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Vol.Vol. 3 3 IssueIssue 99 DecemberDecember 1998 1998 AmusementAmusement ParksParks && FamilyFamily EntertainmentEntertainment

“It’s Tough to be a Bug” at Disney’s Animal Kingdom

“Rugrats” and “Bug’s Life” Reviewed! Craig Bartlett’s Past Life

• Edutainment and the Internet • Plus, avant-garde master Harry Smith TABLE OF CONTENTS

DECEMBER 1998 VOL.3 NO.9 Table of Contents December 1998 Vol. 3, No. 9

4 Editor’s Notebook Wow! It’s an interactive future!

6 Letters: [email protected]

8 Dig This! IMAX invents a new technology that allows animators to animate in thin air!

AMUSEMENT PARKS 10 The Mouse’s Wild Side: Disney’s New Animal Kingdom Walt Disney World is the proud site of a new Disney theme park: Animal Kingdom. Joseph Szadkowski reports on this new destination which combines adventure, education and fun.

15 Craig Bartlett’s Charmed Past Life Did you know that before Hey Arnold!, Craig Bartlett completed several projects for amusement parks and World’s Fairs? Joe Bevilacqua looks into Craig Bartlett’s past life... 1998

19 Theme Parks in the Digital Age Clark Dodsworth lends his considerable insight as to what we can expect from the amusement park of the future. Interactive robotic fauna? Digital characters with artificial intelligence and synthetic personalities? You bet!

23 Disneyland: From Dream to Reality Katie Mason relates Disneyland’s history from Walt’s dream to an attraction which has drawn over 400 million visitors since its opening day, July 17, 1955.

FAMILY ANIMATION 26 Edutainment and the Internet Contrary to popular belief, the Internet and kids are made for each other. Ted Pedersen & Francis Moss take us into the world of the post-television generation. Includes a Flash demo.

30 All In The Family: Rated “G” Animated Programming Deborah Reber takes a look at three companies, CINAR Animation, Porchlight Entertainment and Big Idea Productions, that are making a living out of the growing market of wholesome family entertainment.

OTHER 34 Here’s A How de do Diary: September Barry Purves is nearing completion on Gilbert and Sullivan - The Very Models; find out how he is doing as he finishes up animation in this month’s production diary installment. Special Bonus: Includes the actu- ECEMBER al production script for Episode Five.

THE STUDENT CORNER 43 Vilppu Drawing Online: Introducing Material and Proportion D Life drawing master Glenn Vilppu continues his on-line drawing course, adding to his previous three lessons. Includes a Quicktime movie.

ANIMATION WORLD MAGAZINE December 1998 2 TABLE OF CONTENTS

DECEMBER 1998 VOL.3 NO.9

FILMS 45 A Bug’s Life: PIXAR Does It Again Charles Solomon reviews PIXAR’s much anticipated follow-up to Toy Story, A Bug’s Life, which is funny, bright and a joy to watch.

49 Shifting to the Big Screen: The Rugrats Movie The toddlers’ first excursion into theaters is well directed and paced, but flawed. Michael Mallory explains.

BOOKS 52 American Magus - Harry Smith - A Modern Alchemist Giannalberto Bendazzi shares a treasure...the book American Magus - Harry Smith, which features “one of the most hidden, obscure and enigmatic figures in the entire history of animation and the avant- garde.” Available in English and Italian.

56 The Flesh Made Word: Harry Smith Speaks Chuck Pirtle discusses the latest text on Harry Smith, Think of the Self Speaking: Selected Interviews of Harry Smith. Featuring interviews from 1968-1989, this text elaborates on the life of this groundbreak-

1998 ing American Surrealist artist.

57 That’s Enough Folks: Black Images In Animated Cartoons, 1900-1960 Giannalberto Bendazzi reviews That’s Enough Folks, Henry T. Sampson’s insightful book on the cartoon treatment of African-Americans and other minority groups. Available in English and Italian.

59 Reading the Rabbit: Warner Bros. According to the Academics How can a collection of essays make Warner Bros. cartoons seem so serious? Mark Mayerson ponders the impact of academics on the new book Reading the Rabbit: Explorations in Warner Bros. Animation.

HIDDEN TREASURES 61 Fragments of a Faith Forgotten: Unearthing the Harry Smith Archives Rani Singh relates the operations of the Harry Smith Archives as she and others try to collect, restore and rebuild the works of Harry Smith.

NEWS 63 Animation World News Rugrats Offends Media Watchdogs, Batman Creator Bob Kane Dies, Bandai Opens Animevillage.com, Annie Award Winners, Books Galore and more...

82 On A Desert Island With. . . . Animated Feature Film Directors Antz director Eric Darnell, Gen13 director Kevin Altieri and The Rugrats Movie director Norton Virgien share their favorite films.

AWN COMICS 84 Dirdy Birdy by John R. Dilworth ECEMBER 85 Plympt-gags by Bill Plympton 88 Next Issue’s Highlights 14 This Month’s Contributors D Cover: An audience, with a special guest, enjoys “It’s Tough to be a Bug,” a multi-media event featuring 3D animation, special effects and Audio-Animatronic® characters based on A Bug’s Life. Featured at the new Orlando theme park, Disney’s Animal Kingdom, the show is screened in the 430-seat Tree of Life theater.7

© 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 December 1998 3 by Heather Kenyon ow! It’s an interactive home to connect with people future! with similar interests is a treat. I W recently received an e-mail in I can’t wait to go to Disneyland in Spanish. After having it translated, forty years. It is going to be unbe- I learned that this man lives in lievable! Already I am a huge fan South America in an area where of Disneyland. The best treat for there are limited to no animation me in the past has been a two day resources. He queried if we knew ticket given to me for Christmas. other Spanish speakers from So, to read Clark Dodsworth’s arti- whom he could learn more about cle “Theme Parks in the Digital animation and have discussions. Age” is exciting not only because His e-mail was so joyous at having of his predictions of the future, but found us. “It is nice to know I am also for what is already here. I real- not alone,” he wrote. ized that the Indiana Jones ride We are also discussing was different every time I went Family Animation in this issue. Ted through but I had no idea this Pedersen & Francis Moss’ “Edu- two reasons. The theme that could be attributed to the new tainment and the Internet” proves turned up in this issue, article after digital age. Who knew we were that the Internet can be a safe article, is that the future will be already a part of the future? place for kids to stretch their interactive. Either machines or This issue of Animation minds. The duo states in their other individuals will always be World Magazine bubbles with piece that the Internet is perfect there to “play.” The Internet is our promise, the promise of cool new for children as, “Clearly kids today first foray into this interactive, inventions made possible only by are part of a new generation — a available 24-hours a day world. the advent of digital technology. post-television generation.” Now, I Information is just a click away at As one group of developers tops really feel old and I only graduated all times and chat rooms and gam- another and so on and so on, we university in 1993. With the Inter- ing sites also provide entertain- are bound to have an abundant net just two years old, who ment on demand. The other shift supply of new ways to spend our thought it would be a viable place is a little less apparent and a little off hours and extra dollars. I also for job hunting. Indeed, I hadn’t more abstract... think embracing the Internet in all even been on the Internet! I think While many protest an indi- of these plans is notable, as it ful- a few of the university libraries vidual’s site is rubbish — ‘Who fills the true potential of the web were connected but no one had it cares what Ned Bingham in Amar- as a meeting place. While many in their dorm rooms. Here at Ani- illo, Texas has to say about his cat think the Internet is useless mation World Network e-mails Fluffy!’ — I think it is the ultimate in because there is no way to weed flood in from students all over the realizing the Modern Era. I’ll out the silly, unnecessary or incor- world, each with their own explain. For European cultures rect content; it is actually mar- account. and those based on them through velous for bringing people togeth- Those not on the Internet Colonization, prior to the Enlight- er. Having an outlet in one’s own are missing a tremendous shift for enment Movement (the 18th Cen-

ANIMATION WORLD MAGAZINE December 1998 4 tury philosophical movement con- given to everyone, it is a little reas- Speaking: Selected Interviews of cerned with examining previously suring to know that Ned Bingham Harry Smith. To tap into a com- accepted doctrines and institu- can have his own web site, recon- pletely different way of thinking tions), the idea of the individual firming that he is important and and to connect with someone wasn’t considered. In broad terms, has a right to broadcast to the Bendazzi calls, “one of the most the class and occupation that one world. Welcome to modernity, hidden, obscure and enigmatic was born into was where one where everyone is allowed to figures in the entire history of ani- stayed with no questions asked. have an identity, and to the Inter- mation and the avant-garde,” read Nobles were nobles and serfs net, where everyone has free rein on about Harry Smith. were serfs. Only 300 years ago did to broadcast their individuality. the radical notions of equality, lib- This issue also brought to Until Next Time, erty, and justice for all begin to my attention the fascinating artist Heather prevail (the French Revolution Harry Smith. Giannalberto Ben- being the first major blow to the dazzi’s review of American Magus - establishment), ushering in the Harry Smith - A Modern Alchemist Modern Age. While governments led me to Rani Singh of the Harry and individuals still struggle with Smith Archives who informed me ensuring that the above rights are of the new book, Think of the Self

ANIMATION WORLD MAGAZINE December 1998 5 [email protected]

Dubbing Can Be A Problem... little, if any, wit and sometimes a proper dubbing. By setting up I have read Debra K. totally different meaning. For complete internal departments to Chinn’s “International Theatrical example in the English version, handle the dubbing process, the Dubbing: It’s More Than Meets the Luke says, “I am not afraid,” and studios are being more involved Eye” and would like to share a few Yoda answers, “You will be!” In the and stringent in their standards. I experiences with you. When dub- Czech version Yoda says, “Really?” will be curious to see if you see bing is done properly, it enhances These are some examples any marked changes in the near the movie experience, but when it of why my friends always shudder future. Please write back after you is done wrong, it can kill a film. I at the thought of seeing another see The Phantom Menace. I’ll be am from the Czech Republic and dubbed movie. In fact, some pre- interested to hear what you think all of the movies that come out fer to wait for a satellite channel to about the quality. here on video are dubbed. In the show the film in English. One of theaters, only about half of them my buddies, a huge cartoon fan, are dubbed and most of my stopped going to theaters to see American Dramas? friends are thankful for each and the Disney movies because he First, I do believe that the every one that is not. hates what Czech dubbing does American animation industry has I remember when Harrison to them. Although he is quite advanced in the past 10 years. We Ford spoke his first Czech lines in extreme, I have to admit that lis- have advanced from only produc- Clear and Present Danger. The tening to Czech versions of Ariel’s ing kids cartoons to producing voice was terrible and the whole songs was very unpleasant and more “adult” cartoons like The theater began laughing. More- painful indeed . Simpsons. over, the titles are sometimes trans- I have done quite a bit of I have noticed though that lated without a true understand- translating and it is not an easy for the last ten years (1989-1998) ing of what they mean. For job. Sometimes it takes a lot of the majority of “adult” cartoons on instance, Hot Shots was translated effort to come up with the correct prime time are sitcoms like, The as Shots Which Are Hot and Pri- translation, something that really Simpsons, South Park, Bob and vate Parts was translated as Private fits. It takes time. It takes effort. It Margaret, etc. Why are most of Vice. takes energy. It seems to me that the “adult” American cartoons pro- The dialogue almost always the folks who are doing the trans- duced sitcoms? It seems that year lacks the wit of the original. The lating for movies here are quite after year, the only thing anima- double-headed dragon in Quest lazy (or very badly paid) at best. tion producers can think to pro- for Camelot originally says, “We I hope my point of view will duce are animated adult sitcoms. are the reason why relatives help you in your work, especially Have any of these Ameri- should not marry.” The dubbed since the new Star Wars Trilogy is can animation producers ever version said, “We are a genetic approaching. I hope Fox will not thought about producing some- problem.” The joke is lost. The force them to be dubbed. thing different? How about an ani- charm is lost. It is dull. I think “dull” mated drama aimed at adults? Or is the word that describes dubbed Best regards, even an animated western aimed versions best. Richard K. Taufman at adults? It seems that all the I remember most of the good writers are aimed at making English lines from the Star Wars Editor’s Note: I think viewers laugh instead of creating Trilogy. When I borrowed Star Debra’s article showed that some dramatic material. Wars on video, I was shocked to U.S. studios are placing a new You are probably saying to hear very polite dialogue with very emphasis on the importance of yourself, “The idea of dramatized ANIMATION WORLD MAGAZINE December 1998 6 animation is silly. Noboby would reading this letter do not like than animated adult sitcoms and buy this idea.” Well, there is such anime, most of them have to kids shows, in the past ten years. animation that does exist. It is agree that mature animation is the called “Anime” or Japanese anima- wave of the future in animation. Sincerely, tion. The Japanese produce ani- Whether it is American, Japanese, Anonymous mation in every possible genre French or German, hopefully, from children’s material to R-rated someday Americans will not look Editor’s Note: Anonymous, material. In Japan, there are suc- at animation as just “silly kids car- you are not alone. I receive quite a cessful dramatic titles, which have toons.” bit of similar mail, especially since shown more promise of breaking I hope I have not offended we ran “The Color In Mind: Corto the animation mold than anything anybody, but it seems that the Maltese” Let’s hope someone out America has attempted to do. American animation industry has there is listening. Even if the people who are not tried any new concepts, other

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ANIMATION WORLD MAGAZINE December 1998 7 Dig This! HHuummoonnggoouuss Cartoons with a Little Technology

by Amid Amidi MAX, a major player in the world of large-format films and Itheaters, is now trying to make headway in the animation world with a precedent setting new technology that truly integrates human interaction with technology. The innovative break-through in question is called SANDDE (Stereo Animation Drawing Device) — a revolutionary new large-format 3D animation system that lets animators draw and animate in space instead of on paper or a computer. The three-dimensional stereoscopic films created with SANDDE allow artists to emphasize size relationships and create actions that move toward and away from the audience cre- An animator uses the SANDDE wand while reviewing the real-time results on a projection system that simulates the IMAX 3D theater experience. © 1997 Imax Corporation SANDDE™ Animation. ating a grand effect when viewed on IMAX 3D screens that are as they have when they draw on permits the user to create long upwards of three stories tall. a piece of paper.” The results are and complex animated sequences “Animators like to draw. then viewable in real-time on a using only a few key drawings. They do not want a keyboard, a special networked Windows NT Not only does this enable a single mouse and complicated engineer- computer workstation designed to animator complete control over ing manipulations to interrupt the match the viewing angles and the entire creative process, but it creative flow; they just want to stereo presentation of an IMAX 3D also allows the artist a chance to draw,” says IMAX co-founder and theater as closely as possible. Fur- animate actions in real-time allow- developer of the SANDDE system, thermore, the films created with ing instant re-takes. Roman Kroitor. That’s why anima- this process don’t have the steril- The first film to hatch using tion produced with this new 3D ized look of modern computer ani- the SANDDE system was the IMAX process is so unique — an anima- mation, but rather the appearance 3D animated film Paint Misbe- tor freely manipulates a wand-like and feel of “traditional” cel-anima- havin’. The 2-minute 7-second film device in mid-air inside a localized tion, resulting in both a process was initially shown in 1997 with magnetic field that records and and result that is vastly different IMAX’s The Nutcracker, but is now translates the movement of the from anything else out there. being added to every new IMAX hand into 3D coordinates. Says The SANDDE system is 3D print. Other films are currently Kroitor, “I thought it would be complemented by GEPPETTO, a in the works as well, although great if artists could have a direct supporting technology that is sim- SANDDE is still in an active devel- relationship to making an animat- ilar to the inbetweening process in opment stage. ed 3D image by drawing in space traditional animation. GEPPETTO ANIMATION WORLD MAGAZINE December 1998 8 and describes it as if, “walking around in your dreams.” And who wouldn’t like to do that?

What else should we dig? Every month, Animation World Maga- zine will highlight the most interesting, exciting happenings in animation, in “Dig This!” Send us your ideas, suggestions, videos, products or works-in-progress today. You dig?

Editor Animation World Magazine 6525 Sunset Blvd. Garden Suite 10 Hollywood, CA 90028 U.S.A. E-mail: [email protected].

Amid Amidi is associate editor of A still from Paint Misbehavin’. © 1997 Imax Corporation SANDDE™ Animation. Animation World Magazine. The possibilities are certain- there. After using SANDDE, Acade- ly very intriguing with SANDDE, my Award-nominated animator but with only one film under their Sylvain Chomet (director of The Note: Readers may contact any belt, it’s a little too early to predict Old Lady and the Pigeons) sees Animation World Magazine con- the impact this new device will the system “as being absolutely tributor by sending an e-mail to have in the filmmaking world. revolutionary in the way of think- [email protected]. However, the potential is certainly ing about the art of animation,”

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ANIMATION WORLD MAGAZINE December 1998 9 TheThe MouseÕsMouseÕs WildWild Side:Side: DisneyÕsDisneyÕs NewNew AnimalAnimal KingdomKingdom

by Joseph Szadkowski in Florida’s Walt Disney World Asia and even the extinct Resort is the spectacular Animal dinosaurs,” said Tom Sze, a Walt Kingdom, a 500 acre environment Disney World (WDW) architect. “It that comes from a collaboration teaches and celebrates all these between experts in different marvelous creatures from the aspects of animal behavior and biggest wild African elephant to the creative minds of the Walt Dis- the smallest stink bug.” ney Imagineering (WDI) team. A celebration of all animals, Animal A celebration of all animals, Kingdom presents visitors with an Animal Kingdom presents environment that allows them to visitors with an environment interact intimately with its inhabitants. Imagineers and caretakers that allows them to inter- have created a world that presents act intimately with its Photo courtesy and © 1998 Jacquie Kubin. them in all their furred, feathered inhabitants. and colorful glory. alt Disney’s desire to “This whole park is about The park’s centerpiece is the learn and teach is leg- the real animals found in Africa, incredible Tree of Life, which Sze Wendary at Walt Disney World, particularly in the Imagi- neering Department — the place where Disney magic is created. “Arnie Stuvard, our senior executive in Imagineering, worked with Walt around the time he created Disneyland in Anaheim, Califor- nia,” said Rick Rothschild, executive producer at Imagineering. “He talks about a time where Walt was walking through the hallways of the studio, and nobody came up and asked him any questions, and it seemed like everything was working fine and that was the moment that worried him the most.”

A Zoo, Disney Style The awe-inspiring Tree of Life stands 145 feet tall and begs to be inspected more closely with hundreds of bas relief etched into the body of the tree. © 1998 Disney.All Rights The newest park addition Reserved.

ANIMATION WORLD MAGAZINE December 1998 10 likens to being the eighth wonder that pollinates plants and crops, certainly the most sophisticated of the world. “The Tree of Life is we humans would have a hard figure we have done to date for a amazing. The body of the tree has time surviving. couple of reasons, one being his 325 bas-relief that are viewable “Knowing the story that we scale,” said Rothschild. “We are from every angle,” said Sze. “As wanted to tell, we were also talking about a grasshopper that is you walk around the park, it is aware of the fact that Pixar was eight feet tall and he has to move often within your vision and you developing the movie A Bug’s Life, like he does on film and in real- will always be finding a new crus- starring Flik the Ant and Hopper life.” tacean, wild horse or butterfly the Grasshopper,” said Rothschild. amongst its branches and bark.” “We thought if we could bring Surrounded by the park’s those characters in to tell our story, One of Animal Kingdom’s Oasis, a collection of rocky grottos that would be great.” most interesting and edu- teaming with brightly plumed At that time, Pixar was in cational features is the 3-D birds and anteaters, the architec- the early process of development animated story, “It’s Tough tured Tree of Life hides one of Ani- which presented some additional to be a Bug.” mal Kingdom’s most interesting challenges for the production and educational features, the 3D team. “The Disney organization animated story, “It’s Tough to be a was getting the animatronics to The challenge for the team Bug.” work with Pixar, who was doing is that the audience sees him one the animation of Flik and Hopper. minute in the theater as an anima- Designing Bugs Simultaneously Rhythm and Hues, who won an tronic and then thirty seconds later “We started with the notion Academy Award for Babe, did all animated on screen. The anima- that bugs are the largest single the other bugs and backgrounds,” tronic figure needed to move and species of creatures; they make up said Rothschild. “We needed to walk in a manner so that the audi- more than 80% of all the things bring all those people together ence would believe that Hopper that move around the Earth,” said with the Disney forces to create a had moved from the stage to the Rothschild. “In developing the seamless experience for the audi- screen. story, we realized that most people ence member. Only at this time, Flik presented similar chal- see bugs as being pests. So we Pixar was not very far in the lenges in that the audience finds a got together with a team of top process. In fact, they did not have blue hued ant in the ceiling of the entomologists and asked them if one solid animation of Hopper theater (within the roots and sub- they had eight minutes in which and we needed to begin building structure of the Tree of Life, a very to tell a story about bugs, what this eight foot animated figure of appropriate place for an ant to would be the three most impor- him for the attraction. I think this hang out) and then five seconds tant things that could be said.” might be the only time that the later, he also walks into the film. The response that the WDI attraction for a film was built “The whole approach to the way team received was that without before the film was done. It made we developed the faces to articu- bugs, we could not exist. The it very interesting at times,” he late when compared against the entomologists wanted to see an added. animation film’s articulation was a attraction that would make For the Disney animatron- challenge which I think we deliv- human visitors, young and old, ics team there were some very ered well on,” said Rothschild. not only look at bugs as either special problems when creating Another bug for the beautiful like butterflies or amaz- the moving figures to accent the designers to work out was in placing in what they can do, like ants, 3D animated film. First, the anima- ing the mechanical workings of but also appreciated for their tronic characters are seen by the the animatronics into the thin incredible contributions to the audience just before the film limbs that are characteristic of an environment. In other words, begins. “Creating the animated insect, and then getting him to without the crawling Dung Beetle figure of Hopper was a big new take his place quickly, appearing that eats waste or the buzzing bee step in terms of the fact that he is almost like magic before the audi-

ANIMATION WORLD MAGAZINE December 1998 11 ence. “Hopper has to go from not there are archeology lessons, lots The wait in line is fascinat- being seen to being seen in less of people to answer questions, ing as journeyers pass through a than two seconds and it is almost and slides, rope bridges and foun- foyer where fossil molds, as well as a feat of magic and an extraordi- tains within which to play. “We some of the survivors of the nary thing to watch with the lights wanted to give everybody an dinosaur age, are on display. on,” said Rothschild. “To me that is opportunity to enjoy and learn Once in the rotunda, visitors in a real tribute to thirty plus years of about dinosaurs on their own line are entertained with the story learning and a tremendous con- level and to celebrate them,” said of the dinosaurs extinction which, tinued tenacity on the part of the Ann Malmlund, show producer. they learn, most likely came about guys and gals who build these fig- “The bone yard gives visitors the from the impact of a large aster- ures and say, ‘We may have never ability to touch and discover cast oid. How scientists know this is by done this before but we think replicas of real dinosaur bones.” a layer of asteroid dust, called the maybe we can’ and then they do Walt Disney personally KT boundary, that exists below the it!” directed the building of the first earth’s surface. Actually, through- animatronic Disney Dinosaurs out DinoLand, observant visitors more than thirty-five years ago for will see soft shelled turtles, lizards For the Disney animatronics the New York World’s Fair. Then and beetles that are descendants team there were some very the Disney Imagineers built a of the creatures that survived the special problems when cre- meandering ride through a prehis- asteroids. ating the moving figures to toric world of slowly moving mas- It is at this point that the sive creatures. Today’s Imagineers very young children, noticeably accent the 3-D animated have created the fast paced, thrill excited, wonder if the dinosaurs film, A Bug’s Life. ride Countdown to Extinction, a they are about to encounter are trans-dimensional journey that scary. Countdown to Extinction takes groups of twelve in a Time contains, according to Walt Disney These Aren’t Your Father’s Ani- Rover vehicle back to the exact Imagineers, the most exciting matronics moment of the dinosaurs’ extinc- audio-animatronic figures ever cre- Flik and Hopper are not the tion. ated. Throughout the experience only animatronic creatures amazed riders come face in the Kingdom. From the to face with iguanodon, elephants, gorillas and pterodactyl, compsog- giant butterflies found in nathers, alioramous and the Rain Forest Cafe, to the show’s big bad guy, the dinosaurs in the the carnotaurus. DinoLand U.S.A. thrill ride “We chose the Countdown to Extinction, carnotaurus because we there are numerous ani- know so much about mals infused with electri- him,” said Malmlund. “A cal life. near complete skeleton of Walking beneath the carnotaurus was the skeletal remains of a T- uncovered in Argentina, Rex, explorers entering but the discovery was DinoLand U.S.A. first stroll particularly unique in that past a bone yard. The when the dinosaur fell, bone yard gives visitors his skin left an impression the chance to dig in the in the mud so we know dirt and uncover the repli- that his hide was rough Countdown to Extinction in DinoLand U.S.A. takes one back to ca remains of a woolly the age of dinosaurs courtesy of Disney Imagineers. © 1998 and covered in bumps mammoth. In this area, Disney.All Rights Reserved. and knobs.”

ANIMATION WORLD MAGAZINE December 1998 12 All types of animals inhabit the grounds of Disney’s Animal Kingdom. Photo courtesy and © 1998 Jacquie Kubin. The beast in Countdown to learning is done while watching a jaro Safaris, an open rover ride Extinction is larger than his ances- real-life black rhinoceros lumber through grasslands filled with tors and his features, as with some across the Kilimanjaro Safaris road- sable antelope, reticulated giraffes, of the other animatrons, were way. The Safari presents visitors rhinoceroses, Thompson’s gazelles exaggerated. “Sometimes the ride with a 100-acre African Serengeti- and other wonderful animals moves very fast and the dinosaurs inspired savannah, or grass land. It native to Africa. The stars of this leap out of nowhere,” said Malm- is here that the lion’s share of the journey though are the elephants. lund. “By exaggerating things a lit- Animal Kingdom inhabitants live. These graceful giants are part of tle we were able to insure that vis- Harambe Village serves as the conservation story told by Kili- itors were able to see some of the the gateway to the Safari and the manjaro Safaris while visitors wait nuances with only a quick Gorilla Falls Exploration Trail. to board the vehicles and en glimpse.” Countdown is filled with Before taking the safari journey, route. sudden surprises, but is fun for all visitors who walk down the trails ages. will find themselves staring face to Education at Animal King- One young man who was face with a family of hippos who dom does not only come frightened to get on the ride exit- swim gracefully before the plexi- ed afterwards with a sigh of relief glass viewing windows. from man-made and happiness that he had mus- Down another trail, chil- animatronic exhibits. tered up the courage. “It was neat dren can be heard exclaiming and I was only a little scared,” said their amazement at a family of sil- Disney has outfitted the six year-old James Correira from verback gorillas. The mother has rovers with “two-way” radios South Dartmouth, Massachusetts. made herself and her young baby through which the driver keeps in “I liked all of the dinosaurs in the a bedlike nest right next to the contact with the reserve’s warden. ride and I learned that they are not protective window. She seems to Through their conversation, riders scary at all. I also learned that they watch the mothers and children learn that the Thompson’s Gazelle died when they were hit with an on the other side almost as intent- is called a Tommy by natives and asteroid.” Well, James, maybe they ly as they watch her. In the back- that the white and black rhinocer- aren’t too scary for you but I doubt ground, a proud father rough- os, along with the elephant, have many would want to meet a hun- houses a bit with his teenage son been killed to the point of endan- gry carnotaurus in a dark alley. before stopping to snack on some germent. In fact, there are less of the plants growing within his than 5,000 black rhinos left in the Natural Delights home. Visitors are also able to stop wild. Adding a bit of danger to the Education at Animal King- within what seems to be an open- ride, as it crosses an old bridge, dom does not only come from aired aviary where colorful birds fly the rover almost seems to slip into man-made animatronic exhibits. directly overhead. the river below. Beyond the curve, For instance, some of the gentlest It is then on to the Kiliman- riders can see the African Ele- ANIMATION WORLD MAGAZINE December 1998 13 ANIMATION WORLD NETWORK 6525 Sunset Blvd., Garden Suite 10 Hollywood, CA 90028 Phone : 323.468.2554 Fax : 323.464.5914 Email : [email protected]

[email protected] PUBLISHER Ron Diamond, President Dan Sarto, Chief Operating Officer “Festival of the Lion King” is an elaborate 28-minute stage extravaganza featuring per- EDITOR-IN-CHIEF formers in tribal robes and costumed characters from The Lion King. © 1998 Disney.All Heather Kenyon Rights Reserved. ASSOCIATE EDITOR phants with flapping ears and ties and wonderfully produced Amid Amidi searching trunks walk, eat and stage shows such as the “Journey CONTRIBUTORS play in a pond no more than thir- into Jungle Book” at DinoLand Amid Amidi Giannalberto Bendazzi ty feet from the vehicle. U.S.A. or the “Festival of the Lion Joseph K. Bevilacqua King” in Camp Minnie-Mickey. Clark Dodsworth As theme parks go, Animal Wendy Jackson Heather Kenyon As theme parks go, Animal Kingdom is a leopard that has changed its spots. The Imagineers Michael Mallory Kingdom is a leopard that Katie Mason have pulled out their bags of has changed its spots. Mark Mayerson tricks, adding in some new sur- Francis Moss and Ted Pedersen prises, to allow park-goers to visit, Chuck Pirtle experience and think about the Barry Purves Deborah Reber As the rover continues world animal population’s beauty, Rani Singh through the grassland there is a necessity and magnificence. Ani- Charles Solomon sudden urgent call from the war- mal Kingdom makes for a great Joseph Szadkowski den in his plane overhead. It day that will flash back to visitors Glenn Vilppu seems that poachers have tried to often. TRANSLATION capture Big Red and her calf, Little Italian: William Moritz Red. The warden requests the Additional Translation: Jose Iborra Joseph Szadkowski writes on vari- OPERATIONS rovers help to block off the poach- ous aspects of popular culture Annick Teninge, General Manager ers’ escape. Of course, this being and is a columnist for The Wash- WEBMASTER Disney, everything works out, the ington Times. Jeff Williams elephants are rescued and the last DESIGN/LAYOUT animal visitors see on the Safari is Jeff Williams / Steve Small / Note: Readers may contact any Dianne Howard an animatronic Little Red in the Animation World Magazine con- ADVERTISING SALES back of a truck. tributor by sending an e-mail to North America :Dan Sarto The learning continues Germany :Thomas Basgier [email protected]. UK: Alan Smith throughout the park via fun activi- ANIMATION WORLD MAGAZINE December 1998 14 Bartlett’s Charmed Past Life by Joe K. Bevilacqua raig Bartlett’s career has some really cool claymation effects been like one long free-fall that I did in that film.” Around the Cfrom a plane and he has same time Vinton’s California been enjoying every minute of it. Raisins were at the height of their The talented creator of Nick- popularity, Bartlett’s next Vinton elodeon’s successful Hey Arnold! assignment was doing the Noid animated series did not start out to commercials for Dominos Pizza. It be an animator but the many was a busy time for Claymation. twists and turns of his life led him Vinton had never been so succeful there, nonetheless. and famous. Just as Bartlett began With dreams of being a fine to think he had found a perma- arts painter, Bartlett studied for nent home, his life took another three years at the Museum School turn. in Portland, Oregon. He then studied for a year in Siena, Italy. Pee Wee’s Playhouse came on Upon returning to the States he Craig Bartlett. Photo © BRC Imagination CBS and I really wanted to Arts. realized he did not want to be a painter after all. He suddenly real- go and be a part of that. - develop professionally and cre- ized he was more interested in ani- Craig Bartlett atively, he had to move beyond mation. “I was seeing these Will Vinton. He knew he had to go Tournees of Animation,” he “Pee Wee’s Playhouse to Los Angeles, where “anything is explains, “Whole 90-minute pro- came on CBS and I really wanted possible.” So he moved to L.A. for grams of independent shorts and to go and be a part of that,” says the summer of 1987 to direct a they were really creative. They Bartlett. “I thought, ‘That looks like season of Penny. The next year, in were like paintings that moved. I the most fun show ever.’ The mix the spring of 1988, he and his thought that would be much they had. The different kinds of wife moved permanently. more fun. It was turning out that media. All kinds of animation.” my true calling was to be a story- Bartlett put together a reel of clay- A Real Change of Events teller, more than a painter. That’s mation and sent it to the produc- During his first year with what I loved about animation. It is ers of Pee Wee’s Playhouse who Pee Wee’s Playhouse, a friend where the two things come called him in because they were introduced him to Bob Rogers, together, art and story.” After some moving the show from New York, whose company is now called more soul searching, he enrolled where Pee Wee had its first sea- BRC Imagination Arts. Rogers’ spe- in the animation program at Ever- son, to Los Angeles. They had lost cialty is World’s Fair exhibition green State College, Olympia, a lot of their crew and needed films. “Well, I got there and he saw Washington in 1981. someone to direct the Penny car- my reel,” Bartlett remembers. “He toon, a featured segment of the knew that I had done [Penny] and Places to Start Pee Wee show. So he dropped all I had on my reel were the little Barlett’s first job after gradu- everything and said, “Yeah!” Arnold shorts I’d made on my own ation was at Will Vinton Produc- “It’s funny,” he reflects. “That animation stand in my house. tions in Portland, Oregon. Bartlett was really a turning point for me Actually, at that time I had only says, “I spent 6 years there; two because I really had a great time at made one Arnold short in the working on The Adventures of Will’s and I loved being in Port- summer of 1988 when I was Mark Twain and a year on Walter land. It felt like home, since I am unemployed. I think I had just Murch’s Return to Oz, which was a from the Northwest.” But Bartlett moved to L.A. permanently and I Disney production. There were knew that if he was really going to had one week’s work guaranteed ANIMATION WORLD MAGAZINE December 1998 15 when I got here. I “There I am of Spain wedged against France. shot a commercial in Japan for ten Rogers, Bartlett and a crew scout- and then I was just weeks, in the mid- ed for about 10 days all over the wandering around, dle of winter. It Basque countryside. They then trying to figure out was freezing. I was put together an outline and what I was going to on the site of this pitched it to the Basque govern- do now that I lived insane World’s Fair. ment. here.” Bartlett entered It was particularly “Mind you, these pavilion that first Arnold short, phantasmagori- projects are all short films, 7 to 14 Arnold Escapes from cal.” The theme of minutes,” Bartlett explains. “It’s Church, in the 21st Expo ’90 was flow- weird to see people get in a big International Tournee ers and ecology, line, and queue up and slowly get of Animation, remem- so the pavilions into the place. That’s why they bering that it was see- Arnold in the clay short, The were shaped like have pre-shows. It’s a long wait for ing the Tournees Arnold Waltz (1990). Photo cour- huge flower buds. a seven-minute cartoon. The tesy and © Craig Bartlett. years before that had Bartlett was very whole idea of these special venue made him want to be animator in impressed with this “futuristic par- films is they’ve got some sort of the first place. adise.” He felt as if the Japanese new format or some unusual pre- were already living in the 21st cen- sentation so people feel like they After seeing Bartlett’s reel, tury. He loved how independent are watching more than a film. they were, that they had cartoons That’s what Bob specializes in.” Bob Rogers invited him to all their own. create a 70mm, IMAX size film for Expo ’90 in Osaka, A Few More Twists Bartlett’s background in ani- Japan. In the summer of 1990, mation did not prepare him when Bartlett returned to the for such a wild shoot... States it would not be long before After seeing Bartlett’s reel, he was working again. This time Bob Rogers invited him to create a for a show that was just starting The Basque film, Mi Pias 70mm, IMAX size film for Expo ’90 up through Nickelodeon’s fledl- Vasco, was live-action and shot in Osaka, Japan. The big pavilion ging animation division, at a stu- with an IWERKS 360-degree cam- show would feature a musical, dio called Klasky Csupo. The show era. It is one “huge fish eye” lens technological pre-show where was Rugrats. Paul Germain, one of that is the size of “a big spaghetti Toshiba robots create animation. the show’s creators, hired him as bowl” that points straight down. Since Bartlett had done a lot of the story editor. “This was quite a The lens is so wide it sees 12 table top animation, Rogers want- stretch,” he acknowledges. “I had- degrees beyond a normal cam- ed him first to shoot a reference n’t really written for TV and wasn’t era’s peripheral view, over scan- film that would have small scale really familiar with the whole script ning behind itself. Pointing down, models of the robots and pose thing. But Paul helped me a lot it can partially see upward. Bartlett them through animatics. Bartlett and the two of us story edited that went around Spain with this cam- worked on the test film for the first season. Eventually, I directed a era and shot the story of a child entire summer of 1989, then all couple of episodes. Through him I touring his homeland and talking through the next year doing the met several other writers, who I about his country. “This boy has production. The end result was ended up working with on other got this crazy camera and he is Robo Show, a 7-minute animated projects and eventually on Hey taking it around the Basque coun- film that was taken to Osaka, Arnold! when I got that show.” try on a family vacation. The idea Japan and installed with the real In 1992, Bob Rogers called was to go to as many great loca- Toshiba robots. Bartlett calls it upon Bartlett again, this time for a tions in Spain as possible as if this “some kind of crazy smoke and film for Expo ’92 in Seville, Spain. kid was taking you along.” mirrors illusion thing with the The client was the Basque govern- Bartlett’s background in ani- robots hooked up with our illusion ment. The Basque country is a mation did not prepare him for film.” small area on the northeast corner such a wild shoot: “It was so

ANIMATION WORLD MAGAZINE December 1998 16 weird. I had to learn everything. The first thing we had to figure out was where to hide while we shot the film. So, often I was under the camera, on the ground, hud- dled inside the tripod. It was really fun. We quickly learned that in a 360 degree film, you concentrate on the near and far. So I would have the kid that was the star of the film close to the camera and the other people in the middle distance ten feet away. I would have things miles away. We put the Craig on location in Botswana for the filming of Postcards (left) and in Paris with the star of the film (right). camera on boats and in cars, hanging from cranes, and made it just went nuts,” Bartlett recalls. called Spirit Lodge. The story is as insane as we could. I also “We traveled all over the world for based on the culture of the north- under-cranked the camera for a lot a year — Korea, Paris, France, west coastal Indians, the Kwak- of fast-motion stuff. It was meant Botswana, South Africa, Grand waka’xwakw who lived on the to be just funny, like a kid’s home Canyon, Canadian Rockies, Bali northern end of Vancouver Island movie.” When the film premiered and Rio de Janeiro at Carnival. in the town of Alert Bay. For the in Seville, Bartlett returned to Spain Completely filled up our pass- new film, Rogers went back to the for the screening at the Expo ’92 ports.” It was, however, intense same Native American advisors he pavilion. and grueling work. Bartlett would had worked with before. Bartlett hit the ground in some new coun- and Rogers went to the island in Stranger and Stranger... try, set up and start scouting or the fall of 1993 and visited with Next, he continued his shooting. He quickly got used to the chiefs of the tribe, took notes, association with Bob Rogers, air travel and falling asleep on attended Indian ceremonies and although he had an open invita- planes. The Taejon Festival played worked up a script for Mystery tion to return to Rugrats. Rogers the summer and fall of 1993. Lodge. hired Bartlett to direct a nine-cam- After that Rogers put era film, similar to the CircleVision Bartlett on his next project for the films at Disneyland. The film, Southern Californian amusement Rogers hired Bartlett to named “Postcards,” was spon- park, Knotts Berry Farm. Another direct a nine-camera film, sored by Korean Air for Expo ’93 in pavilion show, Mystery Lodge has which was shot in seven Taejon, Korea. It took a full year become a permanent exhibit at countries on a budget of US from pre-production to completion Knotts. Mystery Lodge is based on $4 million. and was shot in seven countries a pavilion show Rogers had done on a budget of US $4 million. “We for Expo ’86 in Vancouver, Canada The illusion of the show involves an old Indian who comes on the stage, which resembles a big house made of cedar logs. There is a fire in the middle of the room. As the old native tells his story, the smoke of the fire starts to illustrate it. Bartlett created the special effects film that appears to rise out of the smoke using BRC Imagination Arts Holavision 3D Craig and Doug Miller discussing the storyboards for Mystery Lodge (top) and on the system. Mystery Lodge went into set of Mystery Lodge with Bill Cranmer (Cultural Advisor for the film and Hereditary production in the fall of 1993 and Chief of the Kwakwaka’wakw tribe) and Bob Rogers. Photo © BRC Imagination Arts.

ANIMATION WORLD MAGAZINE December 1998 17 opened in late May on Memorial be a story editor, that was taking a Day 1994. chance. Things that Bob told me to do, like, ‘Hey, go to Spain and do a live-action film,’ even though In the ten years I have been I’d never done anything like that in in L.A. there were several my life. And when I brought my moments when somebody films to Nickelodeon and they told me to develop the Hey Arnold! really gave me a chance. - pilot.” Craig Bartlett A great deal of change and development happened when Arnold went to series. The pilot had to establish not only who How We Know Him Now Arnold was but also classmates In the meantime, in the Helga and Gerald. Bartlett sees Arnold, Helga, and Gerald in their cur- spring of 1994, Bartlett developed Arnold as a sensitive kind of day- rent Nickelodeon incarnation, Hey Arnold! a pilot with Nickelodeon called dreaming kid. His best friend Ger- © Nickelodeon. Hey Arnold! Bartlett says, “I think ald helps him fill that roll while er magical place. If he does, there’s that was quite a stretch for Nick- Helga is his nemesis who secretly little doubt he’ll be ready to make elodeon to believe this could be a loves him. For Bartlett, the chal- the most out of it. “There was no series. By then I had three shorts lenge of the series was trying to way to know that any of the expe- to show them. The second film figure out who the characters riences that I had before would was called The Arnold Waltz and were and getting deeper and help. But I think they do. I just the third was called Arnold Rides deeper into their personalities. “By think that in a way — maybe in His Chair. All three were for the now I think our characters have the best way — all those World’s 22nd, 23rd, 24th International really cool layers, especially Helga. Fair films helped me. They made Tournees of Animation. The third She is really complicated. The me think, ‘Man if I can do this, I one was also for Sesame Street more you know her, the more you can do anything.’” and it played a lot.” Bartlett was understand her and like her. I also able to convince Nickelodeon don’t think she is a heavy at all.” Joseph K. Bevilacqua, a protege of the merits of an animated By January of 1995, the Hey of Daws Butler (the voice of Yogi Arnold by showing executives the Arnold! series was in production, Bear), is a veteran radio comedy Arnold comics he had drawn for placing Bartlett back in the Nick- writer, producer, actor, as well as Simpson’s Illustrated. He believes it elodeon family but this time head- cartoonist. His programs have was “pretty cool of ing up his own aired on public radio stations them, based on series. He has nationwide since 1980 and have three little clayma- been there ever been honored by The Museum of tion shorts and since. “I don’t Television and Radio as part of some comics to know how long their “Contemporary Radio think, ‘This could be this thing will go. Humor” exhibits. He is currently a series.’ I am very I suspect it will developing animation scripts with glad they made end up having a his wife and creative partner, that leap of faith.” seven or eight Lorie B. Kellogg. Their comedy “In the ten year run, if you can be heard in RealAudio and years I have been in can believe it. It seen in comic strips on their web L.A. there were sev- will end up being site, “Joe & Lorie’s Comedy-O- eral moments the major job of Rama.” when somebody my life.” Perhaps. really gave me a Or perhaps Craig Note: Readers may contact any chance,” he notes. Bartlett will free- Animation World Magazine con- “I think when Klasky Craig Bartlett hard at work on Hey fall yet again and tributor by sending an e-mail to Csupo hired me to Arnold! Photo © Nickelodeon. land in yet anoth- [email protected].

ANIMATION WORLD MAGAZINE December 1998 18 Theme Parks in the Digital Age

by Clark Dodsworth omewhere in the future... times than I do, because of the What to do tonight? Well, force-feedback. Plus, seeing the SBlade Runner II beckons. actual faces of everybody mapped I’ve seen the movie four times onto their character’s head in full since it came out last year, but video would be great; I could real- there are other ways to enjoy it ly act the role, then...” now... I’ll just log in to the 3D multi-user Blade Runner Adven- Let’s Talk Today & Beyond ture sim and see if that replicant As this issue goes to ’Net, role I played last week has evolved the finishing touches are being in an interesting direction. Since put on the largest theme park to they added real-time voice, a lot open in North America since Dis- more women seem to be spend- ney World. Universal Studios’ ing time in-world which makes it Islands of Adventure “expansion” more realistic. Speaking of realistic, to their Orlando park is larger than the entire original park. Size is the Every bit of a park, including smallest detail however; the Clark Dodsworth. expansion uses roughly two the landscaping and robotic orders of magnitude more digital pellingly as one walks by, and fauna, should respond inter- infrastructure than the original, then respond differently to the estingly, engagingly, or com- and is designed to accommodate next person or family! I call that pellingly as one walks by... additional interactive features and Active Themeing, and it’s coming functionality in the future. This is to a thrill ride site near us soon — far from just being a matter of con- that is as soon as embedded com- maybe I should drive down to the venience for maintenance and puting processors and develop- mall instead. The Blade Runner II security however. It’s about putting ment tools evolve a bit more in site there has vehicle motion-base ubiquitous digital sensory intelli- power and price. sims and 110-degree out-the-win- gence into an entire theme park dow displays with surround environment, indoors and out- The competition for our sound, not to mention better tex- doors. tures, more polys, and a higher The guiding notion is that a leisure dollar is fierce. frame rate than I can afford to run park should ideally be aware of here at home. And I can meet everyone who enters, learn a few At the same time, the infor- some of the people I played with facts about them like age, gender, mation that the systems gather last week in person — maybe get and when they last visited, and from our behavior will go into a something to eat with them after- then provide a customized user database and be used for market- wards. One of these days, experience based on those facts, ing programs after we go back though, I want to experience the plus what the person does at the home. The guiding notion in this Blade Runner sim world in its full park. In fact, to take themeing to context is to provide maximum glory, at the theme park in Orlan- its logical extreme, every bit of a opportunities for any demograph- do. I’m certain the guys who go park, including the landscaping ically targeted consumer to access in-world from there have better and robotic fauna, should respond themed services and licensed- maneuverability and reaction interestingly, engagingly, or com- character-based product and ser- ANIMATION WORLD MAGAZINE December 1998 19 vice offerings, in as many media as exotic, accurate African themeing, Bellied Sneeches need to live for- possible, in as many places as pos- in addition to the animals (which ever in 3D on the Universal park sible, 24 hours a day. The concept are showcased with elements of web site, with plenty of artificial is an evolutionary descendent of The Lion King). In fact, just as Ani- intelligence (AI) and synthetic per- “brand spread” in consumables, mal Kingdom can attract an older sonalities to keep them interesting an example of which is Marlboro demographic than Disney World’s when you log in repeatedly. They Lights/Menthols/100s, etc. kids and young families, and as need to remember your name the Disney Institute appeals to when you come back, greet you The Disney Animal Kingdom adults, Universal’s traditional teen by name — with voices, not text is a good example of another and 20-something demographic is — and have interesting stories to about to be greatly augmented by relate and adventures on which to key trend in theme parks: its new offerings to the Disney take you. Spiderman needs the convergence. World demographic. Islands of same outlets; in a few years, he’ll Adventure has Popeye, Dr. Seuss, have as context the time you rode The competition for our and many other characters for his dark ride at the park. In fact, he leisure dollar is fierce. The good kids. will know who you were with and news is that competition drives the date. So the conversations he new park attractions to innovative What’s In It For Me? will strike up with you will not be digitally-based heights of amazing So where does it get inter- inane, that is if the code is well- fantasy or adrenaline-spiking expe- esting for us, as designers, executed. Plus, you’ll probably rience. A recent example is the builders, and animators? Simple. end up helping him take out the Indiana Jones Temple of Doom Popeye and his associates need to Bad Guys. You’ll also get occasion- ride at Disneyland. One can return come to life in as many ways as al well-timed promotional pitches to the ride several times and be possible (see marketing goals, back home, skewed to your scared by different beasties at dif- above). So, for example, the Star- demographic interests, and most ferent moments each trip; digital equals enhanced variety or richness in the experience design. That ride, in fact, is so successful that the new Disney Animal King- dom in Orlando has a version of the same ride technology, re- themed as a prehistoric dinosaur chase called Countdown to Extinc- tion. The Disney Animal King- dom is a good example of another key trend in theme parks: convergence. The convergence of markets, media, and demograph- ics, with the tools that make them all work together. The park even has a resemblance to good science museums, in that it enables those who are interested to find out more information about some of the animals. Just as in the software business, parks are trying to cover more areas to attract a broader user base, and Animal To attract the widest range of visitors, Disney’s Animal Kingdom goes beyond simply Kingdom provides extraordinary, being a zoo and becomes more of an experience. © Disney.All Rights Reserved.

ANIMATION WORLD MAGAZINE December 1998 20 importantly for the park, you’ll ago, the single most requested end up with a stronger “relation- service at Disney World was a ship” with it, long term. kid-tracking device for parents; All this is going to take a it’s definitely going to happen, huge amount of character and and not too long from now. The world design, and world-build- kids being tracked, however, will ing, not to mention the refresh; be much more interested in free- the new locations and new roaming animatronics and adventures that have to keep fill- immersive, shared experiences ing the pipeline. In addition, it’s that can process more than a going to take a lot more polys handful of people at a time. An and textures, and the hardware- early version of successful inter- accelerated home machines fast active design in parks is the post- enough to run it effectively have show experience for the Hanna- only begun to ship in the last Barbera Cartoons attraction at couple of months. Richness of Universal. Designed by Art & One of the many real-time simulators at Dis- experience, and sensory over- neyQuest is Hercules in the Underworld, a ride Technology in Los Angeles, it’s load, in a care-free environment that pits you against the evil Hades. © Disney. got touch-screen paint apps that is what the theme park business All Rights Reserved. are the precursors of the current is all about. This must carry over inhabit their central processing hands-down winner in interac- into the digital/virtual versions of unit (CPU), and go along for the tive park entertainment — Dis- those same parks, which is not ride on their Pilot Pro 5. In the neyQuest. easy on a 17” monitor. Building future, when you arrive at a rich worlds takes more effort and theme park, the first thing that will The Future of Real-time Simu- results in far more lasting impres- happen after you buy your ticket lation sions on the customer. As Mike and exchange identification infor- DisneyQuest is the first Backes said when he was at Rock- mation with the park network, is major production of Disney et Science, “Create a rich environ- to receive a download of variable- Regional Entertainment; if you ment and pepper it with rich and res maps, an event database for haven’t seen its Orlando site, you cunning discoveries, to invoke a the day, and a help function for can catch much of the same lot of the same emotions movies any queries your assistant charac- attractions at the second Dis- do, like fear and hope.” ter might need to ask the licensed neyQuest at Rush Street and character, who was included in Ontario in downtown Chicago, Illi- Richness of experience, and the download, representing the nois beginning next summer. It’s sensory overload, in a care- park. Maybe this information and the first well-diversified, well-inte- free environment is what the application set will ride on your grated attempt to combine real- kid’s hand-held, wireless personal time simulators with story, food & theme park business is all digital assistant (PDA), or on a beverage, merchandise, tradition- about... hired video badge with radio fre- al arcades and other interactive quency (RF) capability that the attractions. It’s also by far the high- The ways we can do that park issues you. It will also have a est density of sim rides and SGIs are based on genuine advance- global positioning satellite (GPS) per square foot in the history of ments in the tools — like function, by the way. This piece of entertainment. Besides the fact Alias/Wavefront’s Artisan, and N- the park experience that you are that both the Hercules in the Dimension’s SimStudio — that put carrying adds to the personaliza- Underworld and Virtual Jungle more nuanced power in the tion of your experience. For Cruise rides are genuine steps for- hands of the individual. Those instance, your child will choose ward in attraction design (for dif- individuals will make sure that which favorite character comes ferent reasons), and ignoring the instead of an irritating, animated along with you and comments on significant throughput issues, Dis- paper clip on screen, any user can the attractions you approach. neyQuest’s big contribution to our design a custom character to At one time a few years business is that it goes a long way ANIMATION WORLD MAGAZINE December 1998 21 toward legitimizing out-of-home ing my time at the ridefilm simula- entertainment division of a flight real-time simulator entertain- tor exhibits, including SimEx and simulation company should be ment...and the world-building Iwerks, which brings us to our run and staffed by entertainment that goes with it. final topic: the gradual replace- professionals. The talented team ment of 70mm ridefilms and star- they brought in from Universal, The single most requested projector planetarium systems by Disney/Luxor, and BRC Imagina- seamlessly tiled, hi-res RGB video tion Arts (formerly, Bob Rogers service at Disney World was projection, driven by big CPUs. Corp.) is really pushing the enve- a kid-tracking device for par- This means more world-building lope with the first show for their ents; it’s definitely going to and 3D product creation for you. new system. happen, and not too long Both Evans & Sutherland The theme park industry is from now. and SGI/Goto have developed sys- a lot like the animation business: tems which have remarkably we both always need better, faster broad applications; on flat, round tools; we both entertain and sell; The issue for real-time or curved screens, in IMAX-style and we’re both convinced that the image-generator-based, net- theaters, shopping malls, LBEs, most fun thing in the world is to worked sim attractions [out-of- and on billboards. With the huge create an illusion that convinces home/location-based entertain- array of new and existing 2D the audience of the impossible. ment (LBEs)] is simple: cost per video content, and custom 3D Most importantly, we’re going to seat vs. image quality. Story design content creators available, owners be seeing a lot more of each other, and 3D environments are tasks we of such systems will have tools to soon. can do well now, but haven’t educate, entertain, and market to Clark Dodsworth, a principal of been able to put them into a cost- anyone who steps outside. The Osage Associates, lives in San effective vehicle. Jordan Wiesman’s E&S Star Rider system, for exam- Francisco and does product landmark original Battletech sys- ple, will use 6 video projectors to development and strategic plan- tem achieved excellent results with cover seamlessly the dome at the ning for high-tech entertainment the hardware available at the time, Adler Planetarium in Chicago as of companies. Recent and current but our customers today are January, 1999. At 1024 lines x projects include smart toys, ambi- incredibly jaded by Hollywood- 1024 pixels per screen, that’s ent intelligence in the home, sim style pre-rendered graphics. As enough pixels to make for a pow- rides, and multi-user avatar envi- 500MHz boxes become the base- erful 3D viewing experience. In ronments. He co-produced the line and acceleration becomes a addition, E&S realized that the Digital Bayou at Siggraph ’96 and commodity, the cost per seat prob- has been involved in producing lem goes away and talent in enter- the emerging technologies venue tainment design becomes the dif- at Siggraphs ’95-’99, as well as ferentiator. the Electronic Theater in ’99. He A year ago, at the Interna- was also part of the team that tional Association of Amusement produced the VRML ’97 and ’98 Parks and Attractions (IAAPA) con- conferences. His book, Digital Illu- vention, there were half a dozen sion: Entertaining the Future with new interactive, motion-base sim- High Technology (Addison-Wes- ulator companies exhibiting one- ley), just went into its second and two-passenger systems, some printing. He is beginning a pro- running home games like ject to develop a high-tech infra- Descent. The hardware is the easy structure for the city of Vienna, part; making it a compelling Austria. enough combination with good E&S’s StarRider digital theater at the content to attract repeat cus- Adler Planetarium & Astronomy Museum Note: Readers may contact any tomers at a profit is the hard part. in Chicago is the first-of-its-kind 3D inter- Animation World Magazine con- active show and will be presented in the The next conference will be held first-ever domed digital theater. © 1998 tributor by sending an e-mail to in November, 1999. I’ll be spend- Evans and Sutherland Computer Corp. [email protected].

ANIMATION WORLD MAGAZINE December 1998 22 Disneyland: From Dream to Reality

by Katie Mason if temporarily, lost their savor for studio. Soon Walt’s imagination him.” outgrew this space and he began looking elsewhere. He ordered Early Visions two studies from the Stanford Walt’s initial inspiration Research Institute, one to deter- came from a trip to the Chicago mine whether the venture could Railroad Fair with animator Ward make money, and another to find Kimball in 1948. Among his earli- the best possible location. After est visions was for “Disneylandia,” studying a myriad of factors, the © Disney.All rights reserved. a traveling train show, with each Stanford Research Institute recom- car carrying a moving miniature mended a 160-acre orange grove alt Disney was a scene. Walt’s dream was that the in Anaheim, California and an dreamer. From ani- train would run across the country investment of US$11 million. Walt Wmated films to amuse- and stop in small towns, where would personally study all sorts of ment parks he was always an people would come and see the amusements: parks, fairs, circuses, innovator. Disneyland had been in miniature sets, which would be zoos, from Tivoli Gardens in his head years before he could coin operated. Walt even took ani- Copenhagen to Coney Island in make it happen, and when he did mator Ken Anderson off the com- New York. These trips helped him it would change family centered pany payroll and sent him to work determine what appealed to the entertainment forever. on this secret project, paying him public. Walt, the father of two chil- out of his own pocket. However, dren, saw a lack of quality family the cost of the exhibit proved pro- I felt that something should entertainment in Southern Califor- hibitive and he realized that he be built, some kind of family nia. When accompanying his would have to make it part of his park where parents and daughters to amusement parks, larger amusement park plan. he noted the parents’ boredom In 1948, Walt sent a memo children could have fun and the filthy and unfriendly detailing his plan for “Mickey together. - Walt Disney atmosphere. Years later he said, “I Mouse Park.” He described Main felt that something should be Street, a cowboy town, and a car- Walt envisioned a highly built, some kind of family park nival section. But, his brother Roy, pedestrian park, with model exam- where parents and children could who managed the studio’s ples of public transportation — have fun together.” finances, wouldn’t hear of it. The trains, boats, and eventually, a Many people felt Walt was studio had a large debt to the monorail — which Los Angeles bored with animation. The park, Bank of America since none of Dis- lacked. Each land, Adventure-, as he always referred to Disney- ney’s postwar films had produced Fantasy-, Frontier-, Tomorrow-, land as, combined his interests in profit. would have an obvious landmark, furniture, railroads, and robotics. In 1951, Walt commis- a “weenie,” which stood taller Biographer Leonard Mosley com- sioned Harper Goff to draw inspi- than the other buildings and ments: “It had become the only rational sketches based on his served to draw people further into thing in life that mattered to him, dream. The original plans called the park. The heart-shaped park and animated cartoons — any for the park to be on a small plot would surround a castle, a land- kind of films, in fact — had totally, of land across from the Burbank mark visible from every side. ANIMATION WORLD MAGAZINE December 1998 23 Gathering the Financing negotiating with In 1952, Roy Disney the major net- allowed a budget of US$10,000 works, CBS and to develop Disneyland. Walt real- NBC, but neither ized that this would not be would commit enough and borrowed against his to the theme life insurance to set up WED Enter- park plan. Final- prises, an acronym for his initials ly, Roy turned to Walter Elias Disney. He would also the up-and-com- sell his vacation home in Palm ing third net- Springs in order to finance his work, ABC, who dream. He sought out friends to expressed imme- invest in the venture, and they diate interest. reaffirmed that his project was a Realizing what good idea. By 1953, Roy Disney the Disney name consented to involve Walt Disney could do for Productions in the theme park pro- their network, ject. With many banks unwilling to ABC spent sever- Walt Disney’s lifelong fascination with trains eventually led him lend more money to the Disney al weeks work- to build his own fully-functioning mini-railroad in the backyard of his own home. © Disney.All rights reserved. company, Walt turned to televi- ing out an sion. The idea had come to him agreement. With cash to finance his on a sleepless night. After Walt Under the terms, ABC would dream, an unceremonious ground convinced the board of directors become 35 percent owners of the breaking was held about a year of his plan, they decided that Roy park, in exchange for a weekly before the park opened. Working would head east to talk to the net- one hour television show and live six days a week the construction works. coverage of the opening day. crew could not make enough progress on the park to permit a ABC would become 35 per- Building the Dream July 1955 opening. So soon, Walt worked with several teams were working 24 hours a cent owners of the park, in architectural firms while trying to day in order to finish a majority of exchange for a weekly one design the park, but none could the park. Strikes by plumbers, and hour television show and live put his ideas into plans. Walter a shortage of asphalt, almost pre- coverage of the opening day. Becket, architect and friend, told vented an on-time opening. Walt: “No one can design Disney- Meanwhile, Walt was also land for you; you’ll have to do it planning and filming his first regu- But there was still no mas- yourself.” The Stanford team sug- lar series on television, Disneyland. ter drawing of the proposed site, gested that Walt would find his The show was not, however, Walt and Walt knew that this would be best help within the studio, and Disney’s first foray into television, critical in convincing the networks. this proved to be true. Fortunately, since there had been two Christ- He called illustrator Herb Ryman Walt knew his animation staff and mas specials produced before Dis- one morning and told him of his their hobbies well. Like he had neyland premiered on October amusement park plan. Roy was assigned Ken Anderson to the pro- 27, 1954. The first episode related due in New York on Monday and ject earlier, he assigned others to the plans for the park and so a drawing had to be produced sculpt models. Walt called his overviews of upcoming shows. In immediately. Walt and Herb spent designers imagineers; people with addition to providing glimpses of the entire weekend working on the needed combination of imagi- the forthcoming park, the televi- the drawing with Ryman translat- nation and engineering skills to sion show served as a vehicle indi- ing Walt’s words into images. The build a theme park. Imagineers cating all that was forthcoming sketch was hastily copied and sent were innovators and artists who from the Disney empire. The show to New York with Roy. refused to say what was impossi- introduced “Davy Crockett” and Roy spent several months ble. showed the studio filming 20,000 ANIMATION WORLD MAGAZINE December 1998 24 Leagues under the Sea and Opening day would come to be drawing Sleeping Beauty. known as Black Sunday, because Animator Art Scott recalls of all of its problems. Despite criti- a plane trip with Walt just before cal reviews from print media, Walt the park’s completion. “As we encouraged his crews to handle take off Walt is saying, ‘I spoke to the problems. He held media din- the pilot, I hope he remembers, ners to amend relations with the I asked him to fly over the park. press. Within a few weeks, prob- There’s nothing like seeing a lems had been wrinkled out and park from the air.’ Then he went Disneyland’s crowds were far over to the window and said, exceeding estimates. ‘He’s doing it! He’s doing it!’ He pointed out all the stuff, there’s Opening day would come to this, there’s that, like this little be known as Black Sunday, boy with his giant toy down because of all of its there.” Walt explained to a problems. reporter why he was so deter- mined to build a park: “It’s some- Walt always believed, “Dis- thing that will never be finished, Designing Disney’s Theme Parks:The Architec- neyland will never be completed. ture of Reassurance, edited by Karal Ann Mar- something I can keep develop- ling, takes an in-depth look at Disneyland’s It will continue to grow as long as ing and adding to. When you evolution from one man’s personal dream to there is imagination left in the wrap up a picture and turn it a multinational enterprise.You can order this world.” Walt and his successors book through the AWN Store. © Flammari- over to Technicolor, you’re on. have carried out this promise with through. It’s gone. [The park] changes and additions like Mick- television. The unfinished Tomor- will get more beautiful every year. ey’s Toontown and the New rowland was given a banner and And it will get better as I find out Tomorrowland. Walt’s dream has balloons to mask the work waiting what the public likes. I can’t do been brought to many parts of the to be done. Camera crews worked that with a picture; it’s finished and globe as well with Tokyo Disney- alongside construction crews who unchangeable before I find out land, Disney World, and Disney- were putting finishing touches on whether the public likes it or not.” land Paris. Since Walt’s vision and the park. The park opened to invit- imagination will never die, his ed guests on July 17, 1955, and Opening the Happiest Place dream parks will live on forever as 33,000 people poured into the With construction working very special places, the magical park. The ABC television crew ush- around the clock until opening, reigning champions of quality ered Walt from site to site and kept the park was getting ready for theme parks. a positive spin on the preview. Off camera, chaos ruled: Katie Mason was an editorial ladies’ heels sank assistant at Animation World into still hot Magazine. A longtime animation asphalt on Main reader and fan, she watches car- Street; rides broke toons each Saturday morning down; conces- and is currently studying toward sions ran out of her university degree. food and drink; and a gas leak Note: Readers may contact any was discovered The renovation of Tomorrowland, on right, is reassurance that Animation World Magazine con- Walt’s ideology still lives today and that Disneyland will never in Fantasyland tributor by sending an e-mail to be fully completed. closing it down. [email protected].

ANIMATION WORLD MAGAZINE December 1998 25 Edutainment and the Internet

by Ted Pedersen & Francis Moss his past June, the White working in Switzerland named Tim companies who’ve been hugely House convened a confer- Berners-Lee came up with a way successful at doing it on televi- Tence in Los Angeles, Cali- to transmit images via the Internet, sion? While many of the Fortune fornia, titled: “Internet Summit: and the World Wide Web was 500 companies are still struggling Digital Media for Children & born. The rest, as they say, is too over how best to use this new Teens.” The Summit held panels tedious to repeat here. medium, companies like Disney, on such topics as on-line content, Skip forward a few eras Nickelodeon, and even gray, staid learning on the Internet, and mar- “net time,” and we find ourselves PBS have jumped in with both keting. Later the same month, San remarking, “My how the baby has feet. Francisco, California hosted “Digi- grown!” From only 50 web sites in The reasoning isn’t difficult tal Kids ’98,” with guest speakers 1993, the World Wide Web now to fathom. The web is where the including David Britt, CEO and has 100,000 new web pages kids are. Unlike many grownups, President of the Children’s Televi- going on-line every hour. Before children have no fear of this new sion Workshop. Disney Online was 1995 or so, there were hardly any technology; on the contrary, they a major sponsor of both events. kids of which to speak of on-line. embrace it. The same kids who Do we need more proof Today, there are 10 million kids wore out the joysticks on their Nin- that the Internet, once the surfing the web, and by the mil- tendos and Playstations (and wore province of dweebs, nerds, hack- lennium, 20 million kids will be out their parents in the process), ers and people without a life, is cybersurfing. Based on a recent are now mousing and clicking, now on its way to becoming the survey, kids are now spending 11 playing many of the same games newest “happiest place on earth?” hours a week watching television on the World Wide Web. In fact, and 3.6 hours a week on-line. the Web is beginning to success- Interestingly, girls are slightly fully compete for the audience From only 50 web sites in ahead of the boys; they are on-line that used to watch Saturday morn- 1993, the World Wide Web an average of 3.7 hours a week, ing cartoons. As a result, the enter- now has 100,000 new web while boys use the Internet an tainment companies have had to pages going on-line every average of 3.5 hours per week. adapt. They did so by creating No one knows where it’s entertainment, with a bit of edu- hour. going to end, but everyone wants a piece of the action. Educators and entertainers are no exception. Unlike many grownups, chil- The History of the Internet...In Schools are rushing to educate dren have no fear of this 25 Words or Less this eager new audience, and new technology; on the con- (Okay, so we’re kidding entertainment companies are trary, they embrace it. about the 25 words part!) In the rushing to...well, entertain, and Internet’s Pleistocene era — circa hopefully, to educate as well. 1980s — only the government cation, on the World Wide Web. and large educational institutions Masters of Their Domain Mixing entertainment and were involved or interested in this (Names) education is not a new concept. worldwide network of linked com- Who better to reach kids Television has been doing it for puters. Then in 1991 an American on the World Wide Web than the years in some of their Saturday ANIMATION WORLD MAGAZINE December 1998 26 morning animated shows, like Fat however. According to Disney nick.com is as safe as grandma’s Albert and Captain Planet. With spokesperson Rebecca Anderson, house. Along with its own Nick- the advent of cable channels, like Disney.com is “the number one elodeon pages featuring its signa- Discovery and The Learning Chan- parenting web site on the Inter- ture characters and shows, there’s nel, and new FCC educational net,” due to “Family” (www.fami- Nick Jr. for younger kids, and Nick- regulations, these kind of educa- ly.com), an on-line parenting At-Nite, with clips and broadcast tional-entertainment shows have resource with advice on nutrition, schedules about shows running multiplied. Now similar program- recipes and activities for families. on Nickelodeon’s cable channel. ming is blossoming on the Inter- Disney has figured out how Nickelodeon is rapidly building a net. to provide what kids like, Ander- brand loyalty on the Internet to son explains, by bringing Disney’s rival Disney Online.

Disney On the Web classic cartoon personalities to the The 800-pound gorilla of new medium. “Characters are our Everybody’s Doing It children’s entertainment compa- heart and soul,” Anderson states. Even PBS is getting into the nies is, of course, Disney. As befits “We don’t just want to recycle tele- act. Visit the kids’ section their standing in traditional enter- vision shows or films, but find new (www.pbs.org/kids) of their web tainment — theme parks, televi- ways to bring our characters to site and you can drop anchor in sion, film, cable channels — they the web.” “The Big Harbor” with this newly are also the largest presence redesigned companion site to on the World Wide Web, the popular PBS children’s pro- with a separate entity, Disney gram, Theodore Tugboat. Online, overseeing their two Here you can download color- separate Web sites (the new ing pages, activity sheets, a buzzword is “portals”), Dis- screensaver and wallpaper, ney.com (www.disney.com), read the new story “Hank and a free site, and a subscription- the Hug,” play an on-line based site, Disney Blast. At memory game, and color your the Digital Kids Conference, favorite characters with a Java guest speaker Jake Wein- Cartoon Network’s site primarily touts the network’s coloring tool. baum, President of Buena programming, however, there is also a lot of informa- Turner Learning, the education on how cartoons are created, as well as interac- Vista Internet Services, said tive content. © 1998 Cartoon Network. tional division of Turner Broad- that today’s kids are the Inter- casting (learning.turner.com), net Generation, and they are uses the Internet “to promote com- growing up in an interactive Nickelodeon on the Web pany programming, Cartoon Net- world. They are learning, thinking, If Disney Online is the 800 work being a good example of an and analyzing in a non-linear way. pound gorilla of the ‘net, Nick- overwhelming success with over 2 Disney Online wants to provide elodeon (www.nick.com) is the million page views daily. The content to meet their needs, offer- large orangutan. Although its rep- future of the Internet is uncertain ing games and activities for kids utation for edgier kids’ shows sets at this point, but it would be rea- on both their free site and their it apart from even-your-grand- sonable to assume that program- subscription site. mother-would-approve Disney, ming on-demand, games and Disney isn’t just for children the Nickelodeon web site at other children-based activities will

ANIMATION WORLD MAGAZINE December 1998 27 The PBS Kids site is an interactive extension of the TV channel.© PBS. be perfect for this type of environ- cessful: “It’s important to remem- large city — they can be avoided ment.” ber that the web is fully interac- with a little knowledge. In the On the other side of the tive, and until TV gets there the view of Dr. John Richards, Senior pond in the U.K., Tom Calthrop, of web provides the potential as a Vice President of Turner Learning, Smudge (www.bbc.co.uk/educa- better learning environment.” An “The problem with the Internet is tion/laac/story/sb2.htm), creates example is Smudge’s participation that it is a collection of information web sites that are targeted toward in the BBC’s animal activity center with little definition or no restric- learning experiences. The interac- on the web. Their goal is to get tions — this is both its strength tive adventures and games are five year-olds to use computers and greatest weakness.” featured on the BBC educational and learn control of the mouse. At the Digital Kids confer- web site and typically star cartoon ence in San Francisco, Joanne characters. The goal is to create a Roberts, a former teacher who fun, entertaining, and educational Kids understand safety on now creates web sites for experience. Their sites appeal to the Internet. What they teenagers, remarked, “There’s a lot parents by having rich content. don’t understand is critical of negative press about the Inter- Calthrop believes that many par- thinking... net. It’s really a very valuable expe- ents still watch cartoons alongside rience for kids, and as long as you their children. “We encourage par- teach them basic safe behavior ents and teachers to participate. outside of the house, the same Parents do like our sites and we The Darker Side of the Web rules can apply inside the house, think it’s important that children While we have so far paint- using the Internet. Give them are not left for hours in front of the ed the bright side of the Internet, information about safety, but don’t computer — or TV for that matter.” there is a dark side. We’re not talk- become paranoid.” When discussing whether ing about the dangers of sex and The problem facing every- the Internet may be used, like violence that seem to invade most one who creates content for the cable, for reruns of popular car- discussions of kids and the web. web is how to police the net with- toon shows, Calthrop doesn’t Indeed those dangers do exist, but out creating a police state. What think TV reruns would be that suc- they are like the back streets of any should worry those who worry

ANIMATION WORLD MAGAZINE December 1998 28 about the future of as well as consume. Scott Webb, their kids, is the senior vice president of Nick- potential for non- elodeon Media Works, has said, learning on the web. “I think kids are thirsty to under- Kids understand safe- stand how the world works, ty on the Internet. and television can do only so What they don’t much of that. The Web is a understand is critical medium that requires thinking thinking — how to and doing, and that’s what kids analyze the informa- are wired for...the Web is the tion that engulfs Spywatch is an example of an educational site that stimu- perfect medium for kids.” lates thought and learning through interactive content. them, how to judge what they experience on-line, ment on what makes good con- how to ask the proper questions. tent. Based on our research, the Ted Pedersen and Francis Moss keys to good edutainment web have collaborated on more than content for children seem to be: 100 animated TV episodes — “Parents do like our sites • Providing a “safe harbor” from Teenage Mutant Ninja Tur- and we think its important for kids to enter. tles to the current Pocket Drag- that children are not left • Providing an opportunity to ons. They are also the authors of learn skills. two Internet books for kids: Inter- for hours in front of the • Offering characters and net For Kids and Make Your Own computer — or TV for that content familiar to kids. Web Page! A Guide for Kids, both matter.” - Tom Calthrop • Providing a way to interact published by the Price Stern with the larger community. Sloan imprint of Penguin Putnam. Clearly kids today are part of a new generation — a post-tele- The Future of the Web vision generation. A few short Note: Readers may contact any Everyone agrees that con- years ago, kids were consumers. Animation World Magazine content is the key to success on the Today they are participants in the tributor by sending an e-mail to Internet. But there is little agree- web experience, and they create [email protected]. Animation World SStore http://www.awn.com/awnstore

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

ANIMATION WORLD MAGAZINE December 1998 29 All In The Family: Rated ÒGÓ Animated Programming

by Deborah Reber daunting task. brand of programming has blos- Regulation of somed. Most people would name the television Disney as the model for creators of industry, an ever- family-appropriate programming, growing supply of but conservative organizations like gore, horror and the National Institute on Media sexual content in and the Family in Minneapolis, programming, Minnesota, find that even Disney’s and the passing of animated fare doesn’t always new Federal Com- make the cut for programming munications Com- appropriate for all ages. mission (FCC) regulations in 1997 Conservative organiza- mandating mini- Porchlight's Adventures from the Book of Virtues is one of the mum broadcast tions...find that even Dis- many success stories in children's educational programming. ney’s animated fare doesn’t © Porchlight Entertainment. hours of child- friendly, educa- always make the cut of pro- s a kid, my parents were tional programming, brought the gramming appropriate for fairly strict when it came notion of family programming to all ages. Ato my intake of television the forefront. Networks began programming. My father laid scrambling to find shows that fit down the law, decreeing which the FCC’s guidelines, often bend- So who are the companies programs were and were not ing the definition to accommo- producing wholesome, family- acceptable for his two young date their own broadcast sched- friendly, all-age appropriate ani- impressionable daughters to be ules. mated programming? And what watching. Let it be known that I Beyond broad- rarely agreed with his decisions. cast television, there’s Try being the only 10 year-old on also cable and satel- the block not allowed to watch lite channels that Laverne and Shirley because there have thousands of were too many “adult” themes. programming hours And my parents had it easy in to fill — the Family comparison. Welcome to the Channel, the Learn- 1990s, where the discourse con- ing Channel, PAX TV tinues over what does and doesn’t Network, the Angel constitute family-friendly television Satellite Network, programming. In today’s age of and so on. The mar- countless channel possibilities, ket for a wholesome, sorting through television’s current completely inoffen- Wimzie’s House. © 1997 Wimzie Production Inc. All rights offerings can be more than a sive, utterly positive reserved.

ANIMATION WORLD MAGAZINE December 1998 30 can be said for companies creating programs free of violence, strong language, sexual themes or illegal behavior, and full of quality, educational content and traditional values like honesty, courage, and responsibility?

Nobody Does It Better Than CINAR The international leader in family programming is indis- putably the Montreal-based company, CINAR Animation. Founded in 1976 by husband and wife team Ronald Weinberg and Michelline Charest, CINAR aims to produce and distribute “quality, Zack and Plato from Adventures from the Book of Virtues. © Porchlight Entertainment. non-violent programming and educational products for the glob- its praise from critics who appreci- 2 and France 3 and Germany’s al marketplace.” When they ate the fact that the protagonist is RTL. CINAR is also the largest out- founded CINAR, Weinberg and just a “regular kid,” and one with side supplier of programming to Charest took a gamble that their which its young audience can the number one kids network in company was in a perfect position relate. This makes it easy for Arthur the US, Nickelodeon. to fill a gap in children’s program- to be a role model for children as CINAR has also found great ming, for at the time there wasn’t he deals with some serious issues success in adding more depth to much competition. They had no like cheating and lying. The suc- the company in recent years. A way of knowing that their gamble cess of Arthur has spread to ancil- new division, CINAR Education, would pay off so well. Despite lary products tied in with the takes advantage of the expertise of today’s plethora of family program- show, including toys, home videos the recently acquired educational ming production companies in the and interactive software. publisher Carson-Dellosa, and international marketplace, CINAR CINAR’s other top-rated animated HighReach Learning, a supplier of is at the top of their game, and is programs include The Busy World curriculum-based resources for the clear leader in the family proof Richard Scarry and The Adven- teachers. CINAR Education will gramming industry. tures of Paddington Bear. Their focus on supporting and promot- newest hit, a puppet program for ing their original educational prop- preschoolers, Wimzie’s House, erties. Again, CINAR’s instincts CINAR is at the top of their won the 1997 Parent’s Choice were right on with this recent game, and is the clear Gold Award for National Television expansion. Revenues for the com- leader in the family pro- Programming. pany increased 71% from August gramming industry. One of the secrets behind 1997 to August 1998, and the CINAR’s success is that the compa- publicly-owned company’s stock ny hasn’t limited itself to produc- continues to rise with every licens- CINAR is perhaps best ing only television programming. ing deal they make. known for its Emmy-award win- CINAR has become one of the ning animated television series for foremost international distributors Porchlight Entertainment Up preschoolers, Arthur, which fol- of high quality children’s television And Coming lows the life of an 8 year-old aard- and film programs, reaching more CINAR presents a successful vark and his group of friends. The than 150 countries through these model for any young, growing PBS series, based on the best-sell- ventures. Major international part- company to follow, and Porchlight ing books by Marc Brown, draws ners include the BBC (UK), France Entertainment is doing just that.

ANIMATION WORLD MAGAZINE December 1998 31 “I’m not going to fool you. It’s a Johnson. very tough business to enter and Quality is certainly some- be successful in,” says Bruce John- thing not lacking in any of Porch- son, co-founder and CEO of the light’s productions. Adventures Los Angeles-based family program- from the Book of Virtues often ming company. gets big-name voiceover talent, Founded in 1995, Porch- and Jay Jay the Jet Plane is intro- light is perhaps best known for its ducing a breakthrough animation highly acclaimed animated series, technique with the help of Los Adventures from the Book of Angeles-based motion capture Virtues, broadcast nationally on house Modern Cartoons, which PBS. The show follows the adven- has so far brought Porchlight great tures of Zach and Annie, 11 and response at television markets this 10 years-old respectively, on their year. visits to Plato’s Peak, where friends Plato, Sock (Socrates), and Ari (Aris- There is definitely an audi- totle), share with them Greek myths, Asian legends and Ameri- ence out there. — Bruce can folklore. Each episode focuses Johnson on a particular virtue; such as courage, loyalty, faith, humility, perseverance and respect. Big Idea Takes Big Steps Adventures from the Book Veggie Tales © Big Idea Productions, Inc. When examining family of Virtues has been met with great television programming, there is a success, and has enabled Porch- growing group of suppliers in the light to diversify through associa- marketplace that is making itself tions with Simon & Schuster Pub- known — those creating non-sec- lishing for companion books, Digi- ular or religious-based program- tal Domain for CD-ROM and inter- ming. Chicago-based Big Idea Pro- active products, and Turner Home ductions, founded in 1993, has Entertainment for home video dis- built-up their name by creating tribution, to name just a few. “values-oriented media that “There is definitely an audience matches in quality the best that out there, and we’ve had a great Hollywood has to offer.” response to our brand of pro- Big Idea, whose motto is gramming. Increasingly, it is “Sunday morning values, Saturday through that, that we’re becom- morning fun,” has found a sub- ing commercially successful,” said stantial audience with its Veggi- Johnson. eTales video series. In 3D comput- In Adventures from the er animation, characters Bob the Book of Virtues, and their newest Tomato, Larry the Cucumber, and animated series for preschoolers, all their vegetable friends tell sto- Jay Jay the Jet Plane (which pre- ries through song, dance, and miered on The Learning Channel humor in half-hour episodes. Titles in November 1998), Johnson include “Where’s God When I’m seems to have reached his primary Scared?” and “The Toy That Saved goals in creating the company. “I Christmas.” The latter of these will wanted to create high-quality, be broadcast this holiday season family programming that is safe, on PAX TV Network, a new cable and will have both parents and Phil Vischer, creator of VeggieTales. Photo network launched this fall with a kids responding positively,” says courtesy of Big Idea Productions, Inc. mandate to broadcast only family

ANIMATION WORLD MAGAZINE December 1998 32 (released theatrically in April, on home video this past September), is generating a healthy profit, with projected revenues marked to be between $69 and $114 million dollars. Cabbage Patch Kids, a craze which began a whopping 15 years ago, has stood the test of time to demonstrate the longevity and potential shelf life for well- conceived and well-directed family programming properties. A video series, distributed by BMG Video, is animated in stop-motion by Fly- ing Films (UK), and brings the popular dolls to life with stories and songs. The best-selling video series is so popular that HBO and Show- time actually broadcast The Cab- Digital BMG Video’s Cabbage Patch Kids series of stop-motion specials. © Original bage Patch Film Festival this past Appalachian Artworks and BMG Video. summer. programming. the company’s stock value, the We have profiled a select Regarding his aspirations in company has grown leaps and number of companies here, but creating Big Idea, founder Phil Vis- bounds due to its breakthrough these few paint a clear picture — cher says, “I have a hard time find- into the secular marketplace, the world of animation has found ing television shows or videos that allowing Big Idea to begin to com- a permanent place in the family I want my children to watch, and pete with some of the “big boys.” programming community; one that I want to watch with them. National U.S. outlets such as Wal- that will most likely grow as the This, plus my desire to prepare my Mart, K-Mart and Target are now number of outlets for non-G rated kids for life in an imperfect society, selling Big Idea’s “Veggie Tales” programming continues to has been a constant inspiration.” videos. In just the past year, the expand. Plus, digital television, company has seen an increase in interactive television, and other video sales of over 300%. National U.S. outlets such inventions just around the bend lend themselves wonderfully to as Wal-Mart, K-Mart and A Growing Field animation, making the likelihood Target are now selling Big The list of companies pro- that new family programming pro- Idea’s “Veggie Tales” videos. ducing family programming fare duction companies will continue doesn’t come close to stopping to spring up and create new and here. There are always the old innovative animation, a great one. Big Idea has big goals for familiars like Barney, broadcast on the future, including nothing less PBS. While newcomers on the Deborah Reber manages Ancil- than elevating the company to preschool television market like lary Projects for Nickelodeon’s recognition and status levels on Blue’s Clues and Teletubbies have Blue’s Clues and is a freelance par with Disney and the Jim Hen- given the purple dinosaur a run writer based in New York. son Company. If recent sales fig- for his money, Barney remains a ures are any indication, they’re profitable property. In addition to well on their way. Although Visch- the traditionally licensed hard and Note: Readers may contact any er says he wants to focus on the soft goods that accompany any hit Animation World Magazine con- viewer and improve their lives show, the recently released Bar- tributor by sending an e-mail to rather than the ebb and flow of ney’s Big Adventure: The Movie [email protected].

ANIMATION WORLD MAGAZINE December 1998 33 HereÕs A How de do Diary: September

by Barry Purves Editor’s Note: Lumps, what stiffer and Savoy Operas. They both set up warts and all, for eight tighter — well, that British institutions, had a cozy months Barry Purves was the theory any- repertoire of familiar characters, will share his personal way. The odd floppi- are comfortingly predictable, production diary with ness has crept in unequivocally British and don’t us for his current pro- with Gilbert, but travel too well — the big differ- ject with Channel 4, that’s me really. ence is where the operas had wit, tentatively titled Here’s The rows rhymes and music, the films had A How de do. This film between the chaps boobs, bottoms and bodily func- will take a look at three have started, and I tions!!! men: Gilbert, Sullivan think it’s clear why. and Richard D’Oyly Money is certainly Barry Purves. All this nonsense about Carte. D’Oyly Carte playing a part in all brought Gilbert and Sullivan this, as it did with them in reality. Viagara - honestly! together and formed the D’Oyly Gilbert was certainly very tight Carte Opera Company, which per- about money and did not like formed Gilbert and Sullivan operas wasting it — as the famous carpet September 2nd for 100 years. While the trio quarrel bears out. This incident, of I was listening to the Chief- worked together for roughly 25 Carte and Sullivan buying a carpet tain’s inspiring album, “Santiago,” years, their relationship was for the Savoy, without consulting on the way home, and all manner strained at best. How will the pro- Gilbert, was a major factor in their of new films suggested them- duction of their story go? All we break up — sadly, I could not selves. That’s the trouble with ani- can do is read along monthly and weave (!) it into the film as there mation, it takes so long. That’s films find out... are not many songs about carpets. crowding my already crowded mind. Someone actually asked me last week, “Where do you get your September 1st This spontaneity comes ideas from?” That is not the prob- A productive start to the from a lot of hard work, lem. I have got so many ideas, month, if not wildly creative. Sulli- none of which is sponta- most of which will never see light. van is still flapping his arms about neous. I have such a thirst for knowledge furiously. I hope there is a real dis- and cultural experiences of every tinction between the gestures of kind, and all this usually sets me Gilbert and Sullivan. I took the fact There’s been a series of pro- off on some idea for a film. But to that Sullivan is a conductor as a grammes on the last few nights, see even the shortest of animation starting point for him — his arms celebrating the “Carry On...” films. films through takes so much time, flail all over the place and are quite Whilst they are at different ends of that I’ll never get to direct or write floppy and musical. Gilbert, with the spectrum, there are similarities all the things I’d like. How many his military background, is some- between the “Carry Ons” and productions has Steven Pimlott ANIMATION WORLD MAGAZINE December 1998 34 (our baritone) directed in the 20 anger he has been flapping about was trying to convey, but I did not months that it has taken me to at full speed, and hopefully, I’ve want to change Gilbert’s brilliant write and film a slight 15-minute pushed his moves as far as I can line, “This particularly rapid and animation? Maybe I’ll have to have before they fall to pieces. I’ve done unintelligible patter isn’t generally a break from animation, just to some huge moves, but I use a trick heard and if it is it doesn’t matter.” clear my head of some of the to make sense of such huge The first half, as sung by Sullivan ideas buzzing around in there. But moves. would be a good insult against it’s not as if I can just walk into a Gilbert’s work, and the second half

Sullivan in action. Photo courtesy of Bare Boards Productions. theatre company and say, “I would September 3rd seems to imply some sadness that like to direct a play please.” It’s a lit- A bizarre day spent with Sullivan’s own work is not appreci- tle sad to think that I have 75 min- Sullivan under the sheets, thrash- ated. That’s quite a lot to get over utes of film (ignoring commercials ing about. What a strange job I in a second or two, but if the audi- and such) to show for my last do. I was working to one of the ence watch Sullivan, they’ll see he decade of work. Not much really. most difficult patter songs, “My is pretty fed up with the likes of We were shooting out of eyes are fully open” from Ruddig- The Mikado. sequence today, which always ore, and I could have gone really Talking of which there is a does my head in, but I did man- over the top with it, but I went the production visiting Manchester age to get Sullivan to jump up other way, and it seems to work. this week of The Rocking Mikado. onto the bed, and sit on it. Being This is one of those instances This seems to be the opera that rather short in the leg department, where the audience will have to gets the most interpretations — he looks like a grey tennis ball with rely on the impression of what Sul- there’s been “cool,” “hot,” “black,” two small feet stuck out from livan is up to, rather than the exact “metropolitan” and many, many underneath. I’ve certainly been words. There’s a little conflict more. Yup, I’ve seen them all. very bold with him today. In his between the words and what I

ANIMATION WORLD MAGAZINE December 1998 35 September 4th lack of the necessary, the dispro- Duke’s codpiece in my Rigoletto Another work experience portion of the workload, and knows what I’m talking about. chap, Paul, left us today. These things that get in the way of me A review of the D’Oyly people have helped us so much. filming. But it’s easy to lose sight of Carte’s production of The Mikado Basically, they have been our what we have already done. in the Sunday papers was full of crew. It has been hard work of There were some 70 seconds of praise for Gilbert’s words, saying course, as every Monday morning rushes this morning. All very lively, that they still dazzle with their wit, Jean Marc and I start a very con- and I stayed late alone to do a but was very off about Sullivan, densed ‘how to’ course, but it is shot of Carte getting angry with G saying that the music is very thin satisfying to watch them absorb & S. This was a big moment and as and has no surprises. Thin his everything and become confi- I came to do a final few seconds, I music is not, and if there are no dent. There are a lot of things I am suddenly thought of three alterna- surprises it’s because the music is awful at, but I think I am good at tive bits of business to show why just, well, just right. Certainly, I’m getting people fired up with pas- he was angry and frustrated with grateful for our wonderful orches- sion for animation. This has hap- the men. Sadly, I think I chose the trations, which even after hearing pened with every person we have least clear one, but it was the one them for weeks still delight. had with us, and that gives me that didn’t put the schedule back, I was listening to Carousel some pride. I just wish certain and allowed me to get home on the way home, and last night, members of our crew could have before midnight. These are impor- a lot of Kander and Ebb songs. the same passion, but there we tant considerations. Still, the How I admire those partnerships: go, that’s another story. sequence works as a volatile piece Gilbert and Sullivan, Kander and of action. I’ve let a little bit of scrap- Ebb, Rodgers and Hammerstein. I py animation go through — I have would love to have that real and Just how engaged are the to. last creative working relationship audience, or is this just ani- It’s sad I’m so grumpy and — what joy it must be to creative- mated wallpaper? angry just now, as I’ve had some ly spark off each other. The nearest amazing fan mail recently, and a I have is working with Wyn. There lot of encouragement from some is a real respect and exchange of A grand total of 66 seconds people. Also I must not forget my ideas and no treading on toes or this week, though we slowed films are showing at the Guggen- egos. Davies and Purves, I won- down today as we were trying to heim — that must say something. der. organise me getting to New York What I’m dreading happen- next week-end. The Guggenheim ing soon, as often happens at this September 8th are showing my films in a pro- stage of filming with the end Whoops! How did Gilbert gramme alongside puppet films of almost in sight, is people coming slip into Norma Desmond acting. Julie Taymor and Jim Henson. out of the woodwork, offering He was all raised eyebrows today Noble company indeed. Sadly, for totally unconsidered opinions and twisted gestures. I’ve been a all Karen’s efforts, it’s just too com- about such and such a thing. I do bit on automatic pilot — well, after plicated and expensive to get not mind criticism at all as long as the late night last night, I’d not there at the moment. it is done bearing the whole film in really had time to think everything mind, or if they’ve at least thought through, but there sits the camera, September 7th about it. What drives me wild is demanding to turn over every As I write this, sometime people coming along who have available minute. So insatiable. As after midnight, things look a little not been with us from the start, a result there was a lot of wild ges- bleak. We are battling illness and and saying something absurd. I’ve ticulation, vaguely in time to the fatigue. We are tired, very tired. seen the devastation a naïve word music. It’s clear that they are all Not tired of the film or believe it or can cause; a seed gets planted upset with each other, but why? I not, Gilbert and Sullivan, but tired and everything grows from there. ask myself that everyday. Here I from the constant battles with our Anyone who is familiar with the am struggling with making every-

ANIMATION WORLD MAGAZINE December 1998 36 thing clear, and Channel Four is The three chaps are now on the coat because it suddenly looked slightly apprehensive about the spinning bed, going hell for odd. So, sorry to the girls who clarity, but I remember the film leather. It is a rather bizarre made them. There haven’t been being described by them as no sequence in a rather bizarre film, many things I’ve not used. Every- more than a set of jolly tunes to but, even without camera moves, one’s work is certainly up on that watch while you’re eating dinner. there is so much drive in these last screen as bold as brass. I would It’s not that! two episodes. This is probably like to hope that the budget is all some of the crudest animation I’ve up there too. ever done, but it seems right for It’s stupid that I panic this. I would like, one day, to show September 10th about the gestures that go exactly the sophistication of ani- A whirlwind of a day really wrong and barely look at the mation and complex choreogra- — a lot of visitors and a lot of ones that go right. phy of which I know I’m capable. work. The chaps are still spinning 12 seconds a day does not lend on their bed. All a bit frantic, but it itself to much finesse — I’m dread- certainly livens up an already lively I’ve been asked back to Sit- ing seeing some scenes on the big episode. In the afternoon Wyn ges to give a talk at the Fantasy screen, if we ever get it onto the and a lady from the orchestra Film Festival. I’ve been several big screen. Finances are compli- called in. Wyn had not been since times over the years, and it’s a cated there. our first week, and was mighty great festival. Rather ironic that I Our work experience chap impressed with what he saw. He was in Sitges just before filming, this week, Darren, was reading said that the characters are very and now I’m going straight after- the printed script and totally relish- clear, as are the motivations. He wards. ing Gilbert’s words. He said that also said that it seemed so fresh I’m striking up a long dis- without even knowing the tune and spontaneous. That pleases tance friendship with a lady called you can hear music in the words. me, as this spontaneity comes Bee — a Kiwi in Atlanta. She keeps Whether you like his words or not, from a lot of hard work, none of phoning just to chat and say how that man Gilbert was quite a which is spontaneous. So much much she loves the films. Wonder- genius. animation looks over designed ful! Now she does work for an ani- and planned, with everything pre- mation network but work hasn’t We really could not have cisely composed and plotted. I try entered the equation yet. It is made this film without the to give an edge to my films, with great having friends around the students, as we would have heads cropped in the framing, or world (and yet no-one at home to otherwise literally not had a a hand going out of shop, or go to the movies with at the week- crew. shadows happening from outside end. Can I get anyone to come the frame. Wyn said he felt it had and hear Wyn conduct Die Fled- been filmed with several cameras. ermaus. Nein.) For this scene where each To Joy, the ambidextrous percus- of the men look as though they sionist, the whole thing was a con- September 9th are walking out on each other, I’d cept she could not get her head Oh no, I’ve just rewritten had hats made, and a coat for ‘round. It seemed so far removed ‘The Art of Coarse Acting/Anima- D’Oyly Carte. I thought putting a from the day in the recording stu- tion.’ I really am being so bold hat on would easily signify some- dio in May. She couldn’t believe with these puppets, and have one leaving. However, when I how I could work it all out. Mind thrown subtlety out of the win- came to the shots, they just looked you, how musicians work is anoth- dow. It’s not me being lazy, but silly. For hats to fit their rather large er world to me. Yes, I can read more that I can’t afford to spend heads, things were getting out of music, though I can’t look at a time on things that won’t be proportion. Plus, we are now so page and hear a whole orchestra noticed. I’m hoping that it is the used to seeing them bare-headed. as Wyn can. As I read Joy’s parts in cumulative effect that will register. Likewise, I’ve discarded Carte’s the music score, it is a world of

ANIMATION WORLD MAGAZINE December 1998 37 secret squiggles. should be quite a sequence. A den Grow.” I won’t quote the Wyn did say that there are complete change of tone today words as they fall to pieces with- a few things he did not quite with G & S pleading for Carte to out the music, but oh, how rele- grasp, but that the whole mood come back. I keep noticing some vant is that song. I had to play it six was easily understood. This is a extremely melodramatic gestures times. fault of mine. I have so much pas- creeping in. This being Victorian sion for my subjects. How do I put theatre I suppose it’s allowable. A September 15th a lifetime of love for G & S into a shot that I had been fretting about My mind was not too clear mere 15 minutes? I can’t but I do all night, of G & S sliding into shot today as the complex chaos of tend to cram a lot of details into on their knees, turned out amaz- post-production is starting to the films. I do expect audiences to ingly well. It will come as an amus- intrude. Post-production is my very watch and concentrate. Today, ing surprise. Well, it kept us least favourite part of all this — that seems to be asking too much. amused all day. I spoke to Clare at there is so much technological It doesn’t worry me when the Channel Four who is very enthusi- stuff I do not understand nor am audience doesn’t get everything astic about the first three episodes, too interested in. Worse still, your the first time. It would be sad to whilst still reinforcing that I must precious little film, that you have come away thinking, “Was that it?” make things as understandable as had the most intimate control of, is I like to come out of a gallery, cin- possible. It reassured me to see now in the hands of others. We’re ema or theatre with something to Spielberg being interviewed last trying to find the most economical ponder on and puzzle over. It night, saying that he did not way to finish on video and then would be ghastly if a painting in a expect the audience to get all the get back to film — once again it’s gallery yielded up all its mystery on layers of Saving Private Ryan at the economics. On this film I am first inspection. I know I’ll be told first viewing, but hoped that going to fight to get the sound that I have to make the film under- things would filter through in the right. On previous films, I’ve standable to the lowest common days afterwards. Now I’m not always been disappointed that the denominator — I say, “Why?” This Spielberg and this film is hardly music gets lost. Here the music is another subject that can get me Saving Private Ryan, but hopefully, must stand out. I was not able to so worked up — the dumbing some of it will linger on. Certainly, concentrate on the shooting down of culture. Joy, our percussionist, has been today and some of it was a bit talking about it with her orchestra bland. I did a very literate and September 11th ever since her visit last week. clumsy gesture of Carte wiping his Only a short day in the stu- eye as if a tear was there; a dio, as Jean Marc was off back to hideous gesture that I’m stuck Paris for a breather. We were still That’s it. I’ve reached over- with, but I redeemed myself with quite productive. The spare after- load. Sullivan and Gilbert looking very noon gave me a chance to get sweet as they agree to shake busy with credits, synopses, and Four weeks from now, and hands. all those other important things that may have been the last of my Little Bethany popped in that I’ve not had time to even animation. Looking at Sullivan today as she often does, and is still think about. It certainly seems odd today, I got a brief twinge of sad- singing all the songs’ words per- to be sat at a desk again. ness, as though I was getting fectly. She really loves watching ready to say “Goodbye” to a this and can do all the actions. If September 14th friend. Well, I am — three friends. the film is keeping a six-year-old Apparently, our films got a The music in the car on the way very happy, then there’s hope. wonderful reception at the home tonight was Berstein’s Can- I laughed at myself tonight, Guggenheim on Saturday. Oh, to dide. What a masterpiece, and that I still have the lollipop stick have been there. was there ever a song that more that I started this film with. This, to We got the rushes of the movingly summed up my philoso- open and move the lips, and a maniacally spinning bed — this phy of life than, “Make Our Gar- map pin, to move the eyes, are my

ANIMATION WORLD MAGAZINE December 1998 38 sole tools. The most high tech I get will be there, cheering me on. frightening. A mini panic attack. is a lollipop stick and that was after All this nonsense about Via- We had several visitors I had eaten the lolly. I’ve never gara — honestly! Though, I gather today, all enthusing over the film. been one for gauges, as I think from all accounts Mr. Gilbert This gave me the chance to see it I’ve developed some form of com- would have been the first to have several times and from a distance. bined muscle and visual memory used it back then. There was Looking at the acting, this is really that tells me where things were in something rather wrong with him unlike any of my other films. Some the previous frame. in that department. From what I of the acting is so rough and know, and what is clear from his unsubtle and I’ve let awful stuff September 16th writing, he loved the idea of pure get through, but it all works. It We’ve transformed into the and idealised love, as represented works because I am not saying this “Yeoman of the Guard” sequence, by characters such as Yum-Yum is real life, but some sort of theatri- which will again come as a good and Patience, but the thought of cal nightmare. I’m giving the effect visual moment, especially after an anything physical and predatory, of what could have happened. I episode that has been mainly as with Katisha and Ruth, was remember years ago when I was filmed in close-up. The three chaps seen as both ridiculous and a little animating Toad, the director told look good in their costumes, par- repulsive. Sullivan did not have me not to turn the characters’ ticularly D’Oyly Carte as a Yeoman. this problem; by all accounts he back to the camera. I rather grand- Gilbert is a little disappointing, but was quite rampant! ly said that I could act with my that’s my fault really. Sadly, my back — thank you. Yesterday, I did schedule is such that I can’t go September 17th a whole scene with Carte with his and look at things being made. A good morning with G & back to us, and he was acting The costume is a good shape, but S dancing away, but then I had a away very clearly. the colour is a little dull. Well, there little wobbly, and couldn’t get isn’t any colour really. I wanted going at all. I remember a very him as Shadbolt, and Sullivan as famous incident at the Royal Puppets, in particular, “die” Jack Point, because of the cama- Shakespeare Company where an after a few frames of raderie they share in the opera, actor of great repute came on holding. but a keeper of the keys isn’t per- stage one night, well into the run, haps the most interesting costume got ready to write something with I could have chosen. Anyway, the his propelling pencil, but was dis- I wish I knew whether the scene looks good, and I’ve been tracted when he saw there was audience would actually be taking doing more complicated dancing, no lead in the pencil. Suddenly, in the words on this film. They can with a little cadenza that gets everything fell to pieces for him. be heard very clearly but there are everyone in the studio joining in. I He did not have a clue where he usually two meanings. Today G hope it works. was or what he was meant to be and S were performing a song My voice at the beginning doing. Psychiatrists have written from Yeomen, but the literal of the film, doing the narration, many articles about this failure. I words, about two chums ready to was not deemed good enough. felt the same today. We had faffed tell a “tale tremendous” of “con- Everyone was coming up with var- around for so long trying to find a vincing detail full” and so on, also ious suggestions of men, but I’ve way to lower the drawbridge in gone for Daphne Oxenford — a the Tower Of London, and tem- apply to the situation in the film. voice that has wonderfully safe, pers were getting heated and time I’ve not hinted at the other mean- comforting and very British story- was racing by. Eventually, I starting in the actions, but how big are telling connotations. ed, and lost what I was doing. I the letters that I have to spell out Very tired tonight. started again, and still had no idea everything. Just how engaged are Another screening at the what I should have been up to. the audience, or is this just ani- Guggenheim tonight, and my Third time through I got to the mated wallpaper? loyal chums David and Michael end, but only just. It was quite

ANIMATION WORLD MAGAZINE December 1998 39 September 18th some fresh reactions at this stage. allude to Wagner, especially in I gave Sullivan his heart However, it was a bit much today, Iolanthe. My mind still not much attack today and made a bit of a and my head was taken up with clearer, as I’m having to think mess of it. I gave him two violent post-production issues and other about the post-production, writing spasms before he collapsed, and things that need to be done. But I of a publicity blurb, who we they were probably too violent. I also need to finish this film. We should contact to get an article pushed it too far and I’m worried had rushes back this morning, written, and a million things like that Sullivan looks a bit comical, masses of them, and they all look this. Oh, and finishing the film. We like a pantomime Quasimodo. Still good. Sullivan’s spasms didn’t look did a series of cutaways of Carte the aftermath is quite effective, too bad in the cold light of day, dressed as a Beefeater. This is with- and with the help of some telling but I’ll still have to find exactly the out doubt my favourite costume; grunts and groans, I can probably right sound to make it work. well done Clare. Though I gather make it work. It’s stupid that I panic at an early stage it was a rather about the gestures that go wrong uncomfortable shade of salmon and barely look at the ones that We really could not have pink, not the deep rich red it go right. I would have liked anoth- made this film without the should be. This costume looks so er go at this, but there just is not students, as we would have vibrant against all the black — but the time. sadly, we never see it full length, Of course, there are a few otherwise literally not had a shots that I hate, but I clearly have crew. and it probably only has about 8 two favourites. One is Sullivan seconds of screen time. I love cos- dancing with Queen Victoria, and tumes, but they can be both bless- the other, is Carte turning his back We went on to the shot of ings and curses. They do make on G and S. His body language Sullivan’s limp body being laid on things difficult to work with. I’ve speaks volumes, and it’s a satisfy- the floor as Carte and Gilbert look just remembered when I was part ing composition. I must keep look- aghast. Well, that was the inten- of the Manchester University ing at these shots when things go tion. It was nearly 14 seconds, Gilbert and Sullivan Society wrong. We set up the final shot of most of it in silhouette. To make (M.U.G.S!), one year we had an Episode Four, but it really did not the emotion stronger I wanted to end of season party en travesti. I look as I saw it in my head, so I keep the characters, as still, as went as Mad Margaret from Rud- changed it all quite drastically. Our shocked, as possible, but as any digore. A very picture of sober work experience chap this week, animator will know, it is damned decorum, in black riding ensem- another Andrew, was pleased to hard to keep a puppet still for long ble, with a flash of red hair, woven see me improvise. Andrew, who periods. Puppets, in particular, with country flowers, betraying has done some pretty encourag- “die” after a few frames of holding. her “madness.” Sadly, or happily, ing animation, has been an enor- So I fidgeted and fidgeted, and no evidence of this exists. mous asset to us this week, as there were rather too many empty Trying to think of a catchy have all the various students. We gestures. Also what is odd about tag line for this film, and I keep really could not have made this this shot is that there is no music. ending up with other people’s tag film without them, as we would It will need some suitable plaintiff lines. Oh, here come the Valkyries, have otherwise literally not had a sound. It was a little distressing to racing ‘round the living room, ter- crew. see Sullivan sprawled on the floor. rifying the cats. I love it that in the The pose I’d put him in was a little midst of all Wagner’s sometimes September 21st too familiar for comfort, and had suspect mythology, he still found That’s it. I’ve reached over- painful resonances for me. time for the Valkyries to basically load. There were too many people call each other rude names. A bit on set today and I didn’t have a September 22nd of humour amongst four days of clear head. It’s my fault as I don’t Just listening to Wagner’s less than lightweight music. want to discourage people com- Ring — wow, that’s an antidote to Anyway, tag line — I can ing to see us, and it’s good to have G & S, though Sullivan does often feel the rhythm of it, but can’t

ANIMATION WORLD MAGAZINE December 1998 40 make the words Gilbert and Sulli- and enjoy the sunshine. I was able the music is more relevant in this van fit into this. to concentrate a bit, but I was so slow piece. Still, this episode is a We are up and ready for focused that I slipped into some dramatic u-turn after the others. It the final episode, and how sad other reality. I got such a shock is very dark and melancholic. Sullivan looks in bed. Amazingly, it when the phone rang. Mind you, However, I am saving a burst of doesn’t look absurd that he is still when I got home, I was so energy and colour for the last few wearing his tail suit. exhausted. I definitely went into a seconds. daze. I’m numb with fatigue. Just two weeks to go — September 23rd I’m still finding this amazing. I looked at Sullivan Well, I’ve done fourteen sequence hard — trying to keep today, all frail and feeble, and exhausting seconds, as well as the puppets from acting too much thought, ‘How sad, I’ve only got a editing the Fourth Episode. Little is near impossible. The music is few more shots with him and then wonder I’m sat here in something very slow and calm and sad, with he reverts to a lump of brass, latex of a daze. It’s been a frustrating some notes being held for over and cloth.’ As usual, I will probably day, as, rightly, everyone is think- forty frames. As a result, it’s not suffer some sort of post filming ing of the post-production, but easy to find just the right amount depression. It’s inevitable that after there are, for me, more immediate of activity for the mouth: too all this effort, I look at this small, things I need to concentrate on, much would not match the purity insignificant 15-minute film, and like Episode Five. It’s hard to get of the note, too little and it looks wonder why the equation of my head round the ins and outs of as if there’s no sound coming out. effort and result do not balance. the complicated grading process, Hopefully, it’s working okay, more What happens after this when I’m meant to be doing Sulli- or less. film, I do not know. I know there van’s quiet and moving death I am ready for this film to will be changes. There have to be. scene. I’m not looking forward to finish as I have so little left inside Whether there is any work, I do the post-production at all. At the me — no, that’s not true, as I love not know. moment things look a little con- what I do, and have endless sta- fused but will hopefully all come mina for things I’m interested in. September 28th together over the next few days. It’s all the other stuff that is wear- Dammit — I’ve just been to Maybe it’s my fault. Maybe I should ing me down. I’d like to say that at a movie and had a drink with a know exactly what is going on in least it’s financially worthwhile. friend, and now I’m all behind every single department, but Hah! with everything. How silly of me hang on; I’m already doing about to try to have even a single night four people’s work. Should I ever of a social life. Ironically the film, animate again, which I doubt, I Maybe I should know exactly Love is the Devil, about the painter have to have the framework what is going on in every Francis Bacon, was about the all- where I can concentrate on the single department, but consuming and somewhat animation itself. Maybe I should hang on; I’m already doing destructive nature of any art. lay down the law and say, “Do Here’s to that! about four people’s work. this, do that, then this,” but then I think I deserved at least this already takes me away from three hours off tonight, as I’d man- filming. aged to churn out 24 sort of okay September 25th seconds. Here we are nearly 75 September 24th Two long solo shots of seconds into this last episode and 36 seconds in two days is Gilbert and Sullivan being retro- still nothing has happened. They too much, but that’s what I have spective. Again, I’m fighting myself are just sat on the bed looking to do. I had a long shot of the to let them remain as still as possi- reflective. One very good shot, of three chaps today that took me ble. Sometimes I am in danger of Sullivan, still looking very ill, but most of the afternoon, so I sent doing something for every single also managing to be musical at everyone out of the studio to go note. Animating to the phrasing of the same time. The usual problem

ANIMATION WORLD MAGAZINE December 1998 41 with Carte — I fidgeted with him with fresh eyes. I can’t ask for more out a single wobble. It was hard too much, spelling everything out. than that. The Bacon film tried to for me to leave it simple, but I However, in a long shot, I man- make the film a living canvas as resisted the temptation for any aged to keep them all still, but also Bacon might have painted, and business that would distract or alive. Strong poses, and a minimal used this to tell his life story. Using ruin the line of the note. This amount of movement — magic. an artist’s work to tell his story is episode is definitely different from 24 seconds, but still a long hardly original and yes, I’m doing the others. This is literally three way to go, though everyone else it on a small scale with my film. men sat on a bed, watching one seems to think the film is over, as I was suffering this morn- of them fade away, but it does I’m having to make some major ing from daring to snatch a few work in contrast to the busier early decisions about things already. But hours of a social life. There is so episodes. Besides, I do finish with I’m not finished yet. Don’t tie me much preparation to do for a day’s a burst of something. down with the editing or timing. I shoot, and I had to stay up very A piece of business that I’m need to stand back coldly at the late to do mine. I was tired this shooting on Friday, and has been end, and see the film as an out- morning. Fortunately, the three in my head all these nineteen sider. I may want to change it. But chaps were not too demanding. months without me questioning economics and schedules dictate Sullivan is barely moving now, but it, suddenly seems silly and illogi- that I have to be pinned down still Carte is fidgeting about. He’s cal. In real life, Gilbert wrote a let- now, even as I’m shooting. going to get a good slap from me ter acknowledging some sort of Sadly, we won’t have a soon. respect for Sullivan’s craft. Sadly, print ready for the London Film As it gets a bit sad now, I Sullivan was dead before he Festival. am sorry that we could not afford received it. I had Gilbert giving Sul- to have eyes that blinked. The livan the letter, only to find Sullivan characters look in a constant state had died. But why a letter when Dammit — I’ve just been to of surprise, and I could really do they’ve spent so long sitting next a movie and had a drink with some half-closed eye acting to each other, and holding hands, with a friend, and now I’m all now. Also blinking provides such as they have today. I’ve found a behind with everything. wonderful punctuation between better way to do this, but I’m leav- phrases of movement, on which I ing it a little late. could have capitalised. Mind you, September 29th if you found two black and white Read Barry’s previous monthly My mind was still full of figures sat on the end of your bed diaries in Animation World Maga- images from the Francis Bacon singing in soprano voices you zine, starting with the June, 1998 film. What stunning camera work, might well look surprised for the issue. breaking every rule of focus and next fifteen minutes. composition. Never have I seen Post-production issues still flesh look so appetising and so getting in the way, and I even had Barry Purves is a Manchester- revolting at the same time, but to argue to get a mix today. The based filmmaker. Through his then that is his work. A really great credits are going to have to be production company, Bare Boards Productions, he has film, looking behind a popular cul- classically simple — good job. I did directed several stop-motion ani- tural figure. Hey, that sounds not want anything too adventur- mated films and commercials, familiar. I would never be so grand ous. including Next, Screen Play, Rigo- to even think of myself in the same letto and Achilles. breath as Bacon, but my films do September 30th try to look at a flip side of popular Totally numb from fatigue. I cultural images. Certainly this G & think I’ve managed to keep today’s Note: Readers may contact any S film is taking something most shoot reasonably still. There was Animation World Magazine con- people know, but by the end of one note of Sandra’s as Gilbert that tributor by sending an e-mail to our film they may have seen G & S went on for over 50 frames, with- [email protected].

ANIMATION WORLD MAGAZINE December 1998 42 VVilppuilppu DrawingDrawing Online:Online: IntroducingIntroducing MaterialMaterial andand ProportionProportion

by Glenn Vilppu his is the fourth in a series sonalities. In this les- Now let us start to of articles on drawing for son, we are going to work with these new Tanimation. In these articles combine them and at forms in the same I will be presenting the theory and the same time intro- way we did in practice of drawing as a “how to” duce two new ele- Lessons Two and instructional series. The lessons are ments. Three, bending, based upon the Vilppu Drawing twisting and giving Manual and will in general follow Part One them personality the basic plan outlined in the man- Start by placing (Illustration No. 2). ual. This is the same material that I a sphere over a box; Notice the pinch and base my seminars and lectures on they should be rough- stretch as the forms at the American Animation Insti- ly equal in size (see bend and twist. tute, UCLA, and my lectures at Illustration No. 1). Don’t forget the use Glenn Vilppu.All drawings Disney, Warner Bros. and other The next step is in this article are by and © of overlapping forms major studios in the animation very important. Draw Glenn Vilppu. in creating the feel- industry, both in the U.S. and their Illustration No. 1again, ing of volume. affiliates overseas. Each lesson will but this time do it as if it were cov- Again, this is one of those also have short Quicktime clips of ered by some form of material. me demonstrating the material Feel the form underneath. Feel discussed. If you have not seen where it leaves the surface of the the previous lessons starting in the sphere and stretches over to the June 1998 issue of Animation edges of the box (B). Now make World Magazine, it is recommend- the material be a little tight or elas- ed that you do. The lessons are tic so that it comes in at the waist progressive and expand on basic (C). It is important to be able to ideas. It is suggested that you start feel the form underneath in order from the beginning for a better to draw it. Try to imagine that your understanding of my approach. pencil is on the surface of the Illustration No. 2 object rather than on the paper. Notice the pinch and exercises that you should spend a stretch as the forms bend lot of time on; the simplicity of it looks deceptive. and twist. Part Two In Lessons Two and Three, Now let us introduce some we developed our skills at han- variety into what we are doing dling spheres and boxes, manipu- and at the same time open up the lating them, and giving them per- Illustration No. 1 possibilities. In Part One, the ANIMATION WORLD MAGAZINE December 1998 43 sphere and box were roughly the between the forms. You should be Glenn Vilppu same size. Start introducing pro- starting to feel a certain amount of teaches figure portion into the drawing in a con- flexibility and confidence in draw- drawing at the trolled manner. Proportion is the ing without a model by now. In American Ani- relationship of various elements in the next lesson, we will expand mation Insti- a drawing which includes sizes, more on this before we start dis- tute, the Mas- tones, textures, quantities and dif- cussing drawing from a model. ters program ferences that give expression or Note: The on-line version of of the UCLA character to the work. this article includes a Quicktime Animation movie of master drawing instruc- Dept., Walt Proportion is the relation- tor Glenn Vilppu demonstrating Disney Feature drawing techniques that every ship of various elements in Animation and animator should know! Warner Bros. Feature Animation, a drawing... http://www.awn.com/mag/issue and is being sent to teach artists 3.9/3.9pages/3.9vilppu.html Proportion can be the size at Disney TV studios in Japan, of the head to the body or just Glenn Vilppu first wrote for Ani- Canada and the Philippines. Vilp- simply a large form to a small mation World Magazine in the pu has also worked in the anima- form. Artists have spent their June 1997 issue, “Never Underes- tion industry for 18 years as a lay- whole careers trying to find ideal timate the Power of Life Draw- out, storyboard and presentation proportions in their work. We will ing.” His drawing manuals and artist. His drawing manual and look more deeply into proportion video tapes may now be pur- video tapes are being used in a later lesson, but for now I chased in the Animation World worldwide as course materials for want you to have fun trying differ- Store. animation students. ent possibilities with our simple forms. Be as creative as you can Note: Readers may contact any be. Animation World Magazine con- Remember, there are no tributor by sending an e-mail to rules, just tools. [email protected]. Try stretching the distance Animation World SStore http://www.awn.com/awnstore/vilppu Never before available!!!

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

ANIMATION WORLD MAGAZINE December 1998 44 AA Bug’sBug’s Life:Life: PIXARPIXAR DoesDoes ItIt AgainAgain

A Bug’s Life. © Disney Enterprises, Inc./Pixar Animation Studios.All Rights film review by Charles Solomon omparisons between kingpin of Andy’s Room; here, the non grata, Flik leaves to find help. A Bug’s Life (Disney/ other ants look down on Flik. No In a nearby bar, he mistakes CPIXAR) and Antz (Dream- one is less aware of his charms a troupe of inept “circus bugs,” Works/PDI) are inevitable, because than Princess Atta (Julia Louis- recently sacked by P.T. Flea (John they are the second and third Dreyfus), the insecure heiress to Ratzenberger), for a corps of war- computer-animated features ever the throne. riors. The performers include Fran- made, because they were created by rival studios and because of the many similarities between the two films. Both stories are set in ant colonies, and both center on a Princess and a schlemiel who save the colony and find each other. But despite their similar premises, Bug’s Life and Antz are very different films, and Bug’s Life is brighter, broader, better animated and funnier.

Bug’s Life and Antz are very Hopper (Kevin Spacey) isn’t all fun and games. © Disney Enterprises, Inc./Pixar Anima- tion Studios.All Rights Reserved. different films, and Bug’s Life is brighter, broader, bet- In a twist on Aesop’s fable, cis, a cranky male ladybug (Denis ter animated and funnier. these industrious ants have to Leary); Heimlich (story supervisor gather food for the grasshoppers, Joe Ranft), a chubby caterpillar; an entomological motorcycle the all-but-incomprehensible pill- The Gist of It gang led by Hopper (Kevin bug-acrobats Tuck and Roll Flik (voice by Dave Foley) is Spacey). When Flik inadvertently (Michael McShane); Slim (David a square ant in a round hill; he’s dumps the food the ants have Hyde Pierce), a put-upon walking always trying something new that laboriously gathered under Atta’s stick, and Dim (Brad Garrett), a flies in the face of tradition — and direction, the grasshoppers dumb but well-intentioned rhinoc- backfires. Innocent, eager and demand they amass a second eros beetle. Flik thinks he’s found boyish, Flik often recalls Woody in offering, even though it means the colony’s saviors; the circus Toy Story. But Woody was the starvation for the colony. As insect bugs think they’ve found a talent

ANIMATION WORLD MAGAZINE December 1998 45 Monaco 18, 19, 20 Janvier/ January 1999 Conferences, Prix PIXEL-INA, Espace innovation / Innovation Space

Paris 20, 21, 22 Janvier/ January 1999 Exposition/ Exhibition www.ina.fr/imagina/

ANIMATION WORLD MAGAZINE December 1998 46 nize similar-looking ant characters apart just by the way they move. However, even in their capable hands, computer animation remains less subtle and expressive than top-quality drawn or stop-motion animation. Plus, the characters still look more like plastic toys than living organisms.

Tuck & Roll (Michael McShane) give a little performance. © Disney Enterprises, Inc./Pixar Anima- tion Studios. All Rights Reserved. Of Toy Story Caliber? For all its energy scout. The mountebanks grow too As the Disney artists discov- and charm, Bugs Life is less fond of Flik and the ant-children to ered when they designed Jiminy engaging than PIXAR’s first feature. abandon them when the Cricket in Pinocchio (1940), real Toy Story tapped into a fantasy grasshoppers’ return threatens to insects range in appearance from every child shares — that their toys destroy the colony. The misfits join unattractive to downright repul- come alive when no one’s around together, rally the ants to defeat sive. The cast of Bug’s Life has an to watch. Bugs, even cute bugs, the enemy and renew their self- appealing, round-eyed, cartoony are less endearing than familiar confidence, in the best cartoon look that allows the artists to ani- playthings. There’s no relationship tradition. mate them effectively. When Flik in Bug’s Life as compelling as the stumbles into an insect city, one of bond that develops between the characters he encounters is a The film is intended to Woody and Buzz. Dot, Atta’s caterpillar-mime, as bothersome as appeal to younger viewers younger sister (Hayden Panet- any human street performer. It’s a tiere), always believes in Flik, but than Antz, although adults minor gem of animation that she’s a bit too self-consciously cute, will certainly enjoy it. showcases the talent and skill of like a larval Shirley Temple. At the PIXAR crew. times, Dot feels like she was added Bug’s Life makes it clear to the story to hook little girls into Energy and Appeal that the PIXAR artists continue to seeing a film that might otherwise In contrast to the somber, lead the field in computer charac- be considered a “boy” movie. earth-toned palette of Antz, A ter animation. Viewers can recog- Bug’s Life brims with energizing Bug’s Life makes it clear pastels. Antz has a greater scope that suggests an enormous, that the PIXAR artists con- underground metropolis inhabited tinue to lead the field in by uncountable hordes of ants. computer character The smaller colony in Bug’s Life animation. feels more like a community, with an elementary school, scout troop, Director John Lasseter and etc. The inclusion of school-age co-director Andrew Stanton don’t characters contributes to the sense rely as heavily on dialogue as Antz that the film is intended to appeal directors Eric Darnell and Tim to younger viewers than Antz, Johnson, although the characters although adults will certainly A Bug’s Life. © Disney Enterprises, often talk more than they really Inc./Pixar Animation Studios.All Rights enjoy it. need to. In many places, the ani-

ANIMATION WORLD MAGAZINE December 1998 47 Charles Solomon is an interna- tionally respected critic and historian of animation. His most recent books include The Disney That Never Was (Hyperion, 1995), Les Pionniers du Dessin Animé Américain (Dreamland, Paris, 1996), Enchanted Draw- ings: The History of Animation (Knopf, 1989; reprinted, Wings, 1994) and The Prince of Egypt: A New Vision in Animation (Abrams, 1998). His writings on the subject have appeared in TV Guide, Rolling Stone, the Los

Visually, A Bug’s Life shows a lot more color than Antz. Angeles Times, Modern Maturity, © Disney Enterprises, Inc./Pixar Animation Studios. All Rights Reserved. Film Comment, the Hollywood Reporter, Millimeter, the Man- mation alone is strong enough to end, with its swooping camera chester Guardian, and been carry the story. The rapid-fire gags, moves and MTV-style editing, goes reprinted in newspapers and pro- brightly colored visuals and con- on too long and wears out its wel- fessional journals in the United stant movement in some scenes come. States, Canada, France, Russia, gets a bit overwhelming. Every syl- These minor flaws aside, A Britain, Israel, the Netherlands lable every characters utters is Bug’s Life is a clever, enormously and Japan. accompanied by a gesture or a entertaining film that has “hit” writ- change of expression; sometimes ten all over it. This round of the Note: Readers may contact any it’s enough for a character to stand Disney vs. DreamWorks duel goes Animation World Magazine con- quietly and say what he has to. to Disney — and PIXAR — for a tributor by sending an e-mail to The breakneck comic chase at the technical knock-out. [email protected]. REGISTER with AAnimatnimatioionn WWoorrldld NNeetwtwoorrkk Today and..... •Receive our weekly Animation Spotlight Newsletter. •Get announcements of AWN developments. •Be a part of the global community at AWN. •Interact with animation professionals, scholars and fans from around the world. Get all this and more FREE when you register now! http://www.awn.com

ANIMATION WORLD MAGAZINE December 1998 48 SShifhifttiningg ttoo tthhee BigBig SScreen:creen: ThThee RRuugratgratss MoMoviviee

film review by Michael Mallory robably everyone has experienced picking up Phis or her favorite product at the store, be it cola or deodorant, only to find embla- zoned across the front the boast, “NEW AND IMPROVED!” Upon sampling the product, the consumer immediately detects the newness, but is never quite convinced of the improvement. Die- hard fans — and there are legions — of television’s Rugrats might have a similar reaction to The Rugrats Movie, which not only sends its toddler protago- nists where no babies have gone before (and lived), but also series, it is quite possibly the best ters, which except for added shad- makes heavy stylistic concessions directed and best paced animated ing and modeling retain their TV to the accepted toon feature for- feature since The Little Mermaid. appearances. This is particularly mat. However, in the process of coming noticeable with a progressive, real- to the big screen a fair amount of time CG sunset that occurs Klasky Csupo’s trademark insou- towards the end of the film, which It is quite possibly the best ciance has been bartered for while beautifully crafted and tech- directed and best paced attempts to yank one’s heart- nically impressive, seems wildly animated feature since The strings. Even the stu- out of place in Tommy- Little Mermaid. dio’s distinctive visual and-Chucky Land. style has given way to Still, there’s a lot to conventionally lush savor in The Rugrats and realistic settings. Movie. The script by A Different Klasky Flavor Gone, for instance, David N. Weiss and J. This is not to say that The are the fish-eye, David Stem includes a Rugrats Movie — the initial foray dutch-angle layouts level of sophistication into feature animation for both and the sketchy, free- that will keep adults Klasky Csupo and Nickelodeon hand style of the backgrounds. interested and chuckling all the Movies — is a poor film. On the Replacing them are backgrounds way through (although those contrary, under the helm of co- that look, well, “Disneyesque,” so seeking poo-poo gags will not be directors Norton Virgien and Igor much so that at times the scenery disappointed, either), and the Kovalyov, both veterans of the threatens to chew up the charac- songs — mostly by Mark Mothers- ANIMATION WORLD MAGAZINE December 1998 49 baugh, with the old Chipmunks vehicle that spews real flames from store” for a refund. With “help” chestnut “Witch Doctor” recycled its mouth. from Angelica; however, Tommy, for good measure — are The actual arrival of Dil in Chucky, Lil, Phil and Dil are instead well integrated into the the birthing center run by thrust out into the world in the action. quack child-care expert Reptar Wagon. After a wild, Dr. Lipshitz (voiced destructive ride through the city, An Elaborate Tale all too briefly by the they end up in the middle of the The complex splendid Tony Jay), dark, foreboding woods. plot begins with a leads to a rousing Help — if that’s the word — parody of Raiders musical number in the is soon on the way from three sep- of the Lost Ark, nursery featuring a cho- arate parties: Angelica herself, complete with John rus of newborns, voiced who drafts the Pickles’ mutt Spike Williams’ original galloping by such pop, rock and as a bloodhound to track the musical theme, with Tommy Pick- soul stars as Beck, Iggy babies (but only so she can recov- les (voiced by E.G. Daily) leading Pop, Lisa Loeb, Patti Smith and er her beloved doll, which Dil twins Lil and Phil Deville (both Lou Rawls. snatched before leaving); the par- Kath Soucie), and best pal Chuckie Much to the distress of his ents, led by inept Stu and con- Finster (Christine Cavanaugh), on exhausted parents and the entire fused Grandpa Lou (Michael Bell, a dangerous expedition in a neighborhood, Baby Dil turns out replacing the late David Doyle); ruined temple, that in reality turns to be one of those kids who never and the media, represented by out to be the Pickles’ kitchen. The stops crying. Tommy in particular sleazy TV reporter Rex Pester, who famous Indiana Jones rolling ball is upset because, in addition to the is voiced almost unrecognizably by (here a CGI creation that sticks out noise, he is fraught with feelings Tim Curry. Also involved in the from its surroundings like the of parental rejection, fueled, of manhunt are park rangers Frank proverbial sore thumb) transforms course, by his bratty older cousin (David Spade) and Margaret (the out of the babes’ imaginations into Angelica (Cheryl Chase), whose ubiquitous Whoopi Goldberg, the looming, rotund belly of self-centered obnoxiousness has here thoroughly wasted), and a Tommy’s pregnant mom, Didi now reached Omen-like propor- police lieutenant voiced by comic (Melanie Chartoff). tions. In an attempt to comfort Margaret Cho. Tommy, Stu bestows upon him the In the woods, Dil’s banana familial responsibility of looking baby food lures out the wild, With “help” from Angelica, out for his new brother, which the escapee monkeys, who wreak however, Tommy, Chucky, Lil, toddler takes very seriously. havoc with the babies and even- Phil and Dil are instead While Tommy is hashing tually kidnap the newborn. Dil is thrust out into the world in out his sibling rivalry problem, a ultimately rescued, but the task of the Reptar Wagon. seemingly out-of-nowhere subplot dealing with the needs of a child appears involving the Russian- even younger than they are based Banana Bros. Monkey leads Lil, Phil and even The opening serves to Circus. Escaping from Chucky to mutiny, leaving establish the almost brotherly rela- their cages, a pack Tommy alone in the dark, tionship between Chucky and of gonzo monkeys rainy, wolf-infested woods Tommy, which will be pushed to commandeer the to deal with his younger the limit as a result of the arrival of train and ultimately brother. Tommy’s newborn brother, Dylan drive it over a cliff and (Dil for short — “Dil Pickles,” get down into the forest. The Blundering Point it?). Tommy’s entrepreneurial dad Unfortunately, Up to this point, Virgien Stu (Jack Riley), meanwhile, is try- Baby Dil has encroached and Kovalyov deftly handled all ing to perfect his latest invention, on the lives of all the toddlers to the parallel story tracks, weaving a new “perfect children’s toy” such a degree that they decide to them together in such a way that called the Reptar Wagon, a free- rectify the situation by returning the focus is never lost. Here, how- wheeling, dino-shaped kiddie the “broken” baby to the “baby ever, the movie stumbles, not as a

ANIMATION WORLD MAGAZINE December 1998 50 result of plot confusion, but due to Disney-ish (except for an earlier, While it has much to offer, a sudden shift in tone. In opt- very funny visual spoof of The Rugrats Movie ultimately suf- ing for a darker, threaten- Bambi): a dramatic fight fers from trying to reshape itself ing, more emotionally between a slavering wolf into the established form that peo- real tone, the film- that has been stalking ple have come to expect in an ani- makers lose the the babies and heroic mated film, a temptation to which established Spike the dog (who “Beavis and Butt-head Do Ameri- baby’s-eye-view of frankly looks ridicu- ca,” for instance, refused to suc- the conventional lous in such a con- cumb. world since the dan- flict), which is played gers are no longer imag- against the aforementioned All Rugrats images courtesy of and inary. Plus, the babes sunset. Is this Rugrats or Beauty © 1998 Viacom International Inc. begin to act more like edgy and the Beast? What’s more, the All rights reserved. adolescents. Despite the stylized ending which quickly follows character designs, the combina- seems rushed and forced, even tion of realistic settings, emotional- corny, particularly in light of the Michael Mallory is an animation ly wrenching scenes, and the dis- careful presentation of plot, expo- writer and author of Hanna-Bar- appearance of songs by the third sition and character motivation bara Cartoons, published by act (a structural problem that that has preceded it. Hugh Lauter Levin Associates, Anastasia also faced) renders a lit- Inc. eralness to the action that will However, the movie stum- trouble anyone who has a problem with children-in-jeopardy bles, not as a result of plot Note: Readers may contact any scenes. confusion, but due to a Animation World Magazine con- The most startlingly grim sudden shift in tone. tributor by sending an e-mail to moment is ironically also the most [email protected].

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¥ Edutainment and the Internet Ted Pedersen & Francis MossÕ article includes a Flash demo of Spywatch, an interactive on- line game utilizing MacromediaÕs Flash technology. http://www.awn.com/mag/issue3.9/3.9pages/3.9pedersenedutainment.html

¥ Vilppu Drawing Online: Introducing Material and Proportion Includes a Quicktime movie of master drawing instructor Glenn Vilppu demonstrating drawing techniques that every animator should know! http://www.awn.com/mag/issue3.9/3.9pages/3.9vilppu.html

ANIMATION WORLD MAGAZINE December 1998 51 AmericanAmerican MagusMagus -- HarryHarry SmithSmith -- AA ModernModern AlchemistAlchemist

book review by Giannalberto Bendazzi t is a duty, as well as a plea- emonies of the Ameri- sure, to report on this excellent can Indians, and Ibook published by a small donated his collection press penalized by a rather limited of Indian artifacts to distribution. Harry Smith (1923- an ethnography 1991) is one of the most hidden, museum in Sweden. obscure and enigmatic figures in In 1952, he published the entire history of animation and on Folkways Records the avant-garde. He gave inter- an Anthology Of views extremely rarely, and his American Folk Music, interior universe was so foreign to which was the result the world of rationality and the of years of research, everyday as to render dialogue and, influencing with those near him almost always musicians like Bob impossible. Nonetheless, his Dylan, was the basis genius is recognized among the of the boom in popu- oldest to have practiced in our lar music in 1960s field: it's enough to remember the America. abstract feature Heaven And Earth Contrary to Magic (1950-1960), even in the these constructive non-definitive versions which are aspects however, in circulation, to have a measure Smith also fostered of his poetic power. destructive tenden- cies. He didn't take A Little About the Man care of his personal grooming or realist. Smith had an extraordinarily intri- health; he ceaselessly re-edited his cate and contradictory personality, films without ever trying to estab- A Little About the Book dedicated to diverse disciplines. lish a best version (`My films must The book American Magus is a He was a painter, filmmaker, be seen all together or not at all,' work in progress. The editor, Paola anthropologist, ethnomusicolo- he used to say); he deliberately Igliori is an Italian from Rome who gist, occultist, alchemist, and col- destroyed a large number of paint- has become a New Yorker by lector of unusual objects. For ings and films and let his artistic adoption. A student of art and an instance, he assembled about patrimony be dispersed and plun- artist herself, she knew Harry 30,000 Ukrainian painted Easter dered. Today Rani Singh, who was Smith during the late `80s and was eggs, with written annotations his assistant from 1988 until his at his side at the moment of his about each; filled 12 large boxes death, heads a Harry Smith death. She managed to collect with paper airplanes which he Archives, which is devoted to pre- some information from him and finally donated to the Smithsonian serving the salvageable and recu- tried to understand the man and Air and Space Museum in Wash- perating all that can be found his works. As she wrote in the pref- ington; and studied the lan- from the works of this genuine, if ace, "This book is only a scratching guages, customs and religious cer- probably unwitting, American Sur- of the surface. It hopes to be

ANIMATION WORLD MAGAZINE December 1998 52 direct, simple traces of Harry, a live 1950s when he and Smith were Inanout Press, 1996. 286 pages. map of different points of entrance coming of age in Berkeley and San ISBN: 0-9625119-9-4 (U.S. $27.95 in the labyrinth. I hope it will be a Francisco; that of Jonas Mekas, paperback). This book is now avail- pathfinder for other more in-depth New York guru of the avant-garde able on-line in the Animation works." [Think of the Self Speak- cinema, who was close to Harry World Store: ing: Selected Interviews of Harry during the early 1960s and http://www.awn.com/awnstore/ Smith, a new book, has just been beyond; that of Rosebud, who released this month and is was the spiritual wife of a man Translated from Italian by William reviewed in this issue as well.] who never showed much interest Moritz. The book opens with two in sex; and that of the poet Allen essays, one by musician, comput- Ginsberg. Giannalberto Bendazzi is a Milan- er designer and writer Bill Breeze, One hopes that in the near based film historian and critic and another by the aforemen- future scholars will succeed, slow- tioned Singh. They have the func- ly and methodically, in putting in whose history of animation, Car- tion of creating a minimum of order, dating and numbering the toons: One Hundred Years of Cin- order and information on the sub- rest of the works of Harry Smith, ema Animation, is published in ject which the reader must then and will hopefully recover at least the U.S. by Indiana University pursue through drawings, pho- a portion of the lost materials. That Press and in the U.K. by John tographs, reproductions, manu- would be good, but in any case Libbey. His other books on ani- scripts, interviews with curators this American Magus certainly pre- mation include Topoline e poi and friends and colleagues of the serves for us, at least in part, the (1978), Due voite l'oceana (1983) artist, and documents of various anarchy, volcanic freedom, and and Il movimento creato (1993, kinds, ending with a list of the lightning of this alien with the innumerable and chaotic objects superior mind that never once with Guido Michelone). left by the deceased. Among the considered the possibility of fol- interviews I would recommend lowing some current trend. that with Jordan Belson, another Note: Readers may contact any solitary and retiring genius of non- American Magus - Harry Smith - A Animation World Magazine con- objective animation who evokes Modern Alchemist, edited by Paola tributor by sending an e-mail to the period from 1946 to the early Igliori. New York, New York: [email protected].

ANIMATION WORLD MAGAZINE December 1998 53 AmericanAmerican MagusMagus -- HarryHarry SmithSmith -- AlchimistaAlchimista d’Avanguardiad’Avanguardia

rassegna dil libro per Giannalberto Bendazzi ’un dovere, oltre che un occultista, piacere, segnalare questo alchimista, Eeccellente libro pubblicato collezionista di da una piccola casa editrice penal- oggetti inconsueti. izzata da una distribuzione assai Raccolse quasi limitata. Harry Smith (1923-1991) 30.000 uova di e stato una delle figure piu Pasqua ucraine nascoste ed enigmatiche di tuta la dipinte, scrivendo storia dell’animazione d’autore e note a proposito di d’avanguardia. Le sue interviste agnuna di esse; sono state rarissime, e il suo uni- riempi 12 scatolini verso interiore era cosi estrano al di aeroplanini di mondo della razionalita e della carta, che alla fine quotidianita da rendere il dialogo dono allo Smith- con il prossimo quasi sempre sonian Air and impossibile. Eppure il suo genio e Space Museum di stato fra i piu alti che si siano mai Washington; stu- manifestati nel nostro settore: dio la lingua, i cos- basta ricordare il lungometraggio tumi, i riti degli non-oggettivo Cielo ed Terra Mag- indiani d’America e ica (Heaven and Earth Magic, dono a un museo 1950-1960), pur nella versione etnografico non definitiva in circolazione, per svedese la sua rac- avere la misura della sua potenza colta di oggetti da loro prodotti; atamente un numero non piccolo poetica. nel 1952 pubblico presso la Folk- di quadri e di pellicole, lascio che il way Records una Anthology of suo patrimonio artistico venisse American Folk Music che era il disperso o saccheggiato. Oggi Harry Smith (1923-1991) e risultato di anni di ricerche e che Rani Singh, che fu sua assitente stato una delle figure piu fu la base del boom della musica dal 1988 alla morte, guida gli nascoste ed enigmatiche di popolare statunitense degli anni Harry Smith Archives, con lo scopo tuta la storia dell’ani- Sessanta, influenzando anche di salvare il salvabile e di recuper- mazione d’autore e autori como Bob Dylan. are il recuperabile dell’opera di d’avanguardia. A questi aspetti costruttivi questo genuino (quanto probabil- fanno da contraltare gli aspeti dis- mente inconsapevole) surrealista truttivi. Smith non si curo mai della americano. sua persona e della sua salute, Qualche riferimento sull’Uomo monto e rimonto ininterrotta- Qualche riferimento sul libro Smith fu una personalita mente i suoi lavori cinematografici Il libro American Magus e straordinariamente intricata, con- senza preoccuparsi di creare opere un ‘work in progress.’ La curatrice traddittoria e dedita a discipline definitive (“I miei film vanno visti Paola Igliori, un’ italiana di Roma diverse. Fu pittore, cineasta, tutti insieme, o per nulla affatto,” e divenuta newyorchese d’ado- antropologo, etnomusicologo, una sua frase), distrusse deliber- razione, studiosa d’arte e artista ANIMATION WORLD MAGAZINE December 1998 54 ella stessa, conosce Harry Smith poi; quella con Rosebud, che fu la negli ultimi anni Ottanta, riusci a “moglie spirituale” di un uomo che raccoglierne alcune confidenze, fu si mostro sempre poco propenso Your Ad al suo fianco al momento della al sesso; quella con il poeta Allen Your Ad morte, cerco di comprendere l’uo- Ginsberg. Could Be mo e l’opera. Come scriver nella Could Be prefazione, “This book is only a Il libro American Magus e un Here! scratching of the surface. It hopes Here! to be direct simple traces of Harry, ‘work in progress.’ a live map of different points of entrance in the labyrinth. I hope it C’e da credere che nel For rate cards and will be a pathfinder for other more futuro prossimo gli eruditi riuscian- additional information about in-depth works.” [Think of the Self no, lentamente e metodicamente, various opportunities Speaking (Pensieri in alta voce): a mettere ordine, date, numeri di for exposure at Interviste sellezionate di Harry classificazione ai resti dell’opera di Animation World Network, Smith, un nuovo libro, publicato Harry Smith, e probabilmente a contact our questo messe e venuto rasegnato recuperare almeno parte del mate- Los Angeles in questo numero.] riale perduto. Sara un bene. Ma office at certamente sara questo American Smith fu una personalita Magus a conservare per noi, 323.468.2554 almeno in parte, l’anarchia, la vul- straordinariamente intrica- canica liberta, le folgorazioni di or e-mail ta, contraddittoria e dedita questo alieno dalla mente superi- any of our sales a discipline diverse. ore che non contemplo mai la representatives: possibilita di seguire la corrente. Il libro e aperto da due saggi, uno di Bill Breeze, musicista, American Magus - Harry Smith - A North America: computer designer e scrittore, e Modern Alchemist, edited by Paola uno di Rani Singh, di cui si e par- Igliori. New York, New York: Dan Sarto lato poco sopra. Essi hanno la fun- Inanout Press, 1996. 286 pages. zione di creare quel minimo d’or- ISBN: 0-9625119-9-4 (U.S. $27.95 [email protected] dine e d’informazione sul soggetto paperback). che sono necessari al lettore per Giannalberto Bendazzi e un stori- proseguire fra disegni, fotografie, Europe: riproduzioni di manoscritti, inter- atore e critico dei film a Milano. viste della curatrice ad amici e col- La sua storia dell’animazione, Car- Thomas Basgier leghi dell’artista, documenti di tonni: Cento anni di Cinema di [email protected] varia specie, finendo con una lista Animazione, e stato publicano degli innumerevoli e caotici oggeti negli Stati Uniti per Indiana Uni- lasciati dal defunto. versity Press ed negli Regni Uniti Fra le interviste vanno seg- per John Libbey. I suoi altri libri U.K. sull’animazione includono:Topo- nalate quella con Jordan Belson, Alan Smith altro genio solitario e ritroso dell’ line e poi (1978), Due voite l’o- animazione non-oggettiva, che ceana (1983) e Il movimento cre- [email protected] rievoca il periodo della formazione ato (1993, with Guido sua e di Smith a Berkeley e San Michelone). Francisco fra il 1946 e i primi anni Nota: I lettori possono conttatare Cinquanta; quella con Jonas qualsiasi contributore di Anima- Other Location: Mekas, guru del cinema d’avan- tion World Magazine nel [email protected] guardia newyorchese, che gli fu seguente indirizio e-mail: edi- vicino dai primi anni Sessanta in [email protected].

ANIMATION WORLD MAGAZINE December 1998 55 The Flesh Made Word: Harry Smith Speaks

book review by Chuck Pirtle hink of the Self Speaking, Heaven and Earth Rani Singh’s preface edited by Rani Singh and Magic, about which gives the reader a Tjointly published by Darrin he has to write a taste of what this Daniel and Steve Creson’s Cityful paper that’s due in a obscure trickster wiz- and Elbow Presses in Seattle, pro- few days. “You don’t ard — who ought to vides an in-depth look at one of know what you’re up be far better known the most unusual minds of the against,” Smith tells — was like in person, 20th century. Yet, reading this Melita, and over the and Allen Ginsberg’s wide-ranging collection of inter- course of the next 39 introduction sets views leaves one with the tantaliz- pages goes on to Smith’s half-century ing feeling of having barely give him both what of creative activity in scratched the surface. he wants and way cultural and historical more than he’s bar- context. Think of the gained for. Self Speaking is a rev- Reading this wide-ranging Shorter con- The inimitable Harry Smith. elation, and to have Photo © Brian Graham, collection of interviews versations with Dawn courtesy of Harry Smith it is a delight. leaves one with the tantaliz- Baude and Mary Hill Archives. ing feeling of having barely focus on the occult Think of the Self scratched the surface. and spiritual aspects of Smith and Speaking: Selected Interviews of his films, and two informative talks Harry Smith; introduction by Allen with John Cohen and Gary Ken- Ginsberg, edited by Rani Singh. If one has seen some of ton delve into Smith’s involvement Seattle, Washington: Elbow and Harry Smith’s pioneering film work with record collecting and the Cityful Press, 1998. 156 pages. but doesn’t know much about the genesis and development of his ISBN: 1-885089-06-6 (U.S. $14.95, man, this is the place to start. The Anthology of American Folk Music shipping $2.25). book includes P. Adams Sitney’s (re-released last year on Smithson- extensive 1965 interview, in which Smith discuss in detail the meth- Rani Singh’s preface gives ods and materials that went into Chuck Pirtle won a Grammy his Early Abstractions. He even tells the reader a taste of what Award for Best Album Notes for of his earliest projections, done this obscure trickster wiz- Harry Smith’s Anthology of Ameri- with photographic negatives and ard — who ought to be far can Folk Music. He studied with a flashlight lens at the age of five. better known — was like in Smith and Allen Ginsberg at The Naropa Institute, and wrote his Another interview with Sitney person... focuses on what Smith thought of Ph.D. thesis on Ginsberg’s The as his masterpiece, the complex Fall of America. and difficult Mahagonny; and a ian Folkways). Along the way, long, hilarious, speed-fueled Smith touches on his youth in the Note: Readers may contact any encounter with NYU film student Pacific Northwest, his anthropo- Animation World Magazine con- A.J. Melita, who tells Smith he’s logical studies, and his belief in the tributor by sending an e-mail to only interested in talking about connection between all things. [email protected].

ANIMATION WORLD MAGAZINE December 1998 56 enry T. Sampson can boast a career as a scholar That’s Enough Folks: Hof cinema and theater, Black Images In even though he was educated as a nuclear scientist, worked as a Animated Cartoons, 1900-1960 Senior Project Engineer for Aero- space Corp., and includes in his book review by Giannalberto Bendazzi credits the patents on several might suggest. Sampson is not a American entertainers, musicians, inventions and numerous techni- polemicist, but a man of the cine- and singers. The text is full of cal publications. He has previously ma and a judge of great intelli- dates, summaries of films, and cri- published with Scarecrow Press gence, so he concludes his pref- tiques from the period: a monu- Blacks In Black and White: A ace with these words: “It is an mental and admirable work of Source Book On Black Films enormous public loss that many of research and documentation. (1977, new edition 1995), Blacks these brilliantly conceived and pro- This book enriches the con- In Blackface: A Source Book On duced cartoon shorts cannot be sciousness of American animation Early Black Musical Shows (1980), shown today because they are for- history, as well as the whole of and The Ghost Walks: Chronolog- ever marked with the ugly and United States society, during the ical History Of Blacks In Show Busi- indelible stain of racism.” first 60 years of the century. One ness (1988). hopes that Henry T. Sampson will An Insightful Text not consider his work finished, but After a “Historical rather will next take up the Sampson is not a polemi- Overview” synthesized in five juicy remaining 40 years of the century, cist, but a man of the cine- pages, follows a most detailed which is much closer, and there- ma and a judge of great chapter on “Black Stars of the Ani- fore, meaningful to us. There are mated Cartoon Series,” starting many films, in particular some by intelligence... with Sammy Johnsin (1916-1917) Ralph Bakshi, about which he created by Pat Sullivan, to more should have a great deal to say. famous figures like Bosko of Hugh A Probing Premise Harman and Rudolph Ising That’s Enough Folks Black Images The current That’s Enough, (1930s), Jasper of George Pal In Animated Cartoons, 1900- Folks is based on this premise: that (puppet animation, 1940s), and 1960, by Henry T. Sampson. Lan- before 1960 it was the practice at Inki of Chuck Jones (1930s-1950s), ham, Maryland and London, U.K.: the American studios which pro- but not neglecting numerous The Scarecrow Press, 1998. 249 duced animated cartoons to other caricatures (for example, pages. ISBN: 0-8108325-0-X (U.S. depict people with dark skin as $60.00 hardcover). stereotypes that could be ridiculed. The author recalls in his This book enriches the con- Translated from Italian by William preface: “Historically, all ethnic sciousness of American ani- Moritz. groups have been targets of animation history, as well as mators’ humor, including Jews, Giannalberto Bendazzi is a Milan- Irish, Italians, Native Americans the whole of United States based film historian and critic and Asians. But for these groups, society... whose history of animation, Car- there appeared to be boundaries toons: One Hundred Years of Cine- defined by sexuality, criminality, ma Animation, is published in the religion, and patriotism that con- Mammy Two-Shoes, the maid in strained story content and the the house where Tom and Jerry U.S. by Indiana University Press and depiction of characters....My live, who is usually depicted with in the U.K. by John Libbey. His research revealed that for black only the lower part of her body in other books on animation include characters, animators had few frame). A chapter follows on sto- Topoline e poi (1978), Due voite l’o- such constraints.” He adds: “The ries set in Africa, and another on ceana (1983) and Il movimento cre- cartoons in this book will demon- stories set in the United States’ ato (1993, with Guido Michelone) . strate that the animation studios Deep South. The next chapter, considered the collective sensitivi- titled “The Animated Minstrel Note: Readers may contact any ties of African Americans to be Show,” analyzes the caricatures or Animation World Magazine con- insignificant.” But this book is not a direct references (even those only tributor by sending an e-mail to tract, as such a point of departure on the soundtrack) of African [email protected]

ANIMATION WORLD MAGAZINE December 1998 57 enry T. Sampson ha alle spalle una carriera di stu- That’s Enough, Folks (Questo e tutto, Hdioso del cinema e dello Famiglia) - Imagine nere nelle spettacolo, benche sia per formazione un ingegnere nucleare, Cartonni Animati, 1900-1960 lavori come Senior Project Engi- neer dell’Aerospace Corp, e abbia rassegna dil libro per Giannalberto Bendazzi al suo attivo i brevetti di alcune Sampson non e un polemista ma musicisti e cantanti afroamericani. invenzioni e numerose pubbli- un uomo di cinema e un estima- Il testo e fitto di date, rias- cazioni techniche. Per la Scare- tore dell’intelligenza, e conclude la sunti dei film, recensioni dell’e- crow Press ha gia pubblicato sua prefazione con queste parole: poca: un lavoro di ricerca e di doc- Blacks in Black and White: A “It is an enormous public loss that umentazione monumentale e Source Book on black Films ( many of these brilliantly conceived ammirevole. Un libro che arric- 1997, nuova edizione 1995), and produced cartoon shorts can- chisce la conoscenza della storia Blacks in Blackface: A Source Book not be shown today because they dell’animazione americana come on Early Black Musical Shows are forever marked with the ugly pure dell’intera societa degli Stati (1980), and The Ghost Walks: A and indelelible stain of racism.” Uniti nel primo sessantennio del Chronological History of Blacks in secolo. Non resta che augurarsi Show Business (1988). Un Testo Ingenioso che Henry T. Sampson non con- A una “Historical Overview” sideri conclusa qui la sua fatica ma sintetizzata in cinque succose si dedichi prossimamente al Sampson non e un polemista pagine fanno seguito dettagliatis- restante quarantennio, quello a ma un uomo di cinema e un simi capitoli sulle “Black Stars of the noi piu vicino. Ci sono molti film, Animated Cartoon Series,” par- in particolare alcuni di Ralph Bak- estimatore dell’intelligenza... tendo da Sammy Johnsin (1916- shi, sui quali credo avra molto da 1917) creato da Pat Sullivan, e pas- dire. sando per figure celebri come Intelligente Premessa Bosko di Hugh Harman e Rudolph That’s Enough Folks Black Images Il presente That’s Enough, Ising (anni Trenta), Jasper di In Animated Cartoons, 1900- Folks e basato su questa premes- George Pal (a pupazzi animati, 1960, by Henry T. Sampson. Lan- sa: che prima del 1960 era pratica anni Quarante), e Inki di Chuck ham, Maryland and London, U.K.: comune agli studios americani che Jones (anni Cinquanta), ma non The Scarecrow Press, 1998. 249 producevano disegni animati trascurando innumerevoli altre pages. ISBN: 0-8108325-0-X (U.S. dipingere i personaggi di pelle caratterizzazioni (per esemplio $60.00 hardcover). nera come stereotipi dei quali farsi Mammy Two-Shoes, la cameriera beffe. Ricorda l’autore nella pre- della casa abitata da Tom e Jerry e fazione: “Historically, all ethnic normalmente inquadrata solo Giannalberto Bendazzi e un stori- groups have been the targets of nella parte inferiore del corpo). atore e critico dei film a Milano. animators’ humor, including Jews, La sua storia dell’animazione, Car- Irish, Italians, Native Americans, tonni: Cento anni di Cinema di and Asians. But for these groups Il testo e fitto di date, rias- Animazione, e stato publicano there appeared to be boundaries sunti dei film, recensioni del- defined by sexuality, criminality, negli Stati Uniti per Indiana Uni- religion and patriotism that con- l’epoca: un lavoro di ricerca e versity Press ed negli Regni Uniti strained story content and the di documentazione monu- per John Libbey. I suoi altri libri depiction of characters....My mentale e ammirevole. sull’animazione includono:Topo- research revealed that for black line e poi (1978), Due voite l’o- characters, animators had few ceana (1983) e Il movimento cre- such constraints” E aggiunge: Segue un capitolo sulle storie ato (1993, with Guido “The cartoons in this book will ambientate in Africa, uno sulle sto- Michelone). demonstrate that the animation rie ambientate nel Sud degli Stati studios considered the collective Uniti, uno intitolato “The Animated Nota: I lettori possono conttatare sensitivities of African american to Minstrel Show” nel quale sono qualsiasi contributore di Anima- be insignificant.” Ma il libro non e analizzate le caricature o i riferi- tion World Magazine nel un pamphlet, come simili dati di menti diretti (magari solo nella seguente indirizio e-mail: edi- partenza potrebbero far supporre. colonna sonora) di entertainers, [email protected]. ANIMATION WORLD MAGAZINE December 1998 58 ReadingReading thethe RabRabbit:bit: WWarnerarner BrBros.os.AccorAccordingding toto thethe AcademicsAcademics

book review by Mark Mayerson eading the Rabbit is a col- Kracauer, Metz, Baudrillard lection of essays regarding or their bosom companions Rvarious aspects of Warner Friedwald and Beck? cartoons. Most of the authors are Finally, there is the academics, and so this collection is polemical nature of the arti- marked by all the shortcomings of cles. Academic articles are academic prose and the academic not merely information, approach. they are arguments. As there are people who Because the success of the are not familiar with this article is measured by how approach, it’s best that I outline it persuasively the author briefly. It’s possible to live an argues the point, academic informed life without ever running authors frequently fall prey into words like dietetic, epony- to gross generalizations mous, metonymic, hermeneutic, and historical distortions. hegemonic or imbrication. How- That is certainly the case ever, readers of this book will trip with Reading the Rabbit. over these words regularly. This jargon is the academic’s way of A Look Into The Content marking territory; a way of claim- Donald Crafton’s arti- ing the serious high ground from cle “The View from Termite people who write for general con- Terrace: Caricature and Par- sumption. ody in Warner Bros. Anima- tion” claims that the Warner atti- tion, caricature and satire of Mar- tude in caricaturing Hollywood lon Brando in Mad Magazine in This collection is marked by stars was due to working condi- the 1950’s is also more savage all the shortcomings of tions at the studio. In detailing the than anything done by Warners, academic prose and the working conditions, Crafton yet Harvey Kurtzman and Wally academic approach. quotes from “The Exposure Sheet,” Wood were not employees of Hol- a Schlesinger in-house newsletter, lywood studios and worked 3,000 and interviews with former miles away. The link between Schlesinger employees Ben working conditions and Warner Then there are footnotes, Shenkman and Martha Goldman caricature is not as strong as the academic version of steroids; Sigall. This information is the best Crafton implies and so his article is they bulk up the size and gravity material in the article. However, only half good. of the author’s ideas. Why simply Crafton does not convince me of Terry Lindvall and Ben Fras- state something when the words his thesis. I could argue that cari- er write a well-balanced study of of great minds (written in com- cature in Disney cartoons like racism in Warner cartoons called pletely different contexts) can be Mother Goose Goes Hollywood is “Darker Shades of Animation: attached to the thoughts of the more savage, though done at a African-American Images in the author? Who can fail to be studio that had more prestige and Warner Bros. Cartoon.” Unfortu- impressed by a quote from Freud, better working conditions. In addi- nately, they hurt their case with ANIMATION WORLD MAGAZINE December 1998 59 some stereotyping of their own to 1940, where Thorson con- society where culture is manufac- and a major historical slip. They tributed character designs for car- tured by corporations, is it possible refer to Chuck Jones’ Inki character toons directed by Chuck Jones, for individuals to comment on as a “cute burlesque of a little can- Tex Avery, and Bugs Hardaway their own culture in any fixed nibal hunter with a big bone in and Cal Dalton. Walz does a thor- medium without violating com- the topknot of his hair.” I defy any- ough job of documenting Thor- mercial law? Is Time-Warner one to point out an example of son’s influence on the Jones unit stronger than the first amendment Inki eating human flesh or even but the Merrie Melodies that Thor- of the U.S. constitution? hunting humans. It didn’t happen. son worked on were only a part of The authors have stereotyped Inki, the Warner output. Whatever Dis- It Isn’t Pretty an African boy, as a cannibal. neyfication was going on through Those interested in the his- Thorson’s work was being coun- tory of Warner cartoons will find terbalanced by the black and this volume very slight. Those Is Time-Warner stronger white Looney Tunes of the same interested in speculation on how than the first amendment period. Walz statement that, “Prior Warner cartoons have affected of the U.S. constitution? to 1940 the [Warner] studio paid pop culture or have been affected homage to Disney’s creations or by it will find more of interest here, used them in a lighthearted spirit but on the whole the articles are a Later in the article, they of fun. After 1940, the animators disappointment. Whose ironic write, “A critical difference felt free to satirize Disney charac- comment is it that the cover image between Warner Bros.’ hepcat ters and stories, to assume a posi- of Bugs Bunny is one where he portrayals of race in Clampett’s car- tion that was, for the most part, has been squashed flat? One can toons and the Jim Crow cartoons intellectually superior to Disney’s only regret that Mike Maltese is not of Columbia’s Heckle and Jeckle sentimentality and artfulness,” is a alive to write a Bugs Bunny car- was this very celebration of the simplification that ignores work in toon where Bugs burrows into a hot urban music of the emerging the 1930’s by Avery, Tashlin, Clam- university after making a wrong black culture.” I doubt the authors pett and Freleng. turn at Albuquerque. Now there’s have even seen a Heckle and Jeck- a confrontation between Warner le cartoon. For one thing, they cartoons and academia that were distributed by Fox and not Whose ironic comment is it would be far more enlightening. Columbia. For another, the char- that the cover image of acters were magpies and not Bugs Bunny is one where he Reading the Rabbit: Explorations crows. In addition, the characters has been squashed flat? in Warner Bros. Animation, edited are not treated as black carica- by Kevin S. Sandler. New tures. One speaks with a New York Brunswick, New Jersey: Rutgers accent and the other is British. Bill Mikulak’s article, “Fans University Press, 1998. 288 pages. Nothing about their movements versus Time Warner: Who Owns ISBN: 0-8135-2538-1 (U.S. $19.00 or behavior is stereotypically black. Looney Tunes?” examines legal paperback). They are no more black caricatures battles between Time-Warner and than Daffy Duck. Therefore, their fans who use the World Wide Mark Mayerson has worked in “critical difference” is non-existent. Web to post images and fiction the animation business since featuring Warner characters. 1976. He is currently directing Simplifications Unfortunately, the article veers off episodes of Monster By Mistake, a Gene Walz continues his the track by examining work that computer animated TV series he excellent research into the life and is deemed by some to be offensive created. work of character designer or pornographic. These works not Charles Thorson. His article “Char- only potentially violate copyright lie Thorson and the Temporary and trademark laws, they also Note: Readers may contact any Disneyfication of Warner Bros. Car- potentially violate obscenity laws. Animation World Magazine con- toons” covers Thorson’s time at This obscures the main question tributor by sending an e-mail to Warners from approximately 1938 that needs to be examined. In a [email protected].

ANIMATION WORLD MAGAZINE December 1998 60 Fragments of a Faith Forgotten: Unearthing the Harry Smith Archives

by Rani Singh ative of filmmakers, Ginsberg’s apartment, Smith’s pos- he was a painter, sessions took on a life of their well-known musicol- own. Smith packed up and left ogist, anthropolo- under dark of night many times gist, linguist, and during his short 67 years, leaving magician, who dur- behind boxes marked with a sim- ing his lifetime ple black-and-white sticker: “Prop- amassed a unique erty of Harry Smith.” myriad of collections related to all these As a consequence of his fields. bohemian lifestyle, Smith The Harry Smith col- lost, sold, wantonly A still from Harry Smith’s Early Abstractions, a highly lection consists of destroyed and traded sever- respected avante garde series of animated films. Photo items that were in courtesy of Harry Smith Archives. al lifetimes worth of his possession at the collections. he Harry Smith Archives is time of his death. Archivist Bill Mor- a private, not for profit gan cataloged his final belong- T501c3 organization dedi- ings. The collection consists of Uncovering Smith’s life and cated to the preservation, restora- books (mainly of an anthropologi- collections has been a form of tion, and presentation of the cal nature), records, audio record- urban archeology. There are many works of American polymath Harry ings, tarot and playing cards, pop- layers to be teased apart. One ref- Everett Smith (1923-1991). The up books, gourds and Harry Smith Archives is housed at realia. (See American Anthology Film Archives, in New Magus for excerpts York City’s Lower East Side, where from Bill Morgan’s Smith’s films have been held for interesting catalog of many years, having been selected this collection.) by film scholars for inclusion in the As a conse- Archive’s “Essential Cinema” collec- quence of his bohemi- tion of the major works of film art an lifestyle, Smith lost, in the early 1970s. sold, wantonly Best known to cinephiles destroyed and traded for his experimental films incorpo- several lifetimes worth rating ingenious original tech- of collections. Moving niques of collage animation and from unpaid hotel bills painting directly onto film, Smith at the Chelsea Hotel to also distinguished himself in many any number of men’s other fields. In addition to being rooming houses on Harry Smith. Photo © Allen Ginsberg, courtesy of Fahey- one of the most original and cre- the Bowery to Allen Klein Gallery

ANIMATION WORLD MAGAZINE December 1998 61 erence leads to the next with a balah expert who was close pieces that reveal the true genius truly organic naturalness. A cam- friends with Smith in the Fifties and breadth of one of America’s eraman who worked with Smith and collaborated on many pro- most original minds. Currently in the Seventies mentions a young jects, including an al chemical there is an exhibition planned in kid who was hanging around “Tree of Life” print and 3-D greet- Paris at the Jeu de Paume for with Smith consulting with him ing cards. Spring of 1999. This will coincide about string figures, which leads Perhaps the most reward- with the much-awaited premiere to an unfinished manuscript. A call ing work of the Archives has been of the restored version of Smith’s to another former associate turns focused on locating, photograph- “lost” four-screen film masterpiece up a friend who specialized in ing, and cataloging Smith’s art- Mahagonny (ca. 1964-1979). Ukrainian Easter eggs, who orga- work. The bulk of these works nized donating Smith’s world-class remain in private hands, and the In addition to being one of collection of eggs to the famous Archives has maintained an active Göteborg Museum in Stockholm. accession policy. The paintings of the most original and cre- Another leads to a legendary Kab- Harry Smith are unknown master- ative of filmmakers, he was a painter, well-known musi- cologist, anthropologist, linguist, and magician... CAREERCAREER With the re-release in 1997 of Smith’s seminal 1952 Anthology CONNECTIONSCONNECTIONS of American Folk Music on Smith- sonian/Folkways records (which Animation World Network’s won two Grammy awards), recruiting section offers free postings Smith’s work is beginning to come to light as we reach the millenni- and access to artist resumes um. The nascent Harry Smith as well as recruitment advertisements. Archives greets the new epoch with a full slate of upcoming pro- “The recruiting site jects. For more information on reaches thousands of artists the Harry Smith Archives, please e- mail [email protected], or call from all disciplines, quickly (212) 780-9224. Serious inquiries and efficiently. AWN only, please. Also consult our web site at accessible through the Ani- certainly lives up to its mation Village. name world-wide.” -Machi Tantillo Rani Singh is the President of the Harry Smith Archives. Producer, Director of MTV Animation film researcher, archivist and editor, Singh was Smith’s assistant - RECRUIT TOP TALENT for four years before his death. AT A FRACTION OF THE COST OF PRINT ADVERTISING Note: Readers may contact any Animation World Magazine con- tributor by sending an e-mail to www.awn.com/career [email protected].

ANIMATION WORLD MAGAZINE December 1998 62 Animation World News by Wendy Jackson & Amid Amidi

All of the news in this section of Animation World Magazine is published first in the Animation Flash,AWN’s weekly e-mail newsletter. Read it first in the Flash! Subscribe today.

Business nosed Granpa Boris character is and elected by “white ballot” at a also featured in the Rugrats televi- membership meeting on Septem- Rugrats Offends Media Watch- sion series and the upcoming ani- ber 29: President Tom Sito, Vice- dogs. The Anti-Defamation League mated feature film, The Rugrats President George Sukara, Business (ADL), an organization devoted to Movie , however Nickelodeon has Representative Steve Hulett, fighting anti-Semitism, has taken not been asked to change the Recording Secretary Jeff Massie issue with the depiction of a char- character in its animated versions. and Sergeant-At-Arms Jan Brown- acter in Nickelodeon’s Rugrats ing. All officers were elected to a newspaper comic strip. The comic Toon Union Final Election three-year term, expiring Novem- in question, which ran in newspa- Results. The Animation Union, the ber 2001 (not to annual terms, as pers nationwide during the week Motion Picture Screen Cartoonists announced in the previous Flash). of Rosh Hashanah - “The Jewish (M.P.S.C.) and Affiliated Optical New Year” - featured a character Electronic and Graphic Arts, Local For more information on the named Granpa Boris in a syna- 839 IATSE has completed its voting M.P.S.C. union, visit Animation gogue reciting The Mourner’s Kad- process and announced the new World Magazine’s July 1998 issue dish, a holy Jewish prayer. In a Executive Board of the organiza- for president Tom Sito’s article, The public statement, the ADL stated tion. Re-elected to office were Hollywood Animation Union “the use of the Mourner’s Kaddish incumbents Bronwen Barry, Dave (M.P.S.C. #839). in a jocular fashion demands the Brain, Pat Connolly-Sito, Earl Kress, prayer’s solemnity,” and added Craig Littell-Herrick, Enrique May, Profits Down For SGI. Silicon that the character design of Ann Sullivan and Stephan Zupkas. Graphics, Inc. has reported nega- Granpa Boris is “reminiscent of Also elected were newcomers Bob tive first quarter results for the Nazi-era depictions of Jews.” Nick- Foster, Warren Greenwood and 1999 fiscal year. The company elodeon was quick to agree with Karen Nugent, replacing Board announced a net loss of $44 mil- ADL’s charges, apologize, and has members Sheila Brown, Tom Ray lion, or $0.24 per share, com- promised never to run the charac- and Dave Zaboski who did not pared with a net loss of $56 mil- ter or the specific strip in newspa- run for reelection. Elected as lion in the same quarter a year pers again. Herb Scannell, presi- Trustees (in addition to the Execu- ago. “Reporting a loss is never sat- dent of Nickelodeon, said, “Unfor- tive Board) were Dave Brain, Pat isfying, but I am very encouraged tunately, the creators of the strip Connolly-Sito and Stephan Zup- with the progress demonstrated in made an error in judgment by ref- kas. As previously reported in the this quarter’s results,” said Richard erencing the Kaddish.” While he Animation Flash [10/13/98], the Belluzzo, chairman and chief exec- won’t be reappearing in newspa- following incumbent officers were utive officer. Operating expenses pers, the short, bald and big- nominated without opposition at $335 million were down ANIMATION WORLD MAGAZINE December 1998 63 THEANIMATION FLASHwww.awn.com/flash

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ANIMATION WORLD MAGAZINE December 1998 64 approximately $40 million from quarters in Montreal on December ber 17 with an initial 200,000 the previous quarter while rev- 10, 1998 to vote on the intended copy print run.” The Harvey library enues were also down at $616 name change. The new name of characters include Casper, the million compared with $768 mil- was proposed to better reflect the Friendly Ghost, Richie Rich, Hot lion in the same year-ago period. company’s diversification into Stuff, Baby Huey, Little Audrey, SGI’s initial public offering of its other areas of children’s entertain- Herman & Katnip, and numerous MIPS Technologies subsidiary at ment and education besides the others. $44 million helped significantly film industry. alleviate losses for this quarter. Nelvana Gets Puff. Toronto- While the losses were smaller than Harvey Posts Third Quarter based Nelvana has acquired the predicted, SGI has said that it will Loss. The Harvey Entertainment worldwide development, produc- take some time to return to prof- Company (Nasdaq: HRVY) report- tion, distribution and merchandise itability. Belluzzo outlined SGI’s ed a net loss of $2,006,000, or licensing rights to Puff the Magic plans for continued recovery, $0.48 per share, for the third quar- Dragon. Based on a classic folk “One of our key strategic objec- ter of 1998 as compared to a net song written by Peter Yarrow of tives is to impose discipline on our gain of $2,551,000, or $0.62 a the legendary folk group Peter, cost structure which has resulted share, for the same third quarter Paul & Mary and Lenny Lipton, in operating expenses coming period in 1997. For the nine Nelvana will produce an animated down dramatically for the quarter. month period ending September Puff the Magic Dragon feature We’ve also sharpened our focus 30,1998, Harvey has totaled a net length film, television series and on our core businesses with the loss of $4,788,000, or $1.19 per special, as well as license all Puff successful initial public offering of share, as compared to a net merchandise. Production will our MIPS subsidiary. And we con- income of $2,551,000, or $0.64 begin on this property in late 1999 tinue to see strong performance in per share, in the comparable year- or 2000. The lyrical children’s story our origin server program. This ago period. Net operating rev- which tells the tale of Little Jackie quarter’s results validate that our enues were also considerably less Piper and his dragon friend Puff efforts are on target.” coming in at a negative has sold 50 million copies since $1,121,000 compared to rev- first being published in 1963 mak- Pixar Posts Profit Results. Pixar, enues of $7,126,000 in the year- ing it the best-selling folk song in the company behind Toy Story, ago period. The decrease in rev- history. posted a third quarter net profit of enue is attributed to an adjust- $2.5 million, or $0.02 per share, ment of $2,316,00 because of BKN Studios Established In LA. down from a third quarter profit of Harvey’s over-estimation of predict- Kids programming syndicator $5.3 million last year. The positive ed sales of the direct-to-video film, Bohbot Kids Network (BKN), the profits surprised financial analysts Casper, A Spirited Beginning, as fourth largest US broadcast kids who had forecasted a third quar- well as the revenue fluctuations network scheduled to launch ter loss of $0.02 per share. The related to the timing and account- August 29, 1999, has acquired Los upcoming release of A Bug’s Life is ing treatment of merchandising Angeles-based Epoch Ink Anima- expected to help further rejuve- licenses. Gary Gray, Chairman of tion to establish BKN Studios. nate Pixar’s revenues. the Board, commented, “During Epoch was established in 1995 this period, we have continued to and has since completed many Cinar Wants A New Name. move forward on two projects, in projects including Captain Simian Canadian company, Cinar Films addition to our ongoing licensing and the Space Monkeys, Dot and Inc., recently announced that they activities. We completed produc- Spot’s Magical Christmas, Pearl would like to change their corpo- tion of Baby Huey’s Great Easter Jam’s Do the Evolution music rate name to CINAR Corporation Adventure and have entered into video, and the Atomic Babies pilot (in French, Corporation Cinar). A a distribution agreement for this for Landmark. The first projects Management Proxy Circular was video with a major media compa- that will be produced by BKN Stu- sent to shareholders announcing ny. We have also completed the dios include the original sci-fi, a Special Shareholder Meeting to debut issue of Harvey, The Maga- action-adventure, film noir-ish, ani- be held at the company head- zine for Kids available on Novem- mated series Roswell Conspiracies,

ANIMATION WORLD MAGAZINE December 1998 65 tion, viewer marketing, and pro- announcement that Hallmark and motion to support the network’s The Jim Henson Company have launch. BKN’s film library will con- bought a “substantial” stake in the sist of 1,000 episodes by launch religious network. Loesch’s new date encompassing well-known responsibilities include developing properties like Sonic the Hedge- original programming from Hall- hog and The Mask. This library will mark, Henson, Odyssey and be further augmented by BKN’s National Interfaith Cable Coalition production and acquisition of orig- (NICC) and integrating it with the inal animated series to be pro- already well-established libraries of duced by the new BKN Studios. Hallmark and Henson. While the channel won’t completely aban- People don religious programming, Odyssey will try to seek more adult Musical Chairs. San Francisco- and children viewers through fam- based animation studio (Colos- ily-oriented programming. The sal) Pictures has signed two new network hopes to have these directors to its roster: Jim Matison changes in place by April 1999. and Flavio (Kampah). Matison, Loesch’s 28-year television career based in San Francisco, has been includes many executive roles at a freelance director for the past Marvel, Hanna-Barbera, NBC, and Stephanie Graziano, BKN Studios Presi- five years, working with SGI, most famously, her development dent of Programming, Production and Mondo Media, Protozoa, Wild Network Development. Photo courtesy Brain and Nickelodeon. He previ- of BKN Studios. ously worked with (Colossal) start- and a network on-air image cam- ing in 1989 as a staff production paign featuring original BKN mas- artist, and went on to direct Crazy cot characters. “BKN has commit- Daisy Ed, a stop-motion segment ted a tremendous amount of on Liquid TV, as well as several money into BKN Studios and qual- music videos and commercials. ity-wise Roswell Conspiracies is Flavio (Kampah), based in Los closer to the WB’s action-adven- Angeles, is a designer who has ture shows Superman and Batman worked in the fashion industry Adventures than other typical before joining the agency, Pittard shows,” says Epoch founder Joe Sullivan. He is now creative direc- Pearson. Concurrently with the tor of his own company, Vision- new facility, BKN has appointed aires. Other directors on (Colos- veteran animation executive sal)’s roster are Drew Takahashi, Stephanie Graziano as President of George Evelyn, Charlie Canfield, Programming, Production and Tom Rubalcava, Margeigh Joy, Network Development to head Margaret Loesch is the new president John Kricfalusi, Chuck Gammage and CEO of Odyssey Cable Channel. the fledgling network. Graziano and Lidia Pryzluska. . . . . joins BKN from DreamWorks TV and founding role of the Fox Kid’s Animation where she served as Loesch’s New Odyssey. Respect- Network in the early ‘90s. Co-Head of Production since ed TV executive Margaret Loesch, 1996. Pearson will join BKN Stu- who moved to the Jim Henson Film Roman Names New Presi- dios as Executive Producer/Cre- Company a year ago as president dent. Los Angeles-based Film ative Director of BKN’s original ani- of its television group, has been Roman has brought Mark Lieber mated series. Bobhot Entertain- named the president and CEO of on board as the new president of ment and Media has committed the 30-million subscriber Odyssey domestic television development $100 million for program produc- cable channel. This comes after an and distribution. Lieber’s responsi-

ANIMATION WORLD MAGAZINE December 1998 66 bilities in this newly created position include directing the development of all proprietary television product (both animation and live- action), as well as overseeing the distribution of Film Roman’s proprietary series through broadcast, cable and syndication in the US He joins Film Roman from Poly- Gram Television, where as senior vice-president of children’s programming, his division developed and sold Maisy to Nickelodeon and produced and distributed Bar- ney’s First Adventure as a simulcast to PBS/Fox Kids Network. Antz. © DreamWorks LLC. In Passing... doned children, such as Feed the an “Animation Day” on November Children (http://www.feedthechil- 3. Scheduled events included a Bob Kane, Batman Creator dren.org), the Make A Wish Foun- seminar titled Strategy for the New Passes Away. Last Tuesday was a dation (http://www.wish.org), the European Animation Feature Film, dark day for the comic book world Westside Children’s Center in Santa and screenings of animated fea- when legendary writer/artist Bob Monica, California, or the Bay Area tures such as Michel Ocelot’s Kirik- Kane, best known for creating DC Youth Center in Hayward, Califor- ou at la Sorciere and Lanterna Comics’ Batman, passed away as a nia. Magica’s work-in-progress, Lucky result of natural causes at his Los and Zorba/The Little Seagull and Angeles, California home. Kane, Films the Cat. Heading up these anima- 83, created the dark hero along tion initiatives at MIFED was Alfio with many other famous support- Antz Showz Strong Legz. After Bastiancich, one of the founders ing characters including Robin, six weeks of US release, Dream- of the television conference, Car- the Boy Wonder and Cat Woman. Works/PDI’s computer-animated toons on the Bay. He said, “As His creations have resulted in a bug pic Antz saw a rare 20% boost became clear at a seminar held continuously published comic in box office business over the last June at Annecy, animation book for fifty years, a live-action TV November 6, 7, 8 week-end plac- continues to be poorly represent- series, four live-action feature films, ing fourth. Despite losing 300 ed at the three major cinema mar- two direct-to-video animated films, screens and new competition for kets: MIFED, Cannes and the at least five animated Batman tele- the family crowd from the re- American Film Market. With MIFED vision series, and merchandising release of The Wizard of Oz, the Animation, we aim to develop this beyond words. Animation fans film grossed $5.56 million in 2,604 new market by offering an organi- may also recognize his cartoon theaters bringing the film’s cume zation structure and services to creations from the 1960’s - Coura- to $75 million. boost and develop new business geous Cat and Minute Mouse, and opportunities.” Cool McCool. He is survived by his MIFED Sets Focus On Anima- wife, actress Elizabeth Sanders tion. The 65th Milan International The November 1998 issue of Ani- Kane, his daughter Deborah Film, TV and Multimedia Market mation World Magazine focuses Majeski, his grandson Matthew (MIFED) kicked off with a strong on animated feature films, and Alderman, and his sister Doris focus on animation, in collabora- includes an article by Chiara Magri Atlas. In lieu of flowers, his family tion with the European MEDIA II about Lanterna Magica and their asks that donations be made to program. The six-day event, feature film work: agencies providing service to hun- November 1 -6, included a desig- http://www.awn.com/mag gry, homeless, abused, or aban- nated animation market and even ANIMATION WORLD MAGAZINE December 1998 67 Medialab/Cine Groupe Partner. for theaters nationwide. Walt Dis- of Fame in September 1999. Paris-headquartered motion-cap- ney Records released A Bug’s Life. Among the celebrities that will be ture animation company, Medial- soundtrack on November 10 fea- inducted next year include Alex ab and Canadian animation stu- turing the music of composer Trebek, Freddy Fender, Wesley dio, Ciné-Groupe, a subsidiary of Randy Newman (Cats Don’t Snipes, Jamie Lee Curtis, Dennis Lion’s Gate Entertainment, have Dance, James and the Giant Franz, Samuel Jackson, James agreed to a four-year co-produc- Peach, Toy Story). Disney Records Woods, Bob Newhart, Jane Sey- tion deal. The two companies plan previously released A Bug’s Life mour and Reba McEntire. Anima- to co-produce two computer-ani- Read-Along featuring original tion World Magazine will be there mated theatrical films and two TV vocal talent from the film and A to cover the ceremony. series. The first project, starting Bug’s Life Sing-Along, a collection production in December, will be of bug-themed songs. A Bug’s Life Fox Appeals To Boyz & Girlz. Pinocchio 3001, a futuristic rendi- and Beyond is a 3 1/2 hour enter- Fox Family Channels is creating tion of the classic tale. The second tainment experience which runs two new digital cable/satellite net- project, scheduled to start produc- at Hollywood’s El Capitan Theatre works: The Boyz Channel and The tion in late spring 1999, is titled and Entertainment Centre from Girlz Channel, offering gender- Sphinx@Com. Both properties November 20 - January 3. Visitors specific entertainment and educa- were developed by Medialab, and can see the movie and afterwards tional programming for 2-14 year- will be produced simultaneously head over to The Bug House con- old boys and girls. The full-time, as feature films and TV series. sisting of seven rooms of live enter- ad-supported services scheduled Medialab president Girard Mital tainment, attractions, shows, to launch sometime in 1999 will said, “The trickle-down success of games and events themed around also be available as basic analog films like Antz, as well as the grow- the movie. As is customary with channels. Much of the program- ing number of digital platforms Disney-released films, a plethora of ming will come from the library and their respective thematic other A Bug’s Life merchandise is that Fox Kids already owns mixed channels serves to bolster the already available at nationwide US in with some original productions. demand for similar-looking proper- retailers, like Target. In the evenings, the channel’s ties.” The TV series Medialab is focus will target parents with pro- jointly-owned by Canal + and Television grams dealing with raising and Dutch company, NOB. In July, Fox parenting children of that specific Family Worldwide, parent compa- The Simpsons Get A Star. The gender. Fully interactive compan- ny to Fox Kids, Fox Family Channel longest-running prime-time ani- ion web sites, www.boyzchan- and Saban, acquired a 20 percent mated family in television history, nel.com; www.girlzchannel.com, equity stake in Ciné-Groupe. The Simpsons, will be getting their are also in the works and will own star on the Hollywood Walk launch in early ‘99. The February 1998 issue of Ani- mation World Magazine contains a feature article on Medialab.

A Bug’s Life Is Swarming Every- where. Here is a look at some of the various marketing items related to Disney/Pixar’s massive advertising campaign for A Bug’s Life. The movie web site, www.abugslife.com, launched last week complete with Shock- wave and QTVR games, behind- the-scenes information on the making of the film, sweepstakes, and the ability to purchase tickets A Bug’s Life. © Disney Enterprises, Inc./Pixar Animation Studios.All Rights Reserved.

ANIMATION WORLD MAGAZINE December 1998 68 safe. Another highly anticipated written and produced by Kirkland More Splat! Is Coming Your comic-turned-cartoon series, Dil- and Randy Rogel, won an Annie Way. Red Giant Television has bert, is set for a US premiere on Award in November for Outstand- reached a deal with Discovery UPN’s prime time lineup Monday, ing Animated Home Video Pro- International and Teletoon to pro- January 25, 1999 at 8:00 PM duction...... duce a third season of Splat!, the (PT/ET). Produced by Columbia- weekly half-hour TV series devoted Tristar, Dilbert is based on the pop- Gribouille Animating Xcaliber to animation. This will bring the ular syndicated comic strip created And Micronauts. Gribouille, a CGI total number of episodes to 39 by Scott Adams which deals with production company based in half hours. Red Giant is also in the the absurdities of the ‘90s work- Europe and North America, has process of creating a two hour, place in the cubicle-confined office begun production on two new prime-time TV special celebrating environment that rules corporate computer-animated television animation. Splat! currently airs in America. series. Xcalibur, designed by 120 countries around the globe. French artist Philippe Druillet and TV Tidbits: Los Angeles-based directed by Didier Pourcel, is being Two New Series For Canadian Rough Draft Studios has been produced in association with Cactus. The Canadian television awarded five episodes of the ani- Canal +, Ellipsanime, France 2 and and cinema production and distri- mated Baby Blues series. Thirteen Cactus Animation for a targeted bution company, Coscient Group, episodes of Baby Blues have been late 1999 delivery. Micronauts, announced that their subsidiary ordered and will air in fall ‘99 on based on an existing line of action- Cactus Animation has started pro- the WB prime time schedule. The figures and Marvel comics, is duction on two new animated first eight episodes are being com- being produced with series: Pirate Family and Fan- pleted by Warner Bros. Television Abrams/Gentile Entertainment, tomette. The animated comedies Animation. This recent develop- Kaleidoscope Media Group and are a co-production with French ment fuels rumors that Warner Annex Entertainment, and may be company Elma Animation and Bros. Television Animation is in the ready as early as fall 1999. Gri- have a total budget of $22 million. midst of cutbacks. Inside sources bouille is also partnering with Ital- The series, each composed of 26 have said that Warners will cease ian toy manufacturer Giochi half-hour episodes, have already production on Histeria! after only Preziosi, on the production of a been pre-sold by Motion Interna- 52 episodes, cutting 13 previously new Micronauts technology- tional, Coscient Group’s distribu- announced half hours. Pinky, based toy-line. Both series are tion subsidiary, to a number of Elmyra, and the Brain is also green-lit for an initial 26 half-hour markets. Pirate Family will air in fall rumored to be finishing its last sea- episodes, and will feature hyper- 1999 on YTV and Radio Canada in son without a pick up. As a result, realistic virtual characters. Gri- Canada and on the French net- nearly one hundred layoffs are bouille is also partnering with works France 3 and Canal J, while supposedly looming on the hori- other companies such as Dimen- Fantomette will air on Tele-Que- zon before year’s end. Officially, a sional Media Associates, to bring bec and the aforementioned Warner Bros. spokesperson stated this style of animation to different French networks. that no decision has yet been entertainment mediums. made on the fate of the two Batman Beyond and Dilbert Set shows, which are still currently in Commercials For January. The newest incarna- production, and that while there tion of the successful animated would be layoffs, they are unde- Seeing Spots: Curious Pictures’ Batman franchise, Batman termined at this time...... Satur- East and West coast offices Beyond, is set for a US premiere of day, November 21, at 8:00 PM teamed up with Cartoon Network Saturday, January 16, 1999 at (ET), The Cartoon Network to create Sound Hound, a two- 9:30 AM on Kids WB! The show aired the animated direct-to-video minute animated interstitial featur- takes place in the 21st century Batman feature released earlier ing the classic Hanna-Barbara when a mature Bruce Wayne this year, Batman and Mr. Freeze: character, Huckleberry Hound, decides it’s time to train a younger SubZero. The film, which was waging a war on noise pollution. Caped Crusader to keep Gotham directed by Boyd Kirkland and Huck is disgruntled when the nois-

ANIMATION WORLD MAGAZINE December 1998 69 A very stylized Huck in Sound Hound. The Cornerman. Photo courtesy Passion Pictures. Photo courtesy Curious Pictures. es of the city hinder his talent- package for Cartoon Network Charlie Canfield. The CG anima- deprived singing efforts and consisting of a 25-second show tion for the package was done in makes it a point to stifle every open and close and seven 10-sec- 3D Studio Max. . . . New York- sound from birds to car horns. ond bumpers. The new material based J.J. Sedelmaier Produc- Director/designer Nick Hewitt uti- started airing on October 17, tions created two 15-second lized cut outs to create collage 1998 during the Super Chunk pro- spots, Liberty and Airport, for Roth- pieces with different textures and gramming block which airs on Sat- man’s retail stores. The spots fea- then completed the animation urdays from 4:00 - 7:00 PM. Car- ture the “powerful, heroic, Con- digitally. The short was written by toon Network’s design director structivist-leaning WPA mural style Cartoon Network’s creative direc- Bee Murphy came up with the imagery” of the Rothman’s Man. tor/copywriter Michael Ouweleen concept art for the spots which The traditional ink-and-paint cel with Damon Ciarelli handling were directed at (Colossal) by animated spots were based on the technical direction. . . . . Passion Pictures finished eight 3-second inserts for a new Adi- das campaign featuring British World feath- erweight boxing champion Prince (‘Naz) Naseem and an overweight animated ex-boxer, the Corner- man. The spots were directed by Chris Hauge and animated by Chris Hauge, Chuck Gammage, Marco Piersma and Kevin Spruce through the Leagas Delaney agency. . . . . (Colos- sal) Pictures animated the Super Chunk Super Chunk. Photo courtesy (Colossal) Pictures. ANIMATION WORLD MAGAZINE December 1998 70 animation with live-action elements. Home Video

Fox, DIC To Animate M.L.King. CBS/Fox, Twentieth Century Fox Home Entertainment and DIC Entertainment are producing a direct-to-video title based on the life of Martin Luther King Jr., called Our Friend, Martin. The one-hour film will combine new animation with live-action archival footage of the late civil rights activist. Several celebrities are lending their voices to the production, including Whoopi Goldberg, Samuel L. Jack- son, James Earl Jones, Susan Sarandon, John Travolta, Jaleel

The Rothman’s Man. Photo courtesy J.J. Sedelmaier Productions. White and Oprah Winfrey. King’s son Dexter King is executive pro- designs of illustrator Doug Fraser snack to a couple of bored kids on ducer with Phillip Jones, Andy and were directed by J.J. Sedel- a plane flight. The cel animated Heyward, Mike Maliana and maier. . . . The West Coast division spot was directed by Renegade’s Robby London. Just in time to of Curious Pictures (San Francis- Darrell Van Citters and produced commemorate Martin Luther King co) recently created a 30-second through the Saatchi and Saatchi Jr.’s birthday, the video will be spot promoting the new 24-hour Agency in New York. The com- available January 12, 1999 for US cable network, CBS Eye on Peo- mercial’s contemporary style incor- $14.98. ple. The spot, directed and porates sharp, angular features designed by Denis Morella, uses a and quick fluid motion while com- Disney’s Pride: Lion King II. On variety of animation styles to show bining black & white and color October 27, Walt Disney Home various scenes from everyday life such as a person skiing down a hill or a woman jogging with her dog. . . . Toronto-based TOPIX/Mad Dog produced a 30- second spot for Ford of Canada which added a twist on the classic Three Little Pigs story utilizing live- action integrated with cel animation. While the CGI work was done at TOPIX/Mad Dog, Chuck Gammage of Chuck Gammage Animation directed the 2D animation. In the ad, the pigs find refuge from the wolf in a 1999 Ford Windstar. . . . Renegade Anima- tion animated Fly the Friendly Skies, a 30-second commercial for General Mills Trix Yogurt featuring the Trix Rabbit introducing the Photo courtesy TOPIX/Mad Dog.

ANIMATION WORLD MAGAZINE December 1998 71 Video released The Lion King II: Racer licensee since 1993, has Original Motion Picture Sound- Simba’s Pride, a direct-to-video ani- already produced a line of die-cast track features performances by mated feature sequel to the 1994 Speed Racer products. The com- Boyz II Men, Amy Grant and the blockbuster theatrical feature, The pany is one of 30 licensees that duo of Whitney Houston and Lion King. Disney hopes to will be manufacturing and distrib- Mariah Carey, singing together for achieve similar success to that of uting Speed Racer products in the first time, as well as songs per- the film’s predecessor, which has 1999. “Playing Mantis is a progres- formed by actors who voice char- made history as both the number sive company that understands acters in the film, Ralph Fiennes, one animated movie and best-sell- the current nostalgic market Michelle Pfeiffer and Steve Martin. ing video of all time. Simba’s Pride power, and creative drive of Speed The Prince of Egypt: Nashville fea- stars many of the same voice tal- Racer,” said Jim Rocknowski, exec- tures new songs “inspired” by the ents featured in The Lion King, utive vice president of Speed Racer film, performed by the likes of including Matthew Broderick Enterprises. Randy Travis, Reba and Wynonna. (Simba), Nathan Lane (Timon), And The Prince of Egypt: Inspira- Robert Guillaume (Rafiki), Ernie Limited-edition Speed Racer ani- tional is a compilation of music by Sabella (Pumbaa) and James Earl mation art is available exclusively a variety of artists, from Jars of Clay Jones (Mufasa), as well as new on-line in AWN’s Animation World to Fred Hammond & Radical for character voices: Neve Campbell Store. Buy it today! Christ. (Simba’s daughter, Kiara) and Suzanne Pleshette (Scar’s loyal fol- DreamWorks Debuts Prince Of Toby Bluth will review the film, The lower, Zira). The 75-minute film Egypt Albums. On November 17, Prince of Egypt in an upcoming was produced by Walt Disney Ani- DreamWorks released three issue of Animation World Maga- mation Australia, under the direc- albums based on its forthcoming zine. tion of Darrell Rooney and co- animated feature film, Prince of director Rob LaDuca. Additional Egypt. The album releases come a Technology clean-up, in-betweening and ink full month before the film’s Decem- and paint was done by Walt Dis- ber 18 theatrical opening. The An Interactive Look At Walt’s ney Animation Canada and Toon Prince of Egypt: Music from the Life. The life of Walt Disney has City, Inc. The video is available been the subject of many unoffi- for US $26.99. Also, accompa- cial biographies and articles with nying the video release is a allegations accusing him of new CD of music, Return to being everything from a fascist Pride Rock: Songs Inspired by to a bigot. Now for the first time The Lion King II: Simba’s Pride, the record can be set straight and a cassette, The Lion King with a new interactive CD-ROM II: Simba’s Pride Read-Along, narrated by Disney’s first child, both from Walt Disney Diane Disney-Miller. Walt Disney: Records. An Intimate History of the Man and His Magic, was produced to Licensing present an accurate account of his life and celebrate his accom- Speed Racer Toying Around. plishments. The family-sanc- Speed Racer Enterprises, Inc., tioned multi-media biography owners of the Speed Racer which was four years in the property, have signed a making features clips from ani- license agreement with toy mated films, never-before-seen maker Playing Mantis, to pro- photos and home videos, over duce a line of action figures 100 audio segments, family and vehicles based on the mementos, and essays by Dis- popular 1960s animated Walt Disney:An Intimate History of the Man and His ney scholars. The Windows 95 series. Playing Mantis, a Speed Magic. © Disney.All Rights Reserved. disc, which retails for $39.99, is

ANIMATION WORLD MAGAZINE December 1998 72 published by Disney Interactive made available in North America Hotwired Launches Animation and is now available in stores. in either a dubbed or sub-titled Express. HotWired’s Animation version. There are plans to expand Express - Reelmotion Plug-In For 3d Stu- up to 200 titles by the end of 1999 (http://www.hotwired.com/ani- dio Max. Motional Realms, LLC using animation from the Bandai mation/) - is a new site that show- has released the ReelMotion plug- Visual and Sunrise libraries as well cases the latest animation from in for 3D Studio MAX, a real-time, as acquisitions from other compa- both professional and indepen- physics-based procedural anima- nies. “Our site tries to be as close dent animators. The animation tion tool. The plug-in is designed to a fansite as possible while being can be viewed using plug-in tech- for the professional animation commercial at the same time,” nologies like Quicktime 3, Shock- artist and ideal for forensics anima- added Schulman, “which is some- wave’s Flash 3 and Director 6. A tion, animating space and aerial thing that nobody else is doing.” “plug-in tester” helps visitors dogfights, cars, helicopters and download the necessary plug-ins if other rigid-body objects. It’s possi- the user doesn’t already have ble to drive or fly a vehicle through them. Currently, the site features a scene interactively using a selections from Pixar’s Oscar-win- mouse or joystick via a real-time ning short Geri’s Game and high- display using QuickDraw 3D (Mac) lights from Spike and Mike’s 1998 or OpenGL (Windows). ReelMo- Festival of Animation. The site also tion retails for $795 and is avail- features an online animation store, able for computers running as well as tutorials that’ll guide you MacOS, Windows 95, Windows in the creation of your own ani- George Liquor and Jimmy. © Spumco. 98 or Windows NT on both the mation projects. Intel and DEC Alpha platforms. For more information visit: Spumco Web Chat In 3D! Spum- Animated Greeting Cards On http://www.reelmotion.com. co, the studio that brought us the The ‘Net. E-greetings Network first web cartoon series, The (http://www.egreetings.com), a Internet & Interactive G@*&!$ George Liquor Show, has provider of internet-based elec- teamed up with Electric Commu- tronic greetings has unveiled the Bandai Opens nities to present “the Internet’s first new E-greetings Animations. The AnimeVillage.Com. Bandai’s Ani- 3D cartoon chat event.” The chat, free digital greetings can be per- meVillage.com is the first video scheduled to kick off at 5:30 p.m. sonalized and sent to anyone by e- releasing company in the US to on November 6, and run through mail. “When we started our com- market Japanese animation to November 9, 1998, took place on pany nearly five years ago, we consumers directly through the the web site http://www.car- saw that e-mail had the potential Internet. The site also features the toonsforum.com:9994. In order to to become a multimedia entertain- latest animation news from Japan, have participated, users must have ment and communications medi- articles about the films, real-time had a pair of red and blue cello- um that could provide far more chat, games, message boards, phane anaglyphic 3D glasses, a than the limited capabilities of and contests. “AnimeVillage.com standard Windows or Mac PC with standard text-only e-mail,” says E- plans to be THE place on the web Internet access, and the Palace greetings Network’s co-founder for anime fans (otakus) and sci-fi Visual Chat software from Electric Tony Levitan. Currently, around fans as well as professional anima- Communities, available for free 100 animated digital greetings, tors and people in the movie download from the web site viewable with Macromedia’s industry,” says Marlon Schulman, www.thepalace.com. Users who Shockwave plug-in, are available Bandai’s Vice-President of Home managed to get into the chat to view and send. The animated Entertainment. The company’s ini- experienced a 3D VRML world in cards contain original artwork as tial release slate includes the Gun- which they dressed Spumco char- well as licensed images from well- dam series and The Vision of acters, played sounds and inter- known cartoonists and films like Escaflowne, marking the first time acted with other users. Austin Powers, Men in Black, and either of these titles have been Godzilla.

ANIMATION WORLD MAGAZINE December 1998 73 Books Animation World Magazine. Read what Ollie Johnston and Frank Hot Off The Presses: A number Thomas had to say about Pierre of animation books have recently Lambert’s Pinocchio in “An After- been released just in time for the noon with Ollie Johnston, Frank holiday season. Great Plains Publi- Thomas and Pinocchio” by Charles cations has published Gene Walz’s Solomon. Cartoon Charlie: The Life and Art of Animation Pioneer Charles Thor- Also remember that books can be son, a detailed biography of the ordered through the Animation Golden Age animation artist filled World Bookstore. with many never-before-seen illus- trations. Other recently published Call for Entries books include Paul Dini and Chip Kidd’s Batman Animated (Harper NY Animation Festival Call For Photo courtesy Klasky Csupo Publishing. Prism), Jan Breslauer’s The Making Entries. The first annual New York of the Rugrat’s Movie (published Animation Festival, slated to take by Klasky-Csupo, distributed by place in New York City during April Simon and Schuster), Peter Lord 1999, is now accepting entries in and Brian Sibley’s Creating 3D Ani- all categories. This comprehensive mation: The Aardman Book of festival will encompass all types of Filmmaking (Harry N. Abrams) animation including film, video, published as Cracking Animation and digital animation of any (Thames and Hudson) in the UK, genre. Student and international Michael Mallory’s Hanna-Barbara entries are also encouraged. For Cartoons (Hugh Lauter Levin Asso- entry forms or information, call ciates), and Les Daniel’s Superman: (212) 982-7781 or The Complete History (Chronicle [email protected]. Books) which celebrates the 60th anniversary of DC’s Man of Steel in Milia Awards Interactivity Milia. all media including his animated MILIA, the International Content incarnations. Market for Interactive Media Con- Photo courtesy Harry N.Abrams. ference will take place in Cannes, Upcoming Titles: There’s also a France, February 9-12, 1999. number of interesting animation Entries for the fifth Milia d’Or books scheduled for release in the Awards and the New Talent Pavil- near future including The Art of ion are still being accepted. The Klasky-Csupo, Igor Kovalyov: A event is organized by the Reed Director’s Notebook (Klasky-Csupo Midem Organization, the same Publishing), Michael Barrier’s long- company that puts on MIPCOM awaited authoritative book on the and MIP TV. For the second year, Golden Age of US Animation, The MILIA will present a conference Magical Art: Hollywood Animation called “Towards the Convergence In Its Golden Age (Oxford Universi- of Animation and Video Games,” ty Press), and Pierre Lambert’s Mick- the objective of which is to bring ey Mouse (Hyperion), a glossy art together publishers, producers book companion to Lambert’s and developers of interactive 1997 Pinocchio book. products to promote partnerships. For information about this partner- Photo courtesy Hugh Lauter Levin Many of these books will be ship program, visit Frederique Associates. reviewed in upcoming issues of Doumic’s article, “MIPCOM Meets

ANIMATION WORLD MAGAZINE December 1998 74 MILIA” in the December issue of (U.S.A.). wrapped up on October 31 in Animation World Magazine. First Film Prize: Sientje by Christa Leipzig Germany. The prize for http://www.awn.com/mag/issue Moesker (Netherlands). Outstanding Film went to Under- 2.9/2.9pages/2.9doumicmilia.ht Special Jury Prize: Everybody’s ground by Matti Kütt (Estonia), ml Pregnant by Debra Solomon and the Audience Prize went to (U.S.A.). Hoelenangst by Benjamin For information about MILIA and Quabeck (Germany). For more its awards, visit the MILIA web site ASIFA Annie Awards To Be Tele- information about next year’s festi- accessible through Animation vised! For the first time in the 26- val, email dock-leipzig@t- World Network’s Calendar of year history of the Annie Awards, online.de. Events section. the show will be nationally televised. Fox Family Channel will air Sitges Selects Un Jour. The Sitges Awards the presentation honoring the Fantasy Film Festival wrapped up best of the animation industry at a on October 16 in Barcelona, Castle Crowns Geri’s Game. The yet-to-be-announced date in Spain. The international jury for Castelli Animati (Animated Castles) December. Presenters for this the Animat animation festival with- International Animated Film Festi- year’s show include voice artists in a festival was comprised of Jerry val held its second edition, Octo- Nancy Cartwright (Bart Simpson) Beck (U.S.A.), Mercedes Gaspar ber 15 - 17, 1998 in Rome, Italy. and the legendary June Foray, as (Spain) and Giorgio Valentini The prize winners were selected well as actress T’keyah Krystal Key- (Italy). They selected Un Jour by by an international jury: painter maa (Cosby, In Living Color, Marie Paccou (France) as Best Carla Accardi (Italy), cartoonist and Waynehead). Film, and gave an Honorable director Oscar Grillo (Argentina), Mention to Glassy Ocean by director Daniele Luchetti (Italy), Leipzig Festival Results. Five Shigeru Tamura (Japan). In the cartoonist and director Sergio thousand spectators attended the main festival, Bill Plympton’s film, Staino and director Pal Toth (Hun- animation programs during the More Sex & Violence, won the gary). five day 41st annual Leipzig Inter- Best Short Film award. Grand Prize and Audience Prize: national Festival for Documentary Geri’s Game by Jan Pinkava and Animated Film which Visit the December 1997 issue of Animation World Magazine to read Sitges: Horror and Animation in Barcelona, a review of last year’s Sitges festival, by Bill Plympton.

Disney And Warners Dominate The Annies. The 26th annual Annie Awards ceremony, ASIFA- Hollywood’s honoring of the best in animation, took place Friday, November 13, at the historic Alex Theatre in Glendale, California. Disney’s Mulan finished at the top of the pack winning ten out of the thirty categories, while Warner Bros. Television Animation was honored with six Annies. The awards, hosted by comedian Jay Thomas, will be televised on the Fox Family Channel sometime in Mulan swept the Annies taking home one-third of all the awards December. The complete list of © Disney.All Rights Reserved. winners is as follows:

ANIMATION WORLD MAGAZINE December 1998 75 THE 26TH ANNUAL ANNIE AWARDS

Animated Short Subject: Production: Geri’s Game, Pixar Animation Studios. Carlos Ramos, “ChalkZone,” Oh Yeah! Cartoons, Nickelodeon Animation Studio. Animated Interactive Production: The Curse of Monkey Island, LucasArts Production Design in an Animated Feature Entertainment Company LLC. Production: Hans Bacher, Mulan, Walt Disney Feature Animated Television Commercial: Animation. Flares/Big Pockets, Old Navy, Spumco, Inc. Storyboarding in an Animated Television Pro- Animated Interstitial, Promotional Produc- duction: tion or Title Sequence: Barry Caldwell, “Brain Acres,” Steven Late Night Black and White, Cartoon Net- Spielberg Presents Pinky & The Brain, work, Ink Biscuits. Warner Bros. Television Animation.

Animated Daytime Television Program: Storyboarding in an Animated Feature Pro- The New Batman/Superman Adventures, duction: Warner Bros. Television Animation. Christopher Sanders, Mulan, Walt Disney Feature Animation. Animated Primetime or Late Night Television Program: Writing in an Animated Television Produc- The Simpsons, Gracie Films in association tion: with 20th Century Fox Television. Charles M. Howell IV, Earl Kress and John Ludin, “The Family That Poits Together Animated Home Video Production: Narfs Together,” Steven Spielberg Presents Batman & Mr. Freeze: SubZero, Warner Pinky & The Brain, Warner Bros. Televi- Bros. Animation. sion Animation.

Animated Theatrical Feature: Writing in an Animated Feature Production: Mulan, Walt Disney Feature Animation. Rita Hsiao, Christopher Sanders, Philip LaZebnik, Raymond Singer, and Eugenia Character Animation: Bostwick-Singer, Mulan, Walt Disney Fea- Ruben Aquino, Mulan, Walt Disney Fea- ture Animation. ture Animation. Voice Acting by a Male Performer in an Ani- Effects Animation: mated Television Production: David Tidgwell, Mulan, Walt Disney Fea- Maurice LaMarche, as the voice of The ture Animation. Brain, Steven Spielberg Presents Pinky & The Brain, Warner Bros. Television Ani- Production Design in an Animated Television mation.

ANIMATION WORLD MAGAZINE December 1998 76 Voice Acting by a Male Performer in an Ani- Barbera Cartoons. mated Feature Production: Producing in an Animated Feature Produc- Hank Azaria, as the voice of Bartok, Anas- tion: tasia, Fox Animation Studios. Pam Coats, Mulan, Walt Disney Feature Animation. Voice Acting by a Female Performer in an Animated Television Production: Technical Achievement in the Field of Anima- June Foray, as the voice of Granny, The tion: Sylvester & Tweety Mysteries, Warner Bros. Digital Domain Inc., Titanic. Television Animation. June Foray Award Voice Acting by a Female Performer in an (Significant and Benevolent Impact): Animated Feature Production: Antran Manoogian Ming-Na Wen, as the voice of Mulan, Mulan, Walt Disney Feature Animation. Winsor McCay Award (Lifetime Achievement) Recipients: Music in an Animated Television Production: Alf Clausen (Music) and Ken Keeler Eyvind Earle - Known today for his fine art (Lyrics), You’re Checkin’ In (A Musical Trib- paintings, Earle worked for the Walt Disney ute to the Betty Ford Center) (Song), “The Studios as background artist, color stylist and City of New York vs. Homer Simpson,” production designer for such classic films as The Simpsons, Gracie Films in association Lady and the Tramp and Sleeping Beauty. Later with 20th Century Fox Television. he created art films of his own.

Music in an Animated Feature Production: Hayao Miyazaki - One of the world’s most Matthew Wilder and David Zippel influential animation filmmakers, Miyazaki is (Songs), Jerry Goldsmith (Score), Mulan, the director of many Japanese features, Walt Disney Feature Animation. including My Neighbor Totoro, Kiki’s Delivery Service, and Princess Mononoke, the highest- Directing in an Animated Television Produc- grossing film ever released in Japan. tion: Jim Reardon, “Trash of the Titans,” The Ernie Pintoff - A veteran animation teacher, Simpsons, Film Roman, Inc. in association director and producer of both theatrical shorts with 20th Century Fox Television. (including the Oscar-winning The Critic ) and commercials, Pintoff helped to define a new Directing in an Animated Feature Produc- look for animation in the 1950s through his tion: work at UPA and Terrytoons. Barry Cook and Tony Bancroft, Mulan, Walt Disney Feature Animation. Certificate of Merit Recipients Max Howard Producing in an Animated Television Produc- B. Paul Husband tion: Media City Center Vincent Davis, Cow and Chicken, Hanna- Jean Ann Wright

ANIMATION WORLD MAGAZINE December 1998 77 Events Animazing Gallery hosted a Night- Sprocket Ensemble, with guest mare Before Christmas party, fea- musician Jana Herzen, performed Last Month In Animation turing the debut of a Jack Skelling- live music to animated films by The following is a list of events ton lithograph signed by Tim Bur- Meredith Root, Martha Colburn which took place since the last ton. Animazing is located at 415 and Michael Rudnik. Admission issue of Animation World Maga- West Broadway. For information, was $10.00 general, $7.00 for stu- zine was published. These listings call (212) 226-7374. dents. For information and reser- are published weekly in the Ani- vations call (415) 681-3189. mation Flash, a newsletter which * Saturday, October 24. New York is distributed by e-mail. Subscribe City, New York, U.S.A. * Tuesday, October 27 - Saturday, now! Are there animation events The American Museum of the October 31. Leipzig, Germany. going on in your area? Share your Moving Image hosted a talk and The 41st annual Leipzig Interna- regional event news with the demonstration by Blue Sky|VIFX tional Festival for Documentary international readers of the Anima- about the animated effects the stu- and Animated Film showcased a tion Flash! Please send announce- dio produced for the new 3D retrospective of German anima- ments to [email protected], at least IMAX film, T-Rex: Back to the Cre- tion since 1945, as well as 119 eight days in advance. taceous. The event began at 12 animated films in other programs noon. As a special treat, Chris including a competition. For infor- * Wednesday, October 21. Beverly Wedge gave a sneak preview from mation, contact dock-leipzig@t- Hills, California, U.S.A. his soon-to-be-released animated online.de. The Writers Guild of America’s short. For information, call (718) Media and Technologies Commit- 784-4520. * Thursday, October 29. Toronto, tee and Medialab presented Canada. Rewriting the Future, a discussion * Saturday, October 24. Thousand The fourth Toronto’s Animators’ on the impact of new technolo- Oaks, California, U.S.A. Zoetrope Association (TAZA) Digi- gies on traditional storytelling. Learning Tree University offered a tal Image Festival showcased inde- Harry Shearer, actor, comedian, class, How to Get Hired in the Ani- pendent computer animation and voice of several characters on mation Industry, taught by indus- such as Macca Strewth by Momen- The Simpsons, performed as a live try recruiter Pamela Thompson, tum Animations (Australia). For virtual character created by Medi- from 9:30 a.m. - 12:30 p.m. For information visit: alab. In addition, Francis Ford information call (805) 497-2292. www.interlog.com/~dolish/taza.h Coppola appeared in a video pre- tm. sentation. Admission was free and * Sunday, October 25. Holly- the event took place at 7:30 p.m., wood, California, U.S.A. * Thursday, October 29 - Saturday, at the Writers Guild Theater, 135 The AFI Film Festival presented October 31. Los Angeles, Califor- South Doheny Drive in Beverly Suspended Animation, a 90- nia, U.S.A. Hills. To RSVP call (323) 782-4620. minute program of stop-motion Los Angeles-based art gallery and and computer-animated shorts, book store, Storyopolis hosted * Thursday, October 22 - Sunday, curated by Sojourn Pictures. Films English Soup, a performance fea- October 25. Brisbane, Australia. include Geri’s Game, Bingo and turing six actors and a cast of The Brisbane Animation Festival, a 1001 Nights. The show took place hand-made puppets, devised and biennial event, featured a new at Mann’s Chinese Theater, 6925 directed by Edward Gorey, to kick international competition. Cate- Hollywood Blvd. For information, off Dramatis Artifacti, a one-month gories included Grand Prize, Peo- call (213) 520-2000. exhibition of original art work and ple’s Prize, Best Use of New Tech- ephemera by the artist. Gorey, a nology and Best Student/Debut * Monday, October 26. San Fran- notorious recluse, was not present Film. For information, contact dar- cisco, California, U.S.A. at the Storyopolis event, however, [email protected]. The Ideas in Animation series con- it was a rare opportunity for a tinued at Minna Street Gallery with close-up look at the artist’s work. * Saturday, October 24. New York two performances at 7:30 and Reservations were by non-refund- City, New York, U.S.A. 9:30 p.m. Nik Phelps and the able pre-payment only. Tickets

ANIMATION WORLD MAGAZINE December 1998 78 were $15. each. Call (310) 358- and even Mickey Mouse (Runaway Silence: Kids Speak Out Against 2500. Brain). The event took place at Abuse, John Lennon Sketchbook 7:00 p.m. at Glendale Community and Canemaker’s new personal The January 1998 issue of Anima- College Auditorium, 1500 North film, Bridgehampton. For information World Magazine includes an Verdugo Road in Glendale, Cali- tion call MOMA at (212) 708- interview with Storyopolis’ Fonda fornia. For further information, call 9400. Snyder. ASIFA-Hollywood: (818) 842-8330 or Glendale Community College: * Friday, November 6 - Saturday, * Sunday, November 1 - Friday, (818) 240-1000, ext. 5158. November 14. Siena, Italy. November 6. Milan, Italy. The third Siena International Short The 65th Milan International Film, * Tuesday, November 3. Vancou- Film Festival and Market boasted TV and Multimedia Market ver, Canada. an international competition dedi- (MIFED) offered a focus on anima- VanArts presented Before and cated solely to animated films. For tion, including an Animation Day After Independence: 40 Years of information call (39) 6-4745585. on November 3. Scheduled events Estonian Animation, a retrospec- included a seminar titled Strategy tive put together for the Ottawa * Saturday, November 7 - Monday, for the New European Animation International Animation Festival, November 9. West Hollywood, Feature Film. For information visit which was touring North America. California, U.S.A. www.fmd.it/mifed. The show took place at the Pacific 1001 Nights, a film from Japanese Cinemateque, 1131 Howe Street, artist Yoshitaka Amano and direc- * Tuesday, November 3. New York at 7:30 p.m. The show was made tor Mike Smith, was screened at City, New York, U.S.A. possible by the Ottawa Interna- the Laemmle Sunset 5. Show As part of the School of Visual Arts’ tional Animation Festival and the times were 10:00 a.m. and 11:00 annual Digital Salon, the MFA Canadian Consulate in Estonia. a.m. on November 7 & 8 and department presented an hour 12:00 PM and 12:30 PM on and a half of free animation * Thursday, November 5 - Friday, November 9. For info, call (323) screenings at 12:30 p.m. Films November 13. New York City, 848 - 3500. included How Come You Never New York, U.S.A. Call, Notturno con Pissa and The Anthology Film Archives pre- * Monday, November 9 - Wednes- Tequila Rescue. For information sented selected screenings from day, November 11. New York City, call (212) 592-2010. the First Light series. Films from New York, U.S.A. Jordan Belson, James Whitney, The second New York Shorts Inter- * Tuesday, November 3. Glendale, Norman McLaren, and Oskar national Film Festival featured six California, U.S.A. Fischinger, among others, were competition categories: anima- ASIFA-Hollywood’s third annual lec- shown. There were also discus- tion, comedy, documentary, ture series continued with a very sions from scholars and filmmakers drama, experimental and student. special event: Walt Disney Anima- following a number of the pro- For information visit tion master animator Andreas Deja grams. For info, contact the www.shorts.org. spoke on the subject of character Anthology Film Archives at (212) animation. Deja, born in Poland 505-5181. * Monday, November 9 - Saturday, and raised in Germany, started November 28. New York City, working at Disney at the age of 20 * Friday, November 6. New York New York. (he was turned away when he City, New York. The School of Visual Arts (SVA) pre- applied at age 10!). He is responsi- The Museum of Modern Art sented the sixth annual New York ble for bringing such characters to (MOMA) hosted a retrospective of Digital Salon, an international life as Gurki (The Black Cauldron), animation by animator, educator, juried showcased of computer- Roger Rabbit (Who Framed Roger historian and author John Cane- generated artwork. Computer ani- Rabbit), King Triton (The Little Mer- maker. The screening took place in mation screenings were shown at maid), Jafar (Aladdin), Gaston the Titus 2 Theatre at 6:00 p.m. the SVA Amphitheatre and the (Beauty and the Beast), Hercules and Canemaker was present. Fea- exhibit took place in the School’s (Hercules), Scar (The Lion King) tured films included Break the Visual Arts Museum, both located

ANIMATION WORLD MAGAZINE December 1998 79 at 209 East 23rd Street, where a 216 N. Brand Blvd. The event was (213) 740-3986. reception took place on Novem- hosted by the Los Angeles chapter ber 9 from 6 to 8 p.m. For infor- of the International Animated Film * Tuesday, November 17 - Thurs- mation and to view work on-line, Society, ASIFA-Hollywood. A cham- day, November 19. London, U.K. visit www.sva.edu/salon. pagne reception started at 5:00 The fifth London Effects & Anima- PM with the awards ceremony fol- tion Festival (LEAF) took place dur- * Tuesday, November 10 - Sunday, lowing at 7:00 PM. For more infor- ing the Digital Media World Con- November 15. Esphino, Portugal. mation, call ASIFA-Hollywood at vention at the Wembley Confer- The 22nd Cinanima International (818) 842-8330 and see the ence Center in London. For more Animated Film Festival took place. accompanying news article in the information, call Julie Marshall at For detailed information contact Awards category. (44) 01 81 994 7354 or email to [email protected], or for [email protected]. general information about the fes- * Friday, November 13 - Sunday, tival, visit www.awn.com/cinani- November 22. Flagstaff, Arizona, * Tuesday, November 17 - Thurs- ma. U.S.A. day, November 19. Encino, Cali- The WorldFest Film and Video Fes- fornia, U.S.A. * Friday, November 13 - Sunday, tival, an event which focuses on Bunny, a new computer-animated November 15. Coffs Harbour, independent works which have short film written and directed by New South Wales, Australia. not yet been picked up for distrib- Blue Sky|VIFX founder Chris The 1998 Stanley Awards and Car- ution, featured eight animation Wedge, with music by Tom Waits, toonists’ Conference, hosted by categories this year. For informa- was screened for three days at the Australian Black and White tion, contact Worldfest at tel (713) Laemmle’s Town Center 5 for Artists’ Club, took place at the 965-9955, fax (713) 965-9960 or Academy Award qualification. The Novotel Opal Cove resort and email at [email protected]. film uses a new computer applica- Pacific Bay resort. The annual tion called Radiosity that mimics event featured the presentation of * Saturday, November 14. Los the most subtle properties of nat- the Stanley Awards, the Australian Angeles, California, U.S.A. ural light. Show times were 11:15 “Academy Awards for cartooning,” E.G. Daily (the voice of Tommy and 11:30 AM daily. For further in 10 categories. The two day con- Pickles on Rugrats and Babe the information, contact (818) 981- ference following examined topics Pig) did a reading during the 9811. including comic strip syndication, Babe: Pig in the City Craft and marketing, and using computer Story Hour at Storyopolis. The chil- * Tuesday, November 17 - Thurs- technology to advance yourself in dren’s event, which included craft day, November 19. Beverly Hills, today’s marketplace. Attendees making, started at 11:30 AM. To California, U.S.A. from the US could arranged for a RSVP, call (310) 358-2512. Gilbert and Sullivan-The Very Mod- reasonable tour package from Jim els, a film by Barry Purves (Rigolet- Russell by calling at (61) 2.9522 * Saturday, November 14. Los to, Achilles) was screened at 7013 or by emailing him at Angeles, California, U.S.A. Laemmle’s Music Hall for Academy [email protected]. For gen- Keyframe ‘98 was a screening of Award qualification. Show times eral information regarding the computer-generated films by USC were 3:30 and 4:10 PM daily. For event, call Jenny Hughes at (61) animation students and a number more info, contact (310) 274- 2.9649 6857 or email Steve of guest artists. Plug, a computer 6869. Panozzo at: animated/live-action film about a [email protected]. futuristic society where people live You can read Barry’s complete pro- their entire lives plugged into vir- duction diary, chronicling the mak- * Friday, November 13. Glendale, tual reality machines, was also ing of “Gilbert and Sullivan-The California, U.S.A screened. The event took place at Very Models” starting in the June The 26th Annual Annie Awards, a the University of Southern Califor- issue of Animation World Maga- yearly awards ceremony honoring nia (USC) in the Norris Theater at zine. the best in animation was held this 7:00 PM and was free to the pub- year at the Alex Theater located at lic. For more information, call * Wednesday, November 18 - Sun-

ANIMATION WORLD MAGAZINE December 1998 80 day, November 22. Holland. 3:00 PM. To find out more about mation, call (310)477-5581. The 7th Holland Animation Film the event, contact Louis Albert Festival, organized by the Holland Steidl or Nick Leone at (212) 226- * Tuesday, November 24 - Satur- Film Festival Foundation, was held 7374. day, November 28. Mendrisio, in Utrecht, Netherlands. To find Switzerland. out more about the festival, visit * Monday, November 23 - The Mendrisio Swiss International their web site or email to Wednesday, November 25. Los Animated Film Festival included a [email protected]. Angeles, California, U.S.A. short, feature and animated pilot MORE, the first fully-animated competition, as well as student * Thursday, November 19 - Satur- stop-motion film to be created for films, 3D computer animation, ret- day, November 21. Hollywood, exhibition in the 70/15p (giant rospectives, exhibitions, confer- California, U.S.A. screen) format, was screened for ences and more. For information Short Pictures International Film three days at The California Sci- call (41) 91 646 16 54. Festival (SPIFF) was originally creat- ence Center’s IMAX Theater, in ed to highlight short films, anima- Exposition Park, adjacent to the Storyopolis Gets Animated tion, music videos and documen- USC campus. The six-minute short, With Batman. On Saturday, taries created by Sony Pictures directed by Cal Arts instructor and November 14, the Los Angeles- Imageworks employees, however commercial director Mark based art gallery and book store, this year the program was opened Osborne, was shown in front of Storyopolis, presented a special up to all filmmakers. Visit regular screenings of Everest, the book signing celebrating the pub- http://www.spiffest.com to find live-action giant-screen feature. lication of Batman Animated, a out more about the event. For information about MORE call book with rare artwork, a detailed (323) 255-6119. episode guide, and interviews * Friday, November 20 - Sunday, with the creators and voice actors November 22. Perugia, Italy. * Monday, November 23 - behind Batman: The Animated Although there was no competi- Wednesday, November 25. Santa Series. Batman artists/writers Paul tion section this year at the Car- Monica, California, U.S.A. Dini, Chip Kidd, Eric Radomski, toombria 4th International Anima- TIGHTROPE, Digital Domain’s first and Bruce Timm were on hand to tion Film Festival, the artistic com- in-house production, was pre- greet fans and sign copies of the mittee of Cartoombria ‘98 put miered at the Laemmle’s Monica book. This free event began at together a number of retrospec- Theatre for Academy qualification. 4:00 PM. For future events call tives, exhibits, workshops, screen- The five minute, CG-animated (310) 358 - 2500 or to order a ings, premieres and artist tributes. short was written and directed by signed edition, call (310) 358- To find out more about the festival Daniel Robichaud. For more infor- 2512. visit http://www.awn.com/cartoombria/. ANIMATION WORLD * Saturday, November 21. New York City, New York, U.S.A. STORE The Animazing Gallery hosted a book signing with four animation authors - John Canemaker (Tex Avery, Before the Animation Begins ), John Culhane (Fantasia) , John Grant (The Encyclopedia of Walt Disney Characters), and Ste- fan Kanfer (Serious Business). The authors shared anecdotes and Classic Limited Editions Original Animation Art their experiences about the history of animation during the event http://www.awn.com/awnstore which took place from 1:00 to

ANIMATION WORLD MAGAZINE December 1998 81 On A Desert Island With. . . . Animated Feature Directors compiled by Amid Amidi his month, we caught up with the directors of three of this season’s biggest animated features, and asked each of them what films they would want to have with them if stranded on a desert Tisland. Eric Darnell, co-director of DreamWorks/Pacific Data Image’s successful ANTZ , has been with PDI since 1991 directing the award-winning short, Gas Planet. He also assisted with computer animation research and development for DreamWorks’ upcoming feature, The Prince of Egypt. Kevin Altieri is the director/writer/producer of the highly-anticipated upcoming direct-to-video feature Gen13: The Movie. He was also the director of Pearl Jam’s Do the Evolution video, a director on Batman: The Ani- mated Series and an Eisner award-winning comic artist. Norton Virgien is co-director of the hit feature, The Rugrats Movie, as well as having worked on many seasons of the Rugrats television series. He was previously a commercial director in New York, produced the animation sequence for the live-action feature Nine to Five (1980) and worked on the animated feature Little Nemo: Adventures in Slumberland.

Eric DarnellÕs Top Ten

1. O. Henry’s Full House (Henry Hathaway, Howard Hawks, 1952) — This is a collection of O. Henry short stories put to film. I actually haven’t seen this movie since I was a kid, but The Last Leaf and The Ransom of Red Chief have stuck with me over the years. Every time I try to retell The Last Leaf to anybody I break down and cry like a baby. I’ve looked around for this film, but it doesn’t seem to be available on video. I recently read some of the short stories the film covers and remember liking the movie better than I like the text. I wonder how I’d respond to the film today. It might be really sappy? 2. Odd Man Out (1947) — This is one of my favorite Carol Reed films. I’d also love to bring The Third Man but I feel partially covered by Welles’ The Trial. 3. Orphée (akaOrpheus) (1949) — It was hard to pick between this and Jean Cocteau’s version of Beau- ty and the Beast. I love the very simple and elegant effects. Bringing this movie will also give me the chance to learn how to say phrases like, “The bird sings with its fingers” in French. 4.A Short Film Collection — I’m cheating here, but why should short films get the shaft? I’d build my own collection with works from Tex Avery, Stan Brakhage, Bruce Conner, Maya Deren, Jules Engel, Oskar Fishinger, Chuck Jones, George Kuchar, Len Lye, Norman McLaren, Harry Smith and others. 5. Solyaris (aka Solaris) (1972) — I’ll probably kick myself for bringing any film by Andrei Tarkovsky, but what the heck. This one is based on a science fiction story by Lem. I haven’t seen it for about 20 years. It was supposed to be out on DVD by now, but I haven’t found it. 6. Strangers on a Train (1951) — I don’t know why I’m bringing this Hitchcock film! I’ve seen it a million times, but it is hard to beat. Alfred is particularly ruthless here. 7. Le Procès (aka The Trial)(1963) — I suppose it’s not very original, but Orson Welles is one of my favorite filmmakers. It’s one of the few films Welles made that didn’t get butchered by others. I wish I could bring all of his movies. It’s worth bringing this one just for the scene in the Advocate’s bedroom.

ANIMATION WORLD MAGAZINE December 1998 82 Eric DarnellÕs Top Ten (cont.)

8. Twilight of the Ice Nymphs (1997) — I’ve not seen this recent film by the Canadian filmmaker Guy Maddin, but I saw a short film by him on one of the Short Cinema Journal DVDs that blew me away. I then tracked down a video copy of Maddin’s Tales From Gimly Hospital which is extremely bizarre, but has several truly inspired moments. I wonder what Twilight is like? I’ll risk it. 9. Woodstock (Michael Wadleigh, 1970) — This way I can have some music. 10. 2001:A Space Odyssey (Stanley Kubrick, 1968) — I’ll put this one on in the background while I work on my raft.

Kevin AltieriÕs Top Ten Norton VirgienÕs Top Ten 1. Foreign Correspondent (Alfred Hitchcock, 1. Fantasia (Disney, 1940) — Such grand 1940). ambition. 2. Scaramouche (George Sidney II, 1952). 2. Allegro Non Troppo by Bruno Bozzetto 3. A Bridge Too Far (Richard Attenborough, (1976) — Fantasia alternative. 1977). 4. A Clockwork Orange (Stanley Kubrick, 1971). 3. Dumbo (Disney, 1941) — It’s simple, 5. Shichinin no samurai (Seven Samurai) by Akira sweet and nearly perfect. Kurosawa (1954). 4. The Castle of Cagliostro by Hayao 6. Kumokiri nizaemon (Hideo Gosha, 1978). Miyazaki (1979) — We all learned from this 7. and 8. Hayao Miyazaki’s The Castle of one. Cagliostro (1979) and Laputa: Castle in the Sky 5. Ralph Bakshi’s Heavy Traffic (1973) — (1986). 9. Blood on Satan’s Claw (Piers Haggard, 1971). Certainly not Disney. 10. and 11. Richard Lester’s The Three Muske- 6. Yellow Submarine (TVC, 1968) — Also teers (1973) and The Four Musketeers (1974). not Disney. 12. The War of the Worlds (Byron Haskin, 1953). 7. The Secret of NIMH by Don Bluth (1982) 13. Bride of Frankenstein (James Whale, 1935). — The challenge that re-awoke Disney. 14. The 7th Voyage of Sinbad (Nathan Juran, 8. Who Framed Roger Rabbit by Robert 1958). 15. Henry V (Laurence Olivier, 1944). Zemeckis (1988) — Brilliant concept, bril- 16. Great Expectations (David Lean, 1946). liantly executed. 17. and 18. George Stevens’ Shane (1953) and 9. Toy Story (Disney/Pixar, 1995) — Simply Gunga Din (1939). brilliant. 19. The War Lord (Franklin J. Schaffner, 1965). 10. The Rugrat’s Movie (Viacom, 1998) — 20. The Vikings (Richard Fleischer, 1958). Of course.

Amid Amidi is associate editor of Animation World Magazine.

ANIMATION WORLD MAGAZINE December 1998 83 The Dirdy Birdy

by John R. Dilworth

ANIMATION WORLD MAGAZINE December 1998 84 Plympt-gags

by Bill Plympton

ANIMATION WORLD MAGAZINE December 1998 85 Plympt-gags

by Bill Plympton

ANIMATION WORLD MAGAZINE December 1998 86 Plympt-gags

by Bill Plympton

ANIMATION WORLD MAGAZINE December 1998 87 The Year in Review - The Year to Come January 1999 or January, Animation World Magazine will take a look at the most important events and trends of 1998 and discuss how these events will influence the year to come. Evan FBackes will talk about the busy, quickly evolving world of feature films and Michael Swanigan will take on the highs and lows of television. The trends of the animated television commercial realm will be related by Chuck McBride, while Eric Huelsman will report on the state of both the artistic and business sides of computer generated animation. Irene Kotlarz will recount the history of animation festivals and ASIFA, and how this relationship is chang- ing for a new age. The status of independent filmmakers will be described by oTTo Alder. Pamela Thompson will highlight the area of education and Zahra Dowlatabadi will present an in-depth study of the current and projected job market. J.B. Kaufman will discuss the status of film preservation as we approach the millennium and our precious history continues to turn to dust. We will also survey industry leaders for their opinion on the most important events of 1998 and ask them to look into their crystal balls and predict 1999. In addition, Animation World Magazine will poll prominent filmmakers and artists about what their favorite moments of animation released in 1998 were. Included in the issue will be 1998 news milestones, top quotes and more. Toby Bluth will review the long awaited DreamWorks spectacular, Prince of Egypt. Event reviews will include the London Effects and Animation Festival by George Cairns, and the Hol- land Animation Film Festival by Paul and Menno de Nooijer. Mitch Butler will relate the making of The Smell of Horror, a film that made quite a stir at SIGGRAPH ’98. Barry Purves will conclude his production diary of the times and tribulations of making Gilbert and Sullivan — The Very Models for Channel 4. Animation World Magazine Upcoming Calendar

Year in Review and Future January 1999 Motion-Capture and Stop-Motion February 1999 Production Techonology March 1999 Music and Sound April 1999

ANIMATION WORLD MAGAZINE December 1998 88