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Wild Brain on Ferngully 2 Interview With Vol 2 Issue 12 March 1998 PP RERE-P-PRODUCTIONRODUCTION InterviewInterview WithWith WildWild BrainBrain onon MauriceMaurice NobleNoble FernGullyFernGully 22 RealFlashRealFlash DemystifiedDemystified GamingGaming LucasArtsLucasArts StyleStyle Plus:Plus: OscarOscar ReportReport Table of Contents March 1998 Vol. .2 . No. 12 4 Editor’s Notebook Remembering and depicting the past... 5 Letters: [email protected] PRE-PRODUCTION 6 FernGully 2:The Magical Rescue - Getting the Money on the Screen Wild Brain’s Dave Marshall, co-director of FernGully 2, discusses how he tailored the pre-production process of FernGully 2 to guarantee the best final film for the budget. 10 Cruddy Sketches and a Red Pen: Pre-Production on Lucas Arts’ The Curse of Monkey Island Gaming pre-production is explained by Russell Bekins who spent a day visiting the dreamlike LucasArts Entertainment in California’s Silicon Valley. 15 Maurice Noble:Animation’s “Old Rebel” Karl Cohen interviews the Disney legend, Maurice Noble, and discusses his career, working with Chuck Jones and the animation industry today. 21 Paper:There’s More To It Than You Think An article on paper? Yes. Steven Hagel takes us inside the world of paper and reveals the complexity of anima- tion’s “simplest” tool. 25 Creating Music and Imagery Together Independent German filmmaker Kirsten Winter describes her unique pre-production process of working with composer Elena Kats-Chernin, while developing her visuals. VOICE ACTING 28 And I Get Paid!?!:The Life of a Voice Actor Is voice acting really the best job on earth? Kath Soucie thinks so and takes us through her typically busy week. 32 Mae Questel:A Reminiscence, History and Perspective Following her recent death,Andrew Lederer discusses the legendary Mae Questel, the voice of Betty Boop. THE STUDENT CORNER 35 In the Spotlight: Creating Prime Time Animation Film Roman’s Mike Wolf outlines the pre-production process of prime time animation and focuses on the fea- tures that make prime time special. FESTIVALS, EVENTS: March 1998 38 The World Animation Celebration: Pasadena’s Festival The World Animation Celebration offered a number of events ranging from screenings to technology seminars to employment expos. Animation World sent a bevy of specialists to report. 49 Toy Fair:A Flood of Animated Toys Joseph Szadkowski, fresh from the annual Toy Fair in New York, details the latest and greatest toys and prod- ucts based on animated programming. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE March 1998 2 Table of Contents March 1998 Vol. 2, . No. 12 REVIEWS: FILMS 52 T.R.A.N.S.I.T.:A Delicious Sense of Understanding and Journey Emru Townsend reviews Piet Kroon’s new film, T.R.A.N.S.I.T., a fascinatingly complex journey of imagery and story. BOOKS 54 The Enchanted World of Rankin/Bass by Rick Goldschmidt Scott Maiko isn’t so enchanted with this new “bible” of Rankin and Bass’ work. Find out why... SOFTWARE 56 Animating the Web: RealFlash RealFlash technology can seem daunting. However, the following two articles,“RealFlash:The First Step” and “How I Learned to Stop Worrying and Love RealFlash,” will hopefully, make it less intimidating...and just in time to enter the RealFlash Animation Festival. HIDDEN TREASURES: 62 George Eastman House International Museum of Photography and Film Located in Rochester, New York, Eastman House has an extensive and fascinating collection of films and stills. Animation highlights include retrospectives and a collection of pre-cinema animation devices. NEWS 64 Animation World News Universal Forays Into Features, Loesch Joins Henson TV Unit, UPN to Bring Dilbert to Primetime, Disney Sets Dates For Miyazaki and DTV Titles, plus more. DESERT ISLAND 76 On A Desert Island With. .Pre-Production People Maurice Noble, John Ramirez and Wes Archer. AWN COMICS 77 Dirdy Birdy by John Dilworth 78 Next Issue’s Highlights March 1998 9 This Month’s Contributors Cover: FernGully 2:The Magical Rescue, produced by Wild Brain, will be released as a direct-to-video title on March 17, 1998. © 1997 Twentieth Century Fox Home Entertainment,The CBS/Fox Company.All Rights Reserved. © Animation World Network 1998. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network. ANIMATION WORLD MAGAZINE March 1998 3 by Heather Kenyon Remembering and depicting the another trend that is to document bravely the past... occurring in print truth, then we will have Historians naturally have a publications as well a more difficult time difficult time discovering the past that is disturbing. remembering and piec- for several reasons. Human nature, Magazines are going ing together our anima- politics and, of course, the all-mighty to great lengths in tion heritage tomorrow. dollar play a role. Finding anima- order to secure cer- On a completely dif- tion’s history might even be a little tain stars or proper- ferent note, I hope you more difficult because opposed to ties for their covers. enjoy this March issue of an event that many people wit- For instance, in an Animation World nessed or were involved in, the attempt to get a Magazine with its spot- early years of animation came and mega-star on the light on the art of pre- went with little documentation. cover, a magazine production. A solid pre- It is human nature to want will let the star pick their interview- production process is growing more to say positive things about people er, the subject matter to be dis- important as production work on a we admire. However, we run into cussed, etc. While this is so far only single show is being completed trouble when the people docu- happening in the more fluffy enter- more and more frequently by a col- menting history only record what tainment magazines and on the lection of studios. Having a solid their subjects want to have remem- magazine type news shows, it is a foundation certainly helps a project bered and not what is the truth. trend to watch as the line between make it through cultural bound- People writing books and articles reporting and entertainment blurs. aries, communication difficulties really have to do their research in This leads us to the thing caused by distance (is a fax really as order to guarantee delivery of the that has been called the root of all good as a one-on-one meeting?), full story. Another facet of human evil, money. Sure magazines with a and a large number of internation- nature, is, as Andrew Lederer points catchy cover sell. No one can blame al cooks without it losing its flavor out in “Mae Questel: A the publisher. If a publisher wants, and strength. Television has long Reminiscence, History and for example, a coffee table book of been shipped overseas in the Perspective,” sometimes when folks art work by a certain studio, but not United States and Europe. Plus, age, so too do their memories. One a detailed text of the production, now with the help of CARTOON, can misleadingly think they are get- fine. It is his dime and the writer will projects are being shipped in- ting information from ‘the source’ adhere. between a number of European in personal interviews. Again, I would like to take studios. Even on the feature front, The two other elements that this opportunity to encourage peo- The Lion King, for example, was ani- lead to historical twisting are poli- ple with stories to document them. mated in both the Florida and tics and money. Often the truth can- We are also interested in hearing California studios. The importance not come out because a person, stories from the past and would like of pre-production is paramount with no malicious intent, does not to encourage people to contact us when it comes to leading a solid, want to go on record with their if they would like to have their mem- on time, on-budget show. All our statements, their true feelings. On a oirs published in the form of an arti- experts agree, a little more time up much larger scale, in today’s world cle. The work of many museums, front can save a lot of grief in the of super-huge corporate news, archives, ASIFA chapters and orga- end. headlines tend to get pre-fabricat- nizations like Women In Animation ed and he who yells the loudest, are helping with this drive to pre- Until next time... wins. While fluff is hyped, the real serve history and deserve our sup- Heather stories can go unnoticed. There is port. If we do not take the time now ANIMATION WORLD MAGAZINE March 1998 4 [email protected] Praise for the February Issue taught, stop-motion animator here • When will your book The Thanks for the great in Australia, I find it very difficult to Animation Job Hunter’s Guide February issue (2.11). I completely find good information and advice. be available? Can you provide enjoyed every article and hope as a Animation World Magazine is ‘the ordering information? new hobbyist of stop-motion ani- best’ resource I have found yet in mation you continue with more arti- my business. • Where can I find copies of other cles like “At Last, Foam Puppet articles you have written on this Fabrication Explained!” and “How’d Sincerely, subject? They Do That?: Stop-Motion Secrets Antony Bunyan Revealed.” I also hope you provide Thank you for your insight! more information on low cost Tom Brierton replies: AJ Blosser film/video systems and how to use I drill my bearings out on a them for amateurs like myself.
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