John Lasseter American Animator, Film Director, Screenwriter, Producer and the Chief Creative Officer of Pixar, Walt Disney Animation Studios, and Disneytoon Studios

Total Page:16

File Type:pdf, Size:1020Kb

John Lasseter American Animator, Film Director, Screenwriter, Producer and the Chief Creative Officer of Pixar, Walt Disney Animation Studios, and Disneytoon Studios John Lasseter American animator, film director, screenwriter, producer and the chief creative officer of Pixar, Walt Disney Animation Studios, and DisneyToon Studios. Klára Kaňuščáková BIOGRAPHY AWARDS EXHIBITIONS CLIENTS (ILLUSTRATED BOOKS/TECHNIQUES) WORKS PERSONAL ANALYSIS: WHY THIS ARTIST? BIOGRAPHY John Lasseter started his carrier in 1995, when he directed his first computer animated movie Toy Story, for which he received his first Oscar. Lasseter is an executive Creative Vice President in studio Pixar. During his carrier he wrote and directed a lot of short movies and television advertisements produced by Pixar. Lasseter started to draw stories at high school. Disney created a new studio program CalArts, where Lasseter received a scholarship as a student. He spent four years there. During summer holidays Lasseter worked in Disney and after finishing school he started to work as an animator artist there in 1979. He participated on movies like The Fox and Hound and theYoung Sherlock Holmes. He was inspired by one of his colleagues, Glen Kean, and created a 30 seconds video where he combined traditional drawing with computer animation. In 1983 he became the founder of Pixar animation studios. AWARDS/OR EXHIBITIONS Win Best Animated Short - 1988 Academy of Motion Picture Arts and Sciences Silver Bear for Short Film - 1987 Berlin International Film Festival Nominations Best Adapted Screenplay - 2010 Academy of Motion Picture Arts and Sciences Best Animated Feature - 2001 Academy of Motion Picture Arts and Sci- ences Best Animated Short - 1986 Academy of Motion Picture Arts and Sciences CLIENTS/OR BOOKS/OR TECHNIQUES/ Toy Story The Art and Making of the Animated Film by John Lasseter and Steve Daly Pixar : 25 ans d’animation by John Lasseter The Art of Pixar Short Films by Amid Amidi and John Lasseter The Art of Disney Pixar BRAVE preface John Lasseter The Art of Disney Pixar FROZEN preface John Lasseter WORKS WORKS PERSONAL ANALYSIS /WHY THIS ARTIST? I chose John Lasseter because I like his cartoons and animations. He is my favorite american animator. John creates beautiful cartoons for everyone. My dream is to meet this great artist. I admire his art and his creativity. For me John Lasseter is an idol because he loves his work. I like his ideas and I think he is a great person. John has a great sense of humour, and his stories are full of it..
Recommended publications
  • Artistic Simulation of Curly Hair
    Artistic Simulation of Curly Hair Hayley Iben Mark Meyer Lena Petrovic Olivier Soares John Anderson Andrew Witkin Pixar Animation Studios Pixar Technical Memo #12-03a Figure 1: Example of stylized curly hair simulated with our method. c Disney/Pixar. Abstract We present a hair model designed for creating specific visual looks of curly hair that are often non-physical. For example, our artists We present a novel method for stably simulating stylized curly hair want to preserve the helical shape of the hair, regardless of in- that addresses artistic needs and performance demands, both found tense forces caused by extreme motion only possible in anima- in the production of feature films. To satisfy the artistic requirement tion. With a physical model for hair, such as infinitesimally thin of maintaining the curl’s helical shape during motion, we propose elastic rods [Bergou et al. 2008], the helical shape would naturally a hair model based upon an extensible elastic rod. We introduce straighten under such motion unless the material properties are stiff- a novel method for stably computing a frame along the hair curve, ened to maintain the shape, making the hair wire-like. This natural essential for stable simulation of curly hair. Our hair model in- straightening is an example of a physical motion undesired by our troduces a novel spring for controlling the bending of the curl and artists. In addition to behavioral requirements, our hair model must another for maintaining the helical shape during extension. We also be robust and stable, able to handle fairly arbitrary hair shapes cre- address performance concerns often associated with handling hair- ated by artists as depicted in Figure1.
    [Show full text]
  • Job Title: Vice President Sales & Marketing Reports To
    Job Title: Vice President Sales & Marketing Reports To: CEO COMPANY OVERVIEW Leave the shirt & tie routine at home and come work for a progressive energy services company offering natural gas and electricity services across the country. The energy industry is booming and XOOM is growing right along with it. The fact is, when you join XOOM Energy, the opportunities for professional and personal development have very few boundaries. We’re looking for individuals that are ready for a challenge, willing to jump in and be a team player and able to make a difference. JOB DESCRIPTION The Vice President of Sales and Marketing charts the course, develops the vision, and implements the plan that will propel the company towards increased market share and greater brand recognition. Reporting directly to the CEO, the Vice President will be a strategic thinker with proven leadership experience. Accountable for delivering measurable results that achieves and exceeds revenue and margin targets, this position will be capable of contributing meaningful insight to the sales and marketing functions and play an integral role in the overall development of the organization. KNOWLEDGE, SKILL SET & QUALIFICATIONS REQUIRED Serves as Chief Marketing Officer of the company, providing support in the area of marketing strategy and management; develop the annual marketing plan and the strategies, tactics and resources necessary to achieve goals Develop strategies and tactics for increasing market share within existing accounts and markets, while expanding into new
    [Show full text]
  • Pr-Dvd-Holdings-As-Of-September-18
    CALL # LOCATION TITLE AUTHOR BINGE BOX COMEDIES prmnd Comedies binge box (includes Airplane! --Ferris Bueller's Day Off --The First Wives Club --Happy Gilmore)[videorecording] / Princeton Public Library. BINGE BOX CONCERTS AND MUSICIANSprmnd Concerts and musicians binge box (Includes Brad Paisley: Life Amplified Live Tour, Live from WV --Close to You: Remembering the Carpenters --John Sebastian Presents Folk Rewind: My Music --Roy Orbison and Friends: Black and White Night)[videorecording] / Princeton Public Library. BINGE BOX MUSICALS prmnd Musicals binge box (includes Mamma Mia! --Moulin Rouge --Rodgers and Hammerstein's Cinderella [DVD] --West Side Story) [videorecording] / Princeton Public Library. BINGE BOX ROMANTIC COMEDIESprmnd Romantic comedies binge box (includes Hitch --P.S. I Love You --The Wedding Date --While You Were Sleeping)[videorecording] / Princeton Public Library. DVD 001.942 ALI DISC 1-3 prmdv Aliens, abductions & extraordinary sightings [videorecording]. DVD 001.942 BES prmdv Best of ancient aliens [videorecording] / A&E Television Networks History executive producer, Kevin Burns. DVD 004.09 CRE prmdv The creation of the computer [videorecording] / executive producer, Bob Jaffe written and produced by Donald Sellers created by Bruce Nash History channel executive producers, Charlie Maday, Gerald W. Abrams Jaffe Productions Hearst Entertainment Television in association with the History Channel. DVD 133.3 UNE DISC 1-2 prmdv The unexplained [videorecording] / produced by Towers Productions, Inc. for A&E Network executive producer, Michael Cascio. DVD 158.2 WEL prmdv We'll meet again [videorecording] / producers, Simon Harries [and three others] director, Ashok Prasad [and five others]. DVD 158.2 WEL prmdv We'll meet again. Season 2 [videorecording] / director, Luc Tremoulet producer, Page Shepherd.
    [Show full text]
  • Spatial Design Principles in Digital Animation
    Copyright by Laura Beth Albright 2009 ABSTRACT The visual design phase in computer-animated film production includes all decisions that affect the visual look and emotional tone of the film. Within this domain is a set of choices that must be made by the designer which influence the viewer's perception of the film’s space, defined in this paper as “spatial design.” The concept of spatial design is particularly relevant in digital animation (also known as 3D or CG animation), as its production process relies on a virtual 3D environment during the generative phase but renders 2D images as a final product. Reference for spatial design decisions is found in principles of various visual arts disciplines, and this thesis seeks to organize and apply these principles specifically to digital animation production. This paper establishes a context for this study by first analyzing several short animated films that draw attention to spatial design principles by presenting the film space non-traditionally. A literature search of graphic design and cinematography principles yields a proposed toolbox of spatial design principles. Two short animated films are produced in which the story and style objectives of each film are examined, and a custom subset of tools is selected and applied based on those objectives. Finally, the use of these principles is evaluated within the context of the films produced. The two films produced have opposite stylistic objectives, and thus show two different viewpoints of applying the toolbox. Taken ii together, the two films demonstrate application and analysis of the toolbox principles, approached from opposing sides of the same system.
    [Show full text]
  • New Programming Customer Movie
    EVERYTHING YOU NEED FOR successful events, SIMPLY Programming Toolkit | Fall/Winter 2017 © Universal Studios Press © 2017 Disney/Pixar © Universal Studios © Paramount Pictures © Columbia Pictures Industries, Inc. New Movie Programming Customer Releases Event Ideas Ideas Spotlight NEW Releases © Warner Bros. Entertainment Inc. © Warner © 2017 Disney/Pixar © Universal Studios Despicable Me 3 Wonder Woman Cars 3 Anticipated October 2017 Anticipated September 2017 Anticipated October 2017 PG; 90 minutes; Universal Studios PG-13; 141 minutes; Warner Bros. G; 109 minutes; Walt Disney Pictures Gru battles Balthazar Bratt, a 1980s child star- An Amazon princess leaves her island home Race car Lightning McQueen suffers a severe turned-supervillain, in this animated sequel. and journeys to the outside world, which is crash while trying to compete with a younger being consumed by a massive war. With the rival named Jackson Storm. Afterward, help of an American pilot, she works to put an McQueen embraces new technologies as he end to the conflict. trains for a return to the racetrack. EVENT Idea! EVENT EVENT Promotion Idea Idea The minions are back at it again! Create Allow guests the opportunity to In this movie, legendary Lightning buzz for your movie showing by passing craft their own Tiara or Bracelets of McQueen has to prove that he still has out yellow balloons in your community that Submission. Give them the chance to what it takes to win. Foster a friendly look just like the little stars of the movie. show off their creations at a pop-up sense of competition that mimics the All you need are markers, yellow balloons, photo booth at the event.
    [Show full text]
  • The Big Draw International Festival: Drawn to Life Saturday, October 5, 2019
    PRESS RELEASE The Walt Disney Family Museum Celebrates The Big Draw International Festival: Drawn to Life Saturday, October 5, 2019 San Francisco, October 1, 2019—The Walt Disney Family Museum is delighted to once again host The Big Draw, the world’s largest drawing festival. This annual, museum-wide community event will take place on OctoBer 5 and celeBrates Walt Disney’s contriButions to visual arts. In connection with this year’s “Drawn to Life” theme, experience special drawing sessions exploring nature- inspired art, create a care card for someone who needs a smile, learn how to draw Mickey Mouse, and more. Don’t miss film screenings of Disneynature’s Chimpanzee (2012) and Disney-Pixar’s Inside Out (2015), then connect back to stories told in our main galleries and in our special exhiBition, Mickey Mouse: From Walt to the World. This year, we are proud to partner with The Jane Goodall Institute’s Roots and Shoots. Founded by Goodall in 1991, Roots and Shoots is a youth service program for young people of all ages, whose mission is to foster respect and compassion for all living things, to promote understanding of all cultures and Beliefs, and to inspire each individual to take action to make the world a Better place for people, other animals, and the environment. In partnership with Caltrain and SamTrans, The Walt Disney Family Museum is pleased to offer free general admission to riders and employees, upon showing their Caltrain/SamTrans ticket or employee ID to the museum’s Ticket Desk. Riders and employees will also receive 15% off in the Museum Store.
    [Show full text]
  • Animated Stereotypes –
    Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Alexander Lindgren, 36761 Pro gradu-avhandling i engelska språket och litteraturen Handledare: Jason Finch Fakulteten för humaniora, psykologi och teologi Åbo Akademi 2020 ÅBO AKADEMI – FACULTY OF ARTS, PSYCHOLOGY AND THEOLOGY Abstract for Master’s Thesis Subject: English Language and Literature Author: Alexander Lindgren Title: Animated Stereotypes – An Analysis of Disney’s Contemporary Portrayals of Race and Ethnicity Supervisor: Jason Finch Abstract: Walt Disney Animation Studios is currently one of the world’s largest producers of animated content aimed at children. However, while Disney often has been associated with themes such as childhood, magic, and innocence, many of the company’s animated films have simultaneously been criticized for their offensive and quite problematic take on race and ethnicity, as well their heavy reliance on cultural stereotypes. This study aims to evaluate Disney’s portrayals of racial and ethnic minorities, as well as determine whether or not the nature of the company’s portrayals have become more culturally sensitive with time. To accomplish this, seven animated feature films produced by Disney were analyzed. These analyses are of a qualitative nature, with a focus on imagology and postcolonial literary theory, and the results have simultaneously been compared to corresponding criticism and analyses by other authors and scholars. Based on the overall results of the analyses, it does seem as if Disney is becoming more progressive and culturally sensitive with time. However, while most of the recent films are free from the clearly racist elements found in the company’s earlier productions, it is quite evident that Disney still tends to rely heavily on certain cultural stereotypes.
    [Show full text]
  • Picking the Vice President
    Picking the Vice President Elaine C. Kamarck Brookings Institution Press Washington, D.C. Contents Introduction 4 1 The Balancing Model 6 The Vice Presidency as an “Arranged Marriage” 2 Breaking the Mold 14 From Arranged Marriages to Love Matches 3 The Partnership Model in Action 20 Al Gore Dick Cheney Joe Biden 4 Conclusion 33 Copyright 36 Introduction Throughout history, the vice president has been a pretty forlorn character, not unlike the fictional vice president Julia Louis-Dreyfus plays in the HBO seriesVEEP . In the first episode, Vice President Selina Meyer keeps asking her secretary whether the president has called. He hasn’t. She then walks into a U.S. senator’s office and asks of her old colleague, “What have I been missing here?” Without looking up from her computer, the senator responds, “Power.” Until recently, vice presidents were not very interesting nor was the relationship between presidents and their vice presidents very consequential—and for good reason. Historically, vice presidents have been understudies, have often been disliked or even despised by the president they served, and have been used by political parties, derided by journalists, and ridiculed by the public. The job of vice president has been so peripheral that VPs themselves have even made fun of the office. That’s because from the beginning of the nineteenth century until the last decade of the twentieth century, most vice presidents were chosen to “balance” the ticket. The balance in question could be geographic—a northern presidential candidate like John F. Kennedy of Massachusetts picked a southerner like Lyndon B.
    [Show full text]
  • Position Specification
    Position Specification The Pew Charitable Trusts Executive Vice President, Chief Operating Officer and Chief Financial Officer (EVP) Position Specification Ref: Executive Vice President, Chief Operating Officer and Chief Financial Officer (EVP) Pew Charitable Trusts Our Client Organizational Overview The Pew Charitable Trusts uses data to make a difference. For more than 70 years, Pew has focused on serving the public, invigorating civic life, conducting nonpartisan research, advancing effective public policies and practices, and achieving tangible results. Through rigorous inquiry and knowledge sharing, Pew informs and engages public-spirited citizens and organizations, linking diverse interests to pursue common cause. The organization comprises a dedicated team of researchers, communicators, advocates, subject matter experts, and professionals working on today’s big challenges. With Philadelphia as its hometown and the majority of its staff located in Washington, DC, its U.S. and international staff find working at Pew personally and professionally rewarding. Wise stewardship of resources allows Pew employees to pursue work that strategically furthers their philanthropic mission in significant and measurable ways. Pew collaborates with a diverse range of philanthropic partners, public and private organizations, and concerned citizens who share their interest in fact-based solutions and goal-driven investments to improve society. Pew attracts top talent, people of integrity who are service-oriented and willing to take on challenging assignments. They provide competitive pay and benefits, a healthy work-life balance, and a respectful and inclusive workplace. Pew employees are proud of their colleagues, proud of where they work, and proud of the institution’s reputation. Mission, Values, and Strategies The Pew Charitable Trusts is a global nongovernmental organization that was established in 1948.
    [Show full text]
  • Large Release Calendar MASTER.Xlsx
    WALT DISNEY STUDIOS MOTION PICTURES RELEASE SCHEDULE (page 1 of 2) 2021 Films 7/2/21 Searchlight SUMMER OF SOUL (…OR, WHEN THE REVOLUTION COULD NOT BE TELEVISED) 7/9/21 Disney BLACK WIDOW 7/30/21 Disney JUNGLE CRUISE 8/13/21 20th FREE GUY 8/20/21 Searchlight NIGHT HOUSE, THE 9/3/21 Disney SHANG-CHI AND THE LEGEND OF THE TEN RINGS 9/17/21 Searchlight EYES OF TAMMY FAYE, THE (Moderate) 10/15/21 20th LAST DUEL, THE 10/22/21 20th RON'S GONE WRONG 10/22/21 Searchlight FRENCH DISPATCH, THE (Moderate) 10/29/21 Searchlight ANTLERS 11/5/21 Disney ETERNALS Wed 11/24/21 Disney ENCANTO 12/3/21 Searchlight NIGHTMARE ALLEY (Limited) 12/10/21 20th WEST SIDE STORY Wed 12/22/21 20th KING'S MAN, THE 2022 Films 1/7/22 20th UNTITLED 20TH CENTURY 1/14/22 20th DEEP WATER 2/11/22 20th DEATH ON THE NILE 3/11/22 Disney TURNING RED 3/25/22 Disney DOCTOR STRANGE IN THE MULTIVERSE OF MADNESS 4/8/22 Disney UNTITLED DISNEY LIVE ACTION 5/6/22 Disney THOR: LOVE AND THUNDER 5/27/22 Disney UNTITLED DISNEY LIVE ACTION 6/10/22 20th UNTITLED 20TH CENTURY 6/17/22 Disney LIGHTYEAR 7/8/22 Disney BLACK PANTHER: WAKANDA FOREVER 7/29/22 Disney UNTITLED INDIANA JONES 8/12/22 Disney UNTITLED DISNEY LIVE ACTION 9/16/22 20th UNTITLED 20TH CENTURY 10/21/22 20th UNTITLED 20TH CENTURY 11/4/22 Disney UNTITLED DISNEY LIVE ACTION 11/11/22 Disney THE MARVELS Wed 11/23/22 Disney UNTITLED DISNEY ANIMATION 12/16/22 20th AVATAR 2 12/23/22 20th UNTITLED 20TH CENTURY Continued on next page… As Of 6/17/2021 WALT DISNEY STUDIOS MOTION PICTURES RELEASE SCHEDULE (page 2 of 2) 2023 Films 1/13/23 20th UNTITLED 20TH CENTURY 2/17/23 Disney ANT-MAN AND THE WASP: QUANTUMANIA 3/10/23 Disney UNTITLED DISNEY LIVE ACTION 3/24/23 20th UNTITLED 20TH CENTURY 5/5/23 Disney GUARDIANS OF THE GALAXY VOL.
    [Show full text]
  • Club Leadership Structure and Duties of Executive Officers
    Club Leadership Structure and Duties of Executive Officers The club's leadership structure, ordinarily set out in its bylaws, is largely a matter of custom, preference, and practicality. The critical leadership positions are the President, Vice President, Secretary, and Treasurer. The club's officers and various event and committee chairs usually comprise the Board of Directors, which establishes policy and provides overall direction for all club activities. Most clubs also find it convenient to appoint an executive committee comprised of the four main officers plus any other "key" officers or directors. The executive committee often performs a long-range planning role and acts for the board of directors or the entire club between meetings. In general, the president and vice president of a club work with the executive committee and board of directors to determine plans and policies for Dartmouth regional activity. Listed below are the most common officers found in Dartmouth alumni clubs and their specific duties. Some clubs may have additional officer roles which are defined within their own by-laws. PRIMARY OFFICERS President The president of a Dartmouth club holds a position of responsibility in Dartmouth affairs. The president must be an enthusiast and an optimist on Dartmouth matters and life in general, and must be dedicated and determined to plan and carry through an ambitious program of regular Dartmouth activity. • Provides leadership and direction to the club organization; • Understands and adheres to the Dartmouth Club Operating
    [Show full text]
  • An Analysis of Moral Values in Zootopia Movie
    AN ANALYSIS OF MORAL VALUES IN ZOOTOPIA MOVIE THESIS Submitted by: MAULIDIA HUMAIRA Student of Department of English Language Education Faculty of Education and Teacher Training Reg. No: 231324225 FACULTY OF EDUCATION AND TEACHER TRAINING AR-RANIRY STATE ISLAMIC UNIVERSITY DARUSSALAM-BANDA ACEH 2018/1439 H ACKNOWLEDGEMENT Alhamdulillah, All praises be to Allah ‘azzawajalla, the most gracious, the most merciful, andthe most beneficent who has given me love and blessing that made me able to finish this research and writing this thesis. Peace and salutation be upon our beloved prophet Muhammad SAW, his family and companions has struggled whole heartedly to guide ummah to the right path. On this occasion with great humility, I would like to thank to all of those who help me and guidance, so that this thesis can be finished in time. Completion of writing this thesis, I would like to thanks Dr. Muhammad Nasir, M.Hum and Mr. T. Murdani, S.Ag, M.IntlDev as my supervisor forgiving the useful supervision, guidance and constructive ideas during the process of completing this thesis. Also I would like to express my gratitude and high appreciation to my beloved father Burhanuddin, and my lovely mother Rasunah for their wisdom, patience, love, attention, support and care. I also bestow my thankfulness to my beloved sisters Puspitasari and Safrida , my brothers Hafidh Kurniawan and Muhammad Irfan, and my cousins Putri Nabila Ulfa and Maulizahra, for their endless love who inspired and motivated me all along accomplishing this thesis. My special thanks to my academic advisor Mr. Dr.Syarwan, M.LIS, who has supervised me since I was first semester until now.
    [Show full text]