; a vanishing shadow on a ANIMATION WORLD MAGAZINE October 1998 55 Tenth Annual Conference of the Society for Animation Studies at Chapman University (August 12-16, 1998)

by Keith Bradbury he 10th annual Society for Animation Studies confer- Tence was a wonderful experience. Although it was my first SAS conference, I felt like I was at home for two reason. Partly because of the similarity, weather wise and in terms of geography, between Los Angeles, California and Brisbane, Australia, and sec- ondly due to the friendliness pro- jected by the conference organiz- er Maureen Furniss and her assis- tant Bryan Barker. Their determina- tion to make the conference a suc- cess was palpable, fading only when technology inevitably mal- functioned. The campus of Chapman University provided a sunny setting for the 1998 SAS Conference. Photo courtesy of Chapman University. It became obvious that Graber, J.B. Kaufman’s “Disney on Friday night, Karl Cohen’ thought had been given to Meets the Golden State” and a screening Saturday night...I won- where papers were screening of Karl Cohen’s program dered on Sunday if I needed to go scheduled... of forbidden animation. That was to Disneyland! Jet-lag had caught the nighttime activity. up with me. So, I leisurely headed During the day, visits were for Disneyland for the first time Pre-Conference Programming arranged to Warner Bros. archives ever. Mountains of merchandising, While the majority of dele- at USC and on the lot, the Acade- piled high, greeted me in every gates arrived on August 12 the my Library and, of course, Disney- store. Tempted to buy, I settled for first official day of the conference, land. However, after arriving in cards with drawings from Steam- there were quite a few overseas Los Angeles four hours before I left boat Willie and other early Disney visitors who arrived at various Sydney, Australia, then taking a films on the front, and one card times before that. For them and connecting flight to Orange Coun- which was a take on Pop Art. It some locals, the pre-conference ty’s John Wayne Airport, before featured Minnie laying on a bed à program consisted of a welcome finally picking up my hire car to la Roy Lichenstein’s Blonde Wait- party at Maureen Furniss’ new tackle the famous L.A. freeways, in ing series. Minnie says, in parody home, animation screenings and addition to driving to the Jack of the Lichenstein, “I wish Mickey lectures at the Orange County Ruberg Gallery up in Los Angeles were here.” Later, I learnt that Museum of Modern Art by Robin to see the Fischinger exhibition around the time Disneyland was Allan on Disney artists, David and buy a VHS copy of his films on being planned, Disney was in Williams on U.K. animator Sheila Friday, attending Maureen’s party close correspondence with Sal-

ANIMATION WORLD MAGAZINE October 1998 56 vador Dali. Something of at particular studios, the surreal still lingers if cast a light on ques- only the sense of carni- tions of authorship. val. Pierre Floquet’s “TEX & Tales: From Tex The Conference Pro- Avery’s Debut to the gram Beginning of His End The paper that in (Recurring Theme retrospect has helped me and Evolving Style)” shape how the diverse focused on the evolu- presentations related to tion and recurring the conference theme of themes of ’s “In the beginning...,” character ‘Red’ and was Barbara Fleischer Busy conference organizers Maureen Furniss, Ph.D and her graduate how ‘Red’ became a Zucker’s “Anna Curtis assistant Bryan Barker. Photo courtesy of Keith Bradbury. means for Avery to Chandler: A Storyteller construct his audi- of technological determinism - Who Could Keep Them from the ence. (Hopefully, we will be able that technology determines cer- Movies.” Zucker’s paper told of to read more on the subject in Flo- tain outcomes. Bryman’s paper Chandler’s opposition to cartoons quet’s forthcoming publication on pointed out that early animation in the 1930s and her active cam- Tex Avery’s comic language.) Tar- studios were not exact replicas of paign to attract U.S. children to art leton Gillespie’s “ and each other in terms of formulating through her gallery art talks. This Consumer Culture” gave an the role of the director. From this paper preceded Gunilla Muhr’s, account of the cultural construc- basis he then moved to a more “Aesthetic Strategies of the Disney tion of computer animation and complex model of animation pro- Studio in the 1930s.” Though no argued how ’s Academy duction in which technology was direct relationship was posted Award-winning film has become one of five factors that influenced between Disney’s strategies in the emblematic of how CGI will be the final outcome. The others 1930s and Chandler’s art talks in explored. Gene Walz’s “Charlie were work ideologies (industry, the same era at the Metropolitan Thorson and the Twilight of the culture, societal beliefs), strategic Museum of Modern Art, Disney’s Fleischer Studio” came from his (and one would add aesthetic) interest in art and artists in the forthcoming publication Cartoon choice, design principles, and 1930s, which Robin Allan exten- Charlie :The Life and Times of an organization of work. sively considered in his talks, and Animation Pioneer and detailed 1930s animation, generally the distinctive place Thorson had Day one began with two became more fascinating because in anticipating the specialist pro- papers on early animation of this juxtaposition of presenta- fession of character designer in technology. tions. animation studios. Susan Ohmer’s It became obvious that paper on the re-writing of the his- In stark contrast Richard thought had been given to where tory of New York’s independent Leskosky’s paper delved into the papers were scheduled and that it computer animation company history of early animation technol- was anticipated that not all papers since being taken ogy, animation on the outer curve would fit neatly into clustered over by Fox had special relevance of a cylindrical drum, not the inner interpretations of the conference for any scholar of authorship. surface. The interesting point was theme. Robin Allan’s papers on Disney and that such technology pre-dates his connections with and use of the history of cinema and is an Day One European artists and art in the ‘30s instance of non-filmic animation. Day one began with two and ‘40s was a sketch of what to Let’s hope that these talks become papers on early animation tech- expect in his forthcoming publica- articles in animation journals. nology. Alan Bryman’s “Theorizing tion on Disney and, as I said Other papers, while tracing the Early Technologies of Anima- before, worked well with the the history of individual animators tion” argued against the concept material Gunilla Muhr presented. ANIMATION WORLD MAGAZINE October 1998 57 Rose Bond and Ruth Hayes dis- Day Two cances of death from Disney to cussed how cultural provincialism Day two began with Mark The Simpsons. Alan Cholodenko’s authors films in “Northwest Anima- Langer’s paper “The Freak Show paper set out to topple cause and tion: The Roots of Creative Vari- Cultural Tradition in American Ani- effect reasoning by proposing that ance,” while David Ehrlich’s “The mation.” Having seen Karl Cohen’s instead of beginnings we should Beginning of the ‘ASIFA Presents’ program of forbidden animation think of circulations of texts and Collaboration Films: Aesthetic and before the conference started, the tropes of discourse. Political Problem Solving,” and Langer’s paper further underlined Chris Padilla’s “The Development the divergent interests of anima- of Festivals” tors in the ‘20s and ‘30s. He Other papers, while tracing detailed examples of how anima- argued that the representation of the history of individual anima- tion can be authored as ‘other’ to the anomalous body (characters tors at particular studios, cast the prevailing socio-economic as mixtures of humans and ani- a light on questions of author- imperatives of corporate/large stu- mals) and the replication of the ship. dio animation. corny atmosphere of freak shows A direct correspondence in early Fleischer animation was a The afternoon papers clus- between authorship and anima- means to transgress notions of the tered around experimental anima- tion I found in Tom Klein and J.B. self. tion. Lynn Tomlinson working Kaufman’s papers in the evening The next three papers were from primary sources constructed of day one. Tom Klein put Univer- as different from each other as one a reading of what was, she had sal cartoons, 1929-30, ‘on trial’ in would want. Vicki Callahan’s established, an early Quay Broth- an attempt to establish which films paper analyzed as ers film Der Loop der Loop. Rune could be credited to Tex Avery. The spectacle, concerned to be uncan- Kreutz’s “Absolute Films and the degree to which animation is the ny, not magical, involving its audi- Consequences of Abstraction” was product of the studio ence not in projections of utopia a defense of abstract animation system/house style or to indi- and traced its lineage from vidual presence is again a the 1920s to Richard Reeve’s question of authorship. The Linear Dreams of 1997. Then verdict proved inconclusive came a series of papers partly because the audience which prompted a question- was being tested at 9.30 ing of the boundaries of ani- p.m. after a long first day mation, especially Robert and partly because we all Haller’s paper on Jim Davis’ wanted more information. films in the Anthology Film J.B. Kaufman, on the other Archive in New York, and less hand, wondered what to so William Moritz’s history of make of two versions of Dis- Jordan Belson’s work and ney’s Whoopie Party of 1932. Ying Tan’s papers on Belson’s His premise was that unlike latest film Mysterious Jour- theatre productions that can ney. When does experimen- Left to right: Roger Palmer (Australia), Jeanpaul Goer- vary with each performance, gen (Germany), Laura Knight (UK) and outgoing SAS tal film become animation? animated films are a finished president Richard Leskosky (USA). Photo courtesy of Does it matter? Such ques- product, so circulation of Keith Bradbury. tions didn’t seem as problem- variations of the same film atic for the presenters as they indicate something. His conclu- but in an experience of mutation, did for me. Nonetheless, the view- sion was that the existence of dif- and thus, effecting a removal of ing of Belson’s and Davis’ work, ferent versions of Whoopie Party the audience from their social con- along with that of the German was due to censorship (i.e. gov- text. Luca Raffaelli’s “Death and Puppet films on day three and ernment authorship) of such inof- Animation” on the other hand George Pal’s films on day one were fensive cartoons in the 1930s. offered a wide ranging account of highlights for me. the structural and other signifi- ANIMATION WORLD MAGAZINE October 1998 58 of the beginning of print on animation. John Libbey is the Netherlands Insti- due to release a book on Asian tute for Animation animation, edited by John Lent, Film. Asli Tunc fol- Pierre Floquet’s book on Tex Avery’s lowed with the paper comic language is in production, she wrote with John as are books by Gene Walz on Lent on “Women and Charlie Thorson, J.B. Kaufman and Animation in Turkey.” Robin Allan on Disney. Animation Who said there is not seems to be a growth area in a need for women’s terms of publishing. Finally, Chris liberation? In addi- Padilla is planning a book on the tion to the difficulty history of animation festivals, that for women animators will hopefully be released to coin- USC professor Christine Panushka (USA), left, with pub- in Turkey, what struck cide with the exhibition of pup- lisher John Libbey (Australia). Photo courtesy of Keith me during the pre- pets and puppet animation, curat- Bradbury. sentation was the ed by Chris, that will tour the U.S. Day Three European modernist style of much and other places to be decided, Papers were more narrative of the work. The last two papers, from next year. ‘histories of’ on day three, though David Williams’ talk on UK anima- The next SAS conference not entirely. Johann Goethals tor Sheila Graber and Robin Allan’s will be in Brisbane, Australia to detailed the difficulties of establish- paper on “: An coincide with the triennial exhibi- ing the Academy of Ghent as a pri- End and a Beginning,” I had tion of contemporary Asia Pacific mary agent in the development of heard in some form in the pre-con- art at the Queensland Art Gallery. European animation. A much ference sessions and tuned in and It will provide not only an oppor- longer session, 1.5 hours rather out. But I am looking forward to tunity to assess Asia Pacific anima- than the usual 30 minutes, was reading Robin Allan’s forthcoming tion in relation to contemporary given to Jeanpaul Goergen’s “Pup- book on Disney artists. Asia Pacific art, but will also be an pet Animation Film in Germany excellent opportunity to become from 1915-1945.” Jeanpaul esti- familiar with Australian and What astounded me was the mated that between 1915 and Queensland animation. I intend to number of publications about 1945, three to four puppet films screen a program of Asia Pacific to appear in print on were released annually in Ger- animation and would like to have animation. many. However, many of these are a global student section. As details now lost but what has been are finalized they will appear on restored is fascinating. My paper A Boom in Animation Publica- Animation World Network. on Harry Julius followed, suggest- tions ing the relevance of an open mind Beyond that, the screening Visit the Society for Animation to animation practice. Wendy of restored animated cartoons Studies web site on Animation Jackson next presented “Czecho- from the various archives made World Network: slovakian Animation Under Soviet the conference unique. The con- http://www.awn.com/sas. Occupation.” Her paper worked ference also featured and sold the to reveal how latest animation publications from Keith Bradbury lectures in the His- could flourish under the rigid polit- Maureen Furniss’ Art in Motion tory and Theory of Art at Griffith ical organization of Communism. published by John Libbey and Karl University Queensland College of Marty McNamara discussed the Cohen’s Forbidden Animation to Art in Brisbane, Australia. theme of sexual ambivalence in publications on the experimental the work of the Russian animator films of John Davis, published by Note: Readers may contact any Kovalyov. No discussion was the Anthology Film Archive and Animation World Magazine con- made, or indeed questions asked, edited by Robert Haller. What tributor by sending an e-mail to about the reception of his films in astounded me was the number of [email protected]. Russia. Ton Crone gave the history publications about to appear in ANIMATION WORLD MAGAZINE October 1998 59 Antz: The First Biggie from DreamWorks by Jerry Beck nsects have been a standard subject of animated stories, Idating back to Winsor McCay’s second film How A Mosquito Operates (1912). From Ladislas Starevitch’s breath-taking stop- motion silents to numerous Silly Symphonies, and of the ‘30s & ‘40s, the world of bugs is a familiar one to cartoon filmmakers. This fall we are presented with two computer animated “bug” movies, the sec- ond in a series of DreamWorks vs. Disney same-subject feature films (DreamWorks’ Deep Impact beat Disney’s Armageddon to the the- aters earlier this year). Z, a worker ant, complains to his friend Weaver, a soldier, in the bar. © DreamWorks LLC.

Antz fulfills all the require- enough, as “Z” (Woody Allen) Queen will review the troops, he ments expected of a contem- explains his inferiority complex to arranges to switch places with his porary feature length animat- his analyst, while staring out at the soldier pal, Weaver (Sly Stallone, ed film, thus no one will be vast ant colony going through its whose character looks somewhat particularly disappointed. daily routine (a stunning opening like The Tick). Unfortunately for Z, sequence). We are then intro- the troops are immediately sent to duced to the General (Gene Hack- battle, a suicide mission planned Antz is the first to arrive, man) who controls the soldiers by the General, against the Ter- and it delivers the requisite goods and worker ants and is scheming mites. The battle sequences are to be a crowd-pleasing family film. a take-over plot tied to the digging spectacular, but not unlike the However, everything I perceived of a strategic tunnel. That night at insect vs. human war in Starship about the film, before seeing it, the local bar, Z’s spirits are lifted Troopers. was generally true about the fin- when he hears about an “Insec- Z is the only survivor. The ished product. On the one hand, topia” located somewhere in the scene of Z surveying the battle- the film has a dark look and claus- outside world. He is further trans- field, and finding the disembodied trophobic feel, plus the character formed after meeting Princess head of companion soldier Barba- design is rather ugly. On the plus Bala, who is secretly slumming tus (Danny Glover) is effectively side, casting Woody Allen, as the among the workers. touching, sad and funny. Hailed at neurotic lead character, was She picks Z to dance with the colony as a war hero, Z for- inspired. and he falls in love. The following mally meets the Queen and Bala. day Z wanders through his pre- When it’s discovered that Z is actu- The Film’s Events dictable schedule in a love-struck ally a worker, not a soldier, a con- The film begins promisingly stupor. When he learns that the frontation leads Bala and Z to fall

ANIMATION WORLD MAGAZINE October 1998 60 through a trash chute to the out- a groundbreaking computer gen- side world. Escaping the dangers erated feature, it had characters of a magnifying glass and giant we could relate to and a strong water drop, the pair make their story. Antz, compared to that, is way toward “the monolith” (a just a novelty. It’s fun to watch, but water fountain), where “Insec- forgettable. topia” is rumored to be just beyond. Computer animation has got- Back at the colony, rumors ten so good...the main charac- of Z’s defiance and independence ters almost feel as if they were inspire the workers to revolt, but performed by live actors in the General convinces them to grotesque insect make-up. keep digging his beloved tunnel. , Z and Bala soon find a Z’s fleeting moment of bliss dancing with picnic spread and believe this to Princess Bala in the bar. © DreamWorks I do admire DreamWorks’ be Insectopia. They meet two LLC. adult approach to animated fea- snooty upper-crust wasps, Chip ture filmmaking. The first part of and Buffy (Dan Aykroyd and Jane The Long and the Short of It Antz plays more like a Woody Allen Curtin), who help them with a Antz fulfills all the require- neurosis comedy than any compa- “force field” (plastic wrap) sur- ments expected of a contempo- rable family film. When Z com- rounding a sandwich. The ants rary feature length animated film, plains about his insignificance, or then get trapped on some bubble thus no one will be particularly dis- abstains from “drinking out of an gum stuck to a boy’s sneaker and appointed. But no one will be par- insect’s anus,” these bits could are tossed into a garbage heap — ticularly surprised either. It’s the have been easily excerpted from this the real “Insectopia,” a virtual same reaction I had to Fox’s Anas- Allen’s Manhattan or Annie Hall. Disneyland of rotting food. When tasia, the film doesn’t give us any The film goes on to echo moments one overfed stink bug complains more than it has to. Part of the from Animal Farm, Patton, even that something tastes like crap, success of Toy Story, and some of Sylvester Stallone’s Rambo — he’s delighted to find out, “It IS the other recent Disney cartoon though the film’s climax recalls Stal- crap!” features, is that with every new lone’s recent box office bomb, film they reach way beyond what Daylight. we’re used to — they push the I do admire DreamWorks For all the stunt casting envelope. Toy Story was not only adult approach to animated involved, only Allen, Gene Hack- feature filmmaking.

The General’s chief lieu- tenant, Cutter (Christopher Walken) finds Bala at a campfire and kidnaps her, returning her to the colony. Z goes back to rescue her, just as the General begins the tunnel opening ceremonies. Z and Bala discover the General’s true plot and warn the Queen. In short, Z saves the day and the ants survive. The camera pulls back to reveal the ants’ location to be Cen- tral Park, the film ends on a shot of the real New York skyline, parallel- ing the film’s opening shot. A wide-eyed Z and Bala discover “Insectopia.” © DreamWorks LLC. ANIMATION WORLD MAGAZINE October 1998 61 (think the climax of Toy Story), and no original message of inspiration (think Hoppity Goes To Town). Don’t get me wrong, the film held my full attention for 83 minutes, but it’s as hollow as the ants’ underground colony. I felt detached from “Antz” but was intrigued by it’s artistry. Ironically, I can get the same plea- sures from watching an actual ant farm.

Jerry Beck is a cartoon historian, writer and animation studio exec- General Mandible confronts Princess Bala. © DreamWorks LLC. utive. He was editor of The 50 Greatest Cartoons (Turner), man and, surprisingly, Stallone’s insect make-up. It took a while for recently co-wrote Warner Bros. personas really with their me to get used to looking into Z’s Animation Art (Levin) and is cur- characters. Can we really tell, or realistic eyes, his E.T.-like facial fea- rently a freelance writer and con- care, if Sharon Stone is Bala or tures, and his near-perfect dental sultant through his own compa- Anne Bancroft is the Queen? No work. ny, Cartoon Research Co. character here generates much Much action occurs but lit- sympathy. Computer animation tle of it engages the audience. The has gotten so good, so slick, and film is bland, overall - no big Note: Readers may contact any so realistic that the main charac- laughs (think Robin William’s Genie Animation World Magazine con- ters almost feel as if they were per- or ’s Mushu), no dra- tributor by sending an e-mail to formed by live actors in grotesque matic highs that had me cheering [email protected]. BonBonusus HTMLHTML FFeatureatureses Every on-line (HTML) issue of Animation World Magazine contains additional features not found in the download or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended articles and special sections. Don’t miss the following highlights that are showcased exclusively in this month’s Animation World Magazine HTML version: http://www.awn.com/mag/issue3.7/3.7pages/3.7toc.html • Dig This! Rebecca Moses Brings Animation Into Fashion Includes a Quicktime movie of Rebecca Moses’ animated fashion show, The Discovery of India. http://www.awn.com/mag/issue3.7/3.7pages/3.7digthis.html

• Vilppu Drawing Online: The Box Includes a Quicktime movie of master drawing instructor Glenn Vilppu demonstrating drawing techniques that every animator should know! http://www.awn.com/mag/issue3.7/3.7pages/3.7vilppu.html

• Frieden: The Tree of Peace Includes a Quicktime movie of the film, Frieden:The Tree of Peace by Alina Chau, Hiu Fan. http://www.awn.com/mag/issue3.7/3.7pages/3.7frieden.html

• William Kentridge: Quite the Opposite of Cartoons Includes a Quicktime movie from 6 Soho Eckstein by William Kentridge. http://www.awn.com/mag/issue3.7/3.7pages/3.7moinskentridge.html

ANIMATION WORLD MAGAZINE October 1998 62 Max & His Special Problem - A Review

by Jerry Beck reat talent and great ani- mation are a cause for cel- Gebration, no matter what length, what format, or what venue it is found in. On those rare occasions when great new talent is confirmed, as when The Ren & Stimpy Show debuted and estab- lished or The Little Mer- maid premiered and set Disney Features on its present course, there is a thrill in the discovery of a fresh vision and a new artist — and for me, a delightful reminder of why I love animated cartoons in the first place. © Nickelodeon. For those of us who covet Problem will bring a smile to your produced by Fred Siebert and great animation as others brain (your lips will be too busy Larry Huber for Frederator’s Oh might cherish fine wine, Dave laughing). Your brain will especial- Yeah! Cartoons! series on Nick- Wasson’s funny new film...will ly relate, as Max’s gray matter is the elodeon. Like Siebert’s previous bring a smile to your brain... cause of the titular special prob- “World Premiere Cartoons” (a.k.a. lem. What A Cartoon!) for Cartoon Net- Max, a white collar pencil work, this is a group of creator-dri- For those of us who covet pusher, sneezes away some eraser ven cartoons in search “the next great animation as others might dust and accidentally blows his big thing” in kid’s animation. cherish fine wine, Dave Wasson’s brain out of his head. His boss funny new film Max & His Special gives him permission It’s important to understand to “take care of it,” that these films are funded by thus the brainless Max U.S. kids cable networks and begins a citywide not the NFB or the U.K.’s adventure, first mis- Channel 4. placing his mental organ atop a taxicab and later at a hospital, Whereas the previous Hanna-Bar- where the surgeons bera series was consumed with spend more time finding a Ren & Stimpy derivative, adding up his bill than this series is focused on kid’s point- repairing the damage. of-view, as (with a few exceptions) most of the entries star a little boy, The Studio Mecha- a little girl, a cat, a dog, or a robot Medical assistants poke and prod at Max and his nism — or a combination of those ele- dislocated brain. © Nickelodeon. This short was exec ments. ANIMATION WORLD MAGAZINE October 1998 63 Though Siebert’s the plight of his brain — Hanna-Barbera experi- trapped in a fish bowl, ment yielded a few being used as a punch- excellent shorts (Genndy ing bag, a bowling ball, Tartakovsky’s Dexter’s and winding up in a Laboratory and John R. bohemian coffee house Dilworth’s Oscar-nomi- in appropriate beret & nated The Chicken From goatee. Small gags, well Outer Space first come done, each one topping to mind), and his Nick- the one before it. Later, elodeon project is show- when Max finds his brain ing even greater sophisti- in a vegetable stand, it’s cation, it’s important to marked for sale at 39 understand that these cents. It remains marked films are funded by U.S. 39 cents throughout the kids cable networks and A team of doctors try to figure out how to get Max’s brain back rest of the cartoon. not the NFB (National into his head. © Nickelodeon. Funny stuff! Film Board of Canada) or Kudos to the U.K.’s Channel 4. That any of never shoves it in your face. color stylist Lou Romano, co-cre- these works transcend their There’s a casual pace afoot that ator/co-writer Chris Miller, and intended audience is remarkable allows the audience in on the Wasson’s other collaborators for and an unexpected benefit. creating a little gem that comes closer to classic UPA and vintage I hope to see more cartoons Brilliant Elements Zagreb than any recent retro- from Wasson, and encourage Wasson’s film breaks out of styled animation I’ve seen. I hope further risks from the pack, noticeably by lacking to see more cartoons from Was- producers...that allow new any of the aforementioned kids, son, and encourage further risks independent talent to emerge. pets and robots. The mood is laid from producers like Oh Yeah! Car- back, the music (by Rob Cairns) is toons! that allow new indepen- cool jazz, and the story line is jokes. dent talent to emerge. In the wonderfully simple. But it’s clearly Wasson’s direction achieves meantime, my brain and I will cel- the direction, animation and tim- a matter-of-fact coolness that oth- ebrate Max & His Special Problem. ing (Bob Jacques) that turn this ers in the Oh Yeah! program work silly idea into a beautifully comic way-too-hard aspiring to. This short is practically pantomime, full film. As crazy as the plot sounds, Jerry Beck is a cartoon historian, as wild as the art style is, Wasson of funny drawings and little touch- writer and animation studio exec- es that work. When Max loses utive. He was editor of The 50 his mind, due to Greatest Cartoons (Turner), his leaving it on a recently co-wrote Warner Bros. taxicab, the cam- Animation Art (Levin) and is cur- era pans a map rently a freelance writer and con- with appropriate sultant through his own compa- broken-line indica- ny, Cartoon Research Co. tions of where his errant cerebrum has traveled. Small Note: Readers may contact any insets are superim- Animation World Magazine con- posed over the tributor by sending an e-mail to map indicating The doctors complete an elaborate mathematical [email protected]. formula...to determine Max’s medical bill! © Nickelodeon. Max’s worry, and ANIMATION WORLD MAGAZINE October 1998 64 Frieden: The Tree of Peace

by Alina Chau, Hiu Fan

Editor’s Note: Ron Diamond, pub- lisher of Animation World Maga- zine, discovered Alina Chau, Hiu Fan and her film Frieden: The Tree of Peace at a recent screening of student works at UCLA. Moved by the plight of children in war torn countries, Alina made this remark- able film as a gift to the United Nations.

“Children in many nations contin- ue to be victims of adults’ wars - losing their parents and their homes, losing their childhood Frieden:The Tree of Peace. © 1998 Alina Chau, Hiu Fan. and their opportunity for educa- tion, losing their limbs and their paradise: a peaceful world, where piness and fantasies. Therefore, I lives to the machinery of violence. she can play and share her happi- started the story with the fantasy The Convention seeks to protect ness with other children; a world sequences: flying unicorns and children from these worst mani- where children of different races reindeer, funny fragments of fire- festations of adult failure.” respect each other’s differences. works and even a huge tree in -The Convention on the Rights of which children play. I like to climb the Child, UNICEF In order to make the dream trees a lot. Even when I was a and war sequences merge small child, I liked to climb trees, Developing My Idea together, I gave the tree so, the tree has quite an important The original meaning of a...symbolic meaning... role in the story. After I finished the word “Frieden” means “peace” developing the fantasy part, I in German. In the film, I adapted I always wanted to make a needed an ending. At first, I did the word “Frieden” to be the short animation for the United not want to have a tragic ending name of the young heroine. Nations (UN) because I deeply after the beautiful dream Frieden is a little girl, who lives in admire their contribution to world sequence, but I couldn’t think of an unstable country; a place security. However, when I first any happy endings for this story. A where war takes away her child- started developing the story of happy ending would have made hood, her happiness and the peo- Frieden, I did not intend on mak- the story look like “Alice in Won- ple she loves. The only time she ing this particular film for them. derland.” Therefore, I decided on can escape her cruel reality is in My first initial idea was to make a a sad ending, a war scene came her dreams. She dreams to have a story based on my childhood hap- into my mind. Since this ending ANIMATION WORLD MAGAZINE October 1998 65 creates a very strong statement, I resolved to end the entire film with a war scene. In order to make the dream and war sequences merge together, I gave the tree a more important role and added a sym- bolic meaning to the image.

Several people have asked me whether I have experienced war myself.

A Child’s Right Several people have asked me whether I have experienced The film starts with beautiful fantasy sequences. © 1998 Alina Chau, Hiu Fan. war myself. I was a lucky child. I ly believe that as animators we dren in the world.” never experienced a disaster in my can use our “magic” to give them I hope Frieden can carry an life. My childhood was a very the courage to fight for their educational message not only to sweet, peaceful and happy one, dreams. But, how can a child fight our future leaders, the children, but I know that there are many for his/her dream, if he/she needs but also to adults and politicians, children in the world who are not to fight just to survive every day? the most significant group of peo- as fortunate. Many children live in When I finished the story- ple to influence the world’s securi- unstable countries, like Frieden, board for Frieden, I knew that this ty. and become victims of war. I film was the one to be made espe- believe that all children should cially for the United Nations. Every When I finished the story- have the right to enjoy a happy time when I held the pencil, I told board for Frieden, I knew that childhood, go to school, make myself, “You must make this a this film was the one to be made especially for the United friends and play. All children have good film. This film is not for your- Nations. their dreams and wishes. I strong- self, but it is a gift to all the chil- The on-line version of this article includes a Quicktime movie of the film, Frieden: The Tree of Peace by Alina Chau, Hiu Fan. http://www.awn.com/mag/issue 3.7/3.7pages/3.7frieden.html

Alina Chau, Hiu Fan is an interna- tional student from Hong Kong. She is in the Master of Fine Art (MFA) program majoring in Ani- mation at University of California, Los Angeles (UCLA).

Note: Readers may contact any Animation World Magazine con- Frieden is unable to sleep due to the war going on outside her window. © 1998 Alina Chau, Hiu Fan. tributor by sending an e-mail to [email protected].

ANIMATION WORLD MAGAZINE October 1998 66 A Reader in Animation Studies, Edited by Jayne Pilling by Pat Raine Webb Perseverance Pays Off Perseverance will pay off What were the criteria for and you will find many strange choosing these particular papers and unknown delights in these out of the 250 or so written and pages. An “Intimate Excursion” presented over the last ten years? into the disturbing and macabre In this respect Jayne Pilling is a world of The Brothers Quay, by worthy choice as editor. She is a Steve Weiner, is full of dark desires. fountain of animation knowledge The essay discusses the oddly-titled and has made what is probably This Unnameable Little Broom the best possible selection of mate- (1985), the Brothers’ version of rial on a wide range of topics with Epic of Gilgamesh. There is a different critical approaches: theo- malign presence about this work, y first thoughts on setting retical, historical, cultural and polit- the characters - grotesque and about a review of this ical. Analyses of individual films erotic puppets - are subjected to Mbook were, “Who is give a new insight into many of bizarre and perverse treatment by going to buy it?” and, “Who is this our accepted values about classic savage machines. Yet it enthralls in review aimed at?” The cover pic- cartoons and reveal some the same way that horrific ture may attract the average car- unknown and forgotten or episodes in fairy tales often do. toon buff - it bears an intriguing neglected works. A number of the drawing by Joanna Quinn from papers were impossible to put into Delving Deeper Body Beautiful showing Vince in a book form being purely visual pre- Political issues are explored Tutu! (Vince is the sexist muscle sentations and some needed in “The Thief of ” by man who taunts the film’s hero- extensive editing which was done Leslie Felperin, who exposes West- ine.) Yet what will the average with Pilling working closely with ern attitudes towards Oriental and reader make of the content? This is the authors of the original works. Middle Eastern cultures and Arabi- by no means a coffee-table book an Nights fantasy as depicted in filled with lavish color. Rather it is a Perseverance will pay off and , released in 1992, a year serious study of the medium of after the Gulf War! In fact, the you will find many strange and animation. The 21 essays collected world of Disney is covered in sev- unknown delights in these here are erudite and scholarly and eral essays, the one most likely to some may not have instant pages. appeal is Robin Allan’s intelligent appeal. The visual material, while and revealing study of European thought-provoking and relevant to Some of the titles are art influences on the films of Walt the text, is all monochrome. But daunting. For example, “Ani- Disney. To quote the author, “the look closer and you may be pleas- matophilia, Cultural Production films themselves were indebted to antly surprised. and Corporate Interests” by Mark an older cultural heritage which The Society for Animation Langer. To my surprise, this is a Disney absorbed and recreated for Studies was founded a decade serious study of Ren and Stimpy. a new mass audience.” Many Dis- ago by Harvey Deneroff in Holly- On the other hand, the juxtaposi- ney films are based on European wood, realizing the need for more tion of the films of Walt Disney and folk and fairy tales and Allan’s in-depth critical research on ani- Francis Bacon’s Triptych in the research is penetrating. (He did his mation. The essays that make up Tate Gallery in Simon Pummell’s Ph.D dissertation on the work of this book began life as visual essay is rather more obscure. Disney and European artists.) The demonstrations or papers present- However, look at a print of Bacon’s similarity between early 19th cen- ed at the annual conferences of work (even if you cannot get to tury book illustrations and the the Society and now made avail- the Tate to see the original) and work of Disney artists’ inspirational able to a wider audience for the Pummell’s text becomes less drawings is made abundantly very first time. demanding. clear. The section dealing with the ANIMATION WORLD MAGAZINE October 1998 67 Beethoven Pastoral sequence from issues through her films Girls Night creating “reality effects” and “illu- Fantasia is particularly engrossing. Out (1987) and Body Beautiful sionistic representation,” which This enlightening and lengthy (1990) featuring her anti-heroine one would expect, but also with study gives one a whole new slant Beryl, who is far from the stereo- style, and the relationship on the art of Disney and makes typed cartoon female. Her life with between computer imagery and one long to see the films all over her staid husband, her encounter aesthetics as depicted in a case again. with a male stripper and her study of Red’s Dream (John Las- yearning for fun all endear her to seter, 1987). The number of women work- us. She is “one of us,” jolly, fat, Today it is difficult to define ing in animation today feisty and full of life. Both films are animation. New technology is inevitably leads to Gender played for laughs although there changing not only how animation Studies with women’s role in is an underlying treatment of is made but also how it is per- society being dealt with women both in the home and in ceived. If you set out with an open extensively. the workplace. Although the pro- mind, this book is a voyage of dis- tagonists of Candy Guard’s films covery. New light is also thrown on are similar to those of Joanna some long-neglected films such as Quinn, her style is less elaborate. It As so many of these essays do, The Idea (Berthold Bartosch, is unadorned and the characters it produces a desire to view 1932), the subject of an in-depth more stylized. Narrative is an again the works discussed with essay by William Moritz that essential part of her films and the greater awareness. depicts the struggle for freedom of dialogue is short, sharp and perti- thought. This film was, for me, a nent. Most women can identity personal discovery at the SAS con- with her characters who have A Reader in Animation Studies, edited ference in 1993. Several contribu- problems with dieting, getting by Jayne Pilling, Sydney, Australia: tions from Moritz appear in the their hair done, boyfriends and John Libbey & Company Ltd. (U.S. book including his research into holidays abroad. The work of Ali- Distributor: Indiana University early abstract films and animation son de Vere, while dealing with Press), 1997. 283 pages. ISBN: 1- in Nazi Germany during World many of the same problems, is far 8642-000-5 (U.S. $24.95 paper- War II that makes interesting read- more spiritual and there is a back). Contributors: Robin Allan, ing. lengthy study of her dream-like Sharon Couzin, Andy Darley, Har- Paul Wells’ study of the and very personal film The Black vey Deneroff, Philip Kelly Denslow, work of Jan Svankmajer highlights Dog (1987). Familiar as I am with Leslie Felperin, Michael Frierson, this Czech artist’s obsession with the work of these three artists I J.B. Kaufman, Mark Langer, San- ‘body consciousness.’ His research found this a most absorbing study. dra Law, Terrance R. Lindvall, Lev into the intense and claustropho- A more oblique approach is bic world of Svankmajer, a world made in Sharon Couzin’s analysis Manovich, J. Matthew Melton, of cruelty, violence and dark of two rather more avant-garde Michael O’Pray, Simon Pummell, humor, is revealing. As so many of films by women that have a similar Luca Raffaelli, William Moritz, Steve these essays do, it produces a theme but are visually disparate. Weiner, Paul Wells. desire to view again the works dis- Susan Pitt’s Asparagus (1978) is cussed with greater awareness. lush, gaudily colored and thought- Pat Raine Webb is a freelance provoking. It is an overtly erotic researcher, writer and program- Further Discovery allegory about personal identity, mer in animated film with 20 The number of women while Joanna Priestley’s All My Rela- years experience in the animation working in animation today tions(1990),in which characters industry. She is vice president of inevitably leads to Gender Studies are depicted as abstract objects, is ASIFA UK and publishes the with women’s role in society being far more subtle. It satirizes the haz- group’s quarterly magazine Dope dealt with extensively. An exami- ards of romance, marriage and Sheet. nation of the work of three childbearing and the disintegra- women animators in the UK, Joan- tion of relationships. Note: Readers may contact any na Quinn, Candy Guard and Ali- Modern technologies are son de Vere, appears in Sandra not neglected in two stirring Animation World Magazine con- Low’s essay. It covers Joanna essays on computer animation tributor by sending an e-mail to Quinn’s approach to feminine dealing not only with techniques, [email protected].

ANIMATION WORLD MAGAZINE October 1998 68 Computer Animation: A Whole New World

by Frank Foster Ed Catmull Explains Pixar description of how a student film, No one epitomizes CG called Plug, was produced at the more than Ed Catmull, who relates USC School of Cinema-Television. in the book’s introduction a con- densed history of the field. Mr. Cat- Chapter Highlights mull has the uncanny ability to be The Television chapters are at the right place at the right time. represented by Mainframe’s ita Street’s new publication He just happened to be born in ReBoot, the Saturday morning car- on computer animation, Utah where toon show that has helped pave Computer Animation: A R were practically invented. He was the way for other CG productions. Whole New World, makes no at the University of Utah during A television commercial produced attempt to be a “how to” book, the pioneering days of 3D tex- by (Colossal) Pictures for Coca-Cola instead it’s a richly illustrated por- tured objects and studied under is also included, and followed by trayal of the process and passion the legendary Ivan Sutherland, an insightful presentation of Medi- that a select group of animators where he happened to invent the alab’s production pipeline for the have brought to the field. She Z-buffer. He then left for NYIT just use of real-time performance ani- avoids the dry technical read of a as it became the hot bed of 2D mation to create a reference book and lets the reader paint systems, where he helped based on the Donkey instead experience the art form develop the alpha channel and Kong. through the eyes of the talent that early compositing techniques. Cat- works so hard to create it. It’s mull then departed NYIT to work through their stories that we inad- for and established The author’s previous experi- vertently pick up on the various the computer graphics depart- ence as a magazine editor and forms of digital technology that ment that later morphed into writer, is apparent in the just happen to make the process Industrial Light and Magic (ILM), a approach taken in the book. possible. digital production group. Finally, No one epitomizes CG more he spun off Pixar as a separate ani- The final section of the than Ed Catmull, who relates mation company. book is devoted to films that were in the book’s introduction a Certainly the lessons personal projects used to test and condensed history of the field. learned from the spectacular series prove the production worthiness of Pixar animation shorts is a virtu- of new technologies. At the 3D al time line to the success the software company Softimage, the The author’s previous expe- industry now enjoys. With each director of visual research, Char- rience as a magazine editor and short, the Pixar animation group lotte Davies created an immersive writer, is apparent in the approach tackled a new set of problems. The virtual environment. Called taken in the book. You won’t find book’s first chapter, devoted to Osmose, the production is a real- the intense detail of a Cinefex arti- Feature Film applications, commu- time 3D experience via a stereo- cle or SIGGRAPH paper here. nicates this in a colorful, yet under- scopic head-mounted display with However, the snapshots of each standable, way. Rounding out the 3D localized sound and a motion kind of computer animation does Feature Film chapters are entries tracking vest. The audience of one provide an insight as to what from ILM’s work on Spawn, New is called an “immersant” and the aspects of the process are specific Wave International’s success in the encounter is apparently compara- to the genre. ride film arena and an interesting ble to scuba diving where the ANIMATION WORLD MAGAZINE October 1998 69 movement is controlled by the mation. this might be the encouragement chest expansion of breathing and The book appropriately you need to get the bug. Or if you the position and motion of the concludes with the landmark short are an animator that’s tired of try- spine. the end by Chris Landreth. Creat- ing to explain to your relatives ed as a test of Alias|Wavefront soft- what you do for a living...this If you are thinking about get- ware, the filmmaker incorporates might be the perfect holiday gift! ting into CG, this might be the many recent advances into a thor- encouragement you need to oughly engaging film. Techniques Computer Animation: A Whole New get the bug. such as , procedu- World by Rita Street. Gloucester, rally generated and animated hair, , Rockport Publish- The world of motion-cap- digital explosions, smoke and lens ers, 1998. 144 pages. ISBN: ture is explored with a project at flares are all thrown in, but some 1564963772 (U.S. $29.99 hard- Lamb & Company. Babaloo the how they seem to fit the offbeat cover). Beast Boy makes use of all three theme of the project. main types of motion-capture: Frank Foster is a founding vice facial, body and hand. The facial This might be the perfect holi- president at Image- system uses reflective markers day gift! works. His computer film contri- glued to the actor’s face to track butions include sequences in expressions and lip-sync dialogue. such feature films as: Speed, Hand gestures are recorded Johnny Mnemonic, The Craft and through a glove, and body In the End... Contact. He is currently directing motion with a suit. While perhaps not the big the High Definition documentary In the short film Sleepy slick coffee table volume on CG film The Story of Computer Guy, Raman Hui of Pacific Data that many have been waiting for, Graphics, a feature-length pro- Images (PDI) brings some of his Rita Street’s Computer Animation: duction from the SIGGRAPH orga- traditional animation sensibility to A Whole New World, will excite nization. a fully CG cartoon. The author those with a passing interest in the effectively uses Hui’s production subject and perhaps inspire a new Note: Readers may contact any story, to point out some of the generation of animators to Animation World Magazine con- important parallels that are true for embrace digital tools. If you are tributor by sending an e-mail to all forms of character based ani- thinking about getting into CG, [email protected].

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ANIMATION WORLD MAGAZINE October 1998 70 SIIARA:An Archive for the Animated Medium

by John Southall nimation is a medium that in the ongoing battle has had a long history in to conserve and pre- ABritain. The earliest known serve a vanishing stop-motion animation to be animation heritage. made in Britain was in 1898. Since For most production then animated films of one sort or companies today, as another have been produced by a so often in the past, great variety of companies and simply do not have individuals. However it is not until the time or space to recently that animation has also store and catalogue developed as an acceptable the different ele- John Southall and friend, Roobarb the dog. Photo © SIIARA. option within the Higher Educa- ments used in the tion sector. There has been an production of their work. In other animation production. appreciable increase in the num- words the final destination of a Two major donations have ber of courses where animation great deal of work is the rubbish helped lay the foundation of techniques can be acquired or dump. Whilst many recognize the SIIARA. One donation is from Bob where the medium can be stud- waste involved in throwing away Godfrey Films. This includes over a ied. such work often there is little alter- thousand film prints and 150 native for companies focusing on boxes of cels and other produc- tion elements. This collection rep- Southampton Institute is the current production. The development of SIIARA resents the studio’s major cinema largest college of higher educa- and television work since the tion in the United Kingdom. offers an alternative to the situa- tion. Since it appeared two years 1960s, such as The Plain Man’s ago, a variety of artwork and film Guide to Advertising (1962), It is these two facts that lie has been donated to the archive Polygamous Polonius (1960), and behind the development of the by a number of major British pro- Dream Doll (1979). More recent Southampton Institute Internation- duction companies. Current SIIARA work such as Know Your Euro- al Animation Research Archive collections include a variety of ani- peans: The United Kingdom (SIIARA). Southampton Institute is mation techniques, as well as pro- (1993) are included, as well God- the largest college of higher edu- ductions from today and the past. frey’s popular television series Roo- cation in the United Kingdom. Films ranging from the ‘40s to the Based in Hampshire, in the south ‘90s are represented. of England, it has over 15,000 stu- dents distributed amongst a vari- Key Collections Within SIIARA ety of Faculties. SIIARA is just one To date about half a dozen of the research initiatives cultivated donations have been made to within the Design Faculty of the SIIARA and these now make up its Institute. The archive holds thou- different collections. Some of them sands of examples of animation art are quite small, comprising just 20 and film within its collections. or 30 prints, or one or two boxes SIIARA has a dual role to of newspaper clippings, letters play. It seeks to participate in the and drawings. Even so they will all Original cels from Bob Godfrey’s Dream academic study of animation and in time help give some insight into Doll. Image courtesy of SIIARA. ANIMATION WORLD MAGAZINE October 1998 71 barb (1974) and Henry’s Cat film, production correspondence, (1983). scripts, technical articles, pho- tographs, treatments, storyboards, scrapbooks, magazines, books, Some of the collections are cels and other artwork. quite small, comprising...one There is a wide range of or two boxes of newspaper material from British animators in clippings, even so they will all the archive as well as a few small- in time help give some insight er collections representing interna- into animation production. tional work. For example, there is a collection drawings, sketches But by far the most signifi- and correspondence from Lotte An original cel from Halas & Batchelor’s cant donation to SIIARA—signifi- Reiniger, as well as examples of Butterfly Ball. Image courtesy of SIIARA. cant in terms of its size, range and artwork by Bruno Bozzetto, Museum of Photography, Film and importance to animation studies— Osamu Tezuka, Marcel Jankovics, Television. This will be included in is the collection acquired from the Renzo Kinoshita and Paul its permanent animation exhibi- heirs of and Joy Batch- Driessen. Even so we are always tion which is due to open soon. elor. Halas and Batchelor was the happy to hear of possible dona- Despite such collaborations SIIARA leading animation studio in Britain tions from Britain and abroad. The is also investing heavily in its own for over 40 years. Their feature film collection will keep growing exhibitions and special events, Animal Farm (1954) was just one reflecting new acquisitions, as well such as a recent conference on of many projects produced over as the production of new work. the animated medium. However, one may question whether it is enough merely to accumulate collections of material. Bob Godfrey Films donated A common problem of many over a thousand film prints archives is how to provide effective and 150 boxes of cels and access to their holdings; to make other production elements. use of it in a way that brings it before an audience in an informa- tive and thought-provoking man- Drawing on the Past Halas and Batchelor’s Animal Farm. Image ner. Earlier this year Southamp- courtesy of SIIARA. The main strategy adopted ton Institute hosted the first SIIARA so far for SIIARA has been through conference on animation. This the years. Other projects include the use of exhibitions, articles and event was called “Drawing on the Snip and Snap (1960), Butterfly conferences. This Past” and one of its Ball (1974), Autobahn (1979), First allows selected aims was to bring Steps (1981) and segments of original material to together people from Heavy Metal (1981). The company be made accessi- different disciplines was always at the forefront of the ble under archival and with different creative use of animation. At its conditions to a interests to discuss ani- peak the studio was the largest in large number of mation. The three day Western Europe. people.The event included lectures This collection not only rep- archive is currently by animation scholars resents the output of a seminal negotiating with and a daily program of animation studio. It is also the other institutions Snip from Halas & Batchelor’s film presentations. most varied in our archive. There is its role in collabo- Snip and Snap. Image courtesy of SIIARA. (Details of the event material relating to information on rative exhibitions. can still be found in planned and uncompleted films, For example repro- the archive section of our web as well as finished productions. In duction and original artwork is site.) essence it includes: 3,000 cans of being loaned to Britain’s National Whilst organizing the con- ANIMATION WORLD MAGAZINE October 1998 72 impact was lost due to poor color ings of ‘Drawing on the Past,’ on- reproduction and contrast. This line access to our main catalogue, gave the film an unintended dark and the production of CD-Roms. and dreary look. Over the last 18 In addition we are always interest- months SIIARA has been instru- ed in hearing from individuals or mental in amending this state of companies with a wish to collabo- affairs. Co-funding from ourselves, rate on projects. This may range Halas and Batchelor, and the film’s from someone registering for a current UK distributors, Blue Dol- post-graduate degree to a compa- phin Films, have allowed a full ny sponsoring the activity of restoration to take place. Later this SIIARA. At the very least SIIARA year the restored inter-negative wishes to develop as a contact Original cels from Halas & Batchelor’s will be used to produce fresh point for those with an interest in Autobahn. Image courtesy of SIIARA. prints for a re-release of the film. animation; a meeting place for the ference I was also able to use For various historical and technical development of ideas and the dis- some of the material within the reasons this will be the best print semination of information about archive to curate a simultaneous ever seen. the animated medium. exhibition. This was devoted to one film in particular—Halas and Making Contact But by far the most significant Batchelor’s feature of 1954, Animal Initial contact should be made in donation to SIIARA...is the col- Farm. The exhibition ran for most writing either by post or e-mail to: lection acquired from the heirs of March and April 1998, and was John Southall of John Halas & . well-received attracting quite a Research Fellow in Animation large audience. In addition a num- SIIARA Curator ber of private and public cinema Design Faculty, Southampton Insti- screenings were organized. Once The Future of SIIARA tute again this proved to be popular In its short existence SIIARA East Park Terrace and tickets quickly sold out. More has made progress in saving a Southampton exhibitions are planned for the small part of animation history. As SO14 0YN future as they are an ideal way of it develops it will strive to comple- U.K. presenting our material to the ment the important work being general public. done by other archives in Britain Fax: (44) 01703 232510 and abroad. Our future plans are E-mail: [email protected] Restoration of an Animated varied and include more exhibi- tions, publication of the proceed- Classic John Southall is Research Fellow The continued involve- in Animation at Southampton ment of SIIARA in highlighting Institute and is responsible for the the achievement of Animal Farm running and development of has, I think, been a necessary SIIARA. He has researched and one. This is because of the film’s published on contemporary ani- importance as the first British mation production in Britain. Cur- animated feature. Recently this rently he is researching animated involvement has gone even fur- film in the Second World War. ther than exhibiting artwork and reminding the public of the film. No new inter-negative of the film had been created since its Note: Readers may contact any first release in the 1950s and it Animation World Magazine con- was beginning to show its age. An original pastel drawing from Halas & tributor by sending an e-mail to A great deal of the feature’s Batchelor’s First Steps. Image courtesy of [email protected]. SIIARA. ANIMATION WORLD MAGAZINE October 1998 73 by Wendy Jackson Business imately $520 million, is subject to several conditions, including Acquires Kids Can. regulatory approvals and Toronto, Canada-based anima- approval of the shareholders of tion company Nelvana Limited both companies. Closure is has completed the acquisition of expected by the end of 1998. 100% of the shares of Kids Can Until this transaction is finalized, Press Ltd., a Canadian publisher both companies shall operate as of children’s books. One of Kids separate entities. Can’s properties is Franklin, the story of a turtle which Nelvana Cardiff Closing Down. The has already turned into an ani- Vital! International Animation mated series. The $6.1 million Festival (formerly known as (CAN) acquisition now gives Nel- Cardiff) is closing its doors due to vana access to Kids Can’s library financial losses incurred at its lat- of over 250 children’s book titles. est edition in June 1998. This One of these, titled Elliot Moose, year’s festival director Jane is currently being developed for Nelvana has purchased the publishing company Williams has left the organiza- an animated television series. responsible for Franklin. © Nelvana. tion, and the board of directors The deal is “a highly attractive reversed situation, San Rafael, Cal- is now responsible for manag- strategic and financial acquisition ifornia-based Autodesk, Inc. (Nas- ing a debt which sources said for Nelvana,” said company co- daq: ADSK) has announced plans amounts to approximately (U.K.) CEO Michael Hirsh, “and is an to acquire Montreal, Canada- £25,000. A press release issued to important step for us in building a based Discreet Logic (Nasdaq: sponsors and creditors said the more integrated family entertain- DSLGF). Autodesk is the parent decision to shut down is “due to ment company.” Nelvana will company of Kinetix, makers of 3D several market factors including operate Kids Can as a wholly- graphics and animation software the decision of the Annecy festival owned subsidiary and will retain such as 3D StudioMAX and Char- to go annual and the timing of the all existing employees of the com- acter Studio. The merger had Second World Summit of Chil- pany, including Valerie Hussey some foreshadowing, as Kinetix dren’s Television held earlier this who will remain president and and Discreet Logic announced a year in the U.K. In addition, the CEO of Kids Can, and has signed a product integration partnership in U.S. animation studios are no multi-year employment contract March [AF 4/7/98]. Discreet Logic, longer in a recruiting period and with Nelvana. Nelvana is traded makers of editing and broadcast therefore, also did not support the on the Toronto and Montreal production software such as infer- festival at the level of previous exchanges under the symbol no* and flame*, will be integrated years, all of which contributed to a “NTV.” with Autodesk’s Kinetix business lower level of industry support unit and become Discreet, a divi- than forecast.” Joan Lofts, chair of Autodesk Making Discreet Pur- sion of Autodesk. The combined the festival board of directors, said, chase. In June, Avid Technologies entity will be headquartered in “To have to close the festival orga- bought Softimage [AF 6/17/98], Montreal with its 350 employees nization at a time when British ani- combining two powers of digital managed by Richard Szalwinski, mation is vibrant and growing is production and 3D graphics. Not Discreet’s co-founder and current particularly painful but without to be outdone, in a similar yet president. The deal, worth approx- confirmed financial support at this ANIMATION WORLD MAGAZINE October 1998 74 point there is no alternative.” How- les, was previously president of Fil- nia. Carrigan has previously held ever, insiders expect that the festi- Cartoons in Manila, a studio which sales positions with Softimage and val will be reincarnated in the serviced Hanna-Barbera and Turn- Toon Boom Technologies. . . . future, or combined with existing er Broadcasting before they Mediapegs, creators of PEGS 2D events in other locations such as merged with Time/Warner. Prior to animation software, has named London or Bradford. After all, the that, he was on the executive pro- France Létang director of sales & festival began in London more duction teams for Disney’s Lion marketing for Europe. She will be than 30 years ago, and has only King, The Little Mermaid, Beauty based in Paris and report to vice been held in Cardiff since 1992. and the Beast and Aladdin. Ani- president Paul Marcot in Los Ange- Read Heather Kenyon’s mation World Magazine’s August les. Létang previously worked at review, “Cardiff: A Difficult Year to 1998 issue features a profile of Saban International Services. . . . Be Any Festival,” in the August RM/USL Studios: 1998 issue of Animation World (http://www.awn.com/mag/issue Magazine. 3.5/3.5pages/3.5lent.htm). . . . http://www.awn.com/mag/issue San Rafael, California-based Indus- 3.5/3.5pages/3.5cardiff.html trial Light & Magic (ILM) has expanded its executive ranks with several internal promotions. Gail Currey has been upped to the newly-created position of vice president and chief operating offi- cer, from her previous position as director of digital production oper- ations. Jeff Mann has been pro- moted to executive in charge of creative operations, up from his previous post as director of pro- duction operations. Alan Keith Dutch director, Jerry van de Beek. Photo has been named vice courtesy of . president/chief administrative offi- Curious Pictures has signed cer, up from a position as director Dutch director Jerry Van de Beek of business operations and finance to its roster. Van de Beek has Bill Dennis has been named CEO of at Lucas Digital . . . . London- worked with (Colossal) Pictures UTVI Animation and RM/USL Studios. based distributor Link Entertain- (), Condor Video Photo courtesy of Bill Dennis. ment has promoted Genvieve (Amsterdam) and The Moving Pic- People Dexter from sales manager to ture Company (London). He spe- head of sales and acquisitions. She cializes in combining CG and cel Musical Chairs. Bill Dennis has joined Link in 1997, leaving a post animation. In 1996, he co-found- been named Chief Executive Offi- as sales manager at Eva Entertain- ed, with Betsy de Fries, the anima- cer (CEO) of Mumbai, India-based ment. Link also promoted Annika tion and design firm, Little Fluffy UTVI Animation and RM/USL Bluhm from script development Clouds, which will continue oper- Studios, the largest animation stu- executive to head of script devel- ating in San Francisco. . . . New dio in India. Dennis will be respon- opment. She joined Link in 1996 York-based animation/live-action sible for overseeing and growing and previously worked in develop- studio Pitch, Inc. signed London- the operations of the companies’ ment and as a script editor at BBC. based director/animator David studios in Singapore and Bombay . . . U.K.-headquartered Cam- Freedman to its new commercial and for developing new anima- Animation Systems, cre- division. His background includes tion studios around the region. He ators of Animo 2D animation soft- directing, writing, agency work will also oversee all in-house devel- ware, named Tom Carrigan and stand-up comedy. Plus, with opment and co-production deals. director of international sales. He his writing partner, Alan Gilbey, he Dennis, now based in Los Ange- will be based in Glendale, Califor- is currently writing an animated ANIMATION WORLD MAGAZINE October 1998 75 series, The Foxbusters. Pitch’s com- including Neurones, Marathon World section of mercial division is represented by and Ellipse. Also at Nelvana’s Paris America Online. . . . Jim Keeshen Kelly Flint, who joined the new office, Marie-Laure Marchand has joined as a company from Curious Pictures, has been promoted to director of director on the , where she worked with Pitch co- international sales. . . . Jon Vein . This spring, his com- founders Russ Dube, Chris Gilli- has been promoted from senior to pany Jim Keeshen Productions gan and Steve Katz. . . . . Greg executive vice president at Film produced the show’s pilot with Pair has completed an eight- Roman, a role in which he will creator Seth MacFarlane. . . . month stint as animation supervi- continue to oversee the company’s Craig Allen has been named gen- sor on MTV’s stop-motion show reach into feature films, including eral manager of Jim Henson Celebrity Death Match. He is There Goes the Neighborhood, a Interactive. He was formerly a returning to the studio he is a part- live-action/animation film in devel- senior producer at Disney Inter- ner in, AMPnyc, to direct and pro- opment with Universal. . . . Mike active. . . . Jeff Williams has duce stop-motion commercial Darnell has been promoted to joined Animation World Net- work. . . . Blue Sky | VIFX’s Har- executive vice president of specials work as webmaster, replacing rison, New York studio has pro- and alternative programming for Ged Bauer, who has left to pursue moted John Donkin to managing Fox Broadcasting, where he will further education. . . . UCLA’s technical director. He joined the oversee new projects including School Of Theater, Film And company as senior technical direc- the animated series Family Guy, Television has appointed Robert tor earlier this year after serving as The PJs and . Darnell Rosen dean, replacing Gil Cates, a director of animation/studio joined the network in 1994 as who stepped down from the post manager for Lamb & Company last year but remains a member of (Minneapolis, MN). . . . Palo Alto, the faculty. Rosen was promoted California-based Pacific Data internally from the position of Images (PDI) has hired Paul dean of the Film and Television Cook as corporate controller, a School, a division of the Theater, role in which he will report to CFO Film and Television School (includ- John Batter and be responsible for ing the Animation Workshop). He implementing internal financial has worked at UCLA since 1975. . controls. Cook was previously cor- . . Filmmaker porate accounting manager at and effects master Stan Winston Adobe Systems. . . . Cartoon have resigned from the board of Network has promoted Dea directors of the Venice, California- Connick Perez to vice president based effects studio they co- of programming and production, founded five years ago, Digital a role in which she will direct all Sam Register. Photo by M. Hill. © 1998 Domain. They will retain their aspects of programming, includ- Cartoon Network. financial stakes in the company. A ing scheduling, acquisitions and director of specials. . . . Sam spokesperson said program operations. She joined Register has been promoted to the resignations were an adminis- the Atlanta-based company in vice president of Cartoon Net- trative move to avoid conflicts of 1997 as program director, and work Online. He was previously interest for the two former board was previously director of acquisi- creative director for the division, members who have exclusive tions at Nickelodeon/Nick at and has overseen the develop- deals with studios. . . . Digital Nite/TV Land. . . . Nelvana Limit- ment and recent launch of the Domain’s vice president-creative ed has promoted Emmanuèle network’s web site, www.cartoon- director Price Pethel recently left Pétry to director of co-produc- network.com. Prior to joining Car- to take on the same position at tions. She was previously director toon Network in Atlanta, Register Dream Quest Images, Disney’s of the company’s Paris office, worked in San Francisco at (Colos- effects division. . . . Santa Monica, where she will remain. Pétry has sal) Pictures as creative director California-based POP Television been responsible for securing co- and at Turner New Media, where, has hired supervisor production partners for Nelvana, as creative director, he created the Alex Frisch, visual effects artist ANIMATION WORLD MAGAZINE October 1998 76 Chris Staves, visual effects pro- Music/Marvel). He also served as 90095-1769 U.S.A. ducer Nesya Horsburgh and vice president of foreign produc- director of technology Andreas tion at Network. In 1990, Gail Banker. Animation educator Wacker, all formerly of neighbor- he co-founded Gunther-Wahl Pro- Gail Banker died of a stroke on ing studio 525 Post, with the ductions with Michael Wahl. With Sunday, September 13, the day intent to launch a new, internal Wahl, he served as executive pro- after her 60th birthday. For the visual effects boutique. . . ducer of the animated series past 13 years, she taught anima- Angry Beavers, a Gunther-Wahl tion to children and adults in the In Passing... production New England area: as an instruc- for Nick- tor at Hanover High School in Lee Gunther. elodeon. In Hanover, New Hampshire; as a Animation edi- his lifetime, counselor at the Charles River Cre- tor and produc- Gunther ative Arts Program in Dover, Mass- er Lee Gunther earned four achusetts; and as founder of Sin- passed away Emmygle-Frame Studio in Norwich, Ver- on August 25 awards, two mont, where she ran weekly ani- following a Humanitas mation workshops for children. stroke suffered Prizes, two She also taught the previous Golden Reel classes at her studio and through day. He was 63 awards and various continuing education pro- years old. A 12 Clio grams. A recent project was “Kids memorial ser- awards. Speaking to Kids,” for which her vice was held Long-time students created public service on Saturday, friend and announcements that aired on August 29 at colleague public access TV stations. In addi- Forest Lawn in George tion to helping hundreds of young Burbank, Cali- Conte, who people make their own films and fornia. Starting first met Gun- learn the art of animation, Gail at Warner Bros. ther at was an animator. While studying in the 1960s Lee Gunther. Photo courtesy of Ann Gunther. DePatie-Fre- at Harvard University’s renowned and then at leng said, Carpenter Center animation pro- DePatie-Fre- “Lee’s dedica- gram, she completed the film leng studios from 1964-1978, tion to quality filmmaking, both Sketches for the Elephant Child Gunther was a film editor on more technically and creatively placed (1981) and later, in the mid-1980s, than 85 animated shorts in all. At him at the top of his profession. she made an animated roto- DePatie-Freleng, he also worked Because of his strong character scoped film called Handcraft. She as an executive in charge of pro- and gentle ways, he was respect- also studied with Yvonne Ander- duction in the 1970s. After ed and loved by all who knew sen, founder of the Yellow Ball DePatie-Freleng ceased produc- him. He will be missed.” Lee Gun- Workshop. She is survived by her tion, Gunther was one of the ther is survived by his wife, two husband, four children, and five founding producers of Marvel Ani- brothers, two sons and two grandchildren. mation, where he served as exec- granddaughters. Gail Banker’s animation utive vice president and executive The family requests that workshops were profiled in the producer on television series such donations in Lee Gunther’s memo- March 1997 issue of Animation as G.I. Joe (1984, Toei/Sun- ry be sent to: World Magazine: “Kids Making bow/Marvel) and The Transform- UC Regents Stroke Research Pro- Animation: A Sampling of Chil- ers (1984, /Toei/Sun- gram dren’s Animation Workshops bow/Marvel), as well as the fea- Department of Neurology Around the World” : ture-length animation Inhu- Attn: Dr. Robert Colins, Chairman (http://www.awn.com/mag/issue manoids: The Movie (1986, Has- Reed Neurological Institute C-139 1.12/articles/jacksonwork- bro/Starwild and Wildstar 404 Hilgard Ave. Los Angeles, CA shop1.12.html). ANIMATION WORLD MAGAZINE October 1998 77 Places

H-B Characters in Kidzville. Paramount’s Great America theme park in Santa Clara, California is starting construction on a new 2.3-acre area called Kidzville, scheduled to open to the public in March 1999. The featured attrac- tions and rides will be based on Hanna-Barbera characters such as Scooby Doo, Shaggy, Yogi Bear and . However, this is not a new licensing deal. Hanna-Bar- bera costumed characters have been featured at the park since it was opened by Marriott in 1976 and bought by Paramount in 1992. Kidzville at Paramount’s Great America theme park. © 1998 Paramount. Disney World Adding Animated Clams Productions, is being fund- version of the Absolut Panushka Attractions. Walt Disney World in ed by a private investor, was animation series, as well as shorts Lake Buena Vista, Florida, is shown in trailer form at last week’s by and Bärbel launching the largest expansion in International Space Theater Con- Neubauer and a soon-to-be-com- its history. New attractions that will sortium conference in Australia. pleted new film by Christine be added in the next 12 months Osborne, a 1992 Cal Arts gradu- Panushka. “Large pre- include “Buzz Lightyear’s Space ate, is shooting the film at the sent a perfect opportunity for Ranger Spin,” an interactive film school’s facilities in Valencia, Cali- experimentation in animation,” ride; “The Many Adventures of fornia, with donated equipment enthused Callabresi. “The sheer Winnie the Pooh,” a ride for made possible by support from the size of the screen offers the poten- youngsters which will replace “Mr. Large Format Cinema Association tial to create worlds and environ- Toad’s Wild Ride;” and a return of (LFCA). Animators rarely work in ments impossible in any other visu- “The Main Street Electrical Parade,” this specialized and costly film for- al medium.” For instance, Russian featuring floats of , Peter mat, but the use of animation in paint-on-glass animator Alexander Pan, Alice in Wonderland, and large-format films is increasing, Petrov is expected to complete his other animated characters. said producer Debra Callabresi of 70mm Old Man and the Sea by Swell Productions, who, earlier the end of this year [AF 6/03/98]. Films this year, produced a large-format The LFCA’s third annual conference and film festival will take place in Stop-Motion Short Headed for Los Angeles, May 18-22, 1999. Big, Big Screen. Animator Mark Osborne is wrapping up produc- Nick Movies Picks Bone. Nick- tion on a new short film. Titled elodeon Movies has acquired the More, the film is believed to be the feature film rights to ’s first stop-motion animated large- , Bone for an unspeci- format film. It is being shot on fied amount of money in the “high 65mm film that will be printed on six-figure” range. The property is 70mm for projection in large-for- Animator David Candelaria, left, and being developed as an animated mat cinemas such as the IMAX director/animator Mark Osborne feature film to be directed by working on the stop-motion film More. chains. The film, a co-production Image courtesy of Bad Clams Smith. Albie Hecht, president of of Swell Productions and Bad Productions. film and television entertainment ANIMATION WORLD MAGAZINE October 1998 78 at Nickelodeon said, “Bone is a It will feature CGI and comic fantasy adventure in the tra- puppet characters based dition of and Lord of the on everyday objects, Rings.” The story is about three lost such as Bob the Ball, Mr. cousins who become stranded in String, Doris the Door an uncharted land filled with rat and the Shoe Family. creatures and beetle-like dragons. George and Martha is a Nickelodeon expects this film to 2D-animated show appeal to a wider and older audi- based on James Mar- ence than its upcoming animated shall’s children’s books feature The Rugrats Movie, about two hippopota- because it extends to the proper- muses. It will be pro- ty’s existing fan base. To date, duced by Nelvana with 90,000 English-language copies Maurice Sendak, author of Bone have been sold since it of Where Things was first published in 1991. Nick- Are, as executive produc- elodeon Movies also recently er. Cinar Films will also acquired the feature film, ancillary deliver a 2D-animated and television rights to the works series, The Adventures of and life of cartoonist Rube Gold- Paddington Bear, based Curious Pictures’ series, A Little Curious will air on the berg, but at this point no plans for on Michael Bond’s classic new HBO Family Channel. © HBO. animated projects based on the books, and from Hit will be moved to HBO Family: Nel- property have been announced. Entertainment will be Anthony vana’s Pippi Longstocking, Babar, Ant, a 2D-animated story of an ant and Cinar’s The Little Lulu Show Television and his adventures in Antville. In and The Country Mouse and City addition, several animated series Mouse Adventures. HBO Family HBO Birthing Family Channel. which have already aired on HBO will also serve as a testing ground HBO will launch its new 24- for pilots before they air on the hour channel, HBO Family, main HBO channel: The Sissy in February 1999. The ven- Duckling, an animated musical ture is being headed up by written and produced by Harvey Sheila Nevins, senior vice Fierstein, will air in June 1999 president of original pro- and Goodnight Moon, a mixed- gramming for HBO, and media special about bedtime Dolores Morris, who left Chil- stories that will include animat- dren’s Television Workshop ed shorts, will debut in late (CTW) in June to become 1999. Acquisitions include Ani- vice president of HBO Family. mated Epics from S4C and Ani- Nevins said, “With this new mated , a mini-series venture, HBO enters the fam- from Pictures. HBO is ily programming business on developing other new projects, a full-time basis for the first and is actively seeking partner- time.” The network’s pro- ships with outside producers. gramming line-up will New programs will be include several new pro- announced as they are con- grams, of which four are ani- firmed. mated series aimed at pre- schoolers: A Little Curious is a CBS Delays Cartoon Debut. mixed-media show that is The debut of Nelvana’s : Guardians of CBS has made a last-minute pro- being produced by New the Legend has been postponed by production gramming decision to move the York-based Curious Pictures. delays. © Nelvana. debut of its new, animated Sat- ANIMATION WORLD MAGAZINE October 1998 79 THEANIMATION FLASHwww.awn.com/flash

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ANIMATION WORLD MAGAZINE October 1998 80 urday-morning line-up back to time animated series Stressed Eric network’s first original prime-time October 3, two weeks later than before pulling it off the air due to animated series, created for the the previously announced date of disappointing ratings (Nielsen network, since Mr. Magoo (UPA, September 19. The aim is to maxi- average 4.8). The show, produced 1964/65). mize on-air promotional opportu- with British broadcaster BBC by nities, which would have been dif- and Absolutely Pro- August Nielsen Ratings. By spe- ficult during the sports program- ductions, had been specially cial arrangement with Nielsen ming scheduled on many of the dubbed with a new voice track for Media Research, AWN publishes network’s local affiliates in the next American viewers, and was slated the Nielsen ratings for animated few weeks. “We are very proud of to air for six episodes through the programs on a monthly basis in our new Nelvana-produced end of the summer season. A the Animation Flash. The ratings shows,” said Lucy Johnson, senior spokesperson for NBC said that included herein are only for U.S. vice president of daytime/chil- the network may air Stressed Eric national network television. The dren’s programming and special again in the future, and is “active- following list of animated national projects at CBS. “However,” she ly looking to develop animation network programs is ranked by added, “when it became clear that projects.” While NBC’s reaction to Household Ratings. A Rating is the preemptions in early September cancel Stressed Eric may seem pre- percent of households that tuned would limit our promotion oppor- mature, the network is not giving into the program. This percentage tunities for our new line-up, we up on the prime-time game. In can provide us with the number decided to wait two weeks and fact, NBC has ordered a fully-ani- of households that tuned into the allow all of our stations to get a mated pilot of a new series creat- program on average during the solid start on the same Saturday ed by comedian David Spade (Just month. The universe estimate for morning.” The new line-up marks Shoot Me) and writer Drake the 1997-98 television season in CBS’ return to Saturday morning Sather. Tentatively titled Peewee, 98 million TV homes. Each rating animated programming after poor the show is being developed with point represents one percent of ratings in the 1996/97 season Brillstein-Grey Entertainment and that universe, or 980,000 TV caused the network to go with animated by Sony Pictures Image- homes. Translation: The Simpsons live-action programming in works, for possible launch in Janu- August 2 broadcast, with a 6.4 1997/98. All six of the new ani- ary 2000. The pilot should be rating, was viewed in just over 6 mated shows— Franklin, Anatole, ready by January 1999. If the million (6.4 x 980,000) house- , Flying Rhino show goes forward, it will be the holds. The below ranking is an Junior High, and Mythic Warriors: Guardians of the Leg- end— are being produced by Canadian studio Nelvana, a deal that was announced in January. In addition to the entire line-up delay, CBS will delay the debut of one of the series, Mythic Warriors: Guardians of the Legend, because of production delays attributed to “complicated animation tech- niques” being used for the show. It will be replaced with reruns of another Nelvana series, Tales From the Cryptkeeper until November 7.

NBC’S Not Stressed: New Toon In Works. U.S. network NBC aired Stressed Eric. Photo courtesy of Klasky Csupo. only three episodes of the prime- ANIMATION WORLD MAGAZINE October 1998 81 average for the month of August 1998 (monthly cycle includes the last TV Tidbits. As of September 20, five days in July). The Simpsons became the longest- running sitcom currently on televi- sion. Creator and executive pro- August Nielsen Ratings ducer said he is Rating/Program (Network, Day, First Telecast, Time) surprised the show has gone on 6.4 The Simpsons 2 (Fox, Sunday, 8/02, 8:30 p.m.) this long, but, he added, “The real 5.9 The Simpsons (Fox, Sunday, 8/02, 8:00 p.m.) surprise is that this coming season 5.1 2 (Fox, Tuesday, 7/28, 8:30 p.m.) is as good as any we’ve ever 5.0 The Simpsons repeated special (Fox, Thursday, 8/20, 8:30 p.m.) done. The writers, led by execu- 4.8 Stressed Eric (NBC, Wednesday, 8/12, 9:30 p.m.) tive producer , are fan- 4.5 King of the Hill 1 (Fox, Tuesday, 7/28, 8:00 p.m.) tastic. They get the characters and 4.3 The Simpsons repeated special (Fox, Thursday, 8/20, 8:00 p.m.) they are creating original stories 2.1 Disney’s Saturday Morning 4 (ABC, Saturday, 8/01, 10:00 a.m.) that don’t repeat what we’ve done 2.0 Disney’s Saturday Morning 3 (ABC, Saturday, 8/01, 9:30 a.m.) or anything else I’ve seen on tele- 1.9 New Adventures of Winnie the Pooh (ABC, Saturday, 8/08, 12:00 p.m.) vision.” The tenth season premiere 1.8 / Show 1 (ABC, Saturday, 8/08, 10:30 a.m.) of The Simpsons aired on Fox, on 1.8 Bugs Bunny/Tweety Show 2 (ABC, Saturday, 8/08, 11:00 a.m.) Sunday, September 20 at 8:00 1.7 Disney’s Saturday Morning 2 (ABC, Saturday, 8/01, 9:00 a.m.) p.m. (ET/PT). The episode, titled 1.7 Spider-Man (Fox, Monday-Friday, 7/27, 4:00 p.m.) “The Wizard Of Evergreen,” depict- 1.6 Batman/Superman 2 (WB, Saturday, 8/01, 9:30 a.m.) ed Homer, who, experiencing a 1.6 Disney’s Jungle Cubs (ABC, Saturday, 8/01, 11:30 a.m.) mid-life crisis, is inspired by 1.6 Science Court (ABC, Saturday, 8/08, 12:30 p.m.) Thomas Edison to become an 1.6 Toonsylvania (Fox, Saturday, 8/01, 9:30 a.m.) inventor...... Due to minor 1.5 Spider-Man (Fox, Saturday, 8/01, 9:00 a.m.) post-production delays, Cartoon 1.4 Disney’s Saturday Morning 1 (ABC, Saturday, 8/01, 8:30 a.m.) Network has moved the premiere 1.4 Men in Black (WB, Saturday, 8/01, 10:00 a.m.) of its newest animated half-hour 1.3 Batman/Superman 1 (WB, Saturday, 8/01, 9:00 a.m.) series, Ed, Edd ‘n’ Eddy. The show, 1.3 Pinky and the Brain (WB, Saturday, 8/01, 10:30 a.m.) produced by Danny Antonucci’s 1.3 Sylvester/Tweety Mysteries 2 (WB, Saturday, 8/01, 11:30 a.m.) A.K.A. Cartoons, will now debut 1.3 Sylvester/Tweety Mysteries (WB, Saturday, 8/01, 11:00 a.m.) on Monday January, 4, 1999, 1.2 Batman/Superman (WB, Monday-Friday, 7/27, 4:30 p.m.) pushed back from its original 1.0 Bobby’s World (Fox, Friday, 7/31, 7:00 a.m.) November launch date. . . . Nick- 1.0 Incredible Hulk (UPN, Sunday, 8/02, 9:30 a.m.) elodeon aired the Kablam! Life 1.0 Life With Louie (Fox, Monday-Friday, 7/27, 7:30 a.m.) With Loopy Birthday Gala-bration 1.0 Sam & Max (Fox, Saturday, 8/01, 11:30 a.m.) on Friday, September 25 at 8:00 1.0 Superman (WB, Saturday, 8/01, 8:30 a.m.) p.m. (ET/PT). Created by Steven 0.9 (WB, Monday-Friday, 7/27, 3:30 p.m.) Holman and his San Francisco- 0.9 Jumanji (UPN, Sunday, 8/02, 9:00 a.m.) based production company 0.9 Ned’s Newt (Fox, Saturday, 8/01, 8:00 a.m.) Wholesome Products, the special 0.9 Pinky and the Brain (WB, Monday-Friday, 7/27, 4:00 p.m.) is a spin-off from the animated 0.8 Batman (WB, Saturday, 8/08, 8:30 a.m.) variety show Kablam! mixed-media 0.8 Disney’s 101 Dalmatians (ABC, Saturday, 8/01, 8:00 a.m.) skit, Life With Loopy. 0.6 Captain Planet (WB, Monday-Friday, 7/27, 8:30 a.m.) 0.5 Pinky and the Brain (WB, Saturday, 8/01, 8:00 a.m.) Commercials 0.4 Tiny Toons Adventures (WB, Monday-Friday, 7/27, 8:00 a.m.) 0.4 Umptee 3 TV (WB, Friday, 7/31, 8:00 a.m.) Rugrats Driving Car Campaign. Automaker Lincoln Mercury, a AWN is interested in publishing additional ratings from cable television and major sponsor for Paramount and ratings systems outside the U.S. To contribute information, please contact us at edi- Nickelodeon’s animated feature, [email protected]. The Rugrats Movie, will spend

ANIMATION WORLD MAGAZINE October 1998 82 Smith and Dave Photoshop and After Effects for 2D Marshall. . . . sequences, with final compositing Santa Maria, Cali- done on Flint and Flame. fornia-based Computer Café recreated the opening sequence of Armageddon for an Aerosmith video titled “I Don’t Want to Miss a Thing.” Dig- ital artists Brett Paton and Mike Chel White’s Countdown commercial produced by Curious Pictures. Image courtesy of Curious Pictures. Bozulich used Lightwave 3D and approximately U.S. $20 million on After Effects software to recreate Kiki’s Delivery Service. © Walt Disney tie-in advertising to launch a new the asteroid and planets featured Enterprises. All Rights Reserved. minivan called the Mercury Vil- in the sequence. . New York-based lager in conjunction with the film’s J.J. Sedelmaier Productions cre- Video release in November. The cam- ated a second animated commer- paign will include TV ads featuring cial for Quilted Northern Tissue, Kiki’s Delivery Date. On Septem- the Rugrats characters in an ani- working again with illustrator/ ber 1, Buena Vista Home Enter- mated version of the minivan. Lisa designer Bonnie Timmons (Caro- tainment released the English-lan- DiMarzio, vice president of promo- line in the City opening credits). guage dubbed video of Hayao tions for ’ The new, 30-second spot, titled Miyazaki’s animated feature, Kiki’s Motion Picture Group said, “With Grandma Mimi was directed by Delivery Service. The family film Paramount, Nickelodeon and Lin- J.J. Sedelmaier, and the head ani- tells the story of a 13-year-old coln Mercury’s strategic blending mator was David Wachtenheim. . witch named Kiki. The English of marketing resources, this part- . . Toronto, Canada-based voice track features Kirsten Dunst, nership will bring new dimensions Topix/Mad Dog created 22 ani- Phil Hartman, Matthew Lawrence, to tie-ins for animated entertain- mated effects sequences for the Debbie Reynolds and Janeane ment properties.” first annual Golden Marble Awards Garofolo. The film is 104 minutes, show. Director of animation rated “G” and priced at U.S. Seeing Spots. Curious Pictures’ William Cameron used 3D Studio $19.99. The Walt Disney Compa- San Francisco studio produced 30 MAX for 3D, and Adobe Illustrator, ny will distribute several more of seconds of computer graphics and Miyazaki’s films, including Princess collage animation as part of a 60- Mononoke (theatrical release by second changeable promo spot , summer 1999) and Cas- called Countdown for HBO. It was tle in the Sky (video release 1999). directed by Chel White (Photo- Buena Vista Home Entertainment copy Cha Cha) using a combina- president Michael O. Johnson tion of photographs animated on said, “We see our job now as a cels and Flame software. . . . San caretaker for this wonderful ani- Francisco-based Wild Brain Inc. mation on a worldwide basis, but produced Super Mom II, a sequel we don’t want to alter it. You don’t to their original Clio-award-win- want to take the Mona Lisa and ning spot, Super Mom, for Coca- J.J. Sedelmaier Productions’ new Quilted make her smile. It is our responsi- Cola. The 30-second, cel-animated Northern Tissue commercial. Image bility to deliver these products as commercial was directed by Mike courtesy of J.J. Sedelmaier Productions. they were meant to be delivered.” ANIMATION WORLD MAGAZINE October 1998 83 ume 3 (11/3/98). & Interactive The Right Stuf International is Humongous Debuts Blue’s releasing a five- Games. Humongous Entertain- tape adult series ment has released the first two called Cool Devi- CD-Roms based on Nickelodeon’s ces (11/3/98). animated/live-action series, Blue’s Prices vary. Con- Clues. Blue’s ABC Time Activities is tact individual available for U.S. $19.99 and distributors for Blue’s Birthday Adventure is information. $29.99. Both titles are Windows and Macintosh compatible, and Technology feature games and educational A.D.V. Films and their label Urban Vision is releasing activities aimed at 3-6 year-olds. Tekkamen Blade II - Stage 3: Final Encounter. Tools Of The The games are the first releases to Image courtesy of A.D.V. Films. Trade. Pacific come out of an exclusive, five-year Abundant Releases. Fall Data Images (PDI) has licensed worldwide deal with Nickelodeon. is upon us, and so is the season of Alias|Wavefront’s compositing soft- many video releases. Following is ware, Composer, for use in its New Girl’s Game Has Spice. a list of recent and upcoming U.S. computer animation production. Coinciding with the U.S. tour of video releases of Japanese anime This represents a significant out- The Spice Girls, Psygnosis has films. A.D.V. Films and their label side purchase for the studio, released Spice World, a PlayStation Urban Vision are releasing Tekka- which mainly uses in-house pro- console video game. The game, men Blade II - Stage 3: Final prietary software. PDI’s director of aimed at pre-teen girls, gives users Encounter (9/22/98), Dark War- research and development, Ken a chance to choreograph dance rior (10/06/98), MAPS 1 & 2 Pearce explained, “It’s often diffi- routines starring animated ver- (10/06/98), Dark Warrior - First cult to incorporate off-the-shelf sions of Ginger, Scary, Baby, Posh Strike (10/06/98), Cutey Honey solutions into our proprietary and Sporty Spice. While it may not Volume 2 (10/13/98), Delinquent graphics pipeline, but the open- be rocket science, the Spice Girls in Drag (10/20/98), Ruin Explorers ness of Composer makes it easy to game does address a need for 2 (10/27/98) and : Dragon integrate.” . . . .Biomechanics has games designed for girls. Spice Slave! (11/10/98). AnimeWorks is released a software program World for PlayStation is $35.95. releasing My Fair Masseuse called Nuance, which is specifical- (9/8/98), Shinesman (10/20/98), ly designed to edit Earthian - Angelic Destroyer captured motion. It (11/10/98) and Bondage Queen allows animators to Kate - Galaxy Policewoman “tweak” motion-cap- (11/17/98). Central Park Media ture data to perfect will release The Slayers: Volume 8 the animation or (10/6/98), The Heroic Legend of “resize” motion by Arslan: Age of Heroes (10/6/98), determining a num- “Fobia 2” (10/6/98), Grave of the ber of frames over Fireflies (10/6/98), Ayane’s High which an action will Kick (10/6/98), Revolutionary Girl occur. Nuance can Utena: Crest of the Rose be used with 3D (11/3/98), Nightmare Campus: animation software Volumes 4 & 5 (11/3/98), Legend such as Maya and of Lemnear (11/3/98), The Venus 3D Studio MAX. The Wars (11/3/98), Strange Love cost is U.S. $7, 495. (11/3/98) and Patlabor: The for a single-seat Mobile Police - The TV Series: Vol- license. . . . Spice World, the game. Image courtesy of Psygnosis. ANIMATION WORLD MAGAZINE October 1998 84 Out the Wash: The Art and Artists including one animated film, will of Disney Storyboards will be pub- be featured each month; the next lished by Hyperion in the Fall of screenings are October 11, 1999 and The Museum of Modern November 15 and December 13, Art will present a 20-year retro- 1998. Each film must be no longer spective of ’s inde- than 40 minutes and the entry fee pendent animated films on is $5 per film. The deadline for the November 6, 1998. October screening is September 15, however, late entries will be Call for Entries considered for future screenings. For information, contact grif- SAS ‘99 Scheduled. The 11th [email protected], or mail submis- Society of Animation Studies Con- sions to 11166 Burbank Blvd., ference will be held in Australia for North Hollywood, CA 91601. the first time. The conference, to be held in Brisbane in August or Nashville Independent. The John Canemaker. October 1999 (exact date to be Nashville Independent Film Festi- Photo courtesy of John Canemaker. confirmed), is timed to coincide val (NIFF) (formerly known as Sink- Publications with the Third Asia Pacific Triennial ing Creek) is accepting submis- exhibition of Contemporary Art at sions for its next edition, June 9- Info Sought on 9 Old Men. Ani- the Queensland Art Gallery. The 13, 1999. A first prize in the ani- mation historian John Canemaker theme of the conference is “Ani- mation category at this festival will is working on his eighth anima- mation: Contexts and Identities,” qualify your film for Academy tion history book, titled Walt Dis- with a focus on Asia Pacific anima- Award consideration. Entry fees ney’s Nine Old Men and the Art tion. A call for papers and presen- vary, and the deadline is Decem- of Animation to be published by tation proposals is now open. Pro- ber 4. The first 100 entries will Hyperion in 2001. It will contain posals should contain a 50-word receive a free pass to the festival. detailed biographical portraits of summary and a 250-word For entry forms and information, , Frank Thomas, Ollie abstract. Deadline for early consid- visit www.nashvillefilmfestival.org Johnston, , Ward Kim- eration is November 13, 1998, for or e-mail [email protected]. ball, , , reply by December 11. The final and Wolfgang Reither- deadline for proposals is February Worldfest Flagstaff. Worldfest, man. The book will also discuss 26, 1999, to which replies will be an independent film festival which the early Disney animators who made by March 26. The confer- has been held in Houston for the influenced “the Nine,” such as Ub ence is being organized by Keith past 32 years and additionally in Iwerks, Norman Ferguson, Fred Bradbury, a professor at Queens- Charleston, South Carolina for the Moore, Ham Luske, Vladimir Tytla land College of Art. For informa- past five years, is moving from and Grim Natwick, among oth- tion, or to submit a proposal, con- Charleston to Flagstaff, Arizona. ers. The author would like to hear tact him by e-mail at k.brad- The first annual Worldfest-Flagstaff from anyone who knew or [email protected], phone (61) International Film Festival will be worked with the above anima- 7 3875 3185 or fax (61) 7 3875 held November 13-22, 1998. tors, especially family members or 3199. Houston will continue as usual. animation assistants, students and Don’t miss Keith Bradbury’s The wide competition program protégés, who can provide sto- review of the 10th SAS Conference features eight animation cate- ries, anecdotes, tributes, or bio- in this issue. gories and several others ,l which graphical information about the may accept animated works, such Nine Old Men. Please contact Hollywood Shorts, a monthly as “computer generated/mixed John Canemaker at : short film series that presents new media.” The festival’s focus is on [email protected] shorts and their directors to the independent works which have or phone/fax (212) 874-7462. Hollywood film community, is not yet been picked up for distrib- Canemaker’s latest book, Hangin’ seeking submissions. Three shorts, ution. The entry deadline is Sep- ANIMATION WORLD MAGAZINE October 1998 85 tember 11 and the fees range per edition, January 18-22, 1999. In issue of Animation World Maga- production, from $45 to $100. For keeping with tradition, the event zine was published. These listings information and entry forms call will start in Monaco, January 18- are published weekly in the Ani- (713) 965-9955 or e-mail world- 20, with conferences and panel mation Flash, a free newsletter [email protected]. discussions on the theme “integral which is distributed by e-mail. Are images and meta tools”, the “Prix there animation events going on Events Pixel-INA” awards competition and in your area? Share your regional the Innovation Space; then, in event news with the international Storyopolis Gets Paris, January 20-22, the event will readers of the Animation Flash! Gorey. On October Please send 29, 30 and 31, 1998, announcements to the Los Angeles-based [email protected], at art gallery and book least eight days in store, Storyopolis will advance. host “English Soup,” a performance featuring * Wednesday, August six actors and a cast of 26. Burbank, Califor- hand-made puppets, nia, U.S.A. devised and directed Women In Animation by Edward Gorey, fol- Los Angeles presented lowed by “Dramatis “Teaming Up: Artists & Artifacti,” a one-month Writers in Collabora- exhibition of original tion,” a panel discus- art work and sion featuring televi- ephemera by the artist. sion animation cre- Gorey’s macabre draw- ative teams Sue Rose ings were brought to and Nanatchka Khan life by animator Derek (Pepper Ann, Disney), Lamb for the title Liz Scofield and John sequence for the PBS McCann (Animaniacs, series Mystery. Gorey, a Warner Bros.) and Bill notorious recluse, will Kopp and Jeff DeGran- Edward Gorey is famous for his macabre stories and dark designs. not be present at the Image courtesy of Storyopolis. dis (Toonsylvania, Storyopolis event, how- DreamWorks). There ever, it is a rare opportunity for a continue with the exhibition of was also a screening of the stereo- close-up look at the artist’s work. new industrial developments and scopic computer-animated short Reservations are by non-refund- technologies. Azimuth by Staceyjoy Elkin (3D able pre-payment only. Tickets are For information, visit: viewing glasses provided). The $15. each. Call (310) 358-2500. www.ina.fr/ina/imagina event was at the Warner Bros. lot The January 1998 issue of Read Stéphane Singier’s in Burbank (Hollywood way Animation World Magazine review, “Imagina ‘98: Digital entrance). Space is limited and includes a Storyopolis article: Becomes Integral” in the April advance RSVP is required. Call (http://www.awn.com/mag/issue 1998 issue of Animation World (310) 535-3838. 2.10/2.10pages/2.10storyopolis.h Magazine : tml). (http://www.awn.com/mag/issue Read a review and view a clip of 3.1/3.1pages/3.1singier_eng.htm Staceyjoy Elkin’s film, Azimuth in Imagina ‘99 in Two Venues. Imag- l). the August 1998 issue of Anima- ina, a computer conference and tion World Magazine: festival which is often referred to Last Month in Animation (http://www.awn.com/mag/issue as the European equivalent to SIG- The following is a list of events 3.5/3.5pages/3.5cockman.html). GRAPH, is expanding for its 18th which took place since the last ANIMATION WORLD MAGAZINE October 1998 86 * Wednesday, August 26. Bur- tion”—were televised. Fitzroy, Melbourne. Existing mem- bank, California, U.S.A. bers include Kathy Mueller, Kiera ASIFA-Hollywood presented an * Sunday, August 30 - Friday, Sep- Poelsma and Maree Woolley. For evening with animator and edu- tember 4. San Francisco, Califor- information, contact jo@tanta- cator Jules Engel at 7:30 p.m. The nia, U.S.A. mount.com.au. conversation, focusing on Engel’s Seybold, a conference and exposi- work during the Golden Age of tion of publishing technologies, * Thursday, September 3. Studio animation in Hollywood, was took place at Moscone Center. City, California, U.S.A. hosted by , and held at Classes covered topics such as Screenmusic Studios hosted the ASIFA-Hollywood’s headquarters at “Animation and Video for the first meeting of Women In Anima- 725 South Victory Blvd. (near Web.” On Tuesday, September 1, a tion Los Angeles’ new Voice Over Alameda) in Burbank. For informa- keynote speech was given by Group from 7:00 - 9:00 p.m. Call tion and reservations call (818) , chairman and CEO of Muriel Whitaker at (310) 412- 842-8330. Pixar Animation Studios and co- 2719. Screenmusic Studio is locat- founder and inter- ed at 11700 Ventura Boulevard in * Friday, August 28. im CEO of Apple Studio City. , New Computer, Inc. For York, and Los Ange- information visit * Tuesday, September 8. Los Ange- les, California, U.S.A. www.seyboldsemi- les, California, U.S.A. Bill Plympton’s ani- nars.com. Women In Animation Los Angeles mated feature film, I hosted a mixer at Lumpy Gravy, Married a Strange * Thursday, Sep- the restaurant/gallery co-owned Person launched its tember 3 - Sunday, by Gabor Csupo of Klasky Csupo. North American the- September 6. Lake The event was the second in a atrical run at two Buena Vista, Flori- series of fundraising animation theaters simultane- da, U.S.A. mixers that will take place on the ously: the Anjelika in The Disney Insti- second Tuesday of every month. New York and the tute, a vacation The event will feature the original NuArt in Los Ange- resort, hosted “napkin cartoon” drink special: les. The film is being Bill Plympton’s I Married a “: An Anima- draw a cartoon on a napkin, get a distributed by Lion’s Strange Person opened in theaters tion Experience,” a discount! Lumpy Gravy is located last month. © Bill Plympton. Gate Entertainment. four-day event at 7311 Beverly Blvd. For informa- For more showdates and informa- which gave guests a hands-on tion call (323) 934-9400. tion, visit Bill Plympton’s web site in look at the making of the animat- Animation World Network: ed feature Mulan. The program * Wednesday, September 9 - Sun- (http://www.awn.com/plymp- included animation workshops, day, September 27. New York City, ton/index.html). appearances by the film’s supervis- New York, U.S.A. ing animator , CGI The International Festival of Pup- * Saturday, August 29. Pasadena, supervisor Eric Guaglione, head of pet Theater, presented by the Jim California, U.S.A. special effects David Tidgwell and Henson Foundation, took place at The Academy of Television Arts & voice actress . For pric- theaters all around the city. High- Sciences (ATAS) presented the Cre- ing and information, call (800) lights included performances by ative Arts in a spe- 496-6337. This event will be the Handspring Puppet Company cial show at the Pasadena Civic repeated September 11-14. featuring William Kentridge, and Auditorium which was taped and other groups, and exhibits of work televised on the cable network, TV * Thursday, September 3. Mel- by artists such as Janie Geiser. Con- Land, on September 11. This was bourne, Australia. currently, the Guggenheim muse- the first time the Creative Arts Digital Divas, a networking group um hosted a series of puppet films Awards, including its craft-specific for women working in new including work by The Brothers Emmys such as “outstanding indi- media, hosted a meeting at Open Quay, Jan Svankmajer, Lasislas vidual achievement in anima- Channel, 13 Victoria Street, Starewitch, and others, in addition ANIMATION WORLD MAGAZINE October 1998 87 to an entire program of films by * Wednesday, September 16. Hol- www.wordsandpictures.org. Estonian animators. For informa- lywood, California, U.S.A. tion on the festival, visit www.hen- The Short Pictures International * Saturday, September 19. Santa son.com/festival, and for film Film Festival (SPIFF) hosted a mixer Clarita, California, U.S.A. series information call (212) 360- at the Bar Marmont on Sunset, The International Center for Gib- 4321. one block west of Crescent bon Studies (ICGS) hosted a pri- This issue of Animation Heights. The event began at 7:00 vate event for artists interested in World Magazine includes an arti- p.m. with special guests including sketching the live animals, present- cle about William Kentridge, inde- a talent-scouting John Andrews, ed by Women In Animation Los pendent animator and member of executive producer at Klasky Angeles. The trip included a lec- the Handspring Puppet Company. Csupo Commercials. Valet Parking tured tour and a rare opportunity was $3.50 and there was no to practice life drawing of more * Friday, September 11. Los Ange- cover charge to attend. For infor- than 30 animals. “Gibbons are les, California, U.S.A. mation visit www.spiffest.com. fast-moving small primates that are The 50th annual active in the morning and slow Emmy Awards will take place and * Thursday, September 17. Bur- down during the afternoon, so simultaneously air on the cable bank, California, U.S.A. the day will satisfy quick sketch to network, TV Land. The winner in Women In Animation’s Writers intense study for all artists,” said the animated series category will Group met at ASIFA-Hollywood’s event coordinator Susan Palmer. be included in the next Animation Animation Center. This month’s The cost per person was $8.00 Flash. topic is “Copyright and Trademark: and pre-paid RSVPs were due by Protecting Your Idea,” with speak- Monday, September 14. Contact * Saturday, September 12 - Sun- er Ronda Dixon, entertainment [email protected]. day, September 13. Los Angeles, lawyer and creator of the animat- California, U.S.A. ed show Hip House. Admission * Wednesday, September 23. Bur- The second Los Angeles Interna- was $10 for WIA L.A. members, bank, California, U.S.A. tional Short Film Festival took $20 for non-members. Call ASIFA-Hollywood presented Tom place at Barnsdall Art Park on Hol- (818)842-8330 or contact kellie- Sito’s “An Evening With...” series lywood Boulevard. Animation was [email protected]. featuring Lou Scheimer. Scheimer featured in two programs on Sun- started out as a layout artist on the day: the Family Entertainment pro- * Friday, September 18 -Sunday, Paramount series. In 1967 gram at 10:00 a.m. included Kiss- September 20. Iowa City, Iowa, he started Studios, ing My Brain by Tanya Hurley, U.S.A. which produced animated series Salad Bowl by Michael Blum and Anime Iowa, a convention for fans such as Fat Albert, He-Man and Frieden: The Tree of Peace by of Japanese animation, took place The Archies. The program started Chau, Hiu Fan (Alina); The Anima- at the Radisson Highlander Inn. at 7:30 p.m. Admission was $7.00 tion program at 12:00 p.m. fea- For information visit: at the door. For information call tured 13 films including Science http://omocha.shc.uiowa.edu/ani (818) 842-8330. Facts by AMPnyc, Deviant by Eoin meiowa. Clarke, Knitwits by Buzzzco, The Awards Third Ticket by Doug Vitarelli, * Saturday, September 19. Organ Cranker by John Foulk and Northampton, Massachusetts, Hiroshima Top Prize Goes to The Devil Went Down to Georgia U.S.A. the Pigeons. The 7th biennial by Michael Johnson. For informa- The Words & Pictures Museum Hiroshima International Animation tion visit www.lashortsfest.com or hosted an appearance and book Festival ended on Monday, August call (213) 427-8016. signing by its founder, Kevin East- 24 with a grand awards ceremo- An article by Alina Chau , man, co-creator of Teenage ny. The top winners are: director of Frieden: The Tree of Mutant Ninja Turtles. The event Peace, is featured in this issue of kicked off at 10:30 a.m. with a Grand Prize: The Old Lady and the Animation World Magazine. members-only discussion and Pigeons by Sylvain Chomet (Cana- exhibit tour. For information visit da). ANIMATION WORLD MAGAZINE October 1998 88 Hiroshima Prize: The Moon by Lee Whit- Mermaid by Alexan- more (Australia). He der Petrov (Russia). said, “For the sensi- tivity with which it Debut (first film) Prize: portrays the hero- Busby by Anna ism of combining Henckel-Donners- parenthood and Marck (Germany). creativity and in a beautiful film.” Nor- Renzo Kinoshita Prize: mand also present- L’Aréne (Série Vermil- ed an award to lion) by Nicolas Romance of the Jacquet (France). Heart by Solweig Von Kleist (France), In addition to the “for its lyrical anima- above pre-deter- tion and design mined categories, the combined with an Hiroshima festival jury excellent sound also selected 12 spe- track.” Locopath by Cristoph Simon (Acme Filmworks, U.S.A.) received a jury cial jury prizes. Each prize at the Hiroshima Animation Festival. Mark Baker jury prize was present- Image courtesy of Acme Filmworks. (U.K.) presented a ed on stage by one of prize to Spring by the international jury members, unconscious minds and ends Silke Parzich (Germany). He said, who read the jury’s comments on towards a strong humanistic state- “This prize is awarded the special why the film was selected. ment.” jury prize for the film’s fresh and Rene Laloux (France) pre- Celia Van Dijk (Nether- simple imagery.” Mark also pre- sented a prize to Geri’s Game by lands) presented a prize to Pink sented a prize to How Wings are Jan Pinkava (Pixar, U.S.A.) and to Doll by Valentin Olshvang (Russia). Attached to the Backs of Angels by the French school, Ecole She commented, “Among the Craig Welch (Canada). He said, Nationale des Arts Décoratifs. many handling mod- “The jury admired the film’s atmos- Katariina Lillquist (Finland) ern family problems, The Pink Doll phere of restrained tension.” presented a prize to The Albatross was definitely the best one. The Hisako Sato (Japan) pre- by Paul Bush (U.K.). She com- views and actions of the little girl sented a prize to Locopath by mented, “This special prize is given are presented in a down-to-earth Cristoph Simon (Acme Filmworks, to a film which is both experimen- way, and the delicate balance U.S.A.). She said, “In this day, tal and ageless. It combines in a between fantasy and reality keeps young people touch many dan- very balanced way the feelings of the audience curious all the way gerous things. It’s nice that this film old wooden engravings, deep through.” Celia also presented a makes its point with humor.” poetry and touching music. It also prize to Trainspotter by Neville Ast- Hisako also presented an award to has one of the best sound tracks in ley and Jeff Newitt (U.K.). She said, Heavy Stock by Michael Salkeld the competition.” Kateriina also “With this puppet film, you can (U.K.). She said, “The jury awarded presented a prize to Silence by almost feel the damp air on a plat- the special prize in recognition of Sylvie Bringas and Orly Yadin form in the middle of nowhere. Heavy Stock’s beautiful graphics. (U.K.). She said, “The film handles The main character is a close rela- Animation is like the action in the in a very sophisticated way the tive to Eleanor Rigby in his loneli- film. This film has an outstanding common traumas of post-war ness and although he manages to personality.” Europe, with the reality of old pho- enlarge his collection in the end, Gigi Hu reviews the tographs and a real witness’ voice. you can’t help but feel sorry for Hiroshima International Animation It has the power of a documentary him.” Festival in this issue of Animation but by adding in the animated Normand Roger (Canada) World Magazine. sections it goes deeper into presented a prize to On a Full ANIMATION WORLD MAGAZINE October 1998 89 The Simpsons Nabs 3 Emmys. Moesker (Netherlands) and Fox’s prime-time animated series, T.R.A.N.S.I.T. by Piet Kroon The Simpsons received three (Netherlands). A winner will be Your Ad Emmy Awards this year, including selected at the 1998 Cartoon Your Ad the craft categories. For the fifth Forum in Syros, Greece, Septem- Could Be time (‘90, ‘91, ‘95, ‘97), the show ber 23-27. Could Be won the award for “Outstanding The 1998 CARTOON Here! Animated Series (for programming Forum will be reviewed by Marie Here! one hour or less),” beating out Beardmore in the November 1998 other nominees King of the Hill issue of Animation World Maga- (Fox), Cow & Chicken (Cartoon zine. Plus, the organization CAR- For rate cards and Network) and Dexter’s Laboratory TOON was profiled by Heikki Joki- additional informationabout (Cartoon Network). The Simpsons nen in the October 1997 issue of various opportunities also won in the “Outstanding Animation World Magazine for exposure at Music and Lyrics” category, for the (http://www.awn.com/mag/issue Animation World Network, song “You’re Checkin’ In (A Musical 2.7/2.7pages/2.7jokinencar- contact our Tribute to the Betty Ford Center),” toon.html). Los Angeles by composer and lyri- office at cist Ken Keeler. As previously Devil Tops L.A.Shorts Fest. The announced, actor second Los Angeles International 213.468.2554 won the “Outstanding Voice-Over Short Film Festival, held Septem- Performance” Emmy for his role as ber 11-13, selected Mike Johnson’s or e-mail “Apu” on The Simpsons. stop-motion The Devil any of our sales Went Down to Georgia as “Best representatives: Cartoon D’Or Noms. Every year Animation Film.” It competed with since 1991, the organization CAR- 12 other animated films in the fes- TOON, with the support of the tival. For information about the North America: MEDIA program of the European festival and the next call for Union, selects one short European entries, visit : Dan Sarto animated film as the “Cartoon www.lashortsfest.com. D’Or,” or “best European anima- [email protected] tion film.” Nominees are selected from the list of top prize-winning and recommended films from par- Europe: ticipating European animation fes- tivals: Annecy, Brussels, Cardiff, Thomas Basgier Espinho, Stuttgart, Utrecht and, [email protected] new this year, Oslo. The director of the Cartoon D’Or winning film will receive 25,000 ECU (approximate- ly U.S. $25,000) to spend on a U.K. new animation project. This year’s Alan Smith nominees are Famous Fred by Joanna Quinn (U.K., her third [email protected] nomination), Frontière by Christ- ian Fisher (Germany) and Maud Gravereaux (France), Heavy Stock, the Sound of the Railway by Other Location: Michael Salkeld (U.K.), L’Enfant au [email protected] Grelot by Jacques-Remy Girerd Mike Johnson’s The Devil Went Down to (France), Sientje by Christa Georgia. © Fat Cactus Productions. ANIMATION WORLD MAGAZINE October 1998 90 On A Desert Island With. . . .Commercial Independents compiled by Wendy Jackson

his month, we picked four animators who manage to balance their work on independent films with their commercial animation careers, and asked each of them what films would they want to have with Tthem if stranded on a desert island. Swedish animator Jonas Odell has directed television ids for the likes of the Swedish Lottery, Locomotion and Cartoon Network. With Stig Bergqvist, he recently made an inde- pendent film called Otto which is currently making the festival rounds (next stop Ottawa). Steve Box is a direc- tor at in Bristol, England. His short film Stage Fright won a British Animation Award and the Children’s Jury Prize at Annecy ‘98. Cynthia Wells recently completed a stint as a commercial director at Rhythm & Hues in Los Angeles and is now focusing solely on her second independent film, The Shadow of Doubt. Peter Reynolds is founder and creative director of the Boston-based animation studio, FableVision, which has recently produced commercials for the NBA, and WNBA. Reynolds’ short film The Blue Shoe is dis- tributed by Link Entertainment and was just picked up for a two-year run in Spike and Mike’s Festival of Ani- mation. There are, of course, many other animators who balance independent work with commercial careers. Several of them, in fact, have already participated in AWM’s Desert Island series. Visit our back issues to read top ten films as selected by Bill Plympton (June 1996), Aleksandra Korejwo (May 1996), Barry Purves (Febru- ary 1998), and Paul Vester (May 1998). Jonas Odell’s Top Ten: 1. UBU by Geoff Dunbar. “A congenial animated version of the play by Alfred Jarry.” 2. King Size Canary by Tex Avery. “Anything by Avery would do, but this one has its own twisted logic that makes it especially memorable.” 3. Going Equipped by . “A technically brilliant treatment of a serious subject.” 4. Anything by . 5. Alice by Jan Svankmajer. “Surrealism never really worked in painting, but in animation it does.” 6. by . 7. The Sound of Music by Phil Mulloy. “Totally without compromise. Disgustingly funny and politically provoca- tive.” 8. (Disney). “No compromise here either, a good alternative if you’re not allowed to bring drugs to the island. The last half hour is the ultimate music video.” 9. as Snow White (Fleischer Bros.). “Again: surrealism does work in animation, here with a little help from Cab Calloway.” 10. Birthday by Janno Poldma.

Cynthia Wells’ Wishes: 1. The Man Who Planted Trees by Frédéric Back. 6. The Snowman (TVC). 2. The Mighty River by Frédéric Back. 7. by John and . 3. Anything done by Richard Williams. 8. by . 4. The Monk and The Fish by Michael Dudok De Wit. 9. Winsor McCay’s collected works. 5. ’ Yellow Submarine by George Dun- 10. ’s films. ning.

ANIMATION WORLD MAGAZINE October 1998 91 Steve Box’s Best Bets: “I’m not sure that ten animated films would be my first choice if I was marooned on a desert island, but if it were, these films would provide me with an amazing range of emotions and keep re-proving to me the possibilities of animated filmmaking.”

1. The Big Snit by Richard Condie. “Actually any Richard Condie film... He’s a genius.” 2. Creature Comforts by Nick Park. “It doesn’t matter how many times I see this film or that I know the direc- tor. It’s a modern masterpiece.” 3. by . “Perfect use of computer animation is John Lasseter’s hallmark, the right tool for the right job. Toy Story is also superb.” 4. The Snowman (TVC). “That bit...when they take off!!” 5. in The Cat Concerto (MGM). “Apart from being timed to its perfection, I find it slightly sur- real compared to other Tom and Jerry films.” 6. Neighbors by Norman McLaren. “A great moral tale told with unbelievable imagination and humor.” 7. A Christmas Carol by Richard Williams. “The feel of the animation, the design of the characters and the color scheme perfectly suit this grotesque Dickens classic. It also reminds me of my childhood.” 8. The Clangers (any episode) by Oliver Postgate and Peter Firmin. “Gentle, imaginative and surreal with the most character-full voice-over ever from Oliver Postgate.” 9. Lucas the Ear of Corn by Bill Plympton. “I find the naiveté of the animation and the low quality of this film combined with Bill Plympton’s sense of humor totally hilarious.” 10. Alice by Jan Svankmajer. “Epic, unique and inspiring. A true master of animation.”

Peter Reynolds’ Selections: 1. Insektors: “Pas de Kadeau pour Noel” (The Christmas Special) by Renato and George Lacroix, (Fantôme). “Inventive, whimsical, complex and delicious. I sat slack-jawed seeing this the first time at the World Anima- tion Celebration in 1997. A rare gem.” 2. The Point directed by Fred Wolf. “(Starring the voice of Ringo Starr and the music of Harry Nilson.) Origi- nal! Fantastic! And packed with great messages about being great at being who you truly are. A favorite at FableVision Animation Studios!” 3. Abel’s Island by , directed by Michael Sporn. “(With the lush voices of Tim Curry and Lionel Jef- fries.) Steig’s un-careful and inky illustration is lovingly interpreted. A must for a desert ISLAND!! That is what the story is about!” 4-6. My Disney Faves: Snow White, Beauty and the Beast, Mulan. 7. The Grinch Who Stole Christmas by . “This one changed my life. Every bit of it is magic. Music, animation, backgrounds. Yum! Mr. Jones took a Seuss story and made it even better. THAT is a feat!” 8-10. Hayao Miyazaki’s Castle in the Clouds, Kiki’s Delivery Service and My Neighbor Totoro. “He is truly a mas- ter. We love him so much here at FableVision. He really defies traditional pacing, allowing scenes to float gen- tly with no need to layer in music or action. Is it any surprise that Disney doctored the “quiet scenes” in their new release of Kiki? I think we all can learn a lot from Miyazaki’s gentle storytelling that allows the essence of the story to breathe.”

ANIMATION WORLD MAGAZINE October 1998 92 The Dirdy Birdy

by John R. Dilworth

ANIMATION WORLD MAGAZINE October 1998 93 Feature Films and Licensing & Merchandising, November 1998

Just in time for the holiday rush of new animated feature films into theaters, Animation World Magazine focuses on this high-profile aspect of animation. We will have an interview with John Las- seter and a profile of his career, written by Michael Lyons. , director of Warner Bros. much- anticipated The Iron Giant, will discuss IG Macromedia developments he designed for the film. Chiara Magri will profile La Lanterna Magica, ItalyÕs new feature film production. J.B. Kaufman is going to take a deeper, closer look at the characters in DisneyÕs The Steeplechase. Plus, Tom Sito is going to look at The Fox and the Hounds, a landmark film as DisneyÕs elite old-guard handed their traditions over to a new generation of animation filmmakers. Jennifer Kotler discusses the impact FCC-friendly (educational) shows have on children. Barry Purves continues his production diary with all of its drama and humor. Plus, we are lucky to have an archive profile this month from La CinŽmath•que QuŽbŽcoise Musee du Cinema. Animation World will also feature event reviews of the Ottawa International Animation Festival and EuropeÕs Cartoon Forum. Loris Kramer, vice president of creative affairs for Sony Wonder, will relate her MIPCOM experience and Buzz Potamkin is going to attend and report on a new awards show and conference for advertising to children...The Golden Marbles. Finally, Mark Christiansen will review the new book Principles of 3-D Computer Animation.

Animation World Magazine 1998 Calendar

Family Animation and Amusement Parks (December)

Year in Review and Year in the Future (January ‘99)

Motion-Capture and Stop-Motion (February ‘99)

Production Technology (March ‘99)

ANIMATION WORLD MAGAZINE October 1998 94