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Experimental Vs. Narrative Films

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Experimental Vs. Narrative Films VolVol 22 IssueIssue 1010 January 1998 FundingFunding Co-ProductionsCo-Productions WorkingWorking HistoryHistory aa MarketMarket ofof 16mm 16mm DistributionDistribution EducatorsEducators onon ExperimentalExperimental vs.vs. Narrative Narrative FilmsFilms Plus:Plus: The The CreationCreation ofof an an Icon,Icon, the the MTVMTV LogoLogo Table of Contents January 1998 Vol. 2, . No. 10 4 Editor’s Notebook Where there is a will, a way can sometimes be created... 5 Letters: [email protected] PRODUCING RESULTS 6 Funding Co-Productions:A Complicated But Tasty Recipe Michael Hirsh explains firsthand the recipe for success that has NELVANA’s co-productions filling the air- ways on both sides of the Atlantic and beyond. 9 Working the Floor at International Program Markets Dominic Schreiber relates tips from the pros on how to attend a market and make the most of it for you and your property. 13 The Unnatural History of Independent Animated Films on 16mm Once upon a time there was a world without video tape...Karl Cohen takes us back in time to the days when 16mm film reigned. 19 A Literary Draw: Storyopolis Wendy Jackson interviews Fonda Snyder, co-founder of Storyopolis, a unique company which is a sym- biosis of a bookstore, art gallery, development think tank and production company. 22 Liquid Light Studios Says,“Olé!” to Mexico’s Pronto Julie Pesusich, of Liquid Light Studios, discusses the formation of a startup CGI company and their cur- rent co-production with Mexican director Jorge Ramirez-Suarez. OTHER ARTICLES 26 The Creation of an Icon: MTV In a personal memoir, Candy Kugel describes how she and a small team created an icon that would one day take the world by storm. 31 Writing for Visual Effects: It’s the Story The worlds of live-action and animation are meeting in today’s effects-driven blockbusters. Christopher Zack investigates how this is influencing the craft of screenwriting. THE STUDENT CORNER 35 Experimental vs. Narrative Films: Do You Have to Choose? Educators Amy Kravitz, Roger Noake and Rolf Bächler offer points of view regarding the student dilem- ma of choosing a direction for thesis films. FESTIVALS, EVENTS: Cartoombria:Anime and Independent Animation One of Italy’s most popular festivals took on a serious subject this year. Chiara Magri offers her insight. 37 English version January 1998 40 Italian. version 44 The Digital Video Conference and Exposition in Burbank, California John Parazette-Tillar takes us to the Digital Video Conference and Exposition, where he leads us through the classes and shows us what’s new. © 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 January 1998 2 Table of Contents January 1998 Vol. 2, . No. 10 REVIEWS: FILMS 47 One Divided By Two:An Emotional Equation Emru Townsend reviews Joyce Borenstein’s new film that captures the pain of divorce through chil- dren’s eyes by using both live-action and animation footage. Includes a Quicktime movie from the film. BOOKS 49 Digital Illusion: Entertaining the Future with High Technology What can we do to gain some much needed perspective on the dizzying worlds of digital entertain- ment? For starters, there’s a book we need to read, says Dan Sarto. SOFTWARE 51 Web Animation Explosion: Headache Relief AWN webmaster Ged Bauer reviews “the ultimate library of animated web graphics.” HIDDEN TREASURES: 53 The Netherlands Institute for Animation Film The Netherlands unique institute of art promotes Dutch animated filmmaking on many levels. Erik van Drunen & Mette Peters report. NEWS 56 Animation World News What a month! Loesch Bids Farewell To Fox, DreamWorks Catches Aardman’s Chicken Run, Disney Toons In New, All-Animation Channel and Is the Hanna-Barbera Cartoons Building a Historical Monument? DESERT ISLAND 69 On A Desert Island With....Producers’ Picks Iain Harvey, Carol Greenwald and Claude Huhardeaux reveal their top ten animated films. AWN COMICS 71 Dirdy Birdy by John Dilworth 72 Next Issue’s Highlights 8 This Month’s Contributors Cover: Bob & Margaret, a new animated series coming this fall, based on the 1995 Oscar-winning January 1998 short film Bob’s Birthday by Alison Snowden and David Fine. This Canadian/British co-production demonstrates the possibilities for series development of short films. © NELVANA Limited, Inc. and Snowden Fine Productions. © 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 January 1998 3 by Heather Kenyon Where there is a will, a way can you are completely, 100% correct like laughing. However, you may sometimes be created... in your actions and no one can tell be in luck if it is a drama or if your you differently. As long as you make protagonist is a penguin and her Producing Results....what intelligent decisions for specific rea- boss has just told her, “Penguins have I learned about producing sons and base your actions on make me laugh...” Either way, these results? About getting a project actu- research then you are just as much are all elements out of your control ally made and on the screen, be it in the running as the guy next to which can work for you and against small or big? There is no set path you. Research is absolutely key. You you. While events like this are frus- and there is definitely no set rhyme need to know the market. You need trating, they cannot be avoided. or reason to the pattern of what to read about trends, both artistic While all these roads to see- gets made or why. and business oriented, and be able ing your work on the screen can- There are a lot of paths to to put them into perspective as not be mapped, a few pointers do choose from, all of either truth or a few seem to remain steady throughout which naturally cannot weird flukes. Watch the research that went into this be covered in one issue the industry. Read, issue. If you are serious about get- of Animation World ask questions and ting your work produced, you have Magazine. There are the call. Just call and ask. to talk to people, you have to meet people that get agents What’s the worse the right people and you have to right out of school. that can happen to convince them to trust you. After There are people that you? They say, “No,” all, people don’t give just anyone a become bartenders and and I have a remedy lot of money to go off and make an gain “life experience” for for that one at the animated film. You might not get a a few years before focus- end of this piece. I yes right away but maybe next time ing on their career. There was recently intro- you come in with a pitch they will are those that put duced to the first remember you. Good relationships, together a pitch and hit person who ever as well as unbelievable determina- the markets. There are rejected my applica- tion and talent, are the key. those that publish comic books, tion for a job after I graduated Now, here’s a new way to gain momentum and then seek out school. He didn’t remember me and look at the word, “no.” A family the studio’s decision makers. Then I had even called him, spoke to him friend who is in sales once told me there are those that seek out grants a few times, sent my resume and that on average a salesman gets and make more personal works. then was rejected. Granted this was told, “no,” nineteen times for every The fact that there isn’t a set road a few years ago, but believe me, no “yes.” So, when someone rejects to follow can either be scary or free- one is keeping score and if you ask your project, thank them because ing depending on how one looks at good questions maybe someone you are now one step closer to a it. will remember you. yes. We all hear about the person We can always look at others Another variable in the equa- whose first pitch is bought and now and compare ourselves to their tion of success is luck, fate or what- they have their own series and are career progress. We wonder how ever you would like to call it. This fabulously successful. These are the we can get to where they are and too can work both ways. A devel- exceptions. Not the rules. The truth feel a little lost and miserable when opment executive that you have of the matter is that it takes a lot of things aren’t working out. “How do been working with for months can hard work, false starts and stops and they do it? How come there isn’t suddenly get a new job elsewhere schlepping to get results. anyone to tell me exactly how to or be fired for that matter. The day Sometimes, it is a matter of who do it?” This is looking on the down- of your big pitch perhaps the cre- schleps the longest. side. ative executive’s dog bit her, her car The upside is...you are never is in the shop, her mother phoned Good luck and we’ll see you at wrong. Regardless of the track that to tell her she feels neglected, etc. NATPE in New Orleans, you are taking to reach your goals, No matter how amazing your pitch Heather is, if it is a comedy, she may not feel ANIMATION WORLD MAGAZINE January 1998 4 [email protected] Computer Game Thanks! some Lightwave, and a few, review of the movie.
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