OctoberOctober 19971997 Vol.Vol. 22 No.7No.7 Licensing & Merchandising

Licensing & Merchandising Strategies Studio Stores Plus: KROK ‘97 MerchandisingMerchandising ManiaMania inin by oTTo JapanJapan Alder Table of Contents October 1997 Vol. 2, . No. 7 4 Editor’s Notebook:The Coming of Age of Kids Licensing and merchandising is playing to kids and teaching them that they can get what they want, in a big way.

6 Letters: [email protected] LICENSING & MERCHANDISING

7 The Animated Strategy: Building A Strategic Plan For Your Products Marketing consultant Jennifer Deare details the steps to building a strategic marketing plan for an ani- mated project’s success.

10 Merchandising To Kids — It Ain’t Childs Play! Dave Siegel gives us his inside view on the kids of today, what they want and the influence that they wield.

13 Studio Stores:The Sophisticated Retail Outlet Why all the studio stores? Control, control, control. Teresa Klein investigates the many profitable facets of studio stores.

16 Merchandising in : It’s Big Rewards and Competition Karen Raugust takes us to Japan where animated merchandise can produce huge profits in a very com- petitive marketplace.

19 Meena Comes To A Store Near You ... If You Live in South Asia UNICEF’s Meena is ready to launch this November and become the non-profit’s first project to be ulti- mately self-financing. Christian Clark explains how and why this huge step involves bringing L&M to rural and remote places.

22 Licensing, Merchandising and Production:An Interview With Robby London Robby London discusses the importance of licensing and merchandising in regards to production with Heather Kenyon.

26 Europe Strikes Back What is CARTOON and just what are they doing in Arles? Heikki Jokinen answers all of our questions as he outlines the European Union’s MEDIA program, CARTOON, the European Association of Animated . THE STUDENT CORNER

28 The Role of the Agent:An Experienced Expert John Goldsmith of Metropolis defines just why you need an agent to help navigate through your career.

REVIEWS

FESTIVALS, EVENTS: KROK ‘97 In addition to a complete list of award-winning , the world’s only magical and peculiar floating ani- mation festival is reviewed by oTTo Alder in “A Long Voyage Down the River Dnjeper.” 30 German version. 35 English version, translated by William Moritz.

40 Anima Mundi ‘97: Brazil’s Time to Shine Our coverage of the fifth annual festival in Rio Di Janiero, Brazil starts with an introduction, and

October 1997 includes: 41 On the Winning Film: Dada, an essay by Lea Zagury and Aida Queiros which discusses Piet Kroon’s Dada.

Anima Mundi In Brief, a festival review by Edmundo Barrieros. 42 Portuguese version 44 English version translated by Alejandro Gedeon.

© Animation World Network 1997. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE October 1997 2 Table of Contents October 1997 Vol. 2, . No. 7 46 SAFO ‘97:The First Time Around The first Student Animation Festival of Ottawa is reviewed by Joan Ashworth of the Royal College of Art. Will this become another Ottawa tradition?

48 Fantoche: Switzerland’s Experiment Thomas Basgier reports on the second annual Fantoche Festival in Baden, Switzerland, a festival which prides itself on screening the best in experimental and alternative animation.

FILMS 50 Rue Rosé:A Twist on Rose-Colored Glasses This well-crafted, thought provoking short film by Volker Schlecht is reviewed by Don Perro.

SOFTWARE 51 Mmmmmm...Virtual Travel Guide If you remember Truckzilla, Apu’s Secret Garden, or The Sandwich, then it’s time for you to move to Virtual Springfield. Joe Toledo reviews this much anticipated new game from Fox Interactive.

HIDDEN TREASURES 53 Animation At The Museum Of The Moving Image Yvette Burrows describes the Museum’s collection and many of the intriguing animation events and training courses being held at London’s world-famous MOMI.

NEWS 55 Animation World News Blue Sky and VIFX merge, the Annecy festival goes annual, Miyazaki’s latest feature tops Japanese box office records, Disney’s Sleeping Beauty awakens on video and much, much more.

66 Happy Birthday, ! AWM attended the animation legend’s swanky 85th birthday party.

69 Springfield, Nevada AWM visited Henderson, Nevada, to see first-hand the home of .

71 ’s Dive-In Theater:A Floating Cinema Cartoon Network explains why they chose to promote their new World Premier Toons in pools around the U.S. There’s also an opportunity to win a Dive-In Theater raft. Hurry! Supplies are limited.

72 On A Desert Island With. . . .Top Ten Toys Jenny Gentile, Andrew Witkin and Scott Mitchell Rosenberg.

AWN COMICS

73 Dirdy Birdy by John Dilworth 74 Next Issue’s Highlights 5 This Month’s Contributors Cover: © Just in time for the holidays, Fox has introduced the master toy line for the November- release, animated , Anastasia. © Twentieth Century Fox. All Rights Reserved.

October 1997 © Animation World Network 1997. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.

© Animation World Network 1997. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE October 1997 3 by Heather Kenyon t’s funny. A few years ago a cer- child’s lunch, the child exclaims, “No, grab our attention, if only for a tain President went I want that kind!” And the mother, minute. We are all so busy, and Ion record decrying the disinte- while reaching to grab her other there is so much going on. How gration of the family unit and a loss child and keep him from scattering can we be expected to know of of “family values.” While certainly, tomatoes all over the floor, says, everything that is interesting? It is a yes, there have been radical, rapid “Okay.” When I was a child, and tough job that marketers have. changes to the typical family unit, I that wasn’t too long ago, I didn’t Several of this month’s articles men- don’t think it is necessarily a terrible know which kind of yogurt I want- tion the struggle just to be heard thing. Parents, whether or not they ed in my lunch. There weren’t com- above the din of competition. are single parents, or both work mercials for that, and so, I didn’t It seems to be a recurring long hours outside of the home, still theme in most areas now - the love their children and want the merging of companies and efforts best for them. That is what is most to make things bigger. We all know important. However, I do think this of the mega-merger business deals, in home life has far-reaching and as a result we are getting impacts. This issue sharply focuses mega-campaigns to draw our atten- on of them - licensing and mer- tion. However, how soon is it going chandising to kids. Children are to be before all of these forms of now left on their own more fre- entertainment realize that they are quently and are pressed out into all just splitting each other’s profit the world through camps, daycare, dollar? We, as consumers, have so day school, etc. at an earlier age. Is much from which to choose and this bad? Once again, I don’t nec- only so much money to spend. essarily think so. As a result, they get That, right there, makes things risky. to make their own decisions and Currently, a company is forced to form their own opinions at a much spend so much on promotion that earlier age. They are now their own the situation is made even more little society that can determine risky. Jennifer Deare states in her what is cool, and what they want to even know I had choices. But article that for a “theatrical film to have. They are a new market to today’s kids know. It really isn’t that make a ‘blip’ on the consumer radar which to sell. big of a deal. We aren’t talking screen [it takes] ... a combined $100 Parents, on the other hand, about a matter of life and death million for promotion and market- are often just a little too rushed, a lit- here. It’s only a yogurt in a kids’ ing.” If you were running a studio, tle to occupied, and will purchase lunch, but it does add up to big wouldn’t that scare you? It would an item that a child wants without money for a large number of busi- scare me, especially since I know a single, second thought. We’ve all nesses who are seeking a new mar- how fickle an audience (me) can seen it in our local grocery store. ket to exploit. It also adds up to a be. How can the little guy compete? About 5:00 p.m., a mother with generation of people who know How much will it grow, this one- two children is grocery shopping. from practically day one that they upping each other to keep us, the One child is going one way, the have choices and they will continue consumer, the audience, interest- other is going another. All are tired to demand them. ed? I am waiting to see what unex- and just want to go home, have a Licensing and merchandis- pected impacts occur out of this meal and call it a day. As the moth- ing continues to escalate, not only development. er is making her selection of the in the children’s market, but also for In other news, the Annecy yogurt that she thinks is best for her adults. It is all to create a splash and International Animated Film Festival ANIMATION WORLD MAGAZINE October 1997 4 and Market (MIFA) has gone annu- new ideas and techniques within al. On one hand, it is important for artists thereby, ensuring that the art Europe to have a central location is kept vibrant and growing. Every to meet yearly in order to do busi- month I look forward to reading the ness. European production is grow- event reviews and every month I ing and in order to foster and build say, “Next year I am going to go upon that growth Annecy’s MIFA there!” This month’s example is oTTo ANIMATION WORLD NETWORK will probably become an instantly Alder’s fantastic review of KROK. 6525 Sunset Blvd., essential place to be. However, I Festivals aren’t just screening rooms; Garden Suite 10 hope that other festivals worldwide they are a mixing of ideas and cul- Hollywood, CA 90028 do not suffer as a result. It is impor- ture that make it truly exciting to be Phone : 213.468.2554 tant that each region continues to a part of the global animation vil- Fax : 213.464.5914 have its own healthy festival to lage. Email : [email protected] showcase to the world their unique atmosphere and work. Plus, a Until next time ... healthy festival circuit proves that Heather ANIMATION WORLD MAGAZINE animation is of global interest. The [email protected] screening of international works in PUBLISHER all corners of the globe can inspire Ron Diamond, President Dan Sarto, Chief Operating Officer EDITOR-IN-CHIEF Heather Kenyon CAREERCAREER CONNECTIONSCONNECTIONS ASSOCIATE EDITOR Wendy Jackson Animation World Network CONTRIBUTORS : The Animation information hub on the Internet oTTo Alder is proud to launch the world's first and only "On-line Joan Ashworth Animation Job Fair" Thomas Basgier Edmundo Barreiros Sam Bauer RECRUITERS! Yvette Burrows Don't waste your time with un-focused advertising on other job Christian Clark Jennifer Deare sites! John Goldsmith • Advertise employment opportunities at your company to the Wendy Jackson targeted AWN community… Heikki Jokinen Heather Kenyon • Search the "Talent Pool" database of resumes of animation Teresa A. Klein professionals… Don Perro Aida Queiros Karen Raugust Dave Siegel ANIMATION PROFESSIONALS! Joe Toledo Come to the place to see and be seen for the animation Lea Zagury OPERATIONS industry! Annick Teninge, General Manager • Search the "Jobs Database" for employment opportunities Chris Kostrzak, Asst. Manager Sam Bauer Editorial Intern around the world… WEBMASTER • Post your resume on-line to be seen by top recruiters… Ged Bauer DESIGN/LAYOUT : Ged Bauer John Parazette-Tillar

ADVERTISING SALES Find it all at http://www.awn.com/career North America : Bart Vitek Or, for information call AWN at (213) 468-2554 Germany : Thomas Basgier UK: Alan Smith

ANIMATION WORLD October 1997 5 [email protected] November 1997

received a number of letters like start paying more attention to you. What About Us? yours encouraging longer leads on At the same time, South American We are a top Australian pro- festival deadlines. We are read by countries are not represented in our duction house who enjoys receiv- a number of prominent festival top ten but this could be because ing your newsletter but find the info directors, so keep your fingers we do not provide hardly any cov- on deadlines for festivals and com- crossed and hope they are reading erage for them. We hope to boost petitions are always too soon for us this right now! We do provide the this region’s news and coverage on to be able to submit work. Please Calendar of Events our site as well. take us into consideration when (www.awn.com/awneng/vil- Do we have discussion passing on such info where and lage/calendar.html) as well which groups? Yes! We are finding that a when you have control of such can be used as a reference. number of people obtain the things. We are striving to represent Weekly Animation Flash Email Also, we would like to see a world wide view of the industry. Newsletter but seem to have for- some more global information. You Australia is just one of the regions gotten our main site. The Animation are called Animation World after all! that we know we need to repre- Flash is just the tip of the AWN ice- For example, we have the world’s sent more. Even before we received berg. At www.awn.com you will only Minister for Multimedia! you letter, we had just placed a find, among other features, chats Melbourne, Victoria is one of the number of calls to Australian com- and discussion forums, an online world’s fastest growing multimedia panies and agencies to try to obtain animation art exhibit called The capitals. Also, the use of computers news and spread the fact that we Gallery, Career Connections, The per household is very high here. want and need involvement. We Vault, a database of films and film- We’re also interested in love to hear about animation com- makers, The Marketplace and the what’s going on in the rest of the panies all over the world and Animation Village which hosts a world. Do you have any discussion encourage people to drop us a line number of other animation related groups or such? if we are missing something big. I webs sites. We have a lot to offer have a sneaking suspicion your and it will only continue to get bet- Joanne Wellington Australian Minister might end up in ter as Animation World Network Production Manager our December Gaming issue and I lives up to its promise of being the Tantamount Productions can’t wait! I had no idea Australia global meeting place for animation http://www.tantamount.com.au had a Minister of Multimedia. We enthusiasts. We want the site to be just need to be told. A great idea is a place where people can meet to pass the Weekly Animation Flash from all over the world and Dear Joanne: Email Newsletter onto someone exchange ideas and information. that you know. The more people So please folks, we can’t tell you Thank you for writing! This that are familiar with the Flash, our enough, drop us a line, let us know letter touches on a number of sub- Magazine and site - the more input what you like and what you hate jects that are important to us here at we will have to hopefully serve you because we are listening and we Animation World Network. all better. are hearing loud and clear. First, the festivals....we make Also, we do look continual- Thank you again for writing available festival information as ly at how many people from certain Joanne. It provided quite the soap- quickly as possible. As soon as we countries are monitoring our site box! And yes, you will see more obtain information from the festi- and in what they are interested. By Australian coverage, we promise. vals whose sites we host, the infor- analyzing this information we hope mation is posted. The festivals that to serve you, our reader, better. Sincerely, we mention in the Animation Flash Australia is always in the top ten hit The Editors are also mentioned as soon as we producing countries week after obtain the press release. We have week and therefore, we need to ANIMATION WORLD MAGAZINE October 1997 6 The Animated Strategy: Building A Strategic Plan For Your Products

by Jennifer Deare eople who work in creative need to build a brand conscious- product is merely another com- fields, particularly animation, ness and a brand preference modity and very easy for consumers Pcan’t afford to overlook the crit- among your target audience. In to pass by. ical importance of a strategic today’s marketplace, entertainment alliance opportunity for product and animation has to be Long-Term Strategies vs. marketing. It’s an imperative for cre- approached strategically similarly to Event Marketing ating a successful product in today’s traditional packaged goods. While These are currently the two over-crowded, intensely fragmented it may, understandably, upset some dominant strategies in animation marketplace, primarily marketing. The major stu- because it allows you to put dios—Disney, Warner Bros., money—or valuable pro- Fox, etc.—tend to create motion and exposure events, especially for theatri- behind your product. cal releases. They front-load Your goal is to attract the entire marketing effort a distracted, fragmented with a multi-month, multi-mil- audience to your product, lion dollar effort. (In fact, many and convince them that in the entertainment and their investment of time will licensing fields believe that the pay off in entertainment opening price point for a the- value—and that yours is atrical film to make a “blip” on more worthwhile than any the consumer radar screen is of the myriad of daily enter- a combined $100 million for tainment choices they have. promotion and marketing.) In fact, second only The objective is to drive con- to creating the product, sumer awareness and desire strategic marketing is the to see a film over a short peri- most important element of od of time, usually six weeks. your total package. It has Disney is the undisputed mas- become so important that ter of this strategy, creating very often the marketing events and tie-ins which are and development of seen worldwide. alliances begins before there Long-term strategies are is even a final script. more appropriate for video Today, the buzz- releases and series. Arguably, word in animation, enter- These advertising posters for Warner Bros. feature film each of these has a longer Space Jam were so well-liked by the fans that they were tainment and licensing is stolen from the bus stations they were displayed in, faster “shelf life,” and the objective is “branding.” But it’s much han they could be replaced. © and ™ 1996 Warner Bros to build an ongoing involve- more than a buzz word; ment between the consumer building a brand is the only road to sensibilities to consider creative and the property which will result long-term survival and financial via- product in the same vein as dessert in repeated viewings and increased bility. Whether you are looking to toppings and tissue, you sales of merchandise as a franchise create a one-time event or a series have to differentiate your brand in expands. for network or strip syndication, you the marketplace. Otherwise, your Then, there are hybrids. Men

ANIMATION WORLD MAGAZINE October 1997 7 mass of awareness. of Shiloh, Deare Marketing devel- Ideally, consumers oped a tie-in with pet foods and a should see or hear charity drawing on the natural affin- about the property vir- ity between dog owners and the tually anywhere they heartwarming story. At the same go. time, the movie got significant expo- One of the sure in a venue where movies are most effective is the seldom promoted, so the actual strategic alliance. For value of promotion in that unclut- theatrical release ani- tered environment is potentially mation, fast food greater than if the promotion had alliances—McDonald’s been a small voice in a very crowd- and Disney, Burger ed venue. The Men in Black product line includes everything from baseball caps to phone cards to action figures. In all, Sony King and The Lost Signatures has agreements with more than 50 licensers World, Taco Bell and Today, the buzzword in anima- for the property. © Columbia TriStar/Sony Wars— are the tion, entertainment and licens- In Black is a perfect example. best known. Together, the com- ing is “branding.” Though not animated in its theatri- bined advertising budgets for the cal release, the movie and the restaurant chain Christopher Byrne, con- debuted this fall. In essence, the allows them to reach critical mass tributing editor to Playthings mag- movie targeted to the mass market very quickly. But not for long, which azine, notes that in his research, par- was the “event” which launched the is part of the “event” strategy. ents are beginning to tune out to franchise and the animated series Because the movies and promotions promotions because there are so which will be targeted to kids. My come one after the other so quick- many of them. “Targeting and own son is too young to have seen ly, the promotions have to be big reaching consumers where they the movie, but he certainly is aware and they have to be fast to have an don’t expect it can be very power- of Men In Black and wants the mer- impact. ful as it is increasingly difficult to be chandise. You can bet he’ll be ‘heard’ above the promotional noise watching the series, because he Your goal is to attract a dis- at fast food and other ‘traditional’ already has a relationship with the tracted, fragmented audience promotional outlets.” characters from the promotions. to your product... With the play pattern and involve- Playing Like “The Big Boys” ment begun even before the series However, not every product The fact is: Very few anima- even premiers, Men In Black already has the kind of budget or potential tors can compete with Disney or has a jump on its competition. that can sustain a fast food tie-in. any of the major studios. But every- For the theatrical and video release one can learn to leverage their Getting To “Critical Mass”

Interestingly, the promotional tac- tics for each of these two branding strate- gies can be sim- ilar. The objec- tive is to break through the clutter with a property and Just in time for the holidays, Fox has introduced the master toy line for the November-release, animated fea- develop a critical ture film, Anastasia. © Twentieth Century Fox.All Rights Reserved.

ANIMATION October 1997 8 licensing is an opportu- what you offer a partner (be as nity for a small , specific as possible), and what versus a profit center, the you want in return. small animator can • Launch a creative program for waive traditional fees promoting your product, sepa- and royalties in return for rate from the tie-in. (Your part- support. Partners win ners want to benefit from all the and the producers win. efforts you’re making to gener- Timing is also critical. ate awareness to leverage their Many brands are plan- involvement.) ning fourth quarter 1998 marketing plans While it may, understandably, In 1996, Disney and McDonald’s entered a ten-year, and positioning a year exclusive, cross-promotional alliance. Promoting the lim- upset some sensibilities to con- to eighteen months in ited edition video release of Disney’s , the sider creative product in the restaurant chain is offering special toys and kids meals. © advance. In other same vein as dessert toppings Disney.All Rights Reserved. words, time’s getting and bathroom tissue, you have unique assets to achieve marketing tight for next Christmas to differentiate your brand in objectives. right now. While changing broad- the marketplace. Here, the packaged goods cast line-ups and release dates pre- approach pays off. Tie-ins capitalize sent challenges, there are still many on the shared qualities of the enter- opportunities. At Deare Marketing, tainment product and partner our proprietary database of mar- As production costs spiral brand, benefiting both partners. keters and products allows us to and the competition even to be The entertainment property gets streamline the process by identify- seen intensifies, promotion plays a broad-based exposure and media ing potential partners quickly. critical role. Today, many creative support in alternative venues (e.g., people — authors, and supermarkets, mass merchants, In preparing to develop tie- more — are learning that it’s not etc.), and the packaged goods ins, the following tips can enough to be outstanding at your product gets a unique offer to dif- help you be successful: craft, you must be outstanding at ferentiate itself from its competition • Think about product and pro- promotion as well. in advertising and at point-of-sale. motional applications as you These promotions are separate from develop your story lines and revenues and promotion generat- characters. ed through licensees, yet comple- • Look for opportunities to include ment and enhance the franchise as marketing partners in the actu- Jennifer Deare is the founder and a whole. al animated product, much as president of Deare Marketing, Disney and American Express Inc., a New York-based marketing It’s not enough to be outstand- did for . and communications industry ing at your craft, you must be • Get to the essence, or feelings, which specializes in strategic outstanding at promotion as behind your property. That alliances, continuity programs, well. should open up both your think- direct mail, promotion and strate- ing and opportunities for devel- gic marketing. Over the past ten In developing tie-ins, it’s oping promotions. years, the agency has served a important to match the essence of • Approach your product as a broad variety of clients, particular- the animation to that of the part- “brand.” Look for ways to ly in the entertainment, consumer ner. For example, a family-oriented expand it outside the tradition- products, financial services, retail video targeted to Christmas is ideal al animation strategy and clari- and technology industries. for brands which have a whole- fy the ways in which your prod- some brand imagery—and who uct complements the potential promote competitively at holiday partners’ brands. time. Moreover, since promotional • Develop a comprehensive list of

ANIMATION WORLD MAGAZINE October 1997 9 Merchandising To Kids — It Ain’t Child’s Play by Dave Siegel

erchandising attention being placed and marketing on children is - their Mto kids has influence! Kids actually become one of the influence between 20% hottest areas of interest and 80% of the pur- for today’s consumer chases in most cate- packaged goods mar- gories. In fact, a few keters. Why is it happen- years ago, a study ing? How is it being found that children done? Is it going to esca- were extremely influen- late and what might be tial in the purchase of it’s effects? Just read on! 20% of all made by Today’s savvy busi- families with children. nesses have come to real- Our own work has ize that the old saying, found that anytime chil- “Kids should be seen, but dren believe there is a not heard,” is long, long product designed espe- gone, especially when it cially for them and they comes to their role in the know about it, their purchase of just about influence in the catego- any product or service ry goes way up! within the household. Modern moms and Businesses are spending dads regularly ask their billions of dollars in mar- children: What do they keting and merchandis- want brought home ing to children via licens- from the store? Where ing, in-store display activ- would they like to eat? ity, packaging and adver- Where would they like tising. Children’s con- to go on vacation? sumer research is at an all What do they want to time high as companies Dave Siegel. do? explore new and different What’s causing this? anymore! This year alone, my firm ways to appeal to this market. has been approached by such Kids are being forced to become industries as home electronics, adults at a dramatically early age. Today’s savvy businesses have No longer do many have the luxu- come to realize that the old paints, fragrances, clothing, auto- saying,“Kids should be seen, mobiles, health care and, of course, ry of both a mom and a dad. In fact, but not heard,” is long, long food companies. All are seeking at any one point in time, roughly 1 gone... help in talking, marketing and in 4 children are living with only one advertising to kids. parent. They no longer have mom home watching them because she And it’s not just toy or Why the Sudden Interest is usually working. They no longer companies interested in children The reason for all of this new ANIMATION WORLD MAGAZINE October 1997 10 have a problem making their own its use for selling toys. To insure a Chester Cheetah display whereby food because of microwaves and top selling snack to kids, Farley kids can look in a funny mirror, pick toaster ovens, and the vast majori- added the license to their out their own snacks and be enter- ty of kids are experts at using these product. Kraft General Foods has tained. Kid-oriented floor graphics appliances by the age of six. They now licensed its’ major lines with and signage is becoming more also know more information than ; McDonalds with prominent because kids pay more their parents ever hope to regarding Disney; Curad Bandages with the attention to floors than any other new products and services. 95% of Cartoon Network and on and on area of a store. This year alone, we all kids are using computers and and on. More and more major con- have produced in-store displays for over 70% of these kids are under sumer companies are frequenting bicycles, toothbrushes, computers the age of six. Most kids get their the annual licensing show, reading and fruit products. own magazine subscriptions and, Licensing Magazine, and employ- unlike their parents, eagerly await ing licensing agents to help them Advertising the next commercial on TV. find the right license with which to Have you watched any kid associate. TV lately? If not, you will be sur- The important thing for us prised to see who is advertising to Businesses are spending bil- lions of dollars in marketing to remember is that the reason busi- kids. Suntan lotions, shampoos, and merchandising to chil- nesses have turned to licenses is in clothing, vacations, entertainment dren... order to reduce their risk when alternatives and of course, the ever appealing to children. Therefore, present, food products, even those when it comes to choosing a that require that , the microwave, How Do You Reach Them? license, most aggressive, knowl- are all cramming the airwaves. Businesses approach chil- edgeable businesses will seek a Furthermore, this type of advertis- dren through several avenues. proven, hot license property with ing attention is not just occurring Among the most widely used are: which to associate. This is good on the tube, but also in magazines. news for those animators with a As I’ve said, many kids have their Licensing proven, hot license. If you are devel- own magazine subscriptions and it Licensing has become a oping a new one or are holding a is possible for a business to reach huge marketing tool when it comes property that is less than stellar, about half of all targeted kids with to attracting kids. Children contin- good luck! just a few magazines like, ually tell us in research that before Nickelodeon, Sports Illustrated for they ask for a specific product, they In-Store Displays Kids, and Disney Adventures. These want to know that the product is In over half the families we magazines contain not only the made specifically for them.. interview, children regularly go gro- advertising mentioned above, but Businesses have found that one of cery shopping with their moms to other categories such as home elec- the best ways to let children know insure that the “right” foods are tronics, cars, and more. that a product or service is for them being brought home. 62% of all is to associate it with a recognizable kids 9-11 years old report visiting The reason for all of this new character. Even by the age of two, the supermarket at least once a attention being placed on chil- children are able to point to a pic- week. By the age of five, half of all dren is - their influence! ture of Barney on a particular piece kids go to the supermarket without of clothing and urge mom to buy it their parents, instead using an older Businesses have realized that for them. sibling or friend as a chaperone. if you research kids and develop Licensing makes up an esti- With all of these children in products for them, then you had mated 50% of all toy industry sales. all of these shops, it is no wonder better advertise to the kids and not Virtually all video games (99.2%) that in-store merchandising to chil- just their parents. That is why adver- and action figures (96.7%) are sold dren has become more prolific and tising targeted to kids has now solely because of their license. dramatic. Many U.S. supermarkets topped the US $1 billion mark. However, licensing goes far beyond sport a highly effective Frito Lay

ANIMATION WORLD MAGAZINE October 1997 11 Will it Escalate? ential and businesses are seeking the clutter and capture a child’s There is little doubt in my more business and are seeing great attention. mind that marketing, merchandis- results with this market segment - ing and licensing to children will how could efforts not escalate? • Kids will continue to grow up at continue to escalate through the younger and younger ages. foreseeable future. Kids are becom- The Effects Today kids can talk to other kids ing even more influential in the pur- Now it’s time to specu- around the world. They can chase of goods and services, and late...where is this all going to lead? watch television that is pro- more importantly, businesses are duced and being aired in cities finding success in marketing and Here are my guesses: all over the globe. As a result, merchandising to them. For exam- they will be exposed to life not ple, the fruit snack category alone • The demand for kids’ products, only in their neighborhood, but amasses sales of over US $1 billion services, toys, etc. will increase. in the streets and alleys of the annually. This category did not even As kids see more and learn world. exist a few years ago. “Lunchables” more, they will want more. Just (a packaged lunch product) and like us adults! I recently had the In summary, the time ahead other take-to-school lunch products opportunity to tour the Biltmore bodes well for many of us involved sell in the hundreds of millions of Estates in North Carolina, and in kids marketing and advertising. U.S. dollars annually. Children’s while there I saw a Christmas For those involved in animation, yogurt such as “Sprinklins,” gift-giving diary. Not surprising- there will be even more needs “Danamals,” and others, also enjoy ly, in the early 1900’s children, placed upon you to develop more hundreds of millions of U.S. dollars even of the very wealthy, attention grabbing, satisfying, break- in sales annually. received one gift for Christmas. through work. The kids will want it. Today, children receive dozens. The businesses will need it. When I began marketing toys The demand for kids’ products, services, toys, etc. will increase 15 years ago, it was impossible to sell a toy for over U.S. $20. Kids have become so influential Also, kids are continuing to that the magic price point is become more comfortable with now more like U.S. $200! Dave Siegel is the general manag- er of Small Talk, a leading kids searching for and processing infor- marketing and advertising con- mation. Kids are surfing the Internet, • There is little doubt in my mind sulting group. He has been in the using electronic pagers and listen- that kids will continue to get bet- consumer packaged goods mar- ing to their own radio stations, such ter and better in their ability to keting and advertising business as Radio Aaah’s which is just for chil- process complex information for more than 25 years, with over dren. quickly. All one has to do is 20 years of hands-on experience Lastly, businesses have watch how kids currently work marketing to kids. Dave has been already begun to escalate their use on computers. They want their interviewed in The Wall Street of merchandising and marketing to information to be interactive and Journal, The Washington Post, children. Businesses are beginning they want it fast. They want it The Atlanta Constitution, to look at using school menus, book brightly colored and they want Advertising Age, BrandWeek, and covers, in-school posters, Internet it to talk to them...and not to many others. He has also been a advertising and more, to target their parents. This, in turn, will featured speaker for the American today’s kids. Kids media is expanding lead to more dramatic, colorful, Marketing Association, Disney, as well with programming, stations, interactive efforts on the part of Grocery Manufacturers Association and magazines being developed marketers. This will also mean and the U.S. Olympic National specifically for this target group. In that even more attention get- Convention, among others. short, if kids are seeking more infor- ting devices/licenses/techniques mation and becoming more influ- will be needed to break through

ANIMATION WORLD MAGAZINE October 1997 12 Stores: The Sophisticated Retail Outlet by Teresa A. Klein ust as computers and the art of Disney Stores in the United States “makes each visit seem like a trip to animation have become more and over 170 in 11 other countries Disneyland.” The is Jand more sophisticated and around the world. Warner Bros. about treating the shopper to a spe- specialized, so have the retail out- Studio Stores top 161, with that cial shopping adventure. Even a lets for distribution of animation- number expected to pass 180 by store’s design and theme start “with based products. No longer are the year’s end. The number of interna- a story line that is utilized to create Donald Duck-versus-Daffy Duck bat- tional Warner Bros. stores tripled in a visual ‘story-telling experience’ for tles for mass-market retail shelf space 1996, to more than 22, with debut shoppers.” Larger-than-life charac- satisfactory for licensed animated locations in Japan and Australia and ter statues, video walls and special- additional locations in Singapore ly crafted merchandising displays and Hong Kong. According to the also help to create a unique expe- company, 1997 will see the addi- rience. Merchandise themes are tion of 15 more international units changed every six to eight weeks. by year’s end. “The International Service is also of the highest impor- Studio Stores division will continue tance to The Disney Store chain. to expand its presence in 1997, with According to The Disney Store, “cast additional store openings to include members (employees) have a rep- entries into and Guam, utation for treating each and every and a Tokyo flagship in the Ginza guest like a special visitor.” Plus, district,” according to Warner Bros. employees are “extensively trained Consumer Products. in Disney traditions and history,” and Warner Bros. feels that, since “value the Disney name and work their debut, the Studio Stores have diligently to uphold The Disney “captivated consumers with their Store’s high standards of excellence.” ‘movie-studio, back-lot’ design, inter- active attractions, dramatic multi- Competition Leads to media environments, and diverse Entrepreneurial Opportunities assortment of high-quality mer- While these two leading ani- chandise.” The company estimates mation studios maintain their dom- that each store features over 2,500 inance in the animation field, their The Warner Bros. New York City flagship products. “The Studio Stores repre- creative juices are constantly being Studio Store at Fifth Avenue and 57th challenged by other studios adding Street has nine floors and 75,000 square sent a significant factor in the feet of retail space. © Warner Bros. growth of the Consumer Products or expanding animation divisions. division,” explains Dan products. Studios have, in fact, Romanelli, President of taken a large part of their retail finan- Warner Bros. Consumer cial futures into their own hands by Products. “When we open launching and operating their own stores internationally, they retail stores, and manufacturing create attention, excitement their own merchandise. and traffic. They showcase Ten years ago, The Walt the Warner Bros. brands in Disney Company opened its first what has become known The Disney Store in Glendale, as a unique shopping and . Four years later, in 1991, entertainment experience.” Warner Bros. opened its first Warner The Disney Store Bros. Studio Store in . combines retail and enter- Now there are more than 430 tainment in a way that The Disney Store at 711 Fifth Avenue in New York City. © Company.All Rights Reservedd ANIMATION WORLD MAGAZINE October 1997 13 so more aggressively than Warner monster nine-story, 75,00-square- Bros. While the Warner Bros. Studio foot store. Likewise, The Disney Stores have occupied prime real- Store prominently featured Hercules estate worldwide, they have also merchandise, from clothes to toys been highly effective as a tool to to shoes, at the front of its stores show the [mass-market] retailer the during the film’s period of release. merchandising power of the classic In addition to having more licenses.” space to work with, these special- ized stores feature a large percent- The Warner Bros. Flagship store features “The 3-D Film Experience,” a theater Event Properties Offer age of exclusive merchandise that screening the first 3-D film, Limited Sales Window consumers cannot purchase outside Marvin the Martian in 3-D. © Warner Bros. Because of consumer of the respective chain. Only a small demand, mass marketers quite amount of The Disney Store’s mer- Twentieth Century Fox will release often concern themselves with mer- chandise is available outside of the its first full-length animated feature chandising of licensed products stores as licensed product. The Anastasia this holiday season, and based on the feature film(s) of the majority is what is know as “private- Universal Studios and Viacom are month. On the average, this pro- label merchandise.” Warner Bros. two other competitors. Not only are vides a four-to-eight week time says that about 80% of its store’s these and other studios vying for frame on which to capitalize on the products generally are private-label theatrical dollars, but also for over- hype surrounding a movie’s release. goods not available outside the all consumer retail dollars. As retail Traffic-building, in-store marketing Warner chain. “Still,” according to sales for licensed merchandise programs are one way to take The Licensing Letter, “by their pres- topped $109.5 billion in 1996, an advantage of this limited window ence in major malls and shopping increase of 6.5 percent over 1995 of opportunity. These may include areas, the stores presumably aid (The Licensing Letter, June 1, 1997), endcaps, free-standing displays, licensed-product sales [in other the importance of capturing and window displays, or in-store bou- stores] by showcasing characters maintaining a loyal customer is tiques. and movies.” more important than ever. As own- ers and operators of their own retail outlets, studios have created win- Studios have, in fact, taken a win situations for themselves and large part of their retail finan- their shareholders. By having their cial futures into their own own store, they are virtually guar- hands by launching and operat- anteed a sale. For if a customer ing their own retail stores and manufacturing their own mer- walks into a Disney Store or a chandise. Warner Bros. Studio Store, they are there for a specific character. For example, if a consumer is looking But these merchandising for Mickey Mouse merchandise, programs are not limited in use to they wouldn’t go into a Warner just the mass marketers. Even Bros. Studio Store. though specialized studio stores fea- Disney regularly changes its’ store-front ture their own products, they still to promote current properties. During As retail sales for licensed mer- must capitalize on an event film’s the theatrical release of Hercules, the chandise topped $109.5 billion same brief window of opportunity front of many Disney Stores were altered in 1996, an increase of 6.5 per- that the mass marketers do. Only, to say “The Hercules Store.” © Walt cent over 1995..., the impor- they have a little more flexibility in Disney Company.All Rights Reserved. tance of capturing and main- which to do it. For example, this taining a loyal customer is past summer, the Warner Bros. The Licensing Letter also more important than ever. Studio Store flagship location on reports, “In some cases, the prof- 57th Street and Fifth Avenue in New itability of the store becomes sec- York City dedicated the entire first ondary to larger marketing goals. “Other licensers have floor to the movie & , The store fronts act as ‘billboards’ opened, or are planning to open, complete with life-size models of the for the brand or property in very their own retail outlets to supple- movie’s “ characters.” In addi- high-traffic locations. For Warner or ment licensing income,” says Rich tion, actors’ costumes were dis- Disney, frontage can promote mer- Levitt, editor of The Licensing Book played on additional floors of the chandise tied to the event of the trade magazine. “None have done ANIMATION WORLD MAGAZINE October 1997 14 moment, as Warner is doing [did feature films that have made the appeal of specialized stores. As do] for Batman & Robin, Disney for transition to television series include Warner Bros. Consumer Products’ Hercules. Also, the specialty stores The Little Mermaid, due for re- Rob Gruen told The Licensing Book, can be merchandising labs, with release in theaters this holiday sea- “There is no question that the data and trends given to licensees son; , with the series Warner Bros. Studio Stores have (whose merchandise is likely dis- Around the World with Timon & made a major impact on our over- tributed through other channels) Pumbaa; ; and the soon-to- all retail strategies. I’ve always felt and other retailers.” be-animated Hercules. that you have to showcase your Other studios have also real- brands to demonstrate their viabili- Television Extends a ized the profitability of animation ty at retail. The stores have proven Property’s Life following live-action movies. The to be the ultimate showcase for Because of the brief window biggest movie of the summer of Looney Tunes, Batman, and other of sales opportunity due to the short 1997, Sony’s Men In Black, debuted DC Comics properties. Yes, they theatrical life of feature films, ani- this fall as an animated series. Also make money, but more, they say to in 1998, watch for retail, ‘Look what you can do with Sony’s Godzilla feature this property.’” movie around the end of May. An animated What better way for a studio series is already slated to to guarantee prominent place- follow in the fall of 1998. ment on store shelves but then to have a store filled exclusive- Classics Lead to ly with its own products? Profits But let’s step back Furthermore, what can be again to those profitable done with merchandise based on animated classic charac- a property, whether it is the latest ters. Disney has them, theatrical event or a long-time Warner Bros. Studio Stores section off the stores into and Warner Bros. has a favorite, is wide open when you’re types of merchandise, such as the Animation Art Gallery lot of them since they the owner of the property and the pictured here. © Warner Bros. acquired Turner retail store in which it is sold. From Broadcasting Systems mugs, to t-shirts to action figures to mated series based on the films with its Hanna-Barbera library in stuffed animals, products that ani- often enable studios and their 1996. The challenge classic char- mated characters are portrayed on licensees to broaden their lines and acters present to the studios is “fresh- have to battle for the mass-market extend the life of a property. Warner ness.” Consumers want to know retail shelf space which is becom- Bros. and Disney are both well prac- “What’s new?” Retailers want to ing more and more scarce. What ticed at this. know, “What have you done for me better way for a studio to guarantee For Warner Bros., one of the lately?” They don’t want old char- prominent placement on store best examples of an animated series acters that are going to sit on their shelves but then to have a store carrying on the popularity of a live- shelves or hang from their racks; filled exclusively with its own prod- action feature film is Batman. they want something that is going ucts? Although Batman: The Animated to sell - a new, fresh look applied to Series is appropriate for a wider age an old favorite. When selling to the range of children than the live- mass-market retailers, the studios action movies, this animated series have to remind buyers of the on- Teresa A. Klein is a freelance is what keeps sales of licensed mer- going strength of a classic character writer, specializing in toys, licens- chandise going. In particular, the and how they can best maximize ing and related industries. She action-figure toy line by Toy the property’s long-term prospects. serves on the board of directors Group appears on The Toy Book Owning one’s own stores for the non-profit organizations, magazine’s “What’s Hot!” list consis- comes in handy again with the mar- Women In Toys and Editorial Freelancers Association, and was tently month after month. keting of classic merchandise. Stores editor of The Toy Book and , which debuted as a can be a testing ground for popu- founding editor of Specialty new animated series in the fall of larity before introducing classic prod- Retailer magazines. She resides in 1996, is also on its way to becom- uct into the mass-market outlets, or New Jersey with her husband ing a new live-action movie. one can choose to be exclusive, and two preschool-aged children. The list of Disney animated which is a driving factor to the

ANIMATION WORLD MAGAZINE October 1997 15 Merchandising in Japan: ItÕs Big Rewards and Competition by Karen Raugust n Japan, licensed merchandise of the top licensed properties of the to department and convenience inspired by animation is, as a rule, 1990s, generated approximately stores. Iavailable for a short time only— U.S.$800 million in retail sales of usually from three months to two licensed merchandise in Japan in years—before it disappears from two years. Children’s properties are Licensing hits can generate sales levels nearly equal to store shelves. During this brief peri- extensively licensed for nearly every those associated with mer- od, however, licensers can profit sig- type of product, ranging from chandising blockbusters in the nificantly. In fact, licensing hits can snowboards and apparel to chop- United States, a country with generate sales levels nearly equal sticks and instant noodles. Federico twice Japan’s population. to those associated with merchan- Colpi, senior manager of the inter- dising blockbusters in the United national department at Dynamic States, a country with twice Japan’s Planning, the Japanese licenser of The Teen and Young Adult population. properties including Market According to EPM and , Whereas licensed properties Communications, publish- says that Dynamic’s proper- for children are primarily supported er of The Licensing Letter, ty Cutey Honey F has been by exposure on broadcast television, retail sales of all types of licensed for more than 200 awareness for the second category licensed merchandise in products in less than six of animation properties, those tar- Japan totaled U.S.$10.6 months, a typical situation. geted at teens and young adults, is billion in 1996, translating This postage Toys and video games are created mainly by direct-to-home stamp from Japan to annual purchases of features the popu- among the most important video productions (known in Japan U.S.$86 per capita. lar Doraemon ani- categories; some toy man- as original animated video, or OAV) Approximately 45% of the mated character ufacturers are even affiliat- and comic books. Much of the mer- total, or U.S.$4.8 billion, is ed with animation compa- chandise, which includes t-shirts, attributable to entertainment and nies. Toymaker , for exam- vinyl figure/model kits, collectible character licensing, largely driven ple, owns action figures, posters, and by animation. Industry observers , an cigarette lighters, is sold estimate that about 50% of all mer- animation through and chandising activity in Japan is based house known shops. Properties for teens on local properties, with the remain- for such toy- der primarily due to those from the driven prop- United States and Europe. erties as Gundam, Children’s Properties which Licensed animation proper- debuted in ties in Japan can be grouped into 1979. three main categories. The first Merchandise The character is includes television programming is sold in near- featured on all kinds of prod- aimed at youngsters aged 3-12. This ly every distri- ucts in Japan.The “digital pets” which have recently sector is where the most lucrative bution chan- become so popular in the short-term properties arise. For nel, from toy, U.S. started in Japan, with Hello Kitty, the animated series example, , a series pro- book and products like this Hello Kitty produced by DIC Entertainment. digital charm from . © © Sanrio, Inc. duced by and one candy shops Sanrio, Inc. ANIMATION WORLD MAGAZINE October 1997 16 and young adults do not drive as they currently stand on their own. mation, their licensers primarily cre- extensive product sales as those for In fact, exposure created by the ate awareness through other younger children, but they can be licensed merchandise itself often dri- means. Theme parks such as very lucrative. Retail sales of mer- ves their popularity. The primary Disneyland Tokyo and Sanrio’s two chandise based on the 1996 hit example of this sector, and the top parks — Puroland, an indoor facili- Evangelion, for example, exceeded licenser overall in Japan, is the Walt ty near Tokyo, and Harmonyland, U.S.$255 million. Disney Company, with its classic an outdoor attraction in Beppu City characters like Mickey Mouse, — are especially beneficial in gen- Children’s properties are Donald Duck and Winnie the Pooh. erating exposure. Merchandise extensively licensed for nearly Popular classic properties come from based on classic properties is increas- every type of product, ranging from snowboards and apparel both Japan and abroad. Creations ingly boutiqued at retail outlets, to chopsticks and instant noo- such as Tetsuan Atom (Astro Boy) both in free-standing stores and dles. and Jungle Taitei (Kimba, the White shop-in-shops. A free-standing store Lion) by Osamu Tezuka, considered is a store that only features a certain Both of these sectors of the the father of Japanese ani- company’s or character’s animation licensing business are pri- mation, have achieved merchandise, whereas a marily centered around short-term classic status. Another clas- shop-in-shop is a kiosk or properties, as noted. “Only current sic licenser is Sanrio, owner area within a store that television shows’ characters are of properties including only features a compa- licensed for merchandising, and Hello Kitty and ny’s or character’s mer- when a goes off the Kerokerokeroppi. Non- chandise. This boutique air, manufacturing and distribution Japanese classics, in addi- technique not only dri- of merchandise stops too,” says tion to the Disney family, ves purchases, but also ’s Colpi. This situ- include Charles Schultz’s helps to create aware- ation is beginning to change, how- , licensed by ness. Disney Stores, ever, as producers create serial OAVs United Media; Hanna- Sanrio Gift Gates and and/or multiple television sequels. Barbera’s sniggering dog Warner Studio Stores are For example, Akira Toriyama’s , known in Japan examples, as are shops has inspired 24 as Ken Ken, from the dedicated to Snoopy, movies and more than 500 televi- 1970s TV series Wacky Babar, Beatrix Potter and sion episodes over 10 years, plus Races, licensed by Warner Dragon Ball Z has in inspired 24 movies extensive licensing, and NTV’s Bros.; and Warner’s Looney and more than 500 Tokyo, Yokohama and and Shogakken Tunes characters. television episodes Osaka. Some fad char- Productions’ Doraemon have also One characteristic over 10 years, plus acters, those featured in driven significant long-term mer- that most classics have in extensive licensing. © television series or tar- 1996 B.S./S.T.A. chandising activity directed at common is that they are Licensed by geted toward children, younger kids. In addition, several cute. “Cute is incredibly .All are also merchandised in popular OAVs are based on televi- important in Japan,” says Rights Reserved. dedicated shops, such as sion programs from the 1970s, David Buckley, president of those overseen by televi- including Tokyo Movie Shinsha’s Copyrights Japan Ltd., agent for sion station NTV. Lupin III and Dynamic’s Mazinger, properties including Paddington Classic properties are and merchandise is now marketed Bear, Spot, Musti and Brambly licensed for virtually every catego- to consumers in their 30s. Hedge. “If it’s cute, it’s bound to sell.” ry, with stationery, novelties and gift Cute classic characters, as well as items (known collectively in Japan The Lucrative Classics some newer ones, appeal not only as “fancy goods”), accessories and The third type of animation to kids, but also to adults, particu- foods being especially important. licensing involves truly classic prop- larly women in their 20s and 30s. Products are high quality, and are erties, a very different business from positioned as brands (labeled prod- the two categories discussed above. Classic Promotions ucts that consumers can trust) rather These properties may have been While many classic proper- than as novelty merchandise. based on animation originally, but ties have some support from ani- Promotions are also very significant

ANIMATION WORLD MAGAZINE October 1997 17 for classic characters in Japan (and ity for older audiences. Japanese properties including increasingly for any licensed ani- With the exception of classic Harvey Comics. These seals or mation property), with tie-in part- properties, foreign animation is rare, stamps, which are attached to all ners ranging from food companies although some international pro- officially licensed items, are color to airlines to banks. Annie Morita, grams, such as Teenage Mutant coded by price, assisting licensers director of publicity at Warner Bros. Ninja Turtles and X-Men, can break in their efforts to spot counterfeit- Consumer Products, says that through. A popular morning show, ing. Kurozumi also notes that roy- Warner characters including Looney Ponkikies, ends with rotating alties in Japan are often based on Tunes, Wacky Races and Tom & vignettes of foreign programs the retail rather than the wholesale Jerry recently have been involved Thomas the Tank Engine, Postman price, unlike most other countries. in bank tie-ins, which are currently Pat and The Busy World of Richard popular as financial institutions Scarry, all of which are licensed in With the exception of classic employ animated characters to pro- Japan. Fuji TV has even introduced properties, foreign animation is mote junior savings programs and a Ponkikies merchandising effort as rare... to appeal to women, traditionally well. Japanese households’ financial deci- All told, more than 200 ani- sion makers. Operations - Japan Style mation studios do business in From an operational stand- Japan, and many of them, includ- If it’s cute, it’s bound to sell. - point, some differences exist ing Toei, , Tokyo David Buckley between licensing in Japan and in Movie Shinsha and Tatsunoko, have other countries. For example, in licensing , as do several of the most regions royalties are based on terrestrial broadcasters. This The Limited Role of the number of items sold, whereas situation is indicative of the com- Animated Features in Japan they are pegged to the petitive nature of the marketplace. Unlike in most countries, ani- number of pieces manufactured. While emphasizing that licensed mated films do not play a large role “Of course, there are no sales merchandise inspired by animation in Japan’s licensing market, reports either,” says Dynamic’s Colpi. can be lucrative, experts point out although movies based on video “All the amount is paid beforehand, that breaking into the Japanese games, OAVs or television series can and the licenser does not take any market can be difficult for domestic help extend a property’s life. Even risk in the case that a product or a and international licensers alike. the top licenser in the country, book does not sell as expected.” Disney, does not generate signifi- Another difference is the use of roy- Karen Raugust is the author of cant licensing revenues from its film alty seals. “We use certificate stamps several books and reports on properties in Japan. One notable to control the quantity of the licensing and entertainment, exception to this rule is Studio licensed products to be released to including The Licensing Business Ghibli, the producer of movies the market,” says Mr. Kurozumi, Handbook, International directed by Hayao Miyazaki and Isao licensing manager at Cosmo Licensing: A Status Report (both Takahata. Their annual releases are Merchandising, agent for non- available from EPM among the top-grossing films in the Communications, New York) and country. Miyazaki’s 1997 Princess Merchandise Licensing for the Mononoke quickly became the top Television Industry (available from Japanese film of all time. Some of Focal Press, Newton, Mass.). She their properties that have generated also writes about licensing, ani- licensed merchandise include mation and other topics for publi- Miyazaki’s My Neighbor Totoro cations including The Hollywood (1988) and Porco Rosso (1992) and Reporter, Publishers Weekly and Takahata’s Pom Poko (1994). A few Animation Magazine, and acts as films by other studios, such as a consultant to the licensing and The Cutey Honey property has been entertainment industries. She is Katsuhiro Otomo’s Akira (1988) and licensed for more than 200 products in less the former Executive Editor of The Mamoru Oshii’s Ghost in the Shell than six months. © 1997 Y. Iisaka/Dynamic Planning/TV Asahi/Toei Animation. Licensing Letter. (1995), have driven licensing activ- Meena Comes To A Store Near You ... If You Live in South Asia by Christian Clark ehi hai right choice, Baby. Un sion in , like other countries in pop. In November, the agency is set Huh’!” sing two young rag- South Asia, has undergone a com- to launch in South Asia the Meena Ypickers as they wade through plete transformation, moving from Communication Initiative - a radi- a heap of rubbish, gathering scraps a single channel, government-con- cally new kind of communications of metal, paper and old bottles to trolled service to a multi-channel, experiment aimed at changing the sell in New Delhi, the bustling cap- multi-optioned, transnational pro- lives of girls in South Asia, a region ital of India. Hips swinging and voic- gramming world. In 1991, the where sex discrimination is rife. es raised, the children seem to be majority of Indian viewers had caught in a spirited bubble which, access to only one government-con- Tools To Empower Girls for an instant, was lifting them trolled television channel with lim- The project will take advan- above the dirt and filth on which ited broadcast hours. Today in major tage of all possible media channels they danced. Listening with a multi- to these children sing media package out with sponta- featuring an ani- neous, joyous aban- mated film series don makes one smile co-produced and then wonder at with Hanna- the incongruity of it Barbera all: for they are, in Cartoons in Los fact, warbling the tele- Angeles, a 15 vision advertising slo- part radio series gan for Pepsi Cola, on the BBC’s the giant American Urdu, Bengali, pop drink company and which recently entered Nepali World the newly liberalized Services (reach- Indian market place. ing some 55 mil-

Television in South Merchandise derived from UNICEF’s Meena. lion people), Asia is increasing rul- documentaries, ing the minds and imaginations of Indian cities, such as Bombay and comic books, posters, folk media thousands of children, regardless of New Delhi, cable networks are lur- and numerous other materials. their situation in life. ing viewers with offers of 40 to 60 Meena will not only be featured on channels and the urban viewer is television and radio, but the con- The series’ objective is simple, suddenly inundated with a bewil- cept will also be integrated into the if not daunting: to try to dering choice of programs. The curriculums of schools throughout change the attitude of the Cartoon Network has even newly South Asia. Special kits will be made region’s over one billion people arrived in Asia. available for non-profit groups work- when it comes to how girls are Early on in the game, the ing on behalf of girls in India, treated. United Nations Children’s Fund Bangladesh, Nepal and . (UNICEF) recognized the power Once officially launched it is expect- mass media could have in provid- ed that Meena will become not just The Expansion of Television ing a catalyst for social change in a well-known and well-loved enter- Over the last decade televi- South Asia - not just for selling soda tainment character for hundreds of ANIMATION WORLD MAGAZINE October 1997 19 millions of the region’s people, but of Meena, the foundation will like- project will promote girls’ rights and also a powerful advocate for the ly have its own administration and excellence in children’s media in the cause of female children through- finances overseen by a steering region. out South Asia and It is a historic under- beyond. taking. To sustain such an Made possible ambitious project, UNICEF, through financial contribu- for the first time in the tions from the Government United Nation’s history, is of Norway and the UK planning to “commercialize” National Committee for a project. Merchandising UNICEF, the initiative illus- and licensing the Meena trates how creative and brand, syndicating the ani- exciting stories can be used mated programs, as well as to promote social issues in local sponsorships and “tie- an appealing and provoca- ups,” are all expected to tive way. The experiences come on-stream after the and acute observations of launch. The project is taking Meena, a spunky ten-year- a long term commercial old South Asian heroine, Meena in a scene from the episode Count Your Chickens. © view, for it is recognized that and her parrot Mithu, not UNICEF. changing the societal posi- only expose the discrimi- tion and view of female chil- nation against girls in her family and committee of major stakeholders dren is a long-term endeavor. community life, but also offer posi- including the United Nations, gov- Already in Bangladesh, tive, achievable solutions, through ernments in the region, private sec- Meena textiles, ceramics, dolls, writ- an example of the empowerment tor media partners and non-profit ing products and greeting cards of girls and women. Clearly, the groups working with and on behalf have been successfully mar- Meena series represents a new of girls in the region. To put it into keted and educational games are approach to communication on the an animation industry perspective, currently pending. The branding girl child issue. The series’ objective the foundation will operate some- and merchandising of Meena in this is simple, if not daunting: way will achieve two to try to change the atti- important objectives: it will tude of the region’s over promote her image as a one billion people when it popular character and, as comes to how girls are importantly, will raise treated. income for funding the project’s future activities. UNICEF Goes Elsewhere in the Commercial region, research has indi- The Meena initiative cated that this is “do-able.” is also a radical departure A 1997 survey in India, for from traditional communi- example, found tremen- cation projects in the non- dous commercial potential profit sector. It has been for the Meena brand in designed to be ultimately A school in Bangladesh painted with Meena murals. that country. A recent self-financing. As a result, study by Thunderbird, The after the launch the project is thing like the U.S.-based Children’s American Graduate School of planned to move out of UNICEF Television Workshop which pro- International Management and be set up as a quasi-indepen- duces the popular children’s televi- Department of World Business, in dent foundation in its own right. sion show . One key Arizona, a top business university While UNICEF, in the short term, will difference: instead of promoting for international management in the retain the copyright and trademark numeracy and literacy, the Meena U.S., came to a similar conclusion.

ANIMATION WORLD MAGAZINE October 1997 20 As a result, last year the business careful product placement could was found to aid UNICEF in the school helped UNICEF develop full- achieve a sustained market interest, commercialization of Meena, the fledged business plans for promot- especially amongst middle-class con- marketing of cartoon characters in ing Meena in the four countries sumers. The strategy for UNICEF South Asia continues to be a hard involved in the project. then is multi-fold: sell. Ask Disney, which had to scale It is estimated that there are back efforts in India this year after some 300 million people in the mid- • To promote the Meena concept running into a multitude of prob- class consumer market in South through a wide range of elec- lems. Foremost among the prob- tronic and non-electron- lems UNICEF faces is the fact that ic communication mate- chain stores are virtually non-exis- rials. tent, and distribution channels • To, along with nationally and regionally continue Government agencies, to be archaic. outside non-profit groups and private sec- It is estimated that there are tor partners, promote some 300 million people in the the wide scale use of the middle class consumer market Meena Communication in South Asia to which the Package. Meena merchandise ... could • To develop Meena appeal. A group of young Indian girls read a Meena storybook. commercial products The protagonist is designed to be a role model for and license the Meena There is one bright spot on female children image, in collaboration the horizon though. Commercial Asia to which the Meena merchan- with both non-profit producer surveys have repeatedly found con- dise such as clothing, dishware, groups and the commercial sec- sumers in the region are willing to games, greeting cards, school bags, tor. pay more for products with the well lunch boxes and pencils, could • To implement completed com- known UNICEF logo on them. The appeal. The project will also seek to mercial strategies and business agency has high name recognition extend UNICEF advocacy and pro- plans in order to promote and is acknowledged to be doing a gram communication for girls Meena products in both urban lot for the region’s children. It through the marketing of a pack- and rural markets. remains to be seen, however, if the age of materials (such as videos, organization can be as successful in comic books, posters and facilita- The commercial survey commerce as they have been for tors’ guides) built around Meena recently completed in India con- kids. stories and characters. cluded that the gross proceeds com- ing from the sales in India alone from just 11 Meena products could To sustain such an ambitious be as much as U.S. $6 million in the Christian Clark is a former car- project, UNICEF, for the first first three years following the time in the United Nation’s toonist and a two-time Emmy launch. That’s the good news. The award-winning writer for the chil- history, is planning to “com- report cautions, however, to see this mercialize” a project. dren’s television show Sesame a reality UNICEF would need to Street. He is currently the head of invest U.S. $1.4 million in an adver- the Meena Communication A Strategy With Barriers tising campaign to initially build Initiative in UNICEF’s regional The pilot market study in awareness of the Meena brand. The office for South Asia located in Bangladesh has already helped advertising budget is arguably on Kathmandu, Nepal. UNICEF develop a merchandising the high side as an agency such as strategy in that country which will UNICEF could probably obtain free reach not only the middle-class but advertising on products at the end also low-income urban and rural of each Meena television episode. markets. The results showed that Even if a commercial partner

ANIMATION WORLD MAGAZINE October 1997 21 Licensing, Merchandising and Production: An Interview With Robby London by Heather Kenyon

hat comes first today - the them underway, putting good peo- basically pay a license fee that show or the licensing ple on them and letting them run would cover the costs of the show. Wand the merchandising? themselves. I’m also peripherally So, the producer could get their It is a chicken vs. the egg question involved in the marketing venture costs covered simply with the U.S. that varies from show to show. as well. network license fee, and any other Nowhere are the impacts of licens- revenues that could be generated ing and merchandising as heavily HK: How did kids television shows on their show was gravy. The inter- felt as in the realm of production. I used to be financed vs. today? national licensing, merchandising, was able to speak to Robby London, all those things were just profits to Senior Vice President, Creative Affairs RL: That’s my area of expertise. the studios. It was a very good busi- for DIC Entertainment, Inc. to glean Basically, it used to be very strong- ness because there was basically no just how important L&M is to get- ly a domestic U.S. network business. risk. The worst that you could do ting a production in the works and was break even. And mostly, you off the ground. DIC is certainly one would make money. That changed of the largest players when it comes radically — and I mean radically — to producing shows that are accom- in the ‘80s. It’s gotten to the point panied with aggressive licens- now — the pendulum has swung ing/merchandising campaigns. DIC so far the other way—that frankly, has worked with major fast food in many cases, the domestic license chains like McDonald’s, Burger King, fees are a relatively small part of the Pizza Hut, Subway, and such major cost of a production. Two areas in retailers as K-Mart, J.C. Penny, Toys particular—international and licens- R Us and Walmart. ing and merchandising—have become far more critical and crucial Heather Kenyon: What is your role to getting a show financed. Does here at DIC? that address the question?

Robby London: My personal role? HK: Yes. I didn’t want to lead you, Let me start with the title, which is but it does seem that L&M is playing Senior Vice President, Creative a much larger, more significant

Affairs. So, nominally, I’m in charge Robby London, Senior Vice President, role... of keeping a creative overview on Creative Affairs, DIC Entertainment. everything the company does, and RL: There’s no question. It used to a consistency. Really I deal with all Cartoons as a Saturday morning sta- be gravy. Now it’s almost the main of our shows from inception ple started in the late ‘60s, ‘70s. At course in a sense, because without through execution. Obviously we that time, there were three net- it, it’s just difficult to be. At the same do so many shows, we normally do works: ABC, CBS, NBC. They were time that the domestic license fees 200 half-hours, it’s very hard to keep all on Saturday morning. There have gone down, the cost of pro- a hands-on overview of those were very few studios producing at duction, particularly in the last two things. I tend to be more involved that time too. Basically, or three years...this last year in par- at the beginning of the shows — and Hanna-Barbera were doing the ticular there has been such a huge getting them launched, getting bulk of the things. Networks would demand for artists...has gone up. ANIMATION WORLD MAGAZINE October 1997 22 So many people now are getting Let me go back for a minute. I have sort of done by rote, and the toy into animation, and its been like something else. Besides the finan- executives would count the num- another one of those “gold rush” cial importance of licensing and ber of times that you mentioned the eras. It’s very cyclical. I’ve been in merchandising, there’s another very, name of the toy, and the number the business enough years now to very large role it plays. There are so of toy appearances. There were recognize and absolutely not be many kids’ properties for kids’ eye- charts counting, you know, “We phased by the cyclical nature of it. balls, for kids’ attention, not just ani- used this vehicle in this scene...” It But I must say this particular cycle mated shows, and not just televi- became very intrusive on the cre- of the last two years, in terms of sion shows. We have the Internet, ative process. Intrusive to the point demand for artists, and artists’ video games, home video, music. that you would have these shows salaries, and competition amongst Kids are assaulted with people that come out that were almost un- the suppliers has been just intense, want their attention today, and watchable, because they were so so the costs have risen. Obviously, enterprises that want their atten- clearly [promoting the merchan- there’s more outlets now, but the tion. God forbid you talk about dise]. Every piece of dialogue men- amount you get from each outlet, sports, hiking and the healthy things tioned the toy name. It would be the license fees, are down. Many of in life! It’s really difficult to get atten- like if I said, “Heather” in every sen- the broadcast outlets are owned by tion for any kind of property you’re tence. It was awkward, and kids, vertically integrated companies that launching. If you try to launch a god bless them, have a radar. They have their own animation units. DIC property simply on television, even can just tell when they’re being sold is in a very hard-to-describe mode, if it was completely paid for, it’s very to and pandered to, and you’re not because on one hand we’re part of difficult to make a splash. The other observing the principles of good sto- the Disney Company, but in some huge role of licensing and mer- rytelling. A lot of those early shows ways we have to function very chandising now is that it’s kind of that were financed by toy compa- much as an independent compa- an ancillary support and promotion nies, and toy-driven, sort of had a ny. Our shows have to compete in for a television property. And it’s sym- heavy-handed approach to putting the marketplace. For independent biotic. It goes the other way around, product in shows, and they failed. producers now, it is very, very diffi- too. There are so many licensed They failed miserably. Nobody cult to put all the pieces together properties out there, they need the watched them, and at the same and make the business work in a television. You need to have kind of time, of course, finally, the toys viable way. a “Normandy Invasion” to make a failed. splash, and to be heard above the noise. There’s so much noise, you It’s gotten to the point now ... gotta just do a big “bang” or you’ll For independent producers that frankly, in many cases, the drown. I think that’s a real, real now, it is very, very difficult to domestic license fees are a rel- important role of licensing and mer- put all the pieces together and atively small part of the cost of chandising. make the business work in a a production. viable way. HK: How has the role of L&M actu- ally changed production? I think now there’s sort of what I HK: That’s what I was going to ask. consider to be a new wave, sort of Isn’t licensing and merchandising RL: Interesting question. Again, the enlightened era of intelligently almost more important for an inde- thinking cyclically, I was involved in trying to mesh merchandising with pendent company? They need the one of the first really big toy-driven storytelling. I find now that most of revenues more? series, which was He-Man and the the executives in merchandising . In the early and at the toy companies are far RL: Yes, yes, yes. I don’t mean not to days of toy-driven shows, there was more savvy and far more sensitive. elaborate and just give you a “yes” the first wave of them, I think there They grasp the concept that you answer, but that’s right. I’m not was a very rigid, unimaginative have to make a good show first. going to elaborate on that, because application of how merchandise You have to tell a good story, have that’s exactly right. was incorporated into shows. It was compelling characters, and not be

ANIMATION WORLD MAGAZINE October 1997 23 counting how many times the vehi- to the shows. But I do know that which is a show that we’re launch- cle makes an appearance, or how packaging clearly ties into tie-ins and ing this fall, it was an idea that we many times you say its name. They capitalizes on the logos. Kids typi- created at DIC, along with Ivan realize they’d much rather have a cally are really into authenticity. They Reitman, we presented it very early “hit.” They’d much rather have a know logos. Nick is a perfect exam- on to Hasbro, very early. They real- show that kids can flow their imag- ple. Nick has absolutely permeated ly saw the potential for it and felt it inations into, and fantasize about, the kid culture as a brand. As Disney was a great idea that would get and role-play, and just be swept into has. Of course, Disney is the king kids’ imagination and get kids’ fan- that show. And they realize that of that. But Nick has become a kids’ tasy, and really press those arche- people making the shows have a brand and kids know brands. They typal buttons for kids. They kind of better chance of knowing how to know logos. They know when signed aboard at that point. We did- do that than the toy company peo- things are authentic. They know the n’t have toys per se, but they liked ple. It’s far more flexible now. It’s difference between Disney’s “Little the concept. Once we knew they being done in a far more intelligent Mermaid” and Saban’s “Little were going to be the toy company way. The long answer to your ques- Mermaid.” They know and they involved with this, we did work with tion is that I find this kind of licens- want the real thing. I think clearly them. We traded designs back and ing and merchandising to be far less merchandisers and marketers forth, we took some input from intrusive in this day and age, than understand that dynamic of kids them, they took some from us. At it has been in the past. I find that in and take advantage of the logos, the end of the day, we are both a way, the application of it is far and any kind of tie-in. When some- marketing to the same audience, more intelligent and actually can thing’s on television, it takes on a we’re just marketing different prod- help the shows in some ways, larger than life presence. For all of ucts, but there are certain consis- because it’s being done judiciously us, not just kids. I think that’s a very tencies. In this new enlightened age and intelligently. human thing. There’s something of toy company/TV producer com- about TV, it’s a magic. When some- munication, it works very well. HK: It seems that a lot more is being thing is on TV, it has been elevated done when toys are packaged, to a larger that life status. Any way even when they may not be direct- that merchandisers can legitimately I think now there’s sort of what ly related to the show, they’re in take advantage of the TV connec- I consider to be a new wave, packaging that kind of looks like the tion, I think they do it. They put it on sort of the enlightened era of show, or they have “Nickelodeon their packaging and I think that intelligently trying to mesh splats” on them and as a result kids helps them to move their product. merchandising with story- want them. So it’s more that it does- telling. n’t have to be the exact toy that’s in HK: When do you start? When a the show, as long as it’s packaged show goes into development, with that artwork, and is somehow when do you start working with the HK: Do you —and I certainly related in a kid’s mind. toy companies and manufacturers? have seen it with the kids in our Who designs the vehicle, and family—that if the toys don’t live up decides, “Yes! That makes a great to the TV show, or if they’re really The other huge role of licens- toy and a great vehicle for our different, you harm the integrity of ing and merchandising now is show...” How does that work? the show because kids can spot that it’s kind of an ancillary that. support and promotion for a RL: It depends on the show. There television property. are certain shows that feel more RL: Not just with toys. One of the “toy-etic.” That’s a new word from very important functions of our mer- the toy industry, thank you very chandising division here is to police RL: I don’t disagree with you. I don’t much. It makes a difference if you our licensers to make sure that there know if what you say is accurate or know who your partner is, and, is a consistency amongst all of the not because I don’t really pay atten- sometimes you do, sometimes you varied projects that go out. Go back tion to whether the toys correspond don’t. In the case of Mummies Alive! to kids and they’re craving authen-

ANIMATION WORLD MAGAZINE October 1997 24 ticity. Kids notice when Inspector tent of children’s programming? properties that so blatantly tried to Gadget doesn’t look right in the col- manipulate kids, those properties oring book. So, its very important RL: That’s a very loaded question. failed. I think for the most part now, to perpetuate the fantasy of these the real key is always to be a story characters being real. When they I don’t see anything intrinsical- teller first. I think most producers are ly evil about the concept of start to appear differently, it breaks storytellers, that’s what they do. I merchandise. the illusion. It breaks the reality; the mean, I write. My background is as fantasy that you can believe in these a writer. [President characters. I think you’ll find that People are ready to sort of attack and Chief Executive Officer of DIC], most licensers believe that. That’s a the concept that children’s television his background is as a writer. major role of most companies’ is nothing more than an extended Certainly speaking for DIC, we value licensing divisions. Obviously, commercial to sell merchandise. I storytelling more than anything else. though, a toy can only look so really, really take issue with that con- We also value merchandise, and I much like a 2D animated character, cept. I think you should come at it think its very organic and natural but you do what you can. We sup- from a point of view that kids have for certain kinds of stories to make ply our licensing division these mas- a right to be entertained. The way kids want to play with those toys. sive style guides. This is the style kids entertain themselves is they Kids have a right to play with toys, guide that we did for The New Kids watch shows, play video games, just as we have a right to enjoy sto- on the Block series. It has every- and they play with toys. Their toy- ries. Just as adults have a right to thing, how to draw, storylines, how playing, I feel, is enhanced, and I play with toys—just different toys, the characters behave, the logos. think most people would agree, if more expensive than most toys. He It’s totally comprehensive and we they have a whole set of characters, who dies with the most toys wins. still police it. When a licensee is stories, worlds, and a background ready with the coffee mug, they to help facilitate and stimulate their have to submit a prototype to us, play. So, I don’t see anything intrin- for our evaluation and approval. sically evil about the concept of mer- Even with all the stuff that we give chandise. I think what’s very detri- them in advance, we make sure mental to kids and to the industry is Heather Kenyon is Editor-in-Chief that they conform. when merchandise takes such a of Animation World Magazine. heavy-handed role that it hurts the HK: How much does licensing and storytelling. I think the free market merchandising influence the con- has policed that because I think the REGISTER with Animation World Network TODAY and • Receive our weekly Animation Flash E-mail newsletter • Get announcements of Animation World Network developments • Be a part of the global community of AWN. Interact with animation professionals, scholars and fans all over the world

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ANIMATION WORLD MAGAZINE October 1997 25 World Youth Programming Screenings TRADEcentre 24-25 September 1997• Hotel Martinez, Cannes, France International Film & Programme Market for TV, Video, Cable & Satellite In a worldwide marketplace, we deliver a 26-30 September 1997 Palais des Festivals, Cannes, France year long strategy. The family of MIP events. Unrivalled international television programme MIP SIA sales opportunities throughout the world. Present your products, pursue new developments, International Film & Programme Market for TV, Video, Cable, Satellite, Licensing & Merchandising create new ventures. Listen. Learn. And do deals! 4-6 December 1997 Convention and Exhibition Centre, Hong Kong HEADQUARTERS: REED MIDEM ORGANISATION, B.P. 572, 11, RUE DU COLONEL PIERRE AVIA, 75726 PARIS CEDEX 15, FRANCE. TEL: 33 (0) 1 41 90 45 80 FAX: 33 (0) 1 41 90 45 70. USA: REED MIDEM ORGANISATION INC. mipdoc TEL: 1 (212) 689 4220 FAX: 1 (212) 689 4348. Documentary Screenings

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Delivering Business Contacts 3-8 April 1998 • Palais des Festivals, Cannes, France Europe Strikes Back by Heikki Jokinen

States and Asia. invite producers and financiers for MEDIA’s work is actually protec- an effective three-day gathering. Editor’s Note: This month Heikki tionism, but not through building Some 70 ready-to-be-produced ani- Jokinen is providing an overview fences rather by introducing posi- of Europe’s CARTOON. Next mation projects are presented and tive measures. The EU’s television month he will review the events 70 broadcasters plus 60 investors directive helps to achieve the goal. of the Cartoon Forum which is turn their thumbs either up or It demands that in Europe at least happening in Arles, France from down. September 18 - 20. 50% of television programs have to The results have been quite be of European origin. impressive since the first Cartoon After the five year period of Forum which was held in 1990 on he European animation mar- MEDIA I from 1991-95, a newly the island of Lanzarote in the ket is growing fast. In 1989, organized MEDIA II started in 1996. Canary Islands. Out of the 376 pro- European television channels T It will work for five years with the jects presented at the first six screened 18,800 hours of anima- total budget of 310 million Ecu Forums, 110 were completed. This tion, while in 1992, 29,200 hours (which stands for European equals 435 hours of animation. At were shown. The animation indus- Currency Unit, the official EU mon- last year’s Cartoon Forum, which try has responded to the growing etary unit which is roughly equiva- was held in Ireland’s Connemara demand. In 1986, European studios lent to U.S. $1.09). Last year MEDIA region, 19 out of the 67 animation produced 60 hours of animation. II’s budget was 60 million Ecu, and projects presented received imme- By 1995 the figure was over 700 some four million Ecu was dedicat- diate guarantees to go into pro- hours. ed to animation. The major areas duction. As usual, most of these One reason for the growth of MEDIA’s work are in training, were French, German and British. in production is CARTOON, the development and distribution. 21 other projects received sufficient European Association of Animated interest to go on and probably col- Film. CARTOON started in February, lect enough money to begin pro- 1988 as part of the MEDIA program Out of the 376 projects pre- duction at a later date. of the European Union. The sented at the first six Forums, CARTOON is interested in European Union (EU) is a commu- 110 were completed. television serials and features. It does nity of 15 European nations, who not defend animation as an art work together on a common basis form, but rather as an important in many areas of politics and eco- The Cartoon Forum Collects and creative part of the audiovisu- nomics. MEDIA also has three addi- the Financiers al industry. Every project presented tional member states that do not CARTOON works in many at the Cartoon Forum must total at belong to the EU. MEDIA is a major ways. The main event is the annu- least 26 minutes, which makes it project of the EU, helping to keep al Cartoon Forum, held every suitable for television. the European audiovisual industry fit autumn in a different corner of the Through CARTOON there is in the struggle against strong film continent. The idea is simple: to no money directly given to support and television studios in the United ANIMATION WORLD MAGAZINE October 1997 26 actual production. MEDIA II can time between productions can also recruiting staffs of big U.S. studios grant some loans, but these have be shortened. had long lines of animators at their to be paid back. Twice a year CAR- During the MEDIA I years of doors. TOON gives aid for pre-production, 1988-95, ten studio groupings were CARTOON works to find jobs either for graphic design, a pilot film formed, with some financial help for animators as well. The CAR- or script writing. The amounts vary from CARTOON. These groupings TOON Job Bank is a database with from 5,000 Ecu to 40,000 Ecu. included 38 different studios in ten hundreds of jobs on offer. During countries. Support for studio group- the past two years, the Bank has Cooperation Across the ings is still in the CARTOON agenda. provided access to over 1,000 Borders It believes firmly that “the growth of employment opportunities. The main idea of CARTOON’s European animation will have to be work is to get the European pro- developed by constituting large During the past two years, the ducers and ani- industrial Bank has provided access to mators to work groups,” as over 1,000 employment oppor- together across the CAR- tunities. national bor- TOON mag- ders. European azine states studios are usu- in its May, Cartoon d’Or is CARTOON’s ally very small in 1997 issue. annual prize of 35,000 Ecu given comparison to a short animation. The winner is with the big U.S. Training selected from films that have and Asian com- and the received prizes in one of the eight panies. The Job Bank European animation festivals coop- projects The Old Lady and the Pigeons by Sylvain Another erating with CARTOON. The prize Chomet, winner of the Cartoon d’Or for 1997 accepted at key area of money has to be used on a new the Cartoon Forum must stem from CARTOON’s work is training, which film and this time, the length has to a European cooperation venture is also one of the main areas of the be suitable for a normal television between partners in two or three entire MEDIA II program. Nearly programming slot. On the top of all countries. 3,000 professionals participated in these activities, CARTOON has initi- the 102 different courses and sem- ated several surveys, pilot projects, The main idea of CARTOON’s inars organized by CARTOON dur- publications and competitions. work is to get the European ing the years 1988-95. This year, Currently, they are working on pro- producers and animators to CARTOON is packaging together posals for a film to promote the work together across national ten seminars under the title CAR- Euro, the future joint EU-currency. borders. TOON Business School. The chain of seminars covers management, To be continued... One part of the CARTOON training for trainers, script writing policy has been to form studio and multimedia. groupings. These are studio chains For studios about to go into Heikki Jokinen is a freelance jour- of at least three studios in different production CARTOON offers in- nalist and critic specializing in ani- European countries that work house training. 21 different courses, mation, short film and comics. He together on joint projects. Studio many of them related to new tech- lives in Helsinki, Finland and is a groupings are an answer to the nologies, are available. There are, board member of ASIFA-Nordic, growing demand for television however, voices that are concerned the ASIFA regional organization series. It might take three years for about the flow of well educated ani- for the five Nordic and three one studio to do a long series, but mation artists to U.S. studios. The Baltic states. The next Cartoon three studios can complete the pro- reason is simple: a steady job and Forum will be the fifth one in ject in one year. When working often a better salary. This was visible which he has participated. together with other studios, down at the last Annecy festival - the

ANIMATION WORLD MAGAZINE October 1997 27 The Role of the Agent: An Experienced Expert by John Goldsmith

hy do you need an tions and financing process. After whom they negotiate. A good agent? Why do you need all, you don’t buy a house every agent will fight for your rights hard, Wsomeone to negotiate on week, but your Realtor metaphori- but will not ask for things that are your behalf, review your legal con- cally does. Similarly, a talent agent blatantly out of the realm of possi- tracts and advise you in your career with good deal flow knows what bility. Think of the last time you choices? You are smart, you under- to ask on your behalf and what played tennis with an amateur. I am stand business, you know the tra- hard fought deal points, pioneered sure you found it rather frustrating jectory of your career; so why pay by other deals, can be incorporated as you never knew how the ball someone ten percent of your into your contract. If I could draw or would come back across the net. income to do what you can do for write half as well as the talent I rep- Similarly, business affairs executives yourself? resent, I would be in a different pro- like negotiating with experienced Simply put, an agent is an fession. The thing I do better than agents rather than talent. At least expert, someone who deals daily in my clients, however, is negotiate on with two experienced professionals the marketplace and has a broad their behalf and understand the negotiating there is a rhythm and overview of an individual artist’s intricacies of all their deals. efficiency that eliminates ambiguity and hidden problems. Agency Benefits A good agency cre- A good agent is a specialist, ates packaging opportuni- who knows the craft of the deal ties and synergy among as well as the temperature of their clients. Being a part of the marketplace. an agency also enhances networking by affording As the cliché goes, a lawyer you greater contact with who represents himself has a fool your contemporaries. A for a client. That same adage applies good agency should func- to talent who represent themselves tion like a club with the and are forced to talk business agent introducing you to rather than creative issues. In doing your peers and encourag- this they either do not push hard ing clients to work together. enough for a fair deal or they push An agent who places a too hard and alienate the execu- story editor on a show then tives with whom they are working. has opportunities to influ- Agents play the role of “bad cop,” John Goldsmith. ence his client to hire other allowing talent to get what they agency clients to write indi- want without damaging their pro- place within the context of an entire vidual scripts. fessional relationships. Further, most industry. A good agent is a special- Another critical reason to studios will not deal with talent ist, who knows the craft of the deal have an agent is that people like unless they are represented. The rea- as well as the temperature of the dealing with people they have dealt sons for this are threefold. An agent marketplace. If you are buying a with in the past. A good agent has serves as a pre-screener for the stu- house you would likely use a Realtor a cordial relationship with the busi- dio. Generally, studio executives to guide you through the negotia- ness affairs executives against know that, if a well respected agent

ANIMATION WORLD MAGAZINE October 1997 28 sends in a client, that client has the are just interested in making the submit your materials. You can’t get creative endorsement of the agency. deals that a client brings them, anyone to return your calls after the Secondly, there is the issue of copy- while others spend a great deal of job fairs and entertainment expos. right protection. Studios are wrong- time acting like managers and talk- The key is to make friends with any- ly sued for copyright infringement ing with their clients about their body you can in the business, espe- with great frequency. With an agent goals and ideas. Good agents fall cially writers and artists, and have in the picture, this concern is between these two points of view. an established talent champion your assuaged as there is a third party An agent should spend time find- cause with their agent or other pro- that can trace the history of a pro- ing work, negotiating deals (often in fessionals in the business. With this ject. Finally, an agent will assure that conjunction with lawyers) and most done, go out and interview agents. negotiations will proceed in a pro- essentially, guiding a client’s career At my agency we only consider tak- fessional manner rather than bog- through encouragement and pro- ing on new clients who are recom- ging down in unimportant or irrel- viding opportunities for creative mended by our current clients. We evant issues. growth. screen talent for the studios while So how can you tell if your our clients screen talent for us. A If your agent is not returning agent is an ace or a washout? The gifted individual who is recom- your calls, not presenting you key is personal attention and an mended by one of our writers, with job opportunities...you understanding of your artistic vision. artists or show-runners is always probably should be looking for An agent’s stock and trade is num- someone we are very interested to a new representative. bers and contracts, but they must talk with about the possibility of rep- never forget that their primary con- resentation. Seek out the agent who There are differences cern is the advancement of their understands your artistic vision and between an agent, a lawyer and a client’s careers and the protection career goals, not the one who manager. Generally, lawyers work of their artistic needs. A good agent promises you they can get the best on an hourly basis or typically should always be available to talk monetary deal. An agent who has charge five percent of a client’s and be on the constant prowl for passion for his client always gets a income. Managers commonly new employment opportunities for better deal. It may sound self-serv- charge ten to fifteen percent of a his clients, empowered by a thor- ing, but the ten percent you pay to client’s income and agents, who’s ough understanding of a client’s an agent is almost always money fees are governed by the state, dreams and overall professional well spent. For example, at my charge a maximum of ten percent goals. If your agent is not returning shop, if we cannot improve a client’s of a client’s income. If you are at the your calls, not presenting you with deal enough to justify our commis- height of your career and a com- job opportunities, and most impor- sion we are happy to take less than mon name in the industry, all you tantly, does not understand you and a standard fee. may need is a lawyer to negotiate your unique aspirations, you prob- Our ethos, and that of any your deals. Similarly, if you have ably should be looking for a new good agent, is to take the long view found your own work and only representative. and map out a client’s career strat- need someone to review paper- egy. Then we provide opportunities work, a lawyer is the economic for that client so that he can fulfill choice. If you demand a great deal Our ethos, and that of any his artistic and professional aspira- of attention and a creative sounding good agent, is to take the long tions over the long term. board, a manager can be consid- view and map out a client’s ered. Generally, managers have career strategy. fewer clients than agents, give more John Goldsmith is a principle of personal attention and occasional- Metropolis, an agency specializ- ly produce alongside their clients. How Do I Get One? ing in the representation of ani- How do you get an agent mation talent. Mr. Goldsmith also An Ace or a Washout? when just beginning a career? Say runs Metropolis Animation, a pro- A good agent is a hybrid of you are new in the business and duction company associated with a lawyer and a manager. Some want to get into the studios. All you Columbia/TriStar Television. agents think they are lawyers and hear is that you need an agent to

ANIMATION WORLD MAGAZINE October 1997 29 KROK ‘97: A Long Voyage Down the River Dnjeper by oTTo Alder

unmehr zum vierten Mal Festivalorganisatoren, Sponsoren aber auf Ukrainischen Wasser und fand vom 11. bis 25. August etc.) befinden, die die Land stattfindet ist eine weitere N1997 das geheimnisum- Filmeprogramme im schiffseigenen Besondereheit. Dies Gemeinschaft wobene KROK (Schritt) Festival, das Kino sehen. Und es ist schon ein- symbolisieren die zwei unter vorgehaltener Hand als das malig, auf der Leinwand Animation Festivalpräsidenten.David Cherkasky Beste Animationsfilm Festival über- zu sehen, der durch das sanfte ist Ukrainer und Eduard Nazarow haupt gehandelt wird, in der wiegen und schaukeln des Kinos ist Russe! Würden die Politiker auch statt. eine weitere Dimension aneigen so handeln hätten wir weniger Was ist das besondere an wird. Probleme auf dieser Welt. Natürlich KROK? Zuallererst wäre da die Wann immer das Festival in demonstriet diese Bilateralität auch Tatsache zu nennen, dass das einen Hafen der grossen Städte ent- den Gedanken, dass Animation eine Festival auf einem Schiff (benannt lang des Dnjeper einläuft schwirren eigenständige Kunstform ist, die nach dem im II. Weltkrieg gegen die rührigen Organisatoren sofort keine Grenzen kennt. die Deutschen erfolgreichen mit einer guten Ladung Animation Die Galionsfigur des Festivals Marschall der Sowjetarmee an Land, um diese dann in einem Fedor Chitruk, der leider an der Koshewoy) stattfindet, das in Kiew rammel vollen Kino vor 500 Teilnahme verhindert war schrieb ablegt und sich dann dem mächti- begeistrerten Kinder und Eltern in seiner Botschaft: ‘Animators are gen Strom Dnjeper hingebend bis vorzuführen. Gleichzeitig finden für a special breed. One reason for this ins Schwarze Meer hintreibt. Also die Lokale Presse Treffen mit is the art itself, the mystery of which ein Festival in ständiger Bewegung. Filmemachern und Organisatoren has yet to be solved.’ Nicht ortsgebunden. Ein schwim- statt. Den Gästen des Schiffs, die Noch zu erwähnen ist, dass mendes Festival.Im wahrsten Sinne nicht an diesen Aktivitäten teil- kein anderes mir bekanntes Festival des Wortes auch deshalb, da sein nehmen bietet das Festival den Begriff der Animation so weit finanzieller, organisatorischer und Exkursionen durch die jeweilige fast. KROK zeigt nicht nur eine feine politischer Bestand immer bis einen Stadt oder bietet Besuche in Selektion von künstlerischen Tag vor Beginn der Veranstaltung Museen an. Zurück auf dem selbst der talentierten Chefin Irina Schiff, haben emsige Hände Kaplytchnaya unsicher und offen schon wieder die Tische im bleibt. Restaurant gedeckt und das Besonders an KROK ist auch Essen zubereitet. Und das drei die Tatsache, dass sich auf dem Mal am Tag für zwei Schichten Schiff für zwei Wochen nur profes- ausgehungerter Festivalgäste. sionelle Gäste (Regisseure, Dass das Festival ein Was ist das besondere an KROK? Zuallererst Kameraleute, Animatoren, ukrainisch russisches wäre da die Tatsache zu nennen, dass das Journalisten, Kritiker, Gemeinschaftsunternehmen ist Festival auf einem Schiff. Photo © oTTo Alder. ANIMATION WORLD MAGAZINE October 1997 30 Animationsfilmen. Das geht nahtlos über in einen heiteren Schiffes an und entführen uns in Rahmenprogramm ist kulturell so Tanz unter freiem Sternenhimmel. Flat World. Der neue Film des Briten breit angelegt (Diskusssion, Musik, Im Kino wird das Daniel Greaves, der mit Satire, Karneval, Tanz, Essen, Eröffnungsprogramm, welches am Manipulation 1991 einen Oscar ein- Trinken, Museen, etc.) dass auch alle Nachmittag in einem Kiewer Kino heimste. Der technisch innovative anderen Künste nicht zu kurz kom- vor 600 Besuchern gezeigt wurde, und erzählerisch furiose Film über men: KROK ist selber eine wiederholt. Höhepunkt des Matt Phlatt, seine Katze und seinen Animation! Programms ist der neue Film von gierigen Fisch, versetzt das Um ein wenig konkreter zu Andrei Khrzhanovsky, Long vollgestopfte und völlig überhitzte werden und dem Leser einen Voyages. Tonino Guerra Kino in schallendes Gelächter. Einblick in das Festivalgeschehen zu (langjähriger Drehbuchautor von Obwohl der Film mit seiner vermitteln, erlaube ich mir nachfol- Frederico Fellini) hat es zusammen Botschaft (Fernsehen sei langweilig gend die Zeit auf dem Schiff mit mit Andrei Khrzhanovsky und leistet nur der Verblödung meinen, sicherlich sehr sub- geschrieben. Der vorschub) nichts neues erzählt, lässt jektiven und bescheidenen Film basiert auf sich das Publikum mit grossem Spass Tagebuchaufzeichnungen Zeichnungen von durch den brillant animierten Film zu beschreiben. Somit han- Fellini. Maestro, gerne wiederholen. delt es sich nachfolgend der Held des Films Im Gegensatz dazu holte der auch nicht um eine sticht in See um Film Under The Waxing Moon des Festivalberichterstattung. eine herrliche Insel Belgiers Hans Spilliaert der die zu erreichen. massenhafte Verfrachtung von Montag 11. August Tonino Guerra, der Rindern zur Schlachtung auf frag- Durch Zufall begeg- Gast auf dem würdige Weise mit dem Holocaust ne ich meinem Freund Paul KROK Schiff ist, ent- auf eine Ebene setzt, das Publikum Bush aus London (Still Life führt uns in die jäh zurück in die Realität. Danach With A Small Cup, GB, Welt der Fellinische im selben Programm noch witzige 1996) auf dem Züricher Frauenbilder. Ein Filme zu programmieren (Alexander Flughafen. Im selben Film der geradezu Tatarsky’s Pilot Brothers) geht nicht Flugzeug treffen wir in speziell für das mehr und wird dann eher eine Kiew ein, wo wir von KROK Festival Zumutung. Galina und Alexander emp- gemacht zu sein Die Selektion für den fangen werden. Nachdem scheint. Wettbewerb wurde von Youri Chris Shepherd (The Broken oTTo Alder. Photo © Paul Das plötzliche Norstein, Natalya Loukinykh, Boris Bush. Jaw, GB, 1997) Pedro vibrieren des Schiffs Pawlow (alle Russland), Jiri Kubichek Serrazina (The Tale About The Cat und der Tanzfläche signalisiert uns (Tschechien), Svetlana Kutsenko, And The Moon, 1995), das KROK ablegt und unter Sternen Alexander Shpilyuk (beide Ukraine) Stefanie Dinklebach (The Imperial klarer Nacht Kiew entfleucht. In der und Kurine Zereteli (Georien) Message, Irland, 1996) kurze Zeit Bar, im Cafe und auf dem Deck wird vorgenommen. Von ca. 380 ein- später direkt aus Londen eintrafen, getanzt, gesungen, gesprochen bis gereichten Filmen wurden 120 im bringt uns ein Festivalbus in den die Nacht in den neuen Tag überge- Wettbewerb gezeigt. Kiewer Hafen, wo das Schiff ht. Aufziehende Wolken, Regen ‘Marschall Koshewoy’ schon auf uns und Nebel treiben die Gäste in den wartet. Dienstag 12. August Bauch des Schiffs. Dort kann man Auf dem Deck findet der Eine sanfte russische Michael Aldashin beim Gitarrenspiel, Eröffnungsempfang statt. Hier trifft Frauenstimme holt mich aus begleitet von Ivan Maximov’s man zum ersten mal auf die weit meinen Träumen und erinnert Gesang lauschen. Heute findet die über 300 Gäste. Es ist mild und mit daran, dass es Frühstück gibt und Party unter Deck in der Bar und im der heraufziehenden Dunkelheit um 10 Uhr der zweite Wettbewerb Cafe statt. überschüttet der Mond die ganze läuft. Die weichen Gartenstühle mit festliche Szenerie mit kristallenem denen das Kino bestückt ist passen Mittwoch 13. August Licht. Der Empfang löst sich auf und sich dem sanften Schaukeln des Trotz Tanzen Singen, Lachen,

ANIMATION WORLD MAGAZINE October 1997 31 Trinken, und Reden bis in den Es ist unserer bornierten Fixiertheit das Festival im Hafen von Odessa frühen Morgen, füllt sich das Kino auf westliche Kultur zu verdanken, fest. Paul Bush ist heute besonders bis auf den letzten Platz. Zwei dass russische Popkultur bei uns so elegant gekleidet. Sicherlich ist dies Wettbewerbsprogramm sind zu gut wie unbakannt ist. Voices, ein damit zu erklären, dass sein Film sehen. Icar (Ungarn 1996) von Musicvideo für den gleichnamigen heute im Wettbewerb läuft. Paul ist Geza Toth, eine dreidimensionale Song der populären russischen nicht nur zum Vergnügen auf dem Sandanimation visiualisiert den alten Sängerin Nastya Polewa. Aber auch Schiff. Er nutzt jede freie Minute um Traum der Menschheit vom Fliegen. die animierten Clips Acid Wine und an seinem neuen Film zu arbeiten. Ein wenig kunsthandwerklich aber Beasts aus dem gleichen Studio, Da er die Kratztechnik (scratch tech- technisch überzeugend. Dieser Film übertreffen technisch, formal und nic) anwendet, passt sein Studio ist der int. Jury (Raoul Servais ästhetisch in ihrer klaren Konzeption (Lichttisch, belichtetes 35mm (Belgien); Igor Volchek die oft überfinanzierten Produkte Material und Werkzeug) spielend in (Weissrussland); Natalya Orlowa aus dem Westen spielend. sein Handgepäck. The Rime of The (Russland); Monique Renault Ancient Mariner so der Titel seines (Niderlanden) und Natalya Donnerstag 14. August Projekts, wir die Visuallisierung und Chernyshova(Ukraine), ein Diploma Die KROK-Gäste scheinen Interpretation eines Gedichts von wert. keinen Schlaf zu kennen. Wieder Samuel Tayler Coleridge, das dieser tanzte das Festival bis tief in den 1820 schrieb. Der Film wird 15 Morgen. Der Himmel über der Minuten lang und soll im nächsten Ukraine ist wieder sonnenklar. KROK Jahr fertiggestellt sein. Immerhin hat legt im Hafen von Kherson an. Paul Bush bis dahin noch weitere Nach dem Wettbewerb bringt ein 5.000 Bilder zu kratzen. Keine Boot die ganze Gesellschaft auf eine leichte Arbeit wenn man berück- Insel, wo uns ein Picknick geboten sichtigt, dass er an einem Bild wird und ein Massenschwimmen manchmal bis zu fünf Stunden stattfindet. Abgekühlt vom arbeitet. KROK International Jury: Monique Schwimmen, stellen sich die Trotz strahlender Sonne Renault, Raoul Servais, Natalya Orlowa, Filmemacher den allabendlichen ziehen sich dunkle Wolken über Igor Volchek, Natalya Chernyosova. Photo © oTTo Alder. Fragen der Journalisten und Kritiker. KROK zusammen. Das Mitglied der Gleichzeitig tanzen auf dem Deck Jury, Igor Volchek musste wegen Der Film E=mc2 ebenfalls die jüngeren Gäste zu harten Problemen mit dem Magen ins eine Sandanimation von der Techno Rythmen. Die ‘Aelteren’ Krankenhaus gebracht werden. Aus Ukrainerin Ala Churikova erzählte treibt es in die Bar zu live vorgetra- Moskau kam die traurige Nachricht, von der Geburt der Liebe, der Welt gener Musik aus der Ukraine. Der dass Vadim Kurtchevsky, herausra- und der Selbstzerstörung. Eigentlich Pianist und die Sängerin lassen das gender Regisseur von vielen pop- eine Fabel in der zwei Fische Publikum nicht vor fünf Uhr in der ulären sowjetischen Filmen in der zueinander finden und sich am Früh zur Ruhe kommen. Im Cafe letzten Nacht gestorben ist. Viele Ende gegenseitig tödlich am anderen Ende des Schiffs spielen seiner Freunde sind an Bord. Die bekämpfen. manche Karten, andere Diskutieren Trauer zieht sich durch das ganze Höhepunkt der zwei heftig bis spät in die Nacht. Und Schiff und ist in die Gesichter der Programme für mich aber war der dort in der anderen Ecke des Cafe’s Menschen geschrieben. Film Golosa (Voices) den die zwei wird herzhaft gelacht. Der Blick vom Deck bietet Moskauer Künstler Dimitry einen einmaligen Blick auf die durch Rezchikov und Alexander Das 50 Angestellte des Schiffs (vom Sergei M. Eisensteins Film Battleship Ratnowsky 1995 in der klassischen Kapitän bis zum Koch) Tag und Potjomkin zu weltberühmtheit Cartoontechnik herstellten. Beide Nacht für das Wohl der Gäste sor- gelangte Hafentreppe von Odessa. Regisseure erlernten ihr Handwerk gen fällt überhaupt nicht auf. Alles Kein Besucher des Festivals lies es im Moskauer Pilot Studio unter läuft wie am Schnürchen. sich entgehen, diese Stufen hinauf , bevor sie dann in die Stadt zu nehmen. Es scheint, 1994 ihr eigenes Studio unter dem Freitag 15. August dass die schöne, picturesque und Namen ‘DEVON’ ins Leben riefen. Nach dem Frühstück macht südländisch anmutende Stadt

ANIMATION WORLD MAGAZINE October 1997 32 Odessa die Trauer aus den Stellmach hat seinen Oscar wohlver- Capricio (1986) sein persönlichster Gesichtern der Festivalbesucher dient. Jedoch nach mehrmaligem und wohl autobiographisch zu ver- wehte. sehen verliert der Film an stehender Film markierte für mich Nach dem Abendessen läuft Haltbarkeit. Die Geschichte ist so den Höhepunkt des Festivals über- im Wettbewerb der Langfilm flach gestrickt, dass sie tatsächlich haupt und unterstreicht seine Katherina &Witt (Deutschland, 100 nach dem zweiten Mal sehen ihre Meisterschaft als Autor und Min., 1997) von Mariola Brillowska Tiefe verliert. Regisseur. Ein Animationskünstler, und Charles Kissing. Mit brutalen, Bolexbrothers (Bristol, GB) den es internationalen noch zu auf wesentliche Symbole Chef Richard Hutchinson präsen- endecken gilt. reduzierten Bildern erzählt der Film tierte im Wettbewerb Mike Booth’s eine Abenteuer- und The Saint Inspector. Hutchinson Liebesgeschichte von zwei Interpol berichtete auf der nächtlichen Agenten, die dabei sind, den Pressekonferenz, das der Film grössten Kunstraub aller Zeiten weltweit schon an über 16 aufzuklären. Der dialog- und text- Fernsehsender verkauft werden lastige Film übt harsche Kritik an der konnte. Ebenso nutzte er die Kommerzialisierung der Kunst Möglichkeit, dem Publikum spon- Kunsthandel und wirft viele tan das neueste Commercial seiner berechtigte Fragen über die ‘wahre’ Firma, das mit einem Budget von Richard Hutchinson, Gerben Schermer, Bedeutung von Kunst in der heuti- £120.000 für Carlsberg Beer Pedro Serrazina, Chris Shepherd. Photo © gen Gesellschaft auf. Meine hergestellt wurde, vorzustellen. Der oTTo Alder. Befürchtung aber ist, dass Katherina 20 Sekunden Spot (Regie: Dave KROK bietet noch weitere &Witt selber ein Objekt des Borthwick/Modell Animation) zeigt Spezialprogramme die ich jedoch zwielichtigen Kunstmarkts und des einen Schneemann im Kühlschrank nicht sehen werden kann. Darunter dazugehörigen Subventionismus, der draussen auf einer frischen som- sind Retrospektiven von Monique wie er im Film selber kritisiert wird, merlichen Wiese ein schönes junges Renault, Natalya Orlowa, Natalya sein könnte. Paar beim Bier trinken beobachtet. Chernyshova, Fedor Chitruk, Als kultureller Höhepunkt des Angetan vom zu bewerbenden Vyacheslav Kotionochkin und Rahmenprogramms galt die Lesung Produkt treibt es den Schneemann Eugen Sivokon. Weiter Pogramme eines populärer Odessaer Satiriker aus seiner frostigen, lebenserhal- sind: eine Retrospektive des im Kino. Die Russisch oder tenden Umgebung hinaus auf die Ukrainischen Animationsfilms, ein Ukrainisch sprechenden Besucher Wiese, wo er sich dem kühlen Programm zum Thema ‘Cinema dieser Lesung waren Lachmuskel- Getränk hingibt und..... about, Cinema’; ‘Eros and Anima’; strapazierend unterhalten. Mir Höhepunkt des heutigen ‘Computeranimation from SIG- blieben die Texte leider fast gänzlich Programms war die Retrospektive GRAPH’ etc. Also insgesamt ein verschlossen. mit Filmen von Igor Volchek. vielfältiges Festivalprogramm. Volchek, der sich schon auf Samstag 16. August manchem KROK Festival als beg- Sonntag 17. August Im Wettbewerb lief Casting nadeter Pianist und Entertainer her- Wir treffen in Sevatopol ein. des italienischen Altmeisters Guido vorgetan hatte, studierte am Mit einer Fähre erreichen wir das Manuli. Die Gags hat man schon Minsker staatlichen Konservatorium nahegelegene Khersones, wo direkt andernorts oft gesehen. Frauen die Piano um danach an den Advanced am Ufer des Schwarzen Meers die mit ihren grossen Brüsten agieren Courses for Scriptwriters and griechischen Ruinen zu besichtigen kann ich beim besten Willen nicht Animation Film Directors in Moskau. sind. Diese Tour durch die Ruinen mehr witzig finden. Obwohl tech- Dort eignete er sich die gipfelt in einem erfrischenden Bad nisch einwanofrei, stellt sich bei Kunstfertigkeiten der Animation im Meer. diesem Film, dem jegliche unter Chitruk, Norstein Nazarow Heute läd Paul Bush die an Originalität fehlt das lachen nicht und Khzhanovsky an. Heute arbeit- seiner Arbeitsweise Interessierten in ein. et er als Artistical Director of sein improvisiertes Studio, das er in Quest von Tyron Belarusfilm Studio (Minsk) und seiner Kajute eingerichtet hat ein. Montgomery und Thomas unterichtet Animation in Minsk. Das Interesse ist gross, möglicher-

ANIMATION WORLD MAGAZINE October 1997 33 weise auch desshalb, da bis jetzt Festival mit ‘Re-Animation Club’ Festivalmotto: Die besten Filme der seine scratch technic in Russland, bezeichnet. Welt für die Kinder der Ukraine). der Ukraine und Weissrussland Beide Vorstellungen sind voll kaum anzutreffen ist. Montag 18. August. gestopft mit Zuschauern, die begeis- Nach dem Wettbewerb gibt es im Meine Zeit auf KROK läuft ab. tert dem Programm folgen. Die Cafe eine Präsentation des Projects Das Schiff legt in Artek an. Gleich Riesenleinwand des einen Kinos ist ‘ Animation Project’. Aus nach dem Frühstück gibt es ein direkt am Strand des Schwarzen Anlass des 850 jährigen Jubiläums Boot das uns nach Jalta bringt. Zum Meers aufgestellt, rechts und links der Stadt Moskau, stellte die ersten mal in meinem Leben von schlanken Akazien begrenzt. Stadtverwaltung für dieses Projekt besuche ich diese schöne, aber von Schräg darüber steht der freche, 2 Millionen US$ zur verfügung. Touristen (wie ich einer bin) über- volle Mond der die laue Unter der Leitung von Michael rannten Stadt. Anschliesend Sommernacht mit einem milch- Aldashin (Creative Director) sollen beteilige ich mich wieder an einem weisen Schleier überzieht. bis Ende des Jahres ca. 40 kurze sogenannten Massenschwimmen, Auf dem Fussweg entlang Animationsfilme entstehen, die das dieses Mal im einladenden dem Strand zurück zum Schiff dann als Kompilation in Kinos und Wasser des Schwarzen Meeres stat- vernehme ich schon von weitem im Fernsehen zur Aufführung kom- tfindet. die Tanzmusik und die men werden. In das Projekt sind Der letzte Wettbewerbsblock Freudenschreie der begeisterten neben Aldashin auch Jouri Norstein, des Festivals entpuppt sich als der Tänzer. Ohne in dieser Nacht ein Alexander Tatarsky, Andrei stärkste. Pink Doll (Valentin Auge zu schliessen, tanze ich bis in Khrzhanovsky, um nur einige zu Ohlshvang, Russland); End of the den frühen Morgen. Jetzt ist es die nennen, involviert. Darüber hinaus World in Four Seasons (Paul aufgehende Sonne dem KROK- wareren auch nichtrussische Driessen, Kanada); Clocks (Kerstin Zauber ein jähes Ende setzt. Einen Künstler eingeladen am Projekt Winter, Germany); Bird in the Tag vor der Preisverleihung und teilzunehmen. Window (Igor Kowaliow, USA) und eine Woche vor Festival Ende bringt Many Happy Returns (Marjut mich ein Bus in morgendlicher Fahrt Rimminen, GB) sind so herrausra- zum Flughafen nach Simferopol. Im gende Filme, die für die teilweise Bus dämmert es mir, dass KROK ein schwache Selektion der anderen unbeschreibliches Festival, ja sogar Wettbewerbsprogramme (zu viele ein Wunder ist. Danke KROK! Filme in einem Programm und daher viel zu lange Programme) entschädigen. Im gleichen oTTo Alder war Programm Programm sind neue Commercials Direktor des Int. Trickfilm Festival der Russen , Paul Bush. Photo © oTTo Alder. Stuttgart, ist Gründungsmitglied Rinant Gazizov und Alexei Karaev des 1995 gegründeten Nathalya Loukhynik stellte zu sehen. Commercials ist für die ‘Fantoche’ Festival (Baden, daran anschliessend das KROK- Russischen Künstler nun schon seit Schweiz),ist seit 1993 verant- Kinder Workshop Projekt vor. Schon einigen Jahren, ein ökonomisch wortlich für das Animationsfilm im Juni wurde mit zwanzig Kindern sehr willkommenes Betätigungsfeld. Programm des Int. Leipziger ein kurzer Animationsfilm (direct Viele Animatoren und Regisseure Festivals (Deutschland),Mitglied Animation) angefertigt. Dieser Film sichern sich damit ihren des Beratungskremiums des wurde nun im Rahmen vom KROK Lebensunterhalt. Beachtlich ist, die Internationalen Animationsfilm Festival von den anwesenden Profis hohe Qualität dieser Auftragsfilme. Festivals Ottawa wirkte arbeitete ergänzt und erweitert. Das Ergebnis Artek ist ein als Mitglied von soll dann am Ende des Festivals Erholungszentrum für Jugendliche Auswahlkommissionen und Jurys dem Publikum vorgeführt werden. und Kinder. Das Festival organisiert vieler Festivals und arbeitet zur Nach der Pressekonferenz hier einen Workshop mit Kindern Zeit an einem Dokumentarfilm bewegte man sich wieder in die und ergänzt das Ferienprogramm über den Russischen Bar. Sinnigerweise wird diese Form der jugendlichen Besucher mit Animationskünstler Fedor Chitruk der nächtlichen Unterhaltung vom open air screenings (Das

ANIMATION WORLD MAGAZINE October 1997 34 KROK ‘97: A Long Voyage Down the River Dnjeper by oTTo Alder Translated from German by William Moritz

ow for the fourth time, the unique experience, for the That the Festival is a secretive KROK Festival, animation one sees on the screen Ukranian/Russian joint venture Nwhich is considered to be acquires a further dimension due which takes place exclusively on the best animation festival of all by to the gentle rocking and swaying Ukranian water and land is a the connoisseurs, took place in the of the theater. further peculiarity. The Ukraine from August 11-25, 1997. international cooperation is What is so special about KROK? Animators are a special breed. symbolized by the two Festival First of all, one would have to note One reason for this is the art presidents: David Cherkasky is the fact that the Festival takes itself, the mystery of which has Ukranian and Edward Nazarov is place on a ship (named after the yet to be solved. - Fedor Russian! If all politics were handled Soviet army general Marshall Chitruk in such a fashion, we would have Koshevoy, who was successful a lot fewer problems in this world. against the Germans during World Naturally this bilaterality also War II) which sets sail from Kiev Whenever the Festival docks in demonstrates the thought that and cruises down the mighty river the harbor of one of the larger animation is an independent art Dnieper until it arrives at the Black cities along the Dnieper, the busy form which knows no borders. Sea. Therefore, the Festival is Festival organizers swarm on The figurehead for the Festival, continuously in motion. Not fixed shore with a good load of Fedor Chitruk, was not able to be in any one place. A floating animation, which they screen in a present, but he wrote a message festival. It is also floating in the jam-packed movie theater for 500 which included the phrase: truest sense of the word because enthusiastic children and parents. “Animators are a special breed. its financial, organizational and At the same time the local press One reason for this is the art itself, political state always remains open has a chance to interview the the mystery of which has yet to be and uncertain until the very day filmmakers and organizers. For all solved.” before the Festival sets sail — even of the festival participants who do One last peculiarity of the for the talented Director, Irina not have to take part in either of Festival must be mentioned: no Kaplytchnaya. these activities, the festival offers other festival that I know of Also special about KROK is the sightseeing trips through the fact that for the two weeks on the city or visits to museums. ship one finds only professional Meanwhile back on the ship, guests, such as directors, industrious hands have set cameramen, animators, the tables in the restaurant journalists, critics, festival and prepared a meal. And organizers, sponsors, etc., who that happens three times a watch the film programs in the day, for two sittings of The KROK ship, “Marshall Koshewoy.” Photo © ship’s cinema theater. This is also a ravenous festival participants! oTTo Alder.

ANIMATION WORLD MAGAZINE October 1997 35 embraces such a wide definition of bathes the whole scenery of the ship, and carry us away into Flat animation. KROK shows not only a Festival with crystalline light. The World, the new film by the British fine selection of artful animation opening reception dissolves Daniel Greaves, whose 1991 films, but also such a variety of seamlessly into a merry dance Manipulation won an Oscar. The parallel programs (discussions, under the open starry sky. technically innovative and music, satire, dance, eating, The cinema theater on the boat narratively wild film about Matt drinking, museums, etc.) that offered a repeat screening of the Phlatt, his cat and his greedy fish, none of the other art forms receive opening film program, which had sent the overcrowded and short shrift. KROK is itself an already been shown that completely overheated theater animation! afternoon in a Kiev cinema to into peals of laughter. Although In order to be a little more some 600 viewers. The high point the message of the film (television concrete, and to offer the reader of the program is the new film by is boring and only promotes an insight into daily occurrences at Andrei Khrzhanovsky, Long idiocy) isn’t anything new, the the Festival, I now take the liberty Voyages. Tonino Guerra, who for audience gladly let it be repeated of using my modest, and naturally many years was Federico Fellini’s through this brilliantly animated, very subjective, diary notes to give scriptwriter, collaborated with highly enjoyable film. a picture of life on the Khrzhanovsky on In contrast, the film Under the ship. The following is writing it. The film is Waxing Moon by the Belgian Hans definitely not what an based on Fellini’s Spilliaert, which equates the official news reporter sketches. Maestro, the massive shipment of cattle to would say about the hero of the film, goes slaughter in a rather questionable Festival. to sea in order to way to the holocaust, jerked the reach a magnificent audience sharply back to reality. To Monday, August island. Tonino Guerra, show after that, in the same 11 who is a guest on the program, other funny films, like By chance I met my KROK ship, abducts us Alexander Tatarsky’s Pilot Brothers , friend Paul Bush from into the world of simply didn’t work, and placed an London (Still Life With Fellini’s pictures of unreasonable demand on a Small Cup, Great women. The film everyone. Britain, 1996) at the seems as if it were Zurich airport. We specially made just for In the bar, in the cafe and on the arrive on the same the KROK Festival. deck, people are dancing, singing, plane in Kiev, where The sudden conversing until the night passes Galina and Alexander vibration of the ship, over into a new day. meet us. After Chris and the dance floor, Shepherd (Broken Jaw, oTTo Alder on board. signals to us that The selection for the Photo © Paul Bush. GB, 1997), Pedro KROK has set sail, and competition was made by Serrazina (The Tale About the Cat left Kiev under a clear, starry night. Norstein, Natalya Loukinykh and and the Moon, Portugal, 1995), In the bar, in the cafe and on the Boris Pavlov from , Jiri and Stephanie Dinklebach (The deck, people are dancing, singing Kubicek from the Czech Republic, Imperial Message, Ireland, 1996) and conversing until the night Svetlana Kutsenko and Alexander arrive a little while later, on a flight passes over into a new day. Shpilyuk from the Ukraine, and direct from London, a festival bus Kurine Zereteli from Georgia. From brings us to the Kiev harbor, where Tuesday, August 12 the roughly 380 films submitted, the ship “Marshall Koshevoy” is A gentle Russian woman’s voice only 120 were shown in the already waiting for us. summons me from my dreams to competition. Registration and the opening remind me that breakfast is being reception takes place on the deck. served, and at 10 o’clock the Approaching clouds, rain and fog Here we meet for the first time the second competition program will drive the Festival guests below the more than 300 Festival guests. The screen. The soft garden chairs ship’s decks. There they could weather is mild, and with the deployed in the cinema fit in quite listen to Michael Aldashin playing darkness approaching, the moon well with the gentle rocking of the guitar, accompanying Ivan

ANIMATION WORLD MAGAZINE October 1997 36 Maximov’s singing. Today there are Beasts, with their clear concept, far screened in competition this parties both in the bar and the surpass technically, formally and morning. Paul isn’t on this ship just cafe on the lower decks. aesthetically the often over- for pleasure. He uses every free financed products from the West. minute to work on his new film. Wednesday, August 13 Since he works in a scratch- Despite dancing, singing, directly-on-film technique, his laughing and drinking until the From the roughly 380 films sub- studio (a light table, 35mm film wee hours of the morning, the mitted, only 120 were shown in stock and scratching tools) fits film theater is filled to the last seat the competition. neatly in his luggage. His new for the two competition project is titled The Rime of the screenings this morning. Icarus Ancient Mariner, a visualization (Hungary 1996) by Geza Toth, a Thursday, August 14 and interpretation of the poem three-dimensional , The KROK guests don’t seem to written in 1820 by Samuel Taylor visualizes mankind’s ancient dream know anything about sleep. Once Coleridge. The film will be 15 about flying. It’s a bit arts-and- again the Festival danced until minutes long, and should be crafts, but convincing technically. deep in the morning. The sky over finished by next year. Paul Bush still This film would receive a certificate the Ukraine is once again sunny has 5,000 images to scratch out from the International Jury: Raoul and clear. KROK is docked in the by then — no easy task, when one Servais (Belgium), Igor Volchek port of Kherson. After the considers that he often works for (Byelo-Russia), Natalya Orlowa competition screening, a boat five hours on one single frame. (Russia), Monique Renault brings the entire festival to an Despite beaming sunshine, (Netherlands) and Natalya island, where we are served a dark clouds suddenly close in over Chernyshova (Ukraine). picnic, and everybody goes KROK. One member of the jury, The film E=mc2, also a sand swimming. Cooled down from this Igor Volchek, has stomach trouble animation, by Ala Churikova from swim, the filmmakers submit to the and must be rushed to the the Ukraine, tells of the birth of daily questioning of journalists and hospital. From Moscow comes the love, the world and self- critics. At the same time the sad news that Vadim Kurtchevsky, destruction. Actually, it is the younger guests are dancing on a brilliant director of many popular parable of two fish who meet, deck to hard Techno rhythms. The Soviet films, died last night. Many become involved and end up “older” guests hang out in the bar of his friends are on board. Sorrow fighting each other to the death. where Ukrainian music is swept over the whole ship, written But the highpoint of the second performed live. The pianist and the on the faces of the people. program for me was the film woman singing don’t let their Golosa (Voices) made in 1995 by audience leave before five in the two artists from Moscow, Dimitri morning. In the cafe at the other Rezchikov and Alexander end of the ship some play cards, Ratnovsky, in the classic cartoon others carry on heavy technique. Both of these directors conversations until late that night. learned their animation craft in the In another corner of the same cafe Moscow Pilot Studio under there is hearty laughter. Alexander Tatarsky. Then in 1994 The 50 staff members of the The KROK International Jury. Left to they created their own studio ship, from Captain to cook, tend right: Monique Renault, Raoul Servais, under the name DEVON. The fact ceaselessly to the well-being of the Natalya Orlowa, Igor Volchek, Natalya that Russian popular culture is guests day and night. Everything Chernyosova. Photo © oTTo Alder. virtually unknown to us must be seems to work perfectly. From the deck one has a attributed to our narrow-minded perfect view of the long staircase fixation on culture. Voices Friday, August 15 down to Odessa harbor, which is a music video for the song of the After breakfast, the festival Sergei M. Eisenstein made world same name by the popular docks in the harbor of Odessa. famous through his film Battleship Russian singer Nastya Poleva. Paul Bush is dressed particularly Potemkin. None of the Festival However, this studio’s animated elegantly today. Certainly that is a guests miss a chance to walk up music videos, Acid Wine and sign that his film is going to be those steps to the city of Odessa. It

ANIMATION WORLD MAGAZINE October 1997 37 seems as if the lovely, picturesque lacks any originality, failed to Studio in Minsk where he teaches Mediterranean-like city of Odessa arouse laughter. animation. Capriccio (1986), his blows the mourning away from Quest by Tyron Montgomery most personal and most the faces of the Festival guests. and Thomas Stellmach really autobiographical film, represented After dinner, the competition deserved to win the Oscar. the climax of the festival for me screens the German feature Nevertheless, the film doesn’t hold and it underlined his expertise as Katherina and Witt (100 min., up after several viewings. The an author and director. He is an 1997) by Mariola Brillovska and story is set up so flat that actually animation artist who has yet to be Charles Kissing. With brutal after the second time it loses its discovered internationally. images essentially reduced to punch. symbols, the film tells an Bristol, England’s Bolexbrothers adventure, love story about two head Richard Hutchinson Interpol agents assigned to solve presented in competition Mike the largest art theft of all time. This Booth’s The Saint Inspector. film, too heavy with dialogue and Hutchinson confided to the text, tries to level harsh criticism nightly press conference that he against the commercialization of had already been able to sell the art, art dealers, and poses many film to more than 16 television legitimate questions about the broadcasts worldwide. Likewise, Paul Bush demonstrating his scratch-on-film “true” meaning of art in today’s he used the opportunity to screen technique in a makeshift studio in his cabin. society. But I’m afraid that spontaneously for the public the Photo © oTTo Alder. Katherina and Witt itself may be an latest commercial (with a budget object of the shady art market and of £120,000) from his firm for KROK also offers more special its attendant subsidies which it Carlsberg Beer. The 20-second programs which I will not be able criticizes. spot, directed by Dave Borthwick to attend. Amongst these there using 3D , shows are retrospectives of the work of a Snowman in a refrigerator who Monique Renault, Natalya Orlova The KROK guests don’t seem sees a handsome young couple Chemyshova, Fedor Chitruk, to know anything about sleep. drinking beer in a fresh summer Vyacheslav Kotionochkin and meadow. Lured by the advertised Eugen Sivokon. Other programs product, the Snowman leaves his include a retrospective of The cultural highpoint of the frosty life-supporting environment Ukrainian animation, a program fringe events must be the recital in to go out in the meadow where on the theme of “Cinema about the cinema theater by a popular he devotes himself to the cool Cinema,” “Eros and Anima,” Odessa satirist. The Russian and drink and ..... “ from Ukrainian speaking guests The highlight of today’s SIGGRAPH,” and more. In other enjoyed themselves immensely, program was the retrospective of words, a diverse festival program laughing until their cheeks hurt. the films of Igor Volchek. Volchek, is offered. Unfortunately for me the evidently who revealed himself to be a witty text of the songs remained a talented pianist and entertainer at Sunday, August 17 complete mystery. some of the earlier KROK Festivals, We arrive at Sebastopol. We studied piano at the Minsk State reach nearby Khersones by ferry, Saturday, August 16 Conservatory and then where directly on the banks of the Today’s competition screening participated in the Advanced Black Sea one can visit Greek ruins. includes Casting by the old Italian Courses for scriptwriters and This tour through the ruins is master Guido Manuli. The gags animation film directors in crowned by a refreshing swim in have all been seen before in other Moscow. It was there that he the sea. places. Hard as I may try, I just acquired an adeptness in Today Paul Bush has invited can’t find women’s large breasts animation under the tutelage of those who are interested in his waggling funny anymore. Chitruk, Norstein, Nazarov and production methods to visit his Although technically Khzhanovsky. Today, he is the improvised studio which he has unobjectionable, this film, which artistic director of Belarus Film installed in his cabin. The general

ANIMATION WORLD MAGAZINE October 1997 38 interest in his work is great, Monday, August 18 screen of one cinema is erected possibly because until now his My time at KROK is coming to directly on the beach of the Black scratch technique has hardly been an end. The ship docks at Artek. Sea, lined on both sides by seen in Russia, the Ukraine and Directly after breakfast we take a acacias. Diagonally above, the Byelorussia. boat to Yalta. For the first time in moon hangs cheekily, filling the my life I am visiting this beautiful balmy summer night with its milky town that is overrun by tourists, of haze. which I am one. Afterwards I participate in a so-called mass In the bus I realize that KROK is a swim which takes place in the sheer indescribable festival, a inviting waters of the Black Sea. marvel. The final screening of the competition turns out to be the most impressive. Pink Doll On the footpath along the (Valentin Ohlsvang, Russia), End of beach leading back to the ship, I Late night on the deck. Left to right: Richard Hutchinson (U.K.), Gerben the World in Four Seasons (Paul can faintly hear the dance music Schermer (Holland), Pedro Serrazina Driessen, Canada), Clocks (Kerstin and the joyous shouts of the (Portugal), Chris Shepherd (U.K.). Photo Winter, Germany), Bird in the © oTTo Alder. enthusiastic dancers in the Window (, USA) and distance. Without getting a After the competition there is a Many Happy Returns (Marjut moment of sleep, I dance until the presentation of the “Moscow Rimminen, GB) are such early hours of the morning. Now Animation Project” in the cafe. For outstanding films that they the rising sun sadly ends the KROK the 850th Centennial of the city of recompense us for the partially magic. Just a day before the final Moscow, the city council has put weak selection in the other prize awards are announced and up U.S. $2 million for this project. categories. There were just too a week before the end of the Under the direction of creative many films in each program and festival, a morning bus takes me to director Michael Aldashin, 40 short therefore, the programs were the airport at Simferopol. In the films will be produced before the overly lengthy. In this same bus I realize that KROK is a sheer end of the year and will then be program we get to see the newest indescribable festival, a marvel. compiled and shown in cinemas commercials by the Thank you, KROK! and on television. Besides Konstantin Bronzit, Rinant Gazizov Aldashin, and and Alexei Karaev. For the last See the complete list of award- Alexander Tatarsky, to name but a several years, the commercial area winning films in this issue. few, are also involved in the has become a very welcome field project. Moreover, non-Russian of activity for Russian artists. Many artists will also be invited to animators and directors are able to participate. earn a good living this way. The Afterwards, Nathalya Loukhynik high quality of these oTTo Alder is the former program presented the KROK childrens’ commissioned films is notable. director of the Stuttgart International workshop. In June, a short Artek is a recreational center for Animation Film Festival. In 1995 he animation film had been young people and children. The was involved with the founding of completed by twenty children. festival organizes a workshop for the Fantoche Festival in Baden, Within the framework of the KROK children and supplements the Switzerland. Since 1993 he has been festival, the professionals present holiday program for the young responsible for the animation pro- expanded and added to this film. visitors by providing open air gram at the Leipzig Festival in Ger- The result will be shown to the screenings. The motto of the many. He has also served on the public at the end of the festival. festival is, “The best films of the juries and selection committees of After the press conference, we world for the children of the numerous festivals, and is working returned to the bar. This form of Ukraine.” Both showings in Artek on a documentary film about the nightly entertainment was aptly are crammed full of spectators Russian animation artist Fedor termed “the Re-animation Club” by who follow the program with Chitruk. the festival. great enthusiasm. The gigantic

ANIMATION WORLD MAGAZINE October 1997 39 Anima Mundi ‘97: Brazil’s Time to Shine

atin America’s only awards went to: tival. Edmundo Barrieros reports on animation festival, the festival and its impact on LAnima Mundi, was •Best Film: Dada by Brazilian animation in Anima Mundi held in Rio Di Janiero Piet Kroon (Holland). In Brief which is available in both from August 8-17. This •Best Children’s Film: Portugese and English. Lea Zagury surprisingly vibrant and The Rescue Team - and Aida Queiros’ On the Winning international festival was not only a Episode “The Glue” by Jánis Film: Dada offers a detailed politi- success, but another step toward Cimermanij (Letonia). cal analysis of why they feel Dada building Brazil’s growing animation • Best Computer Animation: Sticky was the public’s favorite film. This community. Business by Ed Taylor (United article includes a Quicktime movie of The international, non-com- Kingdom). Dada by Piet Kroon in the HTML ver- petitive festival offers audience sion. members the opportunity to pick Our review of Anima Mundi their favorite films. This year’s three offers two different looks at the fes- Bonus HTML Features

Every online (HTML) issue of Animation World Magazine contains additional features not found in the download or print Acrobat version, such as Quicktime movies, links to Animation World Network sites, extended articles and special sections. Don’t miss the following highlights that are showcased exclusively in this month’s Animation World Magazine HTML version: http://www.awn.com/mag/issue2.7/2.7pages/2.7cover.html

¥ Springfield, Nevada AWM visited Henderson, Nevada, to see first-hand the home of The Simpsons. The HTML version features four Quicktime movies, including for a full tour of the house and coverage of an entire day of Fox festivities.

¥ Happy Birthday, Chuck Jones! Our coverage of the animation legend’s 85th birthday party includes a Quicktime movie of an exclusive inter- view with Chuck Jones.

¥ Cartoon Network’s Dive-In Theater: A Floating Cinema Exclusively on the AWN web site: an opportunity to win one of 60 Dive-In Theater cartoon character rafts. Hurry! Contest ends October 31.

¥ On the Winning Film: Dada The report from Anima Mundi includes a Quicktime movie of the award-winning film Dada by Piet Kroon.

¥ Rue Rosé: A Twist on Rose-Colored Glasses Includes a Quicktime movie of the film Rue Rosé by Volker Schlecht.

ANIMATION WORLD MAGAZINE October 1997 40 On the Winning Film: Dada by Lea Zagury and Aida Queiros ner of dence was strongly repressed with Anima violence. Mundi ‘98. The public was captivated by This film’s Dada because it told a story by popularity using very intelligent humor. The certainly audience enjoyed the film, laugh- illustrates ing frequently, and recognizing thethemselves as the protagonists. Brazilian Lea Zagury is one of the four audience’s directors of the Anima Mundi identity Festival. She is an independent because it filmmaker of animated shorts and reflects the studied social, at Cal Arts. She has since worked political at PDI in film effects and in devel- and eco- opment for Turner Feature nomical Dada by Piet Kroon. © Picture Start/Cilia van Dijk Film Productions. Animation. She is now develop- context uring the fifth Anima Mundi ing an animated television series that Brazil has been living with for Festival, the audience with Troon in L.A.. so many years. Dawarded for the third con- secutive year, a prize for their favorite animated film. The Public This film’s popularity certainly Aida Queiros is also a director of Award is very important and mean- illustrates the Brazilian audi- Anima Mundi. She is a founder ingful because it reflects the charm ence’s identity ... and president of Campo Quatro and spontaneity of Brazilian taste, Desenhos Animados, an anima- preference and opinion. After five tion studio in Rio Di Janiero that One of the strongest years of presenting a variety of great produces commercials. She also Brazilian cultural characteristics is an works, we are now able to observe directs her own animated shorts irreverence toward the imposed and how the Anima Mundi audience’s and teaches animation courses in pre-established political resolutions taste is becoming more refined. several institutions. determined by the rulers of our soci- ety. Good humor and mockery are The public was captivated by constantly used in many art forms to Dada because it told a story by ridicule and criticize what is con- See also: Piet Kroon’s article on using very intelligent humor. sidered dishonest, inappropriate the making of his latest film, and immoral in these decisions. This T.R.A.N.S.I.T., in the February characteristic became very signifi- Among the many great films 1997 issue of Animation World cant during the years Brazil was that were screened, Dada, by Piet Magazine. ruled by a Dictatorship when any Kroon from Holland, was the win- other form of opposition and dissi- ANIMATION WORLD MAGAZINE October 1997 41 Anima Mundi Em Breve by Edmundo Barreiros elo quinto ano consecutivo, pleno coração do Rio de Janeiro, sentou uma inovação na premi- Anima Mundi foi o principal deve-se, principalmente, ao seu rela- ação. Duas novas categorias foram Pevento cultural do Rio de cionamento íntimo com o público. criadas para premiar os favoritos o Janeiro por dez dias do mês de Todos os que freqüentam o festival público. Além do melhor filme, a agosto. Desta vez, platéia escol- mais de 22 mil pessoas heu, também, assistiram a 126 filmes a melhor pro- e dezenas de vídeos, dução infantil e além de participarem a melhor em de oficinas e palestras. computação O único festival do gráfica. A cate- gênero em toda a goria mais América Latina nova- tradicional foi mente trouxe para os vencida por cariocas o melhor da Dada, título produção autoral inter- holandês dirigi- nacional, assegurando do por Piet uma sintonia com o Kroon. A mundo que começa a Letônia ficou render seus primeiros com o prêmio frutos. Se antes de infantil pela Anima Mundi os ani- série The madores brasileiros tin- Rescue Team, ham que sair do Brasil Cesar Coelho,Valeria Colela, Lea Zagury,Aida Queiroz, Marcos animação em ou dedicar-se à publici- massinha de dade para conseguir trabalhar - tem a oportunidade de experimen- Jánis Cimermanij. O melhor em hoje estão ocupando cargos impor- tar a produção de seu próprio filme computação gráfica foi o britânico tantes nos principais estúdios do de animação nos estúdios abertos Sticky Business, de Ed Taylor. planeta —, já é possível vislumbrar permanentes. um futuro mais iluminado. Dois cur- O preço das tas estiveram na mostra competitiva sessões é sim- de cinema e foi possível realizar uma bólico (menos sessão de vídeo especial com onze de US$ 3,00 novas produções “made in Brazil” para filmes e (algumas assinadas por jovens que US$ para tiveram seu primeiro contato com vídeo) e os o mundo da animação em Anima prêmios são Mundi). definidos por O sucesso do evento, que já júri popular. levou mais de 120 mil pessoas ao Este Centro Cultural Banco do Brasil, um ano Anima Caroline Leaf, David Sproxton. Photo: Lula Rodrigues. © Anima Mundi. belíssimo prédio do século XIX em Mundi apre- ANIMATION WORLD MAGAZINE October mação da produ- tora Blue Sky e professor da School of Visual Arts, em Nova York, veio ensinar alguns macetes da computação gráfica. Pela quinta vez, Anima Mundi foi um grande sucesso. Dessa vez, com uma vantagem em relação aos anos anteriores. A aber- tura das salas de projeção do Jeff Lynch,‘Story Board Workshop.’ Photo: Lula Rodrigues. © Anima Mundi. Espaço Cultural dos Correios uma Anima Mundi, porém, não ular o interesse de jovens brasileiros semana antes do habitual permitiu se limita a trazer para os cariocas as pela animação. Por isso, além dos que mais gente pudesse assistir aos melhores novidades do cinema de estúdios abertos, sempre são orga- filmes, o que, felizmente, não animação. O intercâmbio com nizados “workshops” nos quais os deixou os cinemas vazios. As alguns dos mais importantes profis- brasileiros aprendem alguns ele- poltronas em Anima Mundi estão sionais do mundo tem sido marca mentos fundamentais desta arte. O sempre cheias de gente que mal registrada do evento. Este ano, os destaque de 1997 foi o americano pode aguardar outro ano para a destaques ficaram por conta da pre- Jeffrey Lynch, que apresentou uma próxima edição de um evento que sença da americana Caroline Leaf, oficina de “storyboard.” O brasileiro já está se tornando uma tradição com uma retrospectiva de sua obra; , diretor de ani- no calendário cultural do Rio de e do inglês David Sproxton, que Janeiro. veio para mostrar o trabalho de sua produtora, a Aardman. Os dois foram as principais estrelas da mostra Papo Animado, na qual os criadores exibiram seus filmes e debateram com o públi- Edmundo Barreiros, 31, é jornal- co. Os dois convidados ista. Como repórter, cobriu todas estrangeiros estiveram ao lado as edições de Anima Mundi. do brasileiro Luiz Briquet, talen- Apaixonado por animação, é, toso animador responsável por também, roteirista e crítico de algumas das melhores campan- quadrinhos. Nascido no Rio de has publicitárias do país, tendo Janeiro, mora nesta cidade e tem recebido prêmios respeitados um filho que o acompanha aos como festival de Cannes ou o festivais de animação há 4 anos. Clio. Ainda mais importante do que apresentar e discutir o mel- hor da produção internacional,

Anima Mundi se propõe a estim- Edmundo Barreiros.

ANIMATION WORLD October 1997 43 Anima Mundi In Brief by Edmundo Barreiros Translated from Portugese by Alejandro Gedeon.

or the fifth consecu- public. Every individual tive year, Anima who visits the festival, has FMundi stands again the opportunity to develop as the most important cul- his or her own animation tural event in Rio De in the various studios, or Janeiro. Spanning ten days animation stands, that are in August, more than permanently open to the 22,000 people enjoyed public. The admission for 126 films and dozens of these sessions is nominal videos, and participated in (less than $3 for films and various workshops, talks, $1 for video) and the prizes and other events. are awarded by “popular jury,” in other words, the Anima Mundi’s Festival directors (left to right): Cesar Coelho,Valeria Colela, audience. Impact Lea Zagury,Aida Queiroz, Marcos Magalhaes. Photo by Lula In addition to the Rodrigues. © Anima Mundi. This unique anima- prize for best film, this year tion festival, the only one of its kind by young animators that were intro- Anima Mundi introduced two new in , brings to the duced to the art of animation prize categories that are awarded Cariocas (as the residents of Rio refer through Anima Mundi’s previous fes- by the audience: the Best in to themselves) the best in world- tivals. Children’s Animation and the Best wide animation. The festival helps in Computer Graphics. The award For the fifth time Anima Mundi to create a synchrony between the was a big success. for best film was given to Dada, a rest of the world and the Brazilian Dutch film directed by Piet Kroon. industry that is just beginning to Letonia won the Children’s prize bear its first . Before Anima Over the past five years, this with The Rescue Team, a clayma- Mundi was born, Brazilian anima- event has brought over 120,000 tion series directed by filmmaker tors had to go abroad to find work, people to the Bank of Brazil’s or they took jobs in advertising. Cultural Center, Today many of them are creating a magnificent their own independent studios, or building from they hold important posts in top ani- the 19th mation studios around the world. Century located It’s now possible to see a brighter in the heart of future for Brazilian animation. This Rio. The event’s year, two Brazilian short films were success, howev- in competition. Also, a video show- er, is mainly due case with eleven new “Made In to the festival’s Brazil” productions, was presented. close and inti- mate relation- Some of these works were created Caroline Leaf, David Sproxton. Photo: Lula Rodrigues. © Anima ship with the Mundi. ANIMATION WORLD MAGAZINE October 1997 Mundi’s purpose is to stimulate Brazilian youth’s interest in anima- tion. For this reason, in addition to the open public studios, Anima Mundi also organizes animation workshops where Brazilians can learn some of the fundamental prin- ciples of the art. A highlight of the 1997 festival was the workshop on Story Boarding, directed by American animator and artist Jeffrey Lynch. Brazilian Carlos Saldanha, an for and a professor at the School of Visual Arts in New York, came to share some tips and tricks on computer graphics.

Jeff Lynch (right) teaching at the Story Board Workshop. Photo by Lula Rodrigues. © The event’s success, however, is Anima Mundi. mainly due to the Festival’s Jánis Cimermanij. The Best in Alongside the international guests close and intimate relationship Computer Graphics was Sticky was Brazilian animator Luiz Briquet, with the public. Business by British director Ed Taylor. who is responsible for some of Brazil’s best advertising campaigns. For the fifth time Anima He showed his work which includes The festival helps to create a Mundi was a big success. In an pieces that have won prizes at the synchrony between the rest of improvement over past years, the Cannes Festival and the Clio the world and the Brazilian screening rooms in the Post Office Awards. industry that is just beginning building’s Cultural Center opened Beyond presenting the best to bear its first fruits. one week earlier than the rest of the in international production, Anima schedule, allowing more people to be able to see the films. Even with this added capacity, the seating was International Guests full of people who will hardly be Anima Mundi not only able to wait for next year’s install- brings to the Cariocas the best in ment of this event; an event which new animation, but also the very is already becoming a tradition in special guests who constitute the the cultural calendar of Rio de trademark of a great festival. This Janeiro. year, the audience was honored by the presence of American film- maker Caroline Leaf who show- Edmundo Barreiros is a 31 year- cased her complete work. Also old journalist. As a reporter he present was English producer has covered all of the Anima and filmmaker David Sproxton Mundi editions. He is an anima- who showed the works of tion lover and also a writer and Aardman . Both were cartoon critic. Born in Rio de the main attractions of the event Janeiro, he lives there with his Papo Animado, or Animated son who has been accompany- Chat, in which the guests show ing him to the animation festivals their work and have an open dia- for the last four years. logue with the audience. Edmundo Barreiros.

ANIMATION WORLD October 1997 45 SAFO `97: The First Time Around

by Joan Ashworth he September 1997 SAFO was really give. From an educator’s point a new festival on the world cir- of view, it was just a little reassuring Tcuit with the emphasis partic- that some of the advice handed out ularly on students, their work and about living in the real, profession- their future. It was designed to bring al world was being backed up and them together with educators and taken in. Hopefully, the first-hand practitioners in the industry so that experiences will be passed around there might be a cross-fertilization the studios and bars back at college of ideas and exchange of needs, to spread the benefits beyond the wants and practices. (relatively) few who could attend.

Now the proliferation of cours- The festival was invaluable to es around the world is creating those lucky enough to attend. prospective employers, heroes and a feast of talented, young film- film crews were asking questions makers, many of them genuine and, perhaps most importantly, voices. Good Solid, Down-to-Earth offering advice and fresh-eye com- Advice ments, often from a slightly differ- The students seemed to rel- ent cultural background. The festival ish the five days. Here they were was invaluable to those lucky Mainstream Mania being taken seriously by awe-inspir- enough to attend. At times, though, it seemed ing names like , MTV, PDI and It doesn’t matter how many as if the mainstream was perhaps a Cartoon Network. Their work was times a student’s college tutor gives little too dominant. Maybe it was being seen outside their college, them advice on presentation and because of the inevitable prevalence projected even, to an audience pitching, but when J. J. Sedelmaier of the North American feature beyond immediate friends and fam- tells them to keep their reel to three industry, but to this (European) ani- ily. Instant comments from viewers minutes, their portfolio tight and mator it was a shame that more who had not struggled through the their resume clear, they know he’s experimental or innovative work production agonies were priceless. right and they know that they was not more evident; that work Students from other colleges, should save their twenty minute from the Canadian film schools did unedited rushes for not exist alongside the many com- another viewing - even mercial, happy cartoons. Students if they are a visual poem! are often told that their graduation For students to be able to walk around and see the faces behind those powerful animation stal- warts, to realize that the companies aren’t ogres or impregnable, that they have needs too, that there will always be room for genuine tal- ent... Well, these are 03a The Arts Center, home to both We Lived in Grass by Andreas Hykade took home the experiences that no SAFO and the biannual Ottawa Grand Prize. classroom or school can International Animation Festival. Photo © Animation World Network. ANIMATION WORLD MAGAZINE October 1997 46 industry and the educators, bring- The Future ing graduates into the fold. As long Overall the festival certainly as the students remember that they has a place and is welcome. It are more than just cartoon techni- shows again just what a high ani- cians, the future for the producers, mation is on at the moment. Ten educators, students and festival years ago the industry was so much organizers looks bright indeed. David How of Sheridan College present- more limited and incestuous. Now ing a seminar. Photo © Animation World the proliferation of courses around Network. the world is creating a feast of tal- film is their calling card, and they ented, young filmmakers, many of have accepted that. However, they them genuine voices. Inevitably also shouldn’t forget that the film technology has had its part to play, Joan Ashworth has run the ani- they make at college is one of the opening up animation to smaller mation department of London’s very few times that they will colleges and more students. post-graduate Royal College of Art be able to express their art so for the last three years, winning freely and shout so individu- the prize for the most innovative ally. Prospective employers are school at both Annecy and often artists too, and they can Ottawa. She has a long and dis- see job-worthy quality in tinguished client list from around more artistically challenging the world for her commercial work. There is no need to work through her studios, 3 dumb-down to get a job in a Peach and Fold. mass-market industry. I was surprised and disappointed by the screening room reac- Teletoon, Canada’s new all-animation channel, was tions to some of the more among the corporate exhibitors in SAFO’s thoughtful works: shouting AniMarket. Jodi Hazzan, Communications The following prizes were award- and slow clapping a non-nar- Coordinator for the network, greeted visitors. ed at SAFO: rative film highlights the lack Photo © Animation World Network. Grand Prize: We Lived in Grass by Andreas of acceptance, even in these circles, Hykade (Germany) of animation as a more expressive Companies and colleges showed Best Unfinished Film: Love Story by Pedram Goshtusbpour, Jason Rennie (Canada) and experimental art form. off their finest computer animation wares to students who devoured all Runner Up Best Unfinished Film: The Tenor by Thor Freudenthal (Germany) As long as the students on offer. The Pixar stand was an especially popular focus with stu- Best : Cappucino by remember that they are more Ulo Pikkov (Estonia) than just cartoon technicians, dents made aware by the success Best Computer Animation: Riante Contré of that there is life for the future ... looks bright by Francois Vogel (France) inventive computer-based story- indeed. Runner Up Best Computer Animation: telling beyond flying logos, space- Adrenaline by Lionel Richerand (France) ships and digital tun- Best Experimental Film: Fruhling by Silke nels. Computers Parzich (Germany) have quickly become Best Background Design: Season’s a massive boon to Greetings by Michael Dougherty (USA) animation, helping to Best Canadian Film: Mr. Lucky by David Soren (Canada) make it more attrac- Special Jury Prizes: tive as a career and Experimental: HISAO by Mashiro Sugano pulling in a wider (USA) variety of young tal- : Shadows in the Margerine ent from science as by Pekka Korhonen, Leena Yaaskelainen, well as art back- Kaisa Penttila (Finland) grounds. Original Concept: Arnold Has A Thought Now events by Peter McDonald (Australia) and The Many schools exhibited at SAFO, offering festival-goers an like Ottawa are help- Ticker Talks by Stephen Harding-Hill (U.K.) opportunity to look at the different educational programs available in animation. Photo © Animation World Network. ing to integrate the

ANIMATION WORLD MAGAZINE October 1997 47 Fantoche: Switzerland’s Experiment - A Critical Review By: Thomas Basgier As at every festival, the competi- tion programs were, of course, the most attractive screenings to attend. The con- cept of some of the Left to right:Thomas Basgier, oTTo Alder and Ron Diamond. © 1997 other programs Animation World Network. were quite old fash- here is a difference between ioned (“Best of the the theory of a festival and the World”) or not very Tpractice. Fantoche, which took clear in presenting place for the second time from termini which are September 9-14 in a small Swiss already established in film science. For Many Happy Returns by Marjut Rimminen. © Channel Four town called Baden not far from Television. Zurich, is a good example of that. example, during art and for distribution, financing, The intention was to be different Fantoche we received a complete- etc. from other festivals, to focus on the ly new impression about everything innovations in the field of anima- that we knew as “psychedelic film.” tion, reduce the competition’s attrac- In fact, it was in general a tion and present programs with The Good and The Bad much better competition than unusual subject matter in order to It is true. There is a difference that of the last Annecy Festival. establish new connections... between the theory of a festival and the practice but that doesn’t mean On the other hand, the Innovation...A Definition that Fantoche has no qualities of organizers should take more care But, in fact, “innovation” merit. The atmosphere was quite about the projection, which is real- means all and nothing. To realize nice and intimate and the compe- ly the heart of a festival. The equa- such a goal seems to be rather easy tition presented, despite all of the tion is quite simple: bad projection for the organizers of Fantoche: you high demands about non-defined = bad festival. The organizers should only have to avoid established innovation, many convincing and also think about moving the festival names and incorporate mostly stu- original films. In fact, it was in gen- to Zurich. There, they can expect a dent films. That’s the simple reason eral a much better competition than larger and more interested audi- why, for example, Phil Mulloy’s new that of the last Annecy Festival. The ence. Baden is really a contempla- film The Chain was not in competi- retrospectives were also of a tion. He is already too famous very high standard. Jerzy Kucia, which is a strange way to program Piotr Dumala, Oksana a festival. Cherkassowa and Vera Neubauer were all honored. The festival was also a good There is a difference between starting point to discuss the the theory of a festival and the connection between anima- practice but that doesn’t mean tion and the Internet and the that Fantoche has no qualities possibilities it presents for film- of merit. makers as both a medium of Marjut Rimminin (left) and Clare Kitson celebrate their win. © 1997 Animation World Network. ANIMATION WORLDOctober 1997 dark colors. Oksana Cherkassowa the evocative potential of modern was so angry about this (wrong) cinema.” decision that she didn’t attend the • Second Prize (3,000 Swiss francs): awards ceremony. How Wings Are Attached to the Backs of Angels by Craig Welch In two years we will attend (Canada). Jury comments: “The Fantoche again, hoping to see highly rational construction of this an improved festival with less film creates a surrealist atmosphere theory and more practice, and which is very impressive. With this to discover yet another mas- the film demonstrates that human Fantoche organizer Frank Braun (left) and terpiece. nature cannot be manipulated by Swiss animator Robi Engler. © 1997 technical .” Animation World Network. • Best First Film (5,000 Swiss francs): tive place but after 10:00 PM it is as However, no doubt about it, Grandmother by Andrei Zolotuchin lively as a cemetery. the best film of the competition won (Russia). Jury comments: “For its the first prize. Many Happy Returns graphic qualities and its simple and Scandal... by Marjut Rimminen, a Channel sincere narrative.” At the end of the Festival we Four production, is a combination • Honorable Mentions: Un Jour by also had a contemplative, little scan- of and live-action elements. Marie Paccou (France), and Lost dal. The jury, consisting of Nag The subject is rather delicate: child Momentum by Scott Sona Snibbe Ansorge, Oksana Cherkassowa and abuse (remember Marjut (U.S.). Jury comments: Two films Jayne Pilling, couldn’t come to an Rimminen´s former film The Stain). which each match visual inven- agreement about the prize for Best There is not only emotional per- tiveness to original ideas.” First Film. The final result in this case plexity, but also a lot of strong • Public’s Choice Prize (3,000 Swiss was, indeed, quite unsatisfactory. images. The film is wonderful and francs): The Grande Migration by Two films had been discussed in the very suggestively composed. It is like Youri Tscherenkov (France). last round: Walentin Olschwang´s a kick in the kidneys. It was worth Pink Doll and Grandmother by the visit to Fantoche to watch this Andrei Zolotuchin. Russia against film. In two years we will attend Russia. The prize went to Fantoche again, hoping to see an Thomas Basgier is the European Grandmother which is definitely the improved festival with less theory representative for Animation weaker film. Pink Doll is a great ani- and more practice, and to discover World Network. He has a strong mated nightmare about a little girl yet another masterpiece. One mas- background in animation as well who projects her aggressions terpiece is even more than you can as communications and multime- against her mother’s lover on her expect... dia. For more than ten years, he new, pink doll. The doll starts to ful- has organized programs for inter- fill all of her fantasies - until the bit- national festivals, and published ter end. The question is, do we see numerous articles on the subject only fantasies or do the fantasies Fantoche 1997 Awards of animation. From 1987 to become reality? A dark subject in 1992, he organized and pro- The international jury of Fantoche was grammed one of the premiere comprised of Jayne Pilling (U.K.), European animation festivals, the Oksana Cherkassowa (Russia) and Nag International Animation Film Ansorge (Switzerland). Out of 49 films Festival of Stuttgart. He also spe- in competition, they selected the fol- cializes in the conception and lowing prize-winners: realization of multimedia and • First Prize (5,000 Swiss francs): Internet projects. He is currently Many Happy Returns by Marjut working on such projects with Polish animators Jerzy Kucia (left) and Rimminen (United Kingdom). Jury one of the biggest communica- Piotr Dumala. © 1997 Animation World tion agencies in southwest Network. Don’t miss our interview with comments: “This film is a moving these two filmmakers in an upcoming narrative with an intelligent use of Germany. issue of Animation World Magazine. ANIMATION WORLD MAGAZINE October 1997 49 Rue Rosé: A Twist on Rose-Colored Glasses by Don Perro

In 1980 I reviewed Raging Bull in an art accountants, is the use of levels. school homework assignment. I didn’t However, the levels here are used like the film…all that blood on the cam- quite creatively to assist in telling the era lens was too much for this sensitive story. The animation is drawn on first year student. A week later my paper came back with more on it than semi-transparent paper which there was on De Niro’s paunchy face: allows us to see two levels at once. the instructor loved the film, disagreed Unlike animation, the levels in with me and wanted to let me know Rue Rosé are easy to differentiate. everything there was to love about it. The lower drawings have a pale Seventeen years later, I’m ready to try color and soft edges because of the this again… A child sees the world through rose-col- ored glasses in Rue Rosé. © Volker top sheet of paper. The top draw- ue Rosé is a short film pro- Schlecht. ings are bright and clear. Schlecht duced at the Burg uses this visible difference to focus of a cane, is the first to meet her Giebichenstein, Hochschule the viewer’s attention. Characters R demise… fuer Kunst und Design in Halle, a move to the top level becoming town just outside of Leipzig, sharp, when the animator wants us Techniques Germany. Volker Schlecht, the film- to look at that figure, much like a The theme of walks and maker, has created a thoughtful director pulling focus in a live-action walk cycles is common in student work of just over five minutes. film. films, often, I suspect, because re- using drawings is as tempting to The walks of the people we see students as it is to studio accoun- are as varied as the characters; tants. But Rue Rosé goes beyond studies of personality through that: Volker Schlecht’s characters are gait. realistic and well-drawn, and are reminiscent of Bill Plympton’s com- plex drawing style. The character The Story animation concentrates on the The Rue Rosé is revealed to walks, which are effective satirical be a moving treadmill upon which sketches of people on the move. various adults walk. We see these The varied and interesting camera The artist,Volker Schlecht, used walking people reflected through the rose as a recurring visual theme in Rue Rosé. © angles show that Schlecht is far colored glasses, literally, of a child Volker Schlecht. more concerned with telling his who has a special music box that Rue Rosé is a witty, and story using strong design than with must be put away as he, or she, is rather scary, look at the hurried time-saving devices. encouraged to be swept along with pace of life through a child’s reflec- the rest. The walks of the people we tive glasses. The film has already see are as varied as the characters; The varied and interesting won awards in the festival circuit studies of personality through gait. camera angles show that and if you get a chance to see it, We hear the footsteps, ticking like Schlecht is far more concerned step off your treadmill and take a a metronome, as birds provide with telling his story using seat. accompaniment in the background. strong design than with time- The ticking of the steps soon saving devices. Don Perro is an animator and becomes overwhelmed by the designer currently coordinating tolling of a bell as panic begins to the Commercial Animation Another time-saving device set in. People quicken their paces. A Program at Capilano College in enjoyed by students, and again, little old lady, walking with the help North Vancouver, Canada. ANIMATION WORLD MAGAZINE October 1997 50 Mmmmmm...A Virtual Travel Guide: Virtual Springfield by Joe Toledo f you remember Truckzilla, Larry, running through town, Apu’s Secret Garden, or The hurling trash cans through win- ISandwich, then it’s time for dows and collecting points for you to move to Virtual everything you can get your Springfield. hands on. But watch out for the Fox Interactive’s Virtual store owner. He’s got a 12- Springfield doesn’t just put you gauge and a bad attitude. into The Simpsons cartoon, it Of course, Larry doesn’t hold puts you smack-dab in the mid- a candle to “Smite of the dle of their world. You start in Bumblebee.” Starring my per- the heart of Town Square under sonal favorite Simpsons charac- the shadow of the great ter, the Bumblebee Man, “Smite Jebediah Springfield. There you of the Bumblebee” is a recreation meet Troy McClure (you might of the worst day of his life. His remember him from such dri- wife has left him, he’s been pelt- ver’s ed films as Alice’s ed by an arsenal of oranges, Adventures Through the and it’s your job to build on his Windshield Glass and The misery by knocking him uncon- Decapitation of Larry Leadfoot) scious with tomatoes in the face. who tells you a little bit about © Twentieth Century Fox Home Entertainment. Okay, so it probably isn’t the the “pea-sized town with lima nicest game in the world, but, -sized dreams.” After that, you spots in Springfield. Stop by Moe’s hey, it is supposed to be the worst are on your own to explore for a beer with Barney, visit the Old day in the Bumblebee Man’s life, Springfield, USA. Simpson Place for a visit with right? Homer, Marge, Bart, Lisa, and While the games provide a Grandpa, or just wander the streets brief diversion from wandering of Springfield looking over all the All in all, if you are a die-hard around, they won’t hold your atten- sites you’ve come to know from the Simpsons fanatic, Virtual tion for long. The gameplay is pret- television show. The 3D rendered Springfield is a must. ty limited to a minute or two. version of Springfield looks fantas- tic as you move real time from loca- Out on the Town tion to location. While the software has game- Using the mouse, you can like elements, it is lacking the walk through the streets of Fun for the Whole Family depth of a game. Springfield, admiring the sights and If you aren’t the Simpsons meeting all your favorite characters freak I am, there are other things to If games aren’t your cup of from The Simpsons. Featuring tons do in town. Scattered around at dif- tea, Virtual Springfield features a of original animation and all the ferent locations are small arcade complete set of Springfield original voices from the show, you style games to play. My two favorites Community Collector’s Cards. Each truly feel like you are there. are found at the Noiseland Arcade digital card features a different citi- Using the map to get near the Kwik-E-Mart. zen of Springfield, USA, and the 74 around, you can visit 17 different In “Larry the Looter,” you are cards are scattered all over town. ANIMATION WORLD MAGAZINE October 1997 51 Homer explores Apu’s Kwik-E-Mart in Virtual Springfield. © Inside the home of America’s favorite cartoon family. © Twentieth Twentieth Century Fox Home Entertainment. Century Fox Home Entertainment. a bit long. If we around town and introducing the could quickly characters one by one to extend jump from spot playing time and add an extra layer to spot without of depth. having to walk the streets A Final Thought every time, All in all, if you are a die-hard gameplay Simpsons fanatic, Virtual Springfield would be is a must. You’ll enjoy every frame of enhanced as new animation and finding props there wouldn’t from all of your favorite episodes. be as much For the occasional Simpsons viewer down time or younger fans looking for an inter- between loca- active Simpsons experience, Virtual tions. Plus, Springfield may not be what they even though are looking for. I recommend they Virtual Springfield offers Simpsons fans a chance to explore the uncharted depths of Bart’s room. © Twentieth Century Fox Home there are 17 try Fox Interactive’s title The Entertainment. great locations Simpson’s Cartoon Studio where The cards aren’t only fun to collect, to visit, once you’ve been to them they can direct the Simpsons in a but if you aren’t familiar with all the several times, the novelty starts to custom cartoon. The action is a lit- characters in town, it’s a great way wear off. The 17 locations become tle more fast-paced, and it doesn’t to learn their names and faces. familiar, and you feel as though you require as much knowledge of the have seen everything. show to understand the humor. D’oh! No town is perfect, though, Virtual Springfield would have The Simpsons: Virtual Springfield is and Virtual Springfield is no excep- benefited from having a better available now on CD-ROM for tion. While the software has game- gaming element incorporated Windows 95 and Power Macintosh like elements, it is lacking the depth into it... at a retail price of $29.98. of a true game. The individual objectives to get into each location are very easy to achieve. Virtual Springfield would Joe Toledo is executive producer Once you’ve been around have benefited from having a better at North Communications, an town a few times, traveling in real gaming element incorporated into Internet kiosk developer based in time between locations starts to get it, slowly revealing more locations Marina del Rey, California. ANIMATION WORLD MAGAZINE October 1997 52 Animation At The Museum Of The Moving Image by Yvette Burrows ince opening in 1988, the at the Museum, used animation Four animators are chosen every Museum of the Moving Image techniques before cinema was year to take part in the Animator in S(MOMI) has aimed to be a ‘liv- invented. With professional anima- Residence Scheme, sponsored by ing’ museum. One of the first muse- tors on hand, visitors are encour- Channel 4 Television. Each animator ums in the United Kingdom to aged to try out their employ a full company of actors to own animation skills entertain and inform guests, MOMI using an early toy in has, through many interactive visual illusion, the exhibits, allowed visitors to delve . behind the scenes of the magical A whole world of the moving image. menagerie of cartoon animals, including Tom With professional animators & Jerry, Donald Duck, on hand, visitors are encour- Goofy, Pluto and aged to try out their own ani- Henry’s Cat, rampage mation skills... around the walls. These The animation exhibit in the Museum of the Moving characters are all from Image, London. © MOMI. cel animations - drawn or painted on celluloid then filmed spends three months in the The Animation Exhibit in sequence. However, other tech- Museum’s animation booth, ani- The animation exhibit, locat- niques are also explored: the cut- mating 1-2 minutes from the story- ed in the heart of the museum, is outs of Terry Gilliam; and the sil- board of their own animated film. central to the museum’s ethos. A houettes of Lotte Reiniger; Caroline This work is then submitted to the changing exhibition of animation Leaf’s sand animation; the at Channel leads the way to the main of Eastern Europeans like Jan 4 Television where the commis- exhibit area. Currently, work from Svankmajer; the line drawings of sioning editor for animation, Clare the internationally famous Hanna- Winsor McCay and Barbera series Scooby Doo by Iwao the stop motion Takamoto is on display. We are models recently delighted that Iwao himself visited made so popular in the Museum on September 21 to Britain by Aardman give a talk to museum visitors. Animations and the Brothers Quay. The animation area also hous- es a unique, glass-fronted ani- Artists in mation booth where visitors Residence can actually observe an anima- The anima- tor at work. tion area also houses a unique, glass-front- The main animation exhibit ed animation In addition to animation artwork, the MOMI animation area is designed in the shape of booth where visitors exhibit features a glass-fronted animation booth. Here, ani- Reynaud’s , which, like can actually observe mator-in-residence Brian Wood works on his film School many of the Victorian toys featured an animator at work. Disco. © MOMI. ANIMATION WORLD MAGAZINE October 1997 Kitson, will decide whether or maker. The Museum of the not to give the go ahead for a Moving Image will continue final complete production. So to promote and display the far all those who have com- work of animators past and pleted a residency (24 in all), present and is committed to have gone on to be commis- supporting vocational training sioned. Nineteen of the anima- and new animation through tors have completed their films BATS and the Channel and five are currently in pro- 4/Museum of the Moving duction. Once finished, these Image Animator in Residence films are broadcast on Channel Scheme. MOMI has something 4 Television. Several have gone to offer everyone. From a Anthony Hodgson, creator of the acclaimed student on to win prestigious prizes at film Hilary, worked on the puppet animation film pleasant day out with the chil- international film festivals. Most Combination Skin during his 1995 residency at MOMI. © dren to teach them the basic recently Ruth Lingford’s film MOMI. principles of animation, to Death and the Mother earned a Evening events in the jump starting an independent Special Mention for Graphic Style at Museum Cinema also regularly animation career, there is a MOMI the 1997 Annecy International focus on animation. For example, program for you. Festival of Animation. in August we featured The Len Lye Story which looks at the life and Contacts Other Programs work of the maverick animator and If you would like to know more The Museum continues to about the animation schemes at the support the animation industry by Museum, please contact Yvette acting as a base to the British Burrows on 0171-815-1376. Animation Training Scheme (BATS). BATS, an industry-led initiative, offers For information about events and a vocational training scheme, screenings please call the box office “Assisting in Animation.” Trainees on 0171-928-3232. attend the course one day per week for 30 weeks. For the rest of the For Museum information please call week, the trainees are employed as Sam Moore using a multi-plane for her 0171-401-2636 (24 hr recorded juniors in the animation industry. oil-on-glass film Glasgow Kiss, during her information). BATS aims to extend the range of residency July-September 1995. © MOMI. available vocational animation train- artist. Our current Special Exhibition The Education Department can be ing. With this in mind, the first one- runs until late November and fea- contacted on 0171-815-1339/8 week BATS Summer School, “An tures original art work by Gerald and preferential rates are offered to Introduction to the Animation Scarfe from the latest Disney feature groups through the Group Industry,” was offered last year to Hercules. Bookings Office on 0171-815-1350. young people considering a career in traditional 2D animation. This In addition, the Museum’s The BFI web site can be found at year, two such courses were offered Education department regular- www.bfi.org.uk and we hope to continue the pro- ly runs animation events for all gram next year. age ranges and for those with Yvette Burrows is Animation In addition, the Museum’s special needs. Coordinator at the Museum of Education Department regularly the Moving Image and as such is runs animation events for all age responsible for the Animator-in- ranges and for those with special Animation is a varied and Residence Scheme and the British needs. These half-day workshops wonderful art form which contin- Animation Training Scheme. offer students an introduction to the ues to enjoy huge public interest, processes involved in devising their in part because of the accessibility of own animated film. the medium to the amateur film

ANIMATION WORLD MAGAZINE October 1997 54 by Wendy Jackson will specialize in development, pro- Kalisto Technologies. Business duction and distribution of televi- sion productions for third party pro- Fox Completes IFE Purchase. NOB Invests In Medialab. ducers. Based in Ottawa, Canada, Fox Kids Worldwide completed its NOB, a European broadcast facility Amberwood will primarily focus on $1.9 billion purchase of center based in Hilversum, Holland, animated productions, starting with International Family Entertainment is joining forces with European Zeroman a co-production with Los (IFE) in early September. The merg- media group, Canal +. NOB will Angeles-based Cloud 9 Media (see er brings IFE’s cable network, The purchase a sizable stake in Canal +’s Television News in this issue). Family Channel, under the control Paris-based real-time animation pro- “Amberwood has embarked on an of Fox Kids, which currently pro- duction subsidiary, Medialab, in ambitious program of develop- grams only on network television exchange for a 50% stake in the ment,” said Wiseman, “And we are through Fox Kids Network (FKN). It company. The relationship will pro- also looking to the Canadian cre- has not yet been determined exact- vide Medialab with increased funds ative community to come forward ly what the future of programming for research and development with further concepts and propos- on the Fox Family Channel will look (R&D), while integrating the use of als for both animated and live-action like, but FOX’s acquisition of IFE is their technology projects.” Wiseman was formerly certainly their next calculated move into production services offered by chairman and president of into the cable market. Fox has been NOB. This partnership is similar to Lacewood Productions, producer gearing up for expanded children’s the one between Medialab and of animated series such as Flash programming since they were cut Burbank-based media group, 4MC. Gordon, Savage Dragon, and Katie loose from parent company News The two joined forces in January and Orbie. Lacewood was recently Corp. to form a joint company and 1997 to form Medialab Studio LA, a acquired by Toronto-based Paragon launch a cable network with Saban 50/50 joint company servicing the Entertainment, following the failed Entertainment (AF 10/07/96 and film and television industries. While partnership between the two com- AF 1/21/97). While Fox integrates NOB’s investment will primarily affect panies (AF 8/05/97). IFE operations and holdings into the Medialab’s European studio, the company, much restructuring is tak- capital investment in R&D will ulti- Activision’s Investment ing place. It has been reported that mately benefit the L.A. facility with Activity. Activision, the ever- out of IFE’s 800 employees, several the implementation of new tech- expanding interactive game devel- hundred based in Virginia will be nologies. “NOB’s backing under- oper and publisher, has acquired an laid off in the consolidation, start- scores the growing recognition of equity stake in yet another young ing in October. Larry Jacobsen has the potential for performance ani- game developer. Redline Games has just been named to the board of mation as a powerful production signed a long-term agreement with directors of Fox Kids Worldwide, in tool,” said Medialab’s president and the company, naming Activision as his recent executive promotion to CEO Gerard Mital. their exclusive publisher. The first president of Fox Television Network. three Redline titles will be released In July, Margaret Loesch, who has Veteran Lacewood Leader by Activision in 1998. Activision also been heading up operations for Fox Forms Amberwood. Former recently acquired Raven Software, Kids Worldwide, had her position Lacewood Productions leader, and has development deals with changed from president to vice Sheldon Wiseman, has announced five other game developers: id chairman (AF 7/22/97), a role in the formation of Amberwood Software, Ritual Entertainment, which she will be working on the Entertainment Corporation, a new Parsoft Interactive, Titanic integration of FKN programming company under his direction which Entertainment, Eutechnyx Ltd. and onto the Fox Family Channel. ANIMATION WORLD MAGAZINE October 1997 55 However, speculation continues cle “Censorship In Comics: Is This prietary rendering software CGI around her future role at the com- the United States?” in the July 1997 Studio, will be shared between the pany. Comics issue of Animation World two facilities. The main focus of this Magazine. “vertically integrated” company is to Planet Comics Opts For http://www.awn.com/mag/issue2. service “whatever comes up that Deferred Sentence. The two- 4/awm2.4pages/2.4alstonlegal.htm needs high-quality images,” said year court battle involving the l Richard Hollander, stating that the Oklahoma City comic book store, What do you think? Discuss the company will offer everything from Planet Comics has come to a sud- topic in the AWN Discussion Forum. 3D animation and digital com- den and unexpected end. The case http://www.awn.com/HyperNews/ positing, to a model shop and revolves around charges against get/general1.html motion control systems. Hollander Planet Comics for selling and dis- also stressed that while VIFX’s par- playing “obscene material” (adult Blue Sky, VIFX Merge. Very ent company, Fox, is a frequent and comics). The Comic Book Legal Imaginative Pictures, parent com- major client, the scope of Blue Sky Defense Fund (CBLDF), a non-prof- pany of Los Angeles-based visual | VIFX work will not be limited to it organization dedicated to defend- effects studio, VIFX, has acquired a effects for Fox feature films. ing First Amendment rights in the majority interest in New York-based It was just over a year ago that comic industry, had taken on the CG character animation facility, Blue VIFX was purchased by News Corp’s Planet Comics case under the poli- Sky Studios. The end result of this Fox Filmed Entertainment. While cy that the defendants, the financial arrangements of Michael Kennedy and John the deal were not disclosed, Hunter (owners of Planet the company’s CFO, Gene Comics), would not plead Straub, does not deny Fox’s guilty in exchange for a interest in the merger, but reduced penalty. But on stresses that this is a long- September 5, just days before term, strategic move which is the case was to go to trial, not based on a particular pro- Kennedy and Hunter’s defense ject. In Los Angeles, Blue Sky attorneys entered a guilty plea | VIFX is currently working on to the charges, without con- tests for Fox Feature sulting the CBLDF. In Animation’s second feature, exchange, Kennedy and David Brown, President and CEO of Blue Sky | VIFX. Planet Ice, as well as visual Hunter were each given a effects for a number of fea- $1500 fine and three-year deferred investment/merger is a fully inte- tures, including Titanic, Mouse prison sentence, which means they grated, bicoastal company called Hunt, Blackwood, Alien: do not have to serve jail time if they Blue Sky | VIFX, which will specialize Resurrection and T-Rex, an IMAX are not convicted of any further in and animation for venue project. The New York studio criminal activity in the next three a variety of media. Maintaining their is currently doing tests for several years. While the sentence reduction respective titles held at Blue Sky and feature and commercial projects. is a relief for the defendants, the VIFX, David Brown will be CEO Blue Sky | VIFX is currently looking CBLDF sees it as a setback in their while Richard Hollander will be for a “communication solution” to mission. CBLDF executive director President of the new company. The manage real-time, high-speed trans- Susan Alston said their reduced sen- staff of the two companies com- fer of digital imagery and data tences are “a small comfort indeed bined totals at roughly 250 people, between the two locations. Blue Sky when considered in the larger and and is expected to increase with currently uses Sprint’s Drums pack- more important context of the ero- new hires approximately 20 to 50% age for this purpose. The company sion of rights guaranteed under the in the next year. There will be some will have its’ headquarters in VIFX’s First Amendment that their guilty shuffling of talent between studios Los Angeles studio, which is sched- plea represents.” as a careful integration gets started uled to move into a new, 90,000 For background information over the next few months. square foot facility in early 1998. on the case, see Susan Alston’s arti- Technology, such as Blue Sky’s pro- For background information

ANIMATION WORLD MAGAZINE October 1997 56 on Blue Sky Studios, see the feature been founded by Marc Karzen, Ed Canadian Broadcasting Corporation article spotlighting the company in Hynes, C.B. Harding and Chris Roe, (CBC), where he oversaw local the May 1997 issue of Animation who are principals of Karzen, an L.A. efforts on , the World Magazine. broadcast design firm. Q will be rep- Canadian co-production of Sesame http://www.awn.com/mag/issue2. resented by Yvette Lubinsky on the Street. . . . Digital Artworks, a 2/articles/ohmerblue2.2.html West Coast, Mary McClenahan in Eugene, Oregon-based digital ani- the Midwest, and Andy Arkin/BLAH! mation studio, has named Thomas H-B Staffers Moving To WB. Blah? (Blah…) on the East Coast. L. Durant president and CEO. He According to announcements made was formerly with SpectraPhysics at the studio, the remaining staff of People and Optical Coating Laboratory. . . Hanna-Barbera Cartoons will be . Brian Graden, the former Foxlab relocating from their home of 35 Hollywood Shuffle. Computer years, the Hanna-Barbera building animation director Miles on Cahuenga Boulevard in Flanagan has signed with Duck Hollywood, to join the offices of Soup Producktions for exclusive Warner Bros. Classics and Television commercial representation. Animation in Sherman Oaks. Flanagan joined the director roster Designed by architect Arthur at Commercials in May, Froehlich, Hanna-Barbera Studios’ following four years of representa- futuristic Jetsons-style building has tion by Acme Filmworks. Duck Soup become a landmark to the anima- is currently bidding Flanagan as tion industry since it was erected in director on two projects, but no jobs 1962, five years after are confirmed at this time. . . and Joe Barbera founded the com- Dominic Schreiber has joined pany to produce television anima- the staff of K Media Relations, a tion. News of the pending move, Los Angeles-based publicity firm rep- scheduled to take place by resenting clients such as Medialab December, comes amidst industry and Viewpoint Data Labs. He was rumors that the Hanna-Barbera formerly a staff writer at Animation building and lot has been sold to Magazine. . . . Composer Danny Universal. Universal, who declined Elfman has signed an exclusive, Miles Flanagan is being represented for comment at the time of this report, multi-picture agreement with Walt commercial direction by Duck Soup. does have its’ own animation pro- Disney Motion Pictures Group executive vice president who recent- duction unit, Universal Cartoon to direct, write and produce motion ly executive produced the South Studios, based in the Universal City pictures on a first-look basis. In addi- Park animated series for Comedy lot, about a mile away from Hanna- tion to making his debut as a film- Central, has joined the staff of MTV Barbera. It is uncertain at this time maker, Elfman will also compose film as executive vice president of tele- what will become of the building. scores for two upcoming Disney vision programming. In this newly- Hanna-Barbera is currently in pro- releases, including the live-action created role, he will be responsible duction on , feature, Flubber. is for supervising development and Dexter’s Laboratory, known for his innovative film scores, production of all MTV series. . . . and a series of shorts for Cartoon such as those for The Nightmare Walt Disney Animation Network. Before Christmas, and Mars Attacks! Canada has named Joan with . . . . . Peter Moss Fischer general manager. Fischer Karzen Execs Form A Q. “Q” is has joined Children’s Television previously handled business affairs the name of a new production com- Workshop (CTW) as executive at TV Ontario. . . . German ani- pany in Los Angeles, which has producer. He will be co-executive mator Raimund Krumme has been launched to specialize in producer on CTW’s new multime- taken on a full-time teaching posi- design, animation, motion graph- dia pre-school series, . tion at Cal Arts Experimental ics, and live-action for television Moss was previously creative head Animation program. Under depart- commercials. The company has of TV Children’s Programs for the ment chair Jules Engel, Krumme will

ANIMATION WORLD MAGAZINE October 1997 57 be teaching both graduate and believe David Pritchard is the exec- animated feature film that he will undergraduate level courses. utive we’ve been looking for,” said direct. Home Maureen Selwood is now asso- Roman. “[He has] the corporate Entertainment has obtained rights ciate director of the Experimental experience necessary to help return to distribute eight of Miyazaki’s films Animation department, a position the company to profitability.” on home video (AF 7/01/97), previously occupied by Christine Pritchard was previously CEO and including Princess Mononoke, but Panushka, who has moved over to partner of Pritchard/Ecclesine, a live- is not expected to distribute them USC’s Animation Program. . . . Los action and animated TV and film until next year at the earliest. . It is antici- pated that several of the projects Calico Makes Animals Talk For currently at Pritchard/Ecclesine Saban Feature. Chatsworth, will be transferred to California-based Calico for continued development. Film Entertainment is working on more Roman series currently in pro- than 350 visual effects shots (about duction include The Simpsons, 30 minutes of film) for Saban , and Blues Entertainment’s live-action feature Brothers. film, Rusty: the Great Rescue. The film features a live-action cast of ani- Films mals talking through animated mouths, much like the talking pig Miyazaki’s Latest Reigns pioneered by Rhythm & Hues for Over Japan Box Office. the feature film, Babe. Calico is I Married A Strange Person, the new animated Princess Mononoke (Japanese using several software packages to feature from Bill Plympton. © 1996 Bill title Mononoke Hime), the latest create the illusion, including: Elastic Plympton. animated feature film from Reality for frame-by-frame warping Angeles-based effects studio, acclaimed director Hayao Miyazaki, of the live-action footage; Lightwave Vision Crew Unlimited, has recently broke box office records as 3D for modeling of the replacement hired Robert M. Polla (formerly of the highest-grossing Japanese film mouths; and After Effects and Digital Novocom) as controller, and Gloria ever in Japan. Since the film was Fusion for compositing. Calico’s pres- Fernandez (formerly of Boss Film released in July, it has enjoyed sold- ident and CEO Tom Burton, who is Studios) as purchasing coordinator. out shows at theaters throughout supervising producer and effects . . . . Loconte Goldman Design, Japan, bringing in approximately director on the project, comment- a broadcast design firm, has named U.S. $108 million at the box office in ed, “We’re using a combination of Glenn Chalek executive produc- Japan, more than five times the 2D and 3D techniques that draws er. He was formerly president/exec- amount of money that producers, on our back- utive producer for Big Brother , spent to make the ground.” Rusty: The Great Rescue”is Productions. film. It is expected that that number slated for a direct to home video will increase to U.S. $137 million by release in February 1998. Film Roman Names New CEO. the end of October. Released by After some executive head-hunting, Tokuma Shoten, Princess Mononoke I Married A Strange Person Film Roman has found someone to is the first feature film in over five Premiere. Bill Plympton’s new ani- take on the role of President and years from Hayao Miyazaki, whose mated feature film I Married a CEO. David Pritchard has been previous hits include Nausicaa of Strange Person, has its premiere in named to the position by Chairman the Valley of the Wind and My September at the Toronto Phil Roman, who has been head- Neighbor Totoro. These figures are International Film Festival in ing up operations since he founded impressive considering the price of Canada. The premiere launches the the company in 1984. This a movie ticket in Japan these days is worldwide festival tour of the film. appointment will free some time for the equivalent of U.S. $18.00! The The next stop on the festival circuit Phil Roman, who has expressed a popularity of the film in Japan could is the Hamburg Film Festival in desire to spend more time in his cre- be attributed to Miyazaki’s recent Germany, followed by The Sitges ative role at the company. “We announcement that this is the last Fantasy Film Festival in Barcelona,

ANIMATION WORLD MAGAZINE October 1997 58 Spain and the San Sebastien Horror MCA/Universal Family Magoo for . In Film Festival, also in Spain. For infor- Entertainment and Universal the Cloud 9/Amberwood series, mation about the film or filmmaker, Cartoon Studios, joined Cloud 9 in Nielsen voices the character of visit the Plymptoons web site on April to head the startup of the Zeroman, a comedic spoof on Animation World Network. media division. Zeroman, a prop- action/adventure char- http://www.awn.com/plympton/in erty Segal created with fellow Cloud acters. Neither a distributor or pre- dex.html 9 staffer and Universal alum Michael sold broadcasters for Zeroman Torres, is now being developed and could be confirmed at the time of Terraglyph’s Feature In The is entering pre-production as a co- this report, but negotiations are Works. Dublin, Ireland-based underway. Cloud 9 TerraGlyph Productions are in pro- is also in develop- duction on an animated feature film ment on several titled Carnivale. Slated for an early other (mostly live- 1999 theatrical release, the 70 action) television minute film will utilize traditional and projects, including digital 2D animation techniques. another animated Talent working on the film includes series called I Can Russel Boland as producer, Paul Be Three, a co-ven- Bolger as animation director and ture with Epoch Australian Deane Taylor (art direc- Entertainment’s Joe tor on The Nightmare Before Pearson (Captain Christmas, All Dogs Go To Heaven Simian and the II) as director. The 40-person staff in Space Monkeys ) Dublin is doing design, story- Production has begun on The Bob and Margaret Show, an ani- and writer John boarding, layout, background, ani- mated series about mid-life crisis, based on Alison Snowden Loy (The Land and David Fine’s Oscar-winning animated short, Bob’s Birthday. mation, clean-up and effects work © Snowden Fine Productions. Before Time while a 15-person assist crew in sequels). Cloud 9 Madrid, Spain is handling addition- production with Canadian Media’s plans also include develop- al on animation, clean-up and spe- Amberwood Productions, a new ment and licensing of original ani- cial effects. Budgeted at U.S. $10 company founded by Sheldon mated characters from their inter- million, the film is being financed Wiseman of Lacewood Productions. active Learning AdventureCD-ROM by shareholders and TerraGlyph The Cloud 9/Amberwood partner- titles. Group’s backer, Flynn Enterprises ship emerged out of Cloud 9’s “need (Don Flynn is also a founding share- to have an association with a com- Locomotion Enters Europe holder of Blockbuster Video). pany with film production capabili- Via Spain. The Locomotion TerraGlyph Dublin is the was found- ties,” said Segal. Zeroman will be Channel, an all-animation cable ed in 1995 as a division of Chicago- predominately 2D animation with channel run by Hearst based TerraGlyph Interactive, which some CGI effects, and will star Entertainment and the Cisneros produces animation for multimedia actor/comedian Leslie Nielsen, who, Group, launched in Spain in titles. coincidentally (or not), had planned September. Distributed through Via to lend funds to Lacewood Digital’s DTII platform as part of its Television Productions before it was acquired basic 35-channel package, by Paragon Entertainment this year. Locomotion plans to customize its Cloud 9 Enters TV Production This is not the first animation pro- programming for the Spanish mar- With Zeroman. Marina Del Rey, ject for Canadian-bred Nielsen. He ket, by using local voice talent and California-based children’s enter- is the narrator on Lacewood’s ani- animators. “Launching in Spain is a tainment company, Cloud 9 mated series, Katie and Orbie, significant step for the growth of Interactive, is moving into television which now airs on the Disney the channel and an initial step in production with the formation of a Channel (U.S.), and just completed our plans for European distribution.” new division, Cloud 9 Media. Jeff filming the live-action feature ver- said Locomotion general manager Segal, former president of sion of the classic UPA cartoon Mr. Gustavo Basalo. Locomotion is cur-

ANIMATION WORLD MAGAZINE October 1997 59 rently seen 24 hours a day in 11 and David Fine’s web site on programs on U.S. television this Fall Latin American countries via the Animation World Network. featuring real-time, or, motion-cap- satellite service DirecTV, and is also http://www.awn.com/snowden- ture animation. More than one of part of Imagen Satelital’s channel fine/index.html them features characters created by repertoire in . On Venice, California-based real time November 1, the channel will On Mars. animation studio, Modern Cartoons. become accessible to more viewers Apparently, NASA’s Mars Pathfinder Cyber Lucy, not to be confused with in Latin America through their first team members are real cartoon MTV’s Cyber Cindy, is a 3D animat- cable launch. fans. They have just named a few ed character created by Modern more space rocks after Cartoon Cartoons, who makes her debut Snowden & Fine’s Bob & Network/Hanna-Barbera characters. performance on CBS this Saturday Margaret is in Production. Inspired after an interview with Mars morning (9/13), as co-host on the Limited and Global Pathfinder project leader Matthew live-action children’s series Wheel Television Network have confirmed Golombek on the TV series, Space 2000a spin-off of the popular game that Bob and Margaret, an animat- Ghost Coast to Coast, the team show Wheel of Fortune. NBC aired ed series based on Alison Snowden named four Mars rocks, Space Steve/Oedekerk.com, a mixed and David Fine’s Oscar- media comedy special winning short, Bob’s featuring real-time ani- Birthday, is in produc- mation segments cre- tion. The British duo ated by the studio. optioned the property Modern Cartoons is early this year (AF now in development 2/21/97), and have on several projects, been in development including an all-real- while lining up produc- time animation politi- tion partners. Bob and cal satire series for Margaret is a HBO, starring Harry Canadian/United Shearer, the voice of Kingdom co-production Mr. Burns and many between Nelvana other characters on Limited and Channel 4 The Simpsons. Despite Television, in association real-time animated with Global Television characters such as Network. The budget Cartoon Network’s for the series is Canadian Moxy, and Canal +’s $7.3 million, with Clio, it was NBC’s real- Nelvana financing time animated intersti- roughly 75% as the tals host, Johnny Van-Pires, the animated series. © Abrams Gentile Entertainment. majority financier. The Chimes, created by series will air on Channel 4, Global Ghost, , Moltar, and . This Medialab Studio L.A., that first Television Network, and has just strange sort of cartoon character brought real time animation to net- been sold to Comedy Central. fame is shared with , Boo work television. Aimed at an adult, prime-time audi- Boo, Scooby Doo, Casper, Calvin & ence, the 13 episode series is being Hobbes and other stars who have Stay tuned for the Motion Capture written and executive produced by also had Mars rocks named after and Stop Motion Animation issue of Alison Snowden and David Fine, them. Images of the rocks can be Animation World Magazine, com- who will work out of their London- seen online at ing up in February 1998. based studio. http://mpfwww.jpl.nasa.gov Van-Pires Premiere. Van-Pires, For information about the creators Modern Cartoons Hit a new series combining live-action of this show, visit Alison Snowden Network TV. There are a few new with 3D computer animation, will

ANIMATION WORLD MAGAZINE October 1997 60 premiere on U.S. network television http://www.awn.com/mag/issue1. prices. Now that the Blues Brothers this Saturday (9/13) as part of 6/articles/paterson1.6.html series is moving forward for a Summit Media’s syndication block. planned fall 98 premiere of 13 Produced by Abrams-Gentile Zen On Chrono Quest. Santa episodes on UPN, Film Roman Entertainment, New York (creators Monica-based Zen Entertainment, should experience a recoup in of Sky Dancers) and MSH a sister company of Sei-Young finances. Blues Brothers, a property Entertainment, San Francisco, Van- Animation in Korea, is working on a which Film Roman initially optioned Pires depicts a group of teenagers 26 episode series titled Chrono the rights to, marks a step forward who protect the world from evil Quest. The show combines 3D and in the company’s plan to own the anthropomorphized vans (Van-Pires) 2D animation, with the majority of shows that they produce. As the by turning into robo-cars themselves the animation being produced with producers of The Simpsons, Film (Motor-Vaters), upon yelling, Animo software, to which Zen Roman has seen that producing “Mission Ignition!” A full line of show- recently purchased 41 licenses from even the most successful series is related merchandise will, of course, Cambridge Animation Systems. profitable mostly to those who own soon be available in toy stores. Chrono Quest is Zen’s first original merchandising and distribution Syndicator Summit Media is a divi- animated series, set for internation- rights. “This is one of the reasons sion of 4 Kids Entertainment, an al distribution in fall 1998. Pre-sale we went public,” stated Film Roman independent licensing company. distribution agreements have been senior vice president John Vein, “to Check your local listings produce proprietary for show times. programming.” Jim Belushi and Peter Energee’s Akroyd (both broth- Distribution Energy. ers of the original Australia-based Energee live-action Blues Entertainment has sold Brothers characters, 26 episodes of John Belushi and Crocadoo, their animat- Dan Akroyd), are ed series, to Cartoon already set to record Network Asia-Pacific. the character voices, This is the first time that while David Misch, Cartoon Network has executive producer purchased an of Klasky-Csupo’s Australian-made series , will be for broadcast in Asia, executive producer DESIGNefx’s Mickey’s Shadow spot for Walt Disney Casting. © Disney.All India, Australia and New Rights Reserved. with Phil Roman Zealand. Already sold in and Michael over 30 territories worldwide, established in Japan, Korea and Waeghe. Crocadoo is being distributed in the Europe. U.S. and Europe by All American Commercials Fremantle. Energee’s new animat- Film Roman Gets Out Of Red ed Christmas special, Scrooge With Blues. UPN has green-lit Film Spotlight Koala’s Christmas, has recently been Roman’s The Blues Brothers: The Boston-based Loconte Goldman sold to The in Animated Series to begin produc- Design created an animated teas- Australia, and will be shopped to tion. The series had been in devel- er campaign for ESPNews. The other markets at MIPCOM in late opment since early this year, but spots depict “The Vortext,” an ani- September. was “on hiatus” as of last spring, mated metaphor conveying the For more information on Energee when unspecified “creative differ- amount of news and information Entertainment, see the September ences” were met between Film which is funneled to viewers 1996 issue of Animation World Roman and UPN. Film Roman, a through the sports network. 3D ani- Magazine, which featured an arti- public company, has suffered recent mation of “The Vortext” was created cle profiling the studio. downsizing and decrease in stock by Ken Russell. . . . The Ink Tank

ANIMATION WORLD MAGAZINE October 1997 61 in New York completed another company Cinar Films, Inc. has sold mated feature to be shot in wide- commercial for TriState Megabucks. the U.S. and Japanese video distri- screen 70mm. The Collector’s The 30 second spot, titled Win bution rights to the animated Edition version ($29.99) includes Cash, uses black on white line-draw- series,The Adventures of additional footage including the ings with watercolor, to depict a jan- Paddington Bear, to American pub- movie’s original theatrical trailer. itor attempting to move a heavy lishing conglomerate Time-Life. The Sleeping Beauty sold over one mil- bag of jackpot money. R.O. first thirteen episodes of the series, lion copies in 1988, when it was Blechman was director, Tissa David budgeted at Canadian $6.6 million, one of the first Disney classics to be was animator, and the agency was are in production now at Cinar’s released on OGBE Communications. The com- animation facility in Montreal,. Cinar, video. It was mercial will air starting September co-producing with Protécréa, is released the- 8 in the New England area of the working closely with Paddington atrically in U.S. . . . The Ink Tank also creat- Bear’s creator to 1959, 1970, ed a 30 second commercial for ensure consistency with the first 1979 and Phoenix Investments, titled Boat. In FilmFair TV series, and the classic 1986. Sleeping the spot, alphabet letters animated line of children’s books, which have Beauty will be by Tissa David spell out the words sold over 25 million copies have available on Disney’s Brand “fiscal fitness.” The agency was been translated into more than 20 video in U.S. Spanking New Doug, The Vampire Caper. © Emmerling Post Advertising, and ink languages. The Adventures of stores from 1997 Buena Vista and paint was handled by Paddington Bear is already set to air September 16- Home Video.All Tapehouse Ink and Paint. . . . on Canal J and TF1 in France, ITV in December 31. Rights Reserved. Atlanta-based Designefx animated the U.K., and TeleToon, the new ani- The laserdisc Mickey Mouse’s shadow for four mation channel in Canada. will be available on September 17. commercials in Walt Disney World’s TV campaign to recruit Disney Scares Up cast members. . . . Halloween Videos. On August The Dodgers Get 26, Walt Disney Animated. The Los Angeles Home Video released baseball team, The Dodgers, Halloween Bootique, have recently been immortal- a collection of 13 ized as cartoons, in a 60 sec- videos for the ond movie trailer titled The Halloween season. Adventures of Dodger Blue! The animated titles in Developed by the Dodgers the collection are: with Lizardi Communications, The Nightmare and animated by Designefx, Before Christmas, the film portrays five of the Winnie the Pooh: Dodgers’ star baseball players Spookable Pooh, and their signature moves: Winnie the Pooh: Hideo Nomo, Eric Karros, Disney’s classic feature Sleeping Beauty is now on home video. © FrankenPooh and Todd Hollandsworth, Raul Disney.All Rights Reserved. Alvin and the Mondesi and Mike Piazza. The Chipmunks: Trick or Treason. Three spot is currently being used in The new specials made for direct to Dodgers’ 1997 advertising cam- Sleeping Beauty Awakens On video are also in the collection: paign, as a theatrical commercial Video. This month, Walt Disney Winnie the Pooh, Boo to You Too, screened in movie theaters before Home Video will release the 1959 Brand Spanking New Doug: The feature films. film, Sleeping Beauty on video in Vampire Caper, and Quack Pack: two formats. The Limited Edition Home Video House of Haunts. Associated pro- version ($26.99) includes a 16- motions include a mail-in rebate for minute mini-documentary on the Cinar Brings Paddington To ’s Nightmare Ned making of the film, Disney’s 16th CD-Rom sampler. Ranging from 25- Time-Life. Canadian entertainment animated feature, and the first ani- 95 minutes in length, the videos are ANIMATION WORLD MAGAZINE October 1997 62 priced between $12.99 and $14.99 Xiberras adds, “It was not accept- MIPCOM. At the end of September, (SRP). able to have 1,000 films rejected thousands of producers, program- from official selection each year. mers and broadcasters converged Interactive & Internet With the return to an average of on Cannes, France for the MIPCOM 700 to 800 films received, and thus and MIP Junior markets. From Reed- Gameworks Scores $76 Mil. a reasonable portion represented in Midem, the organizers of MIP-TV, GameWorks, the interactive selection, the task of the jury will be MIP Asia and MILIA, MIPCOM is entertainment venture backed by more manageable.” The format of known as the place where interna- DreamWorks, Universal Studios and the festival and market will remain tional television deals happen. The Sega, has secured $76 million in pri- the same, but MIFA will be consoli- 5th annual MIPCOM Junior ran from vate stock investments to finance dated, with one full day of screen- September 24-26, followed by the the expansion of their chain of loca- ings, conferences and workshops, 13th annual MIPCOM International tion-based entertainment centers. followed by three days focused on Film and Program Market for TV, GameWorks facilities have already exhibition. Video, Cable opened in Seattle, Las Vegas and The festival and Satellite, Ontario, California. Additional loca- will remain a September tions are set to open this year in six-day for- 26-30. There Tempe, Arizona, and Grapevine, mat of com- was a 32% Texas. petition increase in screenings, exhibitors Events retrospec- over one year tives, ago, with In addition to our announcements exhibits and 1,987 com- in the Weekly Animation Flash and presenta- Annecy’s new annual schedule aims to draw the panies from Animation World News, you’ll animation world to this beautiful French city every tions. It is year. 49 countries, always find frequently updated uncertain the top ten information and links for festivals how this news will affect other ani- countries being USA (137 and events worldwide, in mation festivals which are tradi- exhibitors), the UK (98), France (67), Animation World Network’s tionally held during the spring of Canada (19), Germany (21), Japan Calendar of Events section. Annecy’s off-years. For instance, (18), Spain (16), Italy (12), the Zagreb (June 17-21) and Cardiff Much of the animation activity took (June 23-28), are scheduled to take place during MIPCOM Junior, the Annecy Goes Annual. place just weeks after Annecy. relatively new children’s program- Organizers of The Annecy Furtermore, close on their heels is ming-focused screening event International Animated Film Festival the Hiroshima festival (August 20- which takes place two days before and Market (MIFA) have officially 24) and the Ottawa festival MIPCOM begins. Four major ani- confirmed plans to hold their event (September). mation producers—TeleImages, on an annual basis. The world’s Watch the Annecy web site France Animation, Nelvana and largest and most prestigious ani- on Animation World Network in the Gaumont Multimedia— used MIP- mation festival, Annecy has been coming weeks, for entry forms and COM Junior as the launch for their held every other year since 1960. information about programs. new programs. Among the other Festival director Jean-Luc Xiberras http://www.awn.com/annecy highlights of MIP are a seminar on announced May 26-31, 1998 as the For background information Television and the Internet and a set dates for the next fest, telling on the festival, see “Rendezvous in tribute to Germany’s booming TV AWN that the move is “in order to Annecy: An Interview With Jean-Luc industry. respond to the professionals’ need Xiberras” in the January 1997 issue Look for our event review by to meet in a unique place on a year- of Animation World Magazine. Adam Snyder in the November ly basis.” The annual format will http://www.awn.com/mag/issue1. 1997 issue of Animation World allow more room for the increased 10/articles/teninge.eng1.10.html Magazine, and for a taste of the number of films to be shown. buyer’s side of MIP, read “Surviving

ANIMATION WORLD MAGAZINE October 1997 63 MIP: A Buyer’s Guide” by Theresa Festival (LEAF) will be taking place as alent of roughly $150,000 (U.S.) in Plummer Andrews, in the July 1997 part of Digital Media World, prizes will be awarded. The event issue of Animation World Magazine. November 18-20, 1997. This may also includes a symposium, a live http://www.awn.com/mag/issue2. have caused confusion to some cybercast and HollywoodMart (a 4/awm2.4pages/2.4plummer- who have known it by the LEAF film market). For information and mip.html acronym. Now in its’ fourth year entry forms, visit http://www.holly- and organized in association with woodfilmfestival.com Digital Film Fest Opens in NY. ACM/SIGGRAPH, LEAF’s program Awards The first D.Film Digital Film Festival, includes a recruitment fair, and pre- created by veterans of the defunct sentations revolving around effects Several animation festivals took Low Res Film Festival, kicked off and animation topics. Richard place last month and are reviewed September 19-20 at The in Williams will offer his famed in this issue of Animation World New York. Held in conjunction with Masterclass, and the animator will Magazine. Please consult the indi- the Downtown Arts Festival, D.Film also deliver the keynote festival vidual festival articles for complete showcases low budget films made opening address. Additional speak- lists of award-winning films. with computers and other new ers at LEAF include representatives forms of technology. Featuring ani- of various effects and animation KROK review by oTTo Alder. mated pieces by the likes of Eric companies, such as: Industrial Light Anima Mundi review by Rossner (an up and coming artist and Magic, Ex Machina, Pixar, Blue Edmundo Barrieros. recently discovered by ), Sky Studios, ’s Creature Fantoche review by Thomas D.Film’s program will tour the U.S., Shop, DreamWorks SKG, The Mill, Basgier. stopping in San Francisco Apple Computer, Pacific Data SAFO review by Joan Ashworth. November 8-9, San Diego Images, Fantome, Walt Disney November 15-16, Los Angeles in Feature Animation, Emmys, Oh My! The Academy of February and Seattle in March. Not Imageworks and The Moving Television Arts & Sciences’ 49th on the festival circuit? Visit Picture Company. The LEAF Awards annual presentation http://www.dfilm.com to view competition is open to works in the took place in Los Angeles last downloadable Quicktime movies categories of art, commercials, edu- month. Out of 28 categories, two and information on how to make a cation and training, feature films, are for animation. The winning pro- digital film yourself. short films, music videos, simulation, grams were: Fox/Gracie student and titles, idents and stings. Films/Twentieth Television’s The New Shorts Film Fest. The An independent panel of judges Simpsons: Homer Phobia for Best Shorts International Film Festival is comprised of industry experts, the Animated Program (for program- now accepting entries for its’ first media and potential clients will ming one hour or less), and to The edition, to be held November 5-6, judge each of the LEAF Awards. The Family Channel/Carlton UK 1997 in Lincoln Square, New York entry deadline was September 26. Television/Hit Entertainment’s City. The annual festival will feature For information, visit Willows In Winter for Best Animated seven competition categories: http://www.digmedia.co.uk/LEAF.h Program (for programming more Animation, Drama, Comedy, tml than one hour). Earlier this month, Experimental, Student, the Primetime Emmy Awards were Documentary and Foreign. Each Hollywood Film Fest. The first announced, naming three winners category will award a $2,000 cash Hollywood International Film in the Creative Arts categories. A sec- Festival will take place October 14- prize. The entry deadline was ond win for The Family Channel’s 19, 1997 in (where else?) September 15. Films must be under Wind In Willows”went to the pro- Hollywood, California. The deadline 40 minutes, and completed after gram’s color director, Loraine January 1, 1996. For information, for submitting films, however, is coming up on August 30. The entry Marshall, while Gary Hurst was visit http://www.shorts.org fee is $50 and all films must be on awarded for production design for NTSC VHS. The four categories for HBO’s Testament: The Bible in LEAF Grows Into Digital this international, competitive festi- Animation—Moses, and storyboard Media World. The event known as val are features, shorts, documen- artist Phil Weinstein was awarded The London Effects and Animation taries and animated films. The equiv- for his work on CBS’ Boo to You ANIMATION WORLD MAGAZINE October 1997 64 Too! Winnie The Pooh. with her late husband John Hubley. She has also worked in collabora- Mobius Advertising Awards. tion on films with her daughter The 27th annual International Emily Hubley. IFP’s Gotham Awards YYourour AdAd Awards Competition has put out the aim to celebrate New York as a cen- call for entries for the Mobius ter for filmmaking, honoring indi- CouldCould BeBe Advertising Awards. The competi- viduals who have demonstrated an tion is open to television commer- outstanding commitment to inde- HerHere!e! cials and campaigns which have pendent filmmaking. Additional been produced, screened or aired Gotham Award recipients for 1997 in the past 12 months. In addition include Bob and Harvey Weinstein, For rate cards and to technique categories Animation- Errol Morris and Macky Alston. additional information about Computer, Animation-Non- various opportunities Computer, and Animation- Hibbert Ralph Takes Home for exposure at Computer & Non-Computer, there Award From Japan. London- Animation World Network, are more than 85 product-specific based Hibbert Ralph Entertainment contact our categories for everything from dairy was awarded the Children’s Jury Los Angeles products to toothpaste, which pre- Award at the Kinderfilmfest in Japan, office at sents many opportunities for recog- for their film The Forgotten Toys. nition. The entry fee is October 1 The film has won six other interna- 213.468.2554 and the fee is $120 per commer- tional awards at festivals including cial. For information and entry Cartoons on the Bay and the or e-mail forms, call (U.S.) (630) 834-7773. Poznan International Festival for any of our sales Children. A follow-up series to the representatives: MacCurdy’s Women In Film film is now underway as a Hibbert Award A First. On September Ralph Entertainment/Link 13, Women In Film honored Entertainment production for North America: Warner Bros. Television Animation Meridian Broadcasting. For infor- President and Kids WB! mation about Hibbert Ralph Bart Vitek Programming President Jean Entertainment, read Jerry Hibbert’s MacCurdy with a Lucy Award, in article, Staying Ahead of the Game [email protected] honor of the late Lucille Ball. This is in the February1997 issue of the fourth annual presentation, but Animation World Magazine. the first time that a woman in the http://www.awn.com/mag/issue1. Europe: animation industry has received this 11/articles/hibbert1.11.html award. The ceremony took place in Animation World News is Thomas Basgier Beverly Hills on Saturday September compiled daily for publication in the 13. Additional honorees were AWN Daily Flash, the weekly [email protected] comediennes Carol Burnett and Animation Flash email newsletter, Roseanne. and monthly issues of Animation World Magazine. U.K. Faith Hubley Honored By IFP Alan Smith West. On September 16 in New York, independent animator Faith Send your newsworthy items, [email protected] Hubley will received the first ever press releases, and reels to: Special Gotham Award for Email: [email protected] Animation, from the Independent Fax: (213) 464-5914 Other Location: Feature Project (IFP) West. Hubley Mail: Animation World Magazine has produced 20 independently 6525 Sunset Blvd. Garden Suite [email protected] animated films, in addition to the 10, Hollywood, CA 90028 USA more than 20 films she produced

ANIMATION WORLD MAGAZINE October 1997 65 Happy Birthday, Chuck Jones! by Wendy Jackson

nimation legend Chuck endary member of the Warner Bros. Jones celebrated his 85th Animation family will continue to be Abirthday on Sunday, a vital creative force for Warner Bros. September 21, 1997. To honor the as long as he wants,” said Robert occasion, Warner Bros. invited 500 A. Daly and Terry Semel, Chairmen of his friends, colleagues, fans and and Co-CEOs of Warner Bros., as family members to a special evening quoted in an announcement of the honoring the four-time Academy deal between the studio and Chuck Award-winner. Following a cocktail Jones. reception and viewing of Chuck Chuck Jones closed the Jones’ personal art collection in evening on stage, sharing memo- Warner Bros. Museum’s new ries of his career in animation. He Animation Gallery, Leonard Maltin recalled the many letters he had hosted an evening of accolades by sent to Walt Disney in his early more than 20 people, peppered years, and how Walt personally with a selection of classic films direct- replied to each one. Later, when he ed by Jones like, What’s Opera met Walt, Chuck thanked him for Doc?, The Rabbit of Seville, Broom- those letters and Walt replied, “Well, Stick Bunny and One Froggy Chuck Jones and his cast of characters. © of course, you’re the only animator Evening. Among the speakers were 1997 Warner Bros., Inc.All Rights that ever wrote to me!” With this voice artist , The Reserved. example, Chuck inspired everyone Simpsons creator , Warner Bros. confirmed and signed in the audience to take the time to Hope Freleng Shaw, daughter of an “unprecedented long term acknowledge our peers’ accom- the late animation director Friz agreement” with Chuck Jones, con- plishments, and write to them in Freleng, Warner Bros. Television tracting him exclusively to create appreciation. Animation President and Kids WB! and develop projects and serve as Programming President, Jean a creative consultant to the studio. To honor the occasion,Warner MacCurdy and numerous Warner Jones has already been acting in a Bros. invited 500 of his friends, Bros. executives. Pre-recorded salu- similar capacity through Chuck colleagues, fans and family tations were also presented from Jones Film Productions, which has members to a special evening... the likes of Robin Williams, Ted produced several contemporary ani- Turner, Martin Scorcese, Phil mated shorts using classic Warner In our interview, Chuck Hartman and Quincy Jones. Even Bros. characters. However, in his Jones responded enthusiastically to Bill and Hillary Clinton sent their new role with the studio, Jones will Animation World Magazine’s ques- regards to Chuck in the form of a serve more as an advisor than a pro- tion: “Based on your years of expe- letter read by Peter Starrett, ducer or director. “It is an extraordi- rience in animation, what would President of Warner Bros. Studio nary pleasure for us to sign this you like to say to the young aspiring Stores. unique agreement that guarantees talent coming into the industry?” During the presentation, this incomparable talent and leg- Chuck Jones stressed the impor- ANIMATION WORLD MAGAZINE October 1997 66 tance of both life create , drawing and read- Daffy Duck, Elmer ing, while studying Fudd, Porky Pig and to be an animator. many others. He He said, “I think worked a brief stint you’ll find that any at The Walt Disney studio, they don’t Studios in 1955, but want you to draw then returned home Bugs Bunny. They to Warner Bros. want you to be When Warner Bros. able to draw the closed its’ animation human figure. If unit in 1962, Jones you look back went to MGM through the histo- Studios to head their Chuck Jones with his daughter Linda, admiring the 85th birthday cake, given to ry of art, all the him by Warner Bros. © 1997 Animation World Network. animation division. way back to the There, he collabo- cave paintings, you’ll notice that the rated with Dr. Theodore Geisel (Dr. Any writer will tell you that it great painters always were able to doesn’t do any good to write if Seuss), producing and directing ani- paint with a simple line, just like we you don’t have something to mated film adaptations of the Seuss’ do in animation. The main thing is say. - Chuck Jones children’s books Horton Hears a to learn how to do it, then have Who and How the Grinch Stole something to say with your skills. Chuck Jones Biography Christmas. Any writer will tell you that it does- Chuck Jones began his Upon leaving Warner Bros. n’t do any good to write if you don’t career in 1932 as an animation cel in 1962, he launched Chuck Jones have something to say.” This point washer at Ubbe Iwerks Studio, after Enterprises, which produced should be well-taken by not only graduating from the Chouinard Art numerous television specials and our younger readers, but everyone Institute (now the California Institute other projects from 1970 onwards, in the entertainment industry! You of the Arts). Four years later, he including The Cricket in Times can view a video clip from our inter- joined the Leon Schlesinger Studio Square (1973), Gay Purr-ee (1962) view with Chuck, by downloading (which was later sold to Warner and animation for feature films such our exlusive Quicktime movie from Bros.) as an animator, and was as Mrs. Doubtfire (1993). In 1993, the HTML version of this issue. assigned to Tex Avery’s unit. In 1938, Jones formed a new studio, Chuck at the age of 25, Chuck directed his Jones Film Productions, under con- first animated cartoon, The Night Watchmen. During his 24 years at Warner Bros., Jones cre- ated characters such as Marvin the Martian, Pepe Le Pew, Michigan J. Frog, Road Runner and Among the distinguished guests of the evening Warner June Foray shared with the audience a drawing Wile E. Coyote. Bros. Feature Animation President Max Howard (left) and Chuck Jones made for her over 30 years ago. © director Bill Kroyer. © 1997 Animation World Network. 1997 Animation World Network. He also helped ANIMAOctoberTION 1997 tract with Warner Bros. Based on Enterprises, Inc.(LJE). In the Warner Bros. Studio lot, Chuck December 1996, Linda Jones Film Productions most recent- Jones wrote “Through The ly created several animated shorts Looking-Cel. . . Er, Glass,” an for theatrical release, including article for Animation World Chariots of Fur, Another Froggy Magazine about how these Evening, Pullett Surprise and Father endeavors in animation art of the Bird. Chuck Jones Film began. Now, in addition to Productions closed its’ doors earlier operating three dedicated this year, but Jones will continue to Chuck Jones Showroom gal- influence new production through leries, LJE has product in Matt Groening (left) and Animation World Magazine his new long-term agreement with more than 150 galleries and publisher Ron Diamond. © 1997 Animation World Warner Bros. museums worldwide. Network During his more than During his more than 60-years 60-years in animation, Chuck Jones in animation, Chuck Jones has has created more than 300 ani- The HTML version of this article created more than 300 animat- mated films, and has directed some features an exclusive Quicktime ed films, and has directed some of the most acclaimed animated movie of our interview with of the most acclaimed animat- shorts of all time, including Rabbit Chuck Jones. ed shorts of all time... Seasoning, Duck Dodgers in the http://www.awn.com/mag/issu 24th 1/2 Century and Duck Amuck. e2.7/2.7pages/2.7jackson- He has won three Oscars, and jones.html In the late 1970s, with his received an honorary Oscar from daughter, Linda Jones, Chuck the Academy of Motion Picture Arts began to create limited-edition ani- and Sciences in 1996. In addition, mation art depicting characters and he has received numerous lifetime Further Reading: scenes from his films. Through a achievement awards and honorary unique license agreement with doctorate degrees, has been sub- “Through The Looking-Cel. . Warner Bros., they began produc- ject of many retrospectives and exhi- . Er, Glass,” by Linda Jones. ing and distributing the limited-edi- bitions, and has a star in his name Animation World Magazine, tion art through Linda Jones on the Hollywood Walk of Fame. December 1996.

Chuck Amuck: The Life and Times of An Animated Cartoonist, by Chuck Jones. Farrar Straus Giroux, New York. 1989.

Wendy Jackson is Associate Editor of Animation World Magazine.

Chuck Jones looking very dapper during his interview with Animation World Magazine. © 1997 Animation World Network. ANIMATION WORLD MAGAZINE October 1997 68 Springfield, Nevada by Wendy Jackson ince 1987, viewers of suburban neighborhood, The Simpsons have appropriately named Swondered about the Springfield. More than true location of Springfield, 30,000 people have toured the fictional town where its colorful interior, and the resides. thousands more have dri- But now, at long last, the ven past for a quick peek. mystery has been unveiled AWM just couldn’t pass up through the latest project the invitation to visit the Las from the Fox promotional Vegas-adjacent locale for turbine. While Henderson, an exclusive Matt Groening Nevada may not have a house-signing event, press nuclear power plant or a tour and lunch visited by The now-famous landmark,The Simpsons home. © 1997 Moe’s Tavern, it does have Animation World Network. the unofficial mayor of Las the only life-size replica of Vegas, Wayne Newton the Simpson family home. World Magazine. Fox then teamed- himself! up with Kaufman and Broad, an architecture firm which specializes The idea to build the house in building planned home commu- While Henderson, Nevada may occurred to the designers at nities, and Pepsi-Cola, who provid- not have a nuclear power plant Fox Interactive, while they ed the distribution mechanism to or a Moe’s Tavern, it does have were working on the 3-D visu- promote the contest, offering the the only life-size replica of the alization for the game, Virtual public a chance to own the home. Simpson family home. Springfield... On August 1, 1997, the four- bedroom, 2,200 square foot home was unveiled, just 49 days after the The Trip A Big Idea concrete foundation was poured. After a brief flight on Western The idea to build the house During the September 21 premiere Pacific’s specialty Simpsons aircraft, occurred to the designers at Fox of the ninth season of The some 120 select media representa- Interactive, while they were work- Simpsons, a winning number was tives, publicists, show writers and ing on the 3-D visualization for the announced. Game pieces, available producers, and, oh, yeah, The game, Virtual Springfield, which is inside specially marked packages of Simpsons creator Matt Groening, reviewed in this issue of Animation Pepsi soft drinks, can be mailed in to arrived in Las Vegas. We were then claim the grand prize of the house, bussed to the site of the Simpsons’ or secondary prizes, which include one-year supplies of Mandarin Slice, skate- boards, and Virtual Springfield CD- ROMS. No claim to the grand prize has been made yet, but stay tuned to Animation World Magazine’s Weekly Animation Flash Email Newsletter for details. Since the house was opened Western Pacific’s custom aircraft flew us on August 1, it has become quite Matt Groening receives a plaque from the from Los Angeles to Las Vegas. © 1997 Mayor’s office, commemorating “The Animation World Network. the object of attention in the neo- Simpsons Day” in Henderson, Nevada. ANIMATIONOctober WORLD 1997 69 a plaque, and declared it “The Simpsons Day” in Henderson. After touring the 2,200 square-foot home with his two sons, Groening proceeded to “autograph” the side of the garage The family portrait Bart’s room. © 1997 Matt Groening paints his signature character, Bart, and with spray paint, and above the fireplace. Animation World his name, on the side of the garage, proclaiming,“I’ll be put his name and © 1997 Animation Network. the first one to vandalize the Simpsons’ house!” © 1997 hand prints in cement World Network. Animation World Network. on the walkway, mak- ing for a great photo opportunity for the horde of photographers and video crews covering the event.

It was a strange experience, kind-of like a cross between Lisa’s room. Observe the saxophone on Disneyland’s “Toon Town” and the bed. © 1997 Animation World an eclectic grandmother’s Network. The completed masterpiece. © 1997 house. will soon be painted a light brown Animation World Network. to match the 151 other homes home: Henderson, Nevada, a new residing within the “planned com- development some 15 minutes The Tour munity.” The red fence, painted car, from the fabulous Las Vegas Strip. All of the guests were then Bart’s tree house and other props When approaching the location, escorted in small groups on a tour will also be removed from the yard, the brightly-colored house visually of the house. The tour guides were but, whoever the future owner may stood-out in the neighborhood of well-versed in Simpsons’ trivia, point- be, the inside of the home will brand-new, homogeneous homes. ing out details such as “the mystery remain intact ... corn-cob curtains We were greeted by a life- door” next to the stairs and mouse and all. size Simpson family: Homer, Marge, holes in the wall. It was a strange Bart, Lisa and Maggie, who must experience, kind-of like a cross Quicktime Movies have been sweltering inside their between Disneyland’s “Toon Town” The following digital movies are avail- costumes in the 90 + degree desert and an eclectic grandmother’s able exclusively in the HTML format of this issue, on the Internet at heat. Nonetheless, they were joined house. Covering every interior sur- face are 25 different colors of paint http://www.awn.com/mag/issue2.7/2.7 by Henderson Mayor Jim Gibson, pages/2.7jacksonsimpsons.html who presented Matt Groening with including Power Orange, Pink Flamingo, and Generator Green. 1. The Simpsons airplane from the We even had to wear special fabric ground. booties over our shoes to protect 2. Matt Groening spray-painting the side the painted floors from scratches. of the garage, and wise-cracking We documented the tour on tape all the while. to bring you these exclusive photos 3. The grand tour, narrated by Editor-in- as well as four Quicktime movies, Chief Heather Kenyon. It’s a big file, but well worth the wait! available only in the HTML version 4. Wayne Newton meets Matt Groening. of this issue. While it may not be This one’s a collector’s item! quite the same as actually being Though the outside of the house will there, these clips are a fun alterna- eventually be painted a light brown, this tive. Besides, the spectacle will only Wendy Jackson is Associate Editor cement walkway engraved by Matt be around for a little bit longer. As of Animation World Magazine. Groening will remain as a permanent it turns out, the outside of the house monument. © 1997 Animation World ANIMATION WORLD MAGAZINE October 1997 70 Cartoon Network’s Dive-In Theater: A Floating Cinema

ow do you introduce new who believes he is a gift from God cable operator to give away an esti- television shows and car- to the women of earth. The second mated 2,000 tickets per venue. Htoon characters in a way show to debut, Cow & Chicken, fol- Those in attendance that will excite and entertain kids? lows a bizarre storyline that spot- enjoyed the show while floating in Throw a party, of course. And for lights the misadventures of a surre- a “Cow raft,” “Dexter submarine” or the past three summers, Cartoon al pair of siblings, whose relation- by treading water in a “Johnny Network has done just that by trav- ship is underscored by their identi- Bravo inner tube” that is complete eling to several cities across the ty — little sister is a Cow and big with an inflated blond pompadour. United States to host Dive-In Theater, brother is a Chicken. The senior rep- In addition, costumed characters the ultimate pool party for were on hand for photo kids. opportunities, including Cartoon Network’s Dexter, his sister Dee Dee, marketing department Johnny Bravo, and Cow & came up with the concept Chicken. Other poolside of Dive-In Theater in 1995 activities included two prize to showcase the 48 car- ™©1997 The Cartoon Network, Inc.All characters and related wheels that rewarded win- toon shorts from its World elements depicted herein are trademarks of and copyrighted by ners with Cartoon Network Premiere Toons project. Hanna-Barbera Cartoons, Inc. merchandise and other This year, the tour focused sponsored prizes. After the on the World Premiere Toons grad- resentative of the is Dexter’s show, Cartoon Network surprised uating class: three cartoons that Laboratory, which was Cartoon the kids by inviting them to take have been upgraded to half-hour Network’s highest rated show in home the inflatable rafts. series on the network — Johnny 1996. Dexter’s Laboratory chroni- Bravo, Cow and Chicken and cles the life of a boy genius who Those in attendance enjoyed Dexter’s Laboratory. Dive-In Theater creates world-changing inventions the show while floating in a premiered the series at water parks in his beloved, but off-limits, bed- “Cow raft” or “Dexter subma- and large municipal swimming room laboratory despite the pesky rine” or by treading water in a pools, treating kids and their par- interference of his sister Dee Dee. “Johnny Bravo inner tube” that ents to exclusive poolside screen- All three break out stars from the is complete with an inflated ings on 9’ x 12’ movie screens. World Premiere Toons project blond pompadour. debuted as series on Cartoon How do you introduce new Network in mid-July and are cur- television shows and cartoon rently playing on Cartoon Network Free Stuff! characters in a way that will channels worldwide. If your town was not one of excite and entertain kids? This year’s U.S. Dive-In the 11 cities scheduled on this year’s Throw a party, of course. Theater tour visited eleven markets, tour, or if you missed your chance including Arlington, Texas, Los to win tickets to the event, there is Angeles, California, Arlington still a chance to win one of the tour’s New Shows Debut Heights, Illinois, Philadelphia, colorful rafts. All you have to do is The first of the three new Pennsylvania, Riverhead, New York, visit the HTML version of this issue series featured at the Dive-In and Atlanta, Georgia. In each mar- and answer five trivia questions cor- Theater, Johnny Bravo, tells the story ket, Cartoon Network partnered rectly. Hurry! Contest ends October of a free-spirit with bulging biceps with a local radio station and a local 31.

ANIMATION WORLD MAGAZINE October 1997 71 On a Desert Island With Top Ten Toys. . . . Compiled by Wendy Jackson hat toys would you want to have with you if you were stranded on a desert island? This month, we asked the licensing executives and creatives of the industry’s leading licensed animated properties to Wrecall their favorite childhood toys. Jenny Gentile is Senior Vice President, Licensing at Abrams/Gentile Entertainment. She is involved in licensing such successful properties as Sky Dancers and Van-Pires. Andrew Witkin is Sales and Marketing Manager for Nelvana Marketing Inc. Scott Mitchell Rosenberg is Chairman of Platinum Studios, the U.S. entertainment arm of the 25-year-old European comic rights holder, established to develop comic properties for television and motion pictures. If the following selections are any indication of changes in the toy industry, it is apparent that very few of kids’ favorite toys in the past were tied-in to television properties. While there are many animated series and feature-related toys on the market today, one has to wonder which ones will remain in the memories of kids 20 years from now.

Jenny Gentile’s playpen Andrew Witkin’s childhood Scott Mitchell Rosenberg’s favorites: memories: favorites: 1. Push n’ Pull. 1. Barrel of Monkeys. 1. Risk. 2. Trolls. 2. Slinky. 2. Stratego. 3. Hula Hoop. 3. Silly Putty. 3. Monopoly. 4. G.I. Joe. 4. Lego. 4. Cowboy stuff. 5. Paddle Ball. 5. Intelivision. 5. Lite Brite. 6. Lincoln Logs. 6. Mr. Turtle Pool. 6. Toy Soldiers. 7. Twister. 7. Hot Wheels. 7. Mego Superhero Toys (DC and 8. Battleship. 8. View Master. Marvel). 9. Monopoly. 9. Nerf football. 8. Hot Wheels. 10. Mousetrap. 10. Monopoly. 9. Guns. 10. Silly Putty.

Jenny Gentile was involved in developing the successful Sky Dancers toy and ani- mated series with Gaumont Multimedia. © AGE & Scott Mitchell Gaumont. Andrew Witkin. Rosenberg.

ANIMATION WORLD MAGAZINE October 1997 72 AWN Comics

The Dirdy Birdy by John R. Dilworth

ANIMATION WORLD MAGAZINE October 1997 73 Home Video and Animation Art, November 1997

In November we will concentrate on two revenue-producing animation industries: Home Video and Animation Art. In the Home Video section, Ilene Hoffman will take an in-depth look at the masters of video - Disney. Fred Patten will investigate the Japanese direct to video world while Justus Olielo will take us for a tour of Africa’s video parlors. George Johnston will examine the future health of the home video market and Russell Bekins will inform us about DVD and beyond. What is waiting to take video’s place in our homes? For those video collectors, we will hear David Kilmer’s confessions of being a home video collector extraor- dinaire.

Our Animation Art section of the magazine will focus on “What A Buyer Should Know: A Guide to Animation Art.” We will also include Deborah Reber’s interview with Christie’s official animation art expert Pierre Lambert, who will help us pinpoint the serious animation art buyer, market and value. Our Student Corner will revolve around animation art this month as well, when we will instruct students how they can preserve their own animation art. (It could be worth a lot when you’re rich and famous!)

Event reviews will include the Society for Animation Studies Conference, Barcelona’s Sitges Fantastic Film Festival, CARTOON’s Cartoon Forum in Arles, France and MIPCOM in Cannes. Harvey Deneroff will review Fox Feature’s much anticipated first animated film Anastasia and Judith Cockman will take a look at Odyssey Video’s new collection of com- puter animation videos that are distributed by Sony Wonder. Animation World Magazine 1997 Calendar

Gaming:The World of Interactive Animation (December)

Producing Results (January)

Motion Capture and Stop Motion (February)

The Art of Pre-Production (March)

ANIMATION WORLD MAGAZINE October 1997 74