November 1996 Vol. 1 No. 8

RobinRobin AllanAllan TheThe FirstFirst MagicMagic KingdomKingdom JudithJudith RubinRubin RidefilmsRidefilms

JillJill McGrMcGrealeal Britain’Britain’ss NationalNational LotterLotteryy GeneGene WWalzalz OttaOttawawa 9696 Table of Contents

3 Editor’s Notebook by Harvey Deneroff 5 Disneyland and Europe:Walt Disney’s First Magic Kingdom Robin Allan examines how Disneyland, the progenitor of today’s theme parks, came into being and the role animation had in it. 9 Something’s Wrong With Our Ship:Animated Motion-Simulator Films in Theme Parks Judith Rubin surveys what’s going on in animated ridefilms at theme parks and other venues around the world and who’s making them. 13 BRC Imagination Arts BRC Imagination Arts, one of the oldest and largest producers of animated and live-action ridefilms is profiled by Rita Street. 16 T2-3D Bob Swain interviews director Jim Cameron’s reworking of Terminator 2 for Universal Studios theme park in Orlando, Terminator 2-3D . 18 The Fremont Street Experience: No Glitz, No Glory! Las Vegas’ Freemont Street Experience boasts of the world’s largest electric sign and Jane Baer explains to Frankie Kowalski how one does animation for a 5 screen panel that is almost 1,400 feet long. 20 The Electric Felix Man John Canemaker relates how Otto Messmer, the creator of Felix the Cat, got into directing animated films for a Times Square landmark. 22 The National Lottery:A Polemic The unexpected success of Britain’s new national lottery can be a means of mitigating the dire results of privatization in funding animated films. Jill McGreal explains. 25 Contracts for Original Works Published on Internet Attorney Nicolas Valluet explores the whys and wherefores of having your work 26 put on the Internet. English version - French version (version francaise) Reviews 28 Betty Boop:The Definitive Collection by Harvey Deneroff Festivals & Conferences 30 Ottawa International Animation Festival by Gene Walz 34 Brisbane Animation Festival by David Marshall 36 Society for Animation Studies: 8th Annual Conference by Harvey Deneroff 38 Desert Island Series....Please keep your arms in the vehicle while the ride is in motion! Scott Ross, Jane Baer and Bob Rogers. Compiled by Frankie Kowalski 39 AWN Comics Dirdy Birdy by John R. Dilworth 40 News Wallace and Gromit Conquer America, Cartoon Forum, Kurosawa Does Animation,Three Little Pigs, Ottawa 96 Winners, and more. 47 Next Issue’s Highlights November 1996 1 Cover: Tad in sound stream tunnel in Adventures in Audiana © The Works

© Animation World Network 1996. All rights reserved. No part of the periodical may be reproduced without the consent of Animation World Network.

ANIMATION WORLD MAGAZINE October 1996 2 by Harvey Deneroff

Theme Park Animation lottery as a possible solution. Also, Several years ago, when I start- Nicolas Valluet examines the prob- ed doing detailed profiles of ani- lems of “authors” in negotiation mation studios for my Animation contracts for putting their works Report newsletter, it quickly online in “Contracts for Original became evident that theme park Works Published on Internet.” animation was showing up with In this month’s selection of more frequency than I had imag- reviews and reports on festivals and ined in the filmographies of a conferences, I start off with a brief number of companies. It was this look at Betty Boop: The Definitive realization that opened my eyes Collection, a new boxed set of to the fact that this sort of pro- eight video tapes, as well as take a duction was a small, but increas- more extended look at the recent ingly important segment of the conference put on by the Society of animation industry. And for any- Animation Studies, at the University one who has experienced such tor Jim Cameron in “T2-3D” and of Wisconsin, Madison. Also, Gene attractions as The Back to the how he and his company, Digital Walz reports in from the latest edi- Future Ride at Universal City Studios Domain, turned his classic sci-fi film, tion of the Ottawa International knows, it can also be a lot of fun. Terminator 2 into a 3D extrava- Animation Festival, the premiere We start our survey of anima- ganza at Universal City Studios, event of its kind in North America, tion in theme parks with Robin Orlando. and David Marshall does the same Allan’s “Disneyland and Europe: In “The Fremont Street for the first edition of the Brisbane Walt Disney’s First Magic Kingdom,” Experience: No Glitz, No Glory!,” Animation Festival. which details how the first of mod- Frankie Kowalski talks with Jane Finally, Frankie Kowalski’s Desert ern theme parks came about, and Baer, of The Baer Animation Island Series hears from several peo- the influences of Europe and Company, about what it was like ple involved in theme park anima- Disney cartoons shaped its char- animating for the world’s largest tion at various levels, including acter. electric sign (and biggest movie Digital Domain’s Scott Ross, Baer In “Something’s Wrong With screen as well) which towers over Animation’s Jane Baer and BRC Our Ship: Animated Motion- four city blocks in downtown Las Imagination Arts’ Bob Rogers, while Simulator Films in Theme Parks,” Vegas. And John Canemaker recalls John R. Dilworth presents the latest Judith Rubin provides an introduc- how animation pioneer Otto installment of his “The Dirdy Birdy” tion to the nature of animated ride- Messmer, of Felix the Cat fame, comic strip. films, along with a rundown of the worked on a somewhat more latest productions from some of the modest scale for a sign in New Announcing Animation Review leaders in the field, including New York’s Time Square over a half cen- It is no secret that a number of Wave Entertainment, Rhythm & tury earlier. the articles that we have presented Hues, Midland Productions, SimEx On a completely different topic, in past issues derive from the work and The Works. Rita Street gets Jill McGreal, in her “The National of some of the leading scholars in more specific with her profile of Lottery: A Polemic,” examines how the field of animation studies. Their one of the oldest companies in the Britain’s policy of privatization of works are often presented first at field in “BRC Imagination Arts,” government activities might impact conferences put on by organiza- whose portfolio extends to films the country’s animation industry. tions like the Society for Animation made for “World Fairs, aquariums, She sees hope, however, in an Studies and published in peer- museums and visitors centers.” innovative plan to tap into the reviewed publications like Then, Bob Swain, interviews direc- monies generated by the national Animation Journal.

ANIMATION WORLD MAGAZINE November 1996 3 Needless to say, there are lim- for Animation Studies Conference its to presenting scholarly work in in this issue. a publication like Animation World Magazine. There are certain limits Call for Films & Videos to what one can present in a mag- Animation World Magazine azine aimed at a more general would like to expand its coverage readership: articles may have to be of new independent animated ANIMATION WORLD NETWORK drastically cut, the writing simpli- films and videos. However, it is hard 6525 Sunset Blvd., fied and footnotes dispensed with. for us to keep up with what’s new Garden Suite 10 This, along with the fact that, out- in this area, especially as many indi- Hollywood, CA 90028 side of Animation Journal, there are viduals and smaller studios lack the Phone : 213.468.2554 no other peer-reviewed publica- public relations apparatus that larg- Fax : 213.464.5914 tions devoted strictly to animation. er companies have. As such, we Email : [email protected] Thus AWN is proud to announce would invite filmmakers and com- that it will be publishing a new panies to feel free to submit their online academic journal, Animation works for possible review; material Review. I will act as Editor-in-Chief, should be submitted on videotape; ANIMATION WORLD MAGAZINE although individual issues will be VHS tapes using NTSC format is [email protected] under the direction of one of sev- preferred, but other formats are PUBLISHER eral Associate Editors, which will also acceptable. We offer no guar- Ron Diamond, President include some our leading anima- antees, but will try to give proper Dan Sarto, Chief Operating Officer tion scholars. consideration to all titles submitted. We naturally invite submissions EDITOR-IN-CHIEF from readers, details of which can Harvey Deneroff be found in the Call for Papers at Harvey Deneroff ASSOCIATE EDITOR/PUBLICITY the end of my report of the Society [email protected] Frankie Kowalski

CONTRIBUTORS : Call For Papers Robin Allan John Canemaker Animation Review Harvey Deneroff The International Journal of History, Theory Frankie Kowalski & Criticism David Marshall Jill McGreal Animation Review, a new peer-reviewed journal to be Judith Rubin published on the Internet by the Animation World Network, is Rita Street now soliciting papers in all areas of animation studies. Bob Swain Submissions, using the Chicago Style Manual, can be made as Nicolas Valluet an email attachment or on computer disc (in any standard PC Gene Walz or Macintosh word processing format), along with three copies of the paper. Articles should be in English. In all instances, the author’s name should not appear in the body of the paper, but Le WEBMASTER Guillaume Calop should be on a cover page, as all articles will be blind refereed. DESIGN/LAYOUT : IMP Graphic Articles and inquiries should be sent to: e-mail : [email protected] Christa Theoharous, Guillaume Calop Harvey Deneroff, Editor-in-Chief ADVERTISING SALES Animation Review, The International Journal of History, Theory & Criticism North America : Wendy Jackson 6525 Sunset Blvd., Garden Suite 10 Hollywood, CA 90028 USA Europe : Vincent Ferri [email protected] (email) http://www.awn.com (URL) Asia : Bruce Teitelbaum (213) 468 2554 (phone) (213) 464-5914 (fax) UK: Roger Watkins

ANIMATION WORLD MAGAZINE November 1996 4

Disneyland and Europe: Walt Disney’s First Magic Kingdom

by Robin Allan n the late 1990s, with a the American parks proliferation of theme depressed him with their Iparks all over the squalor, their lack of Western world, as well as organization, haphazard in Africa and the Far East, and tiring acres of con- it is difficult to recall that crete, their surly person- just over 40 years ago nel. In Denmark, he was there were none—until impressed by Tivoli Walt Disney opened Garden. “It was spotless Disneyland in 1955. and brightly colored and There were national exhi- priced within the reach bitions and world fairs on of everyone,” he said. one hand, and pleasure “The gaiety of the music, parks on the other. And the excellence of the that was that. Disney food and drink, the combined the two forms warm courtesy of the and added a new ingre- employees—everything dient—fantasy, adapted combined for a pleasur- Sleeping Beauty Castle, the entrance to Fantasyland from his animated films. © Disneyland able experience.” Disneyland extended ani- He had begun think- ing use of his films as products. It mation, using the heritage of ing about a park for employees and was a creative dream by the man Europe and a nostalgia for an friends as early as 1948 on vacant who had seen the story of Snow American past, wrapped up as a land near the studio, and in an White (1937) grow in his mind until three-dimensional package and con- internal memo he wrote: it could be realized dramatically sumed by visitors, very much in the through the animation skills of his way Disney had seen patrons mak- The Main Village, which staff. The financial risk taken by includes the Railroad Station, Disney in his new venture is built around a village had its parallels in the one green or informal park. In he took nearly 20 years pre- the park will be benches, a viously when he was pour- bandstand, drinking foun- ing his energy and tain, trees and shrubs. It will resources into the making of be a place for people to sit Snow White. and rest; mothers and grandmothers can watch Rest, Recreation & over small children at play. I Nostalgia want it to be very relaxing, At first, Disney searched cool and inviting. unsuccessfully for a park that possessed the ingredi- The text is clearly Disney’s own. The Enchanted Tiki Room,Adventureland (interior) ents that he was looking for; © Disneyland The emphasis on comfort and safe-

ANIMATION WORLD MAGAZINE November 1996 5 kling of an eye, a dreamscape made manifest. As in a dream, the visitor glided as if by magic by means of boat or train or cable car monorail or “people mover”; as in a dream, there was a smooth transference from one world to another; there was no need to walk, and the exhaustion caused by other parks and museums, a reminder of reali- ty and of bodily limitations all too linked to the actual world, was at once removed. Water featured as an element in many of the animated films; so with Disneyland. Water flowed every- where, a companion to the stroller or as a means of conveyance on a number of rides, or as an adven- turous accompaniment. It is difficult Disney with the plans for Disneyland © Disneyland to remember that all the water in the Disney park is, though real in ty, with concern for the users is part Western or adventure story, or expe- element, false in direction and flow, of the Disney ethos. His insistence riencing the vicarious thrill of a night false in place. It has been diverted, on placing his audience in the fore- flight over Never Land. pumped and projected over artifi- front of all his discussions is charac- cial rocks and into artificial lagoons teristic; Disneyland is still, today, a Cartoons Made Real and lakes and rivers. Reality has place of rest and recreation and, for Disney could now make real the been made into fantasy. Water has the adult, nostalgia. The visitor is two-dimensional world of his car- almost been turned into wine. In reminded of the past at every turn, toons, which he had been trying to fact, the whole park is a controlled from the moment one steps out into make more lifelike through technical Main Street to the end of the visit, devices such as the multiplane cam- where everyone has to leave by the era and through ever more exact copying from live-action film. Disneyland is still a place of His new imaginary world was rest and recreation and, for made concrete by the same artists the adult, nostalgia. who had created his cartoon films. So there was a continuity in collec- same entrance/exit. Disney did not tive thinking and in practical ability. want the public to be disorientated By utilizing their skills, Disney com- by too many exits. Like a film inside bined a nostalgia for the past of a cinema, the park is hidden from America (a past colored itself by its view and only the vast parking lot, own popularizing through the cin- a horizontal equivalent to the ema) and the imaginary fantasy of expressionless exterior of a movie Europe, symbolized by the sight of theater, is a clue to the numbers of Sleeping Beauty’s castle pointing its people that the park absorbs. Once pinnacles into the Californian sky through the tunnel that lies under beyond the confines of Main Street. the bank built to screen the Magic This was a world of the miniature Disney standing on Main St. under his Kingdom from the outside world, where geography and history could apartment. one is inside a film, taking part in a be eliminated literally in the twin- © Disneyland

ANIMATION WORLD MAGAZINE November 1996 6 environment, with color coded itly. Here lay the seeds not only for buildings, scaled down vistas and His new imaginary world the scale of Disneyland, but also for perspectives, so that the visitor, the was made concrete by the the audio-animatronic figures with “guest,” sees only what the design- same artists who had creat- which he would populate the indi- er has planned him or her to see. ed his cartoon films. vidual rides. John Hench, who was one of with the satisfaction of total control The little articulated model man Disney’s closest collaborators on the over an environment which could which he brought back from an development of Disneyland told me not be defiled by life, that was per- early visit to Europe was the inspi- that, “We had total control, a visual fect, brighter, cleaner, prettier, its ration for one of the first of the literacy. Live action filming has to dolls and puppets able to perform theme lands that he planned for his count on a lot of acci- Disneyland ideas, a dents, but in a cartoon Lilliputian land that never we could gradually actually materialized. eliminate the things that However, based on the contradicted what we mechanical bird that he were trying to say. With also brought back from the background we Europe, the first audio-ani- had, this was a very matronic figures were birds easy thing to apply to for the Tiki Room, a the third dimension.” Polynesian show at Umberto Eco, in his Disneyland which for crass- book Travels in Hyper- ness beggars description, Reality, has also drawn but which was an immedi- attention to the ate and long-lasting suc- American passion for cess; it was a particular collection, the appetite favorite of Disney’s and is for adding a detritus of the one presentation which the past even vicarious- bears his personal stamp. ly through a variety of Another link with the sources, in particular animated film, on which from Europe. His com- the Magic Kingdom is so ments on the carefully based, is the Hearst/Kane-San appearance of living per- Simeon/Xanadu kalei- formers as cartoon charac- doscope can also be ters. These are members of applied to Disneyland the Disney “cast” wearing and its “voracity of selec- three-dimensional plastic tion ... the fear of being heads. They emerge from The “Partners” statue (Walt Disney & Mickey Mouse) in the Central caught up in this jungle Plaza, south of the entrance to Sleeping Beauty Castle. secret entrances from time of venerable beauties © Disneyland to time as if by magic, their which unquestionably always at command; making art heads frozen into inanimate has its own wild flavour, its own more perfect than life. The “lifelong grotesques of their cartoon originals pathetic sadness, barbarian rage to order, control and keep which could squash or stretch them- grandeur and sensual perversity.” clean any environment he inhabit- selves into any conceivable shape. Eco continues by saying that, “the ed” that Richard Schickel stresses in These caricatured animal and comic ideology of this America wants to his book The Disney Version, led figures with their giant masks, establish reassurance through imi- also to the creation of the figures though monstrous to the adult, tation.” which populated his dream world. seem to attract children, who clus- As ringmaster to a circus, his ani- ter round the performers-as-Disney Total Control mals and clowns and performers characters. The power once again Disney, however, went further, had to obey his commands implic- of the mask as icon is seen as pro-

ANIMATION WORLD MAGAZINE November 1996 7 Disneyland has been likened What happened with Walt to the great private parks of is the same thing that hap- Europe, the enclosures for an pened to a lot of us later in elite like the court of Louis XIV our lives, that he went to at Versailles. The icons are dif- Europe and he looked ferent, the few have become around the castles and the the ordinary people who can chateaux and the parks, the afford the entrance fee, the architecture, the artistic influ- public with whom Disney ences and he came home instinctively identified. Al- and he said, “God darn it! though separated culturally, I’m gonna give this as a gift “each in its own way cele- to my people.” brates similar pleasures and pieties,” as Christopher Finch Soon after the park was opened, put it in his Wa,lt Disney’s the head gardener came to Walt America, “Each reflects the cul- and said, ture that produced it, removed from everyday reali- “Look Walt, I’ve got a lit- ties of life.” tle problem I want to show The Mickey Mouse planter at the Main Entrance to you,” and he took him over Disneyland. A New Toy to a spot facing the castle, © Disneyland Disney was continually chang- and said, “Look. I’ve got to tective, assuring. ing Disneyland, tinkering, improv- have a sign here which says On the other hand, the nearly ing, altering. For him it was never ‘Keep off the grass,’ because human all-electronic figure of static or complete and there are look at the way everyone’s Abraham Lincoln is the more alarm- many stories about him; he would trampling down these pan- ing or threatening because of its stay overnight—he had an apart- sies trying to get a shot of similarity to and yet differencs from ment over the fire station on Main the castle with their cameras. its model, the real. Artifice here Street USA—and wandered around So can I have a little barrier becomes morbid and polite to the the park looking for ways to here, a little fence?’ nightmare of a future where films improve or enlarge his dreamscape. like Westworld (1973) and Blade So he had wandered around the Walt says, “No. Wait a Runner (1982) can and surely will studio at night or at the weekend minute. Tell you what we’ll become reality. looking at his artists’ work, surveying do. We’ll put a little rock walk Disney as puppet master had no their scribbles and even the dis- right through there and we’ll vision beyond the recreation of real- carded material in their wastebas- put up a sign that says, ‘Best ity through his figures, and could kets. He would talk to people in the vantage point for filming the not see how easily his benignity park, ask questions, invite com- castle.’” ments. It was his new toy. Artifice becomes morbid Ray Bradbury, himself a teller of and polite to the nightmare tales, was a close friend of Disney of a future where films like and told me about the European Robin Allan is a writer and Blade Runner (1982) can and origin of the mythological center of surely will become reality. art historian based in Disneyland. Bradbury is also an Derbyshire, England. He has American from the Midwest living lectured on Disney in could become malignity. The hor- on the West Coast. Britain,Germany and the ror of the Lincoln exhibit is bound United States, and his book up with the American ideal, with Disney was only out to do Walt Disney and Europe will the desire to start afresh, to recre- one thing, to please himself. be published by John Libbey ate, to encompass, to package, to He saw a hunger, a need in in 1997. package humanity. himself and the world ...

ANIMATION WORLD MAGAZINE November 1996 8 Something’s Wrong With Our Ship Animated Motion-Simulator Films in Theme Parks by Judith Rubin NewWave Entertainment provided by the theater seats, which are most common: A) Sister Ship, B) Astro Canyon Coaster; Cosmic are programmed to move in con- Molecular Shrink, C) Time Machine, Pinball; Devil’s Mine Ride; Glacier cert with the film. Generally the D) Crisis Landing, E) Something’s Run; Hi-Chip Tour; Journey Through experience simulates a ride in a vehi- Wrong With Our Ship, F) Save the the Center of the Earth; Planet, G) Oops! Wrong Kid Coaster; RGB direction, H) Time Clock, Adventure; Secrets of the I) Encounter an Evil Lost Temple; Volcano Creature, J) Camera Mine Ride. point-and-shoot and K) Where to see them: On-camera “host.” Iwerks Turbo Ride Under this system, Back Theaters in locations to the Future—the Ride, worldwide, including: which plays at the Empire State Building, Universal Studios’ parks New York; Reino in Hollywood and Aventura, Mexico City; Orlando, is a #2ACDE- Seacon Square, Bangkok; FGHIK. Tokyo Dome, Tokyo; Star “You have four min- City Metro, Manila; and utes to tell your story,” Hoyt’s Cinemotion, says Ray Spencer from Melbourne. Showscan New Wave’s Sherman simulator theaters in loca- Oaks, California office. tions worldwide includ- “It unfolds in a linear ing: Cinemania in Uni-ver- way. We see them as

sal CityWalk, Universal Funhouse Express: minidramas of two to City, California; CN Tower, © Midland Productions four acts each. A back- Toronto; Cartuja Park, story is essential.” Seville; Lotte World, Seoul, cle, frequently down a track or “It’s easy to have CG animation Gardaland, Verona; Mitsubishi through a tunnel. look like CG animation,” says Ocean Dome, Kyushu, Japan; and Ridefilms are a bit formulaic in Spencer from New Wave’s Sherman Nordsjoellands Sommerpark, Cop- their storytelling. Producer Charlotte Oaks, California office. “But that enhagen. Huggins and designer Ray Spencer holds the customer at a distance. of NewWave Entertainment, a We work to create enough interest Animation in theme parks most Belgium-based company that is and enthusiasm by using material frequently appears in the form of probably the foremost producer of to which people can relate; some- the four-minute, motion-simulator animated ridefilms, humorously sort thing that connects them to their film or ridefilm. Simulator films gen- the ridefilm genre into six plot cat- real-world experience. Animation is erally are produced in special for- egories: 1) Rollercoaster/Track, 2) not an end in itself.” mats, and they are the visual com- Flying, 3) Underwater, 4) Racetrack/ Spencer praises computer ani- ponent of a brief virtual adventure One Plane, 5) Object/Person point- mation for its versatility. With virtu- through some fantastic terrain or of-view and 6) Dark Ride. Within al sets and environments, he says, other. The motion component is those plots, the following devices you can do what would be too

ANIMATION WORLD MAGAZINE November 1996 9 costly to do with miniatures. “We ROM area is very linear and orga- many in the business to be one of can create anything in our work- nized-looking. In a visual pun of the the best CGI pieces in any genre. It stations,” he says. “There’s no limit animation process, the graphics opened at Porto Europa in 1994. on subject or on setting. But you area resembles a fabrication shop. “Even now,” says Coss, “it pushes have to understand how the eye The sound area is crammed with the envelope in terms of lighting sees things. The software can’t do it sound effects and crazy occur- and animation.” The company relies right without human intervention.” rences. Recent productions include almost entirely on its own propri- Red Rock Run and Secrets of the etary software for animation pro- Lost Temple. Budgets run from ductions. With virtual sets and environ- $700 K to $5 million, averaging at All images of this 3 1/2-minute ments, you can do what would about $2 million, says Charlotte simulator film were computer mod- be too costly to do with minia- Huggins. eled and lit in great detail, right tures. down to the dust particles, bubbles Rhythm & Hues and texture maps. The animation The lifespan of a successful sim- Seafari team included Larry Weinberg, ulator film is fairly long, Spencer Where to see it: Porto Europa in Loren Lanning and Steve Ziolkowski. notes, because there are always Wakayama, Japan Weinberg went on to write his own new audiences and repeat rider- Ellen’s Energy Crisis commercially available animation ship. New Wave’s first production, Where to see it: Epcot Center, software, called Poser. the 1993 Devil’s Mine Ride, is still Orlando The story: Our sister ship is lost showing around the world. In it, a Star Trek: The Experience and we are launched into the crusty, diabolical old miner decides Where to see it: Las Vegas Hilton ocean on a search mission. Sammy to send us on an alternative tour to the Dolphin turns up to guide our the one we’re supposed to be Los Angeles-based Rhythm & minisubmarine and protect us from expecting, and in our simulated Hues is a leader in computer ani- dangers. And of course, we need vehicle we go crashing and swoop- ing through tunnels and along tracks in a disused and dangerous sector of the ancient mine. The chal- lenge, says Spencer, was to create an organic look of rotting timbers, twisted rails, flickering torches and falling rocks. “It was an ambitious project at the time,” he laughs. “None of us was sure we could pull it off.” Not all New Wave’s ridefilms have the organic look. Silicon Adventure, a trip through a chip, is appropriately slick and geometric. Still, Spencer emphasizes the need Rival notes face off in Jazzland in Adventures in Audiana to have elements that make the © The Works journey real, credible. Inside the chip are stamped-on numbers, a mation, having done many his protection. We soon encounter company logo, dust, “things that sequences for commercials and fea- a toothy sea monster and have to we all recognize in a particular ture films as well as amusement run for our lives. We dart inside an scale,” says Spencer. The different parks. Their work can be seen in the old tanker ship, pursued by the areas of the Silicon Adventure chip film Babe and the Pepsi polar bears monster; we escape but the mon- were depicted metaphorically. The spots. And according to Executive ster bites the tail end of our sub- RAM area is filled with cyclones and Producer Ellen Coss, the company’s marine, hitting the fuel tank. The sparks to represent energy. The production Seafari is considered by captain hits the ejector button; the

ANIMATION WORLD MAGAZINE November 1996 10 explosion blows us out of the water plus some live action. It’s a produced by Midland in 1995 for and we splash down back at the Federation vs. Klingon battle in Imax Ridefilm, features stop-motion mother ship with our mission com- space that includes a sequence in animation all the way through. pleted. which the ship touches down on The protagonist of Funhouse, the Las Vegas Strip. The company Jimmy, is a downtrodden, disgrun- It’s a Federation vs. Klingon is also in production on an elabo- tled clown who operates an old battle in space that includes a rate, animated film for an Imax 3D broken-down funhouse for a tyran- sequence in which the ship simulator ride. It opens sometime nical boss. But he has secretly built touches down on the Las Vegas next year at Caesar’s Emporium in his own fantastical ride in the bow- Strip. Las Vegas. From their hydraulic, els of the funhouse, and this secret moving seats, audience members ride is the one on which he takes The preshow features a two-ton will don headsets that include elec- us. It’s been built out of old bits and water tank with Sammy swimming tronic, liquid-crystal shuttered glass- pieces of carnival equipment. Our around inside. He’s an animated es and special sound systems and adventure includes riding along the rear projection and seems to be a be enveloped by 3D images on a tongue of an enormous head, real, solid creature, except that he 70mm dome screen. going down a dark tunnel to talks to us, has a cartoonishly expres- encounter a huge pair of snapping sive face and wears a backpack. Midland Productions dentures at the end, bouncing off Rhythm & Hues also produced Funhouse Express the nose of another huge clown the 50-second, animated opening Where to see it: Sega City@Play- head that is the ride’s centerpiece, and cruising through a dimly-lit clown’s graveyard. The film is extremely detailed and has the air of a Hieronymous Bosch painting. Midland’s Yas Takata directed; ani- mator was Anthony Scott. The four- minute film was made in VistaVision.

SimEx In a collaboration with New York-based Ogden Entertainment, SimEx of Toronto is producing a Tad and Mike (or MC) in Adventures in Audiana motion-simulator feature that will © The Works open in zoos around the world in spring 1997. Allen Yamashita, cre- sequence for Ellen’s Energy Crisis, dium,Toronto; Sega Joypolis, ative director for the project, points which opened in summer 1996 at Niigata, Japan; Neo Geo World, out that the work will break new the Exxon Pavilion in Epcot Center. Tsukuba, Japan; The Magical World ground in content, style and venue. The show is hosted by TV person- of Fantasy Island, Lincolnshire, It’s a story about a little boy who alities Bill Nye and Ellen Degeneres. England; Gaumont Theaterplex, dreams of covering the earth with The animation is a CGI conception Valenciennes, France. buildings of his design. He is visit- of the big bang and the formation ed in his dreams by an animal spir- of earth. Since Berkeley-based Midland it. The spirit reminds him that devel- Star Trek: The Experience is a Productions entered the simulation opment plans need to include room new simulator ride slated to open field in 1989, they have made nine for other living creatures, and takes at the Las Vegas Hilton in March simulation films. Some feature live him on a journey to acquaint him 1997. The entire hotel is being retro- action, some miniatures, some CGI, with other creatures, turning the fitted with a Star Trek theme. R&H is or combinations thereof. The com- boy into various animals and com- producing the 70mm simulator film pany is now focusing principally on municating a message of greater and its preshow, using animation CGI production. Funhouse Express, respect for other living things and

ANIMATION WORLD MAGAZINE November 1996 11 for peaceful coexistence and shar- Futuroscope. According ing of the environment. to Fred Hope, of The animation is being done in Audiana producer The a style reminiscent of children’s book Works, based in Long illustration. It will combine CGI and Beach, a new cut is 2D cel animation to evoke great forthcoming to demo visual depth. “We’re not trying to the Panasonic digital replicate reality,” says Yamashita. video disk system (DVD) “This will be more like painting than that will shortly make all photography.” SimEx will take this our CD-ROM drives obso- film on the road in the spring along lete. with two other new animated “The cost of comput- Seafari by Rhythm & Hues Inc. Yamashita films, Mars and Jove’s er animation can be © Recreation Services Hammer. The films will run at par- amortized, if you pro- musical planet-cities named ticipating zoos, museums and enter- duce something versatile,” says Orchestria, Rock City and Jazzland. tainment centers in SimEx’s trans- Hope. “We can take the whole In his role of caretaker, treble-clef portable, 40-seat simulator theater. design database of characters and MC zips around Audiana in his little objects and settings and reuse ship, taking shortcuts through “The cost of computer anima- them. It’s easy to recut, to stretch sound tunnels. He’s working to tion can be amortized, if you the concept, to dub it in a different resolve the plague of sound quakes produce something versatile.” language, even to retime it for dif- that is causing a rash of sour notes ferent music.” he says, pointing out throughout Audiana, and enlists the that the digital disk version of Sound Rangers in his mission. The Works Audiana will include dubs in four Together, they restore the musical Adventures in Audiana languages and subtitles in at least harmony of their world. Keith Where to see it: Futuroscope Park, four more. The budget of the orig- Melton of Infinity Filmworks, Los Poitiers, France; Matsushita/Pana- inal was $1 million. “We could now Angeles was creative director; Magic sonic showrooms in Japan. do the exact same film for half the Box Productions of Beverly Hills did money and in half the time,” says the rendering and the soundtrack The original version of this 6 1/2- Hope. was written by The Works’ Chip minute, animated short story (not Audiana screens at Futuroscope Smith. Panasonic was executive pro- a simulator film) debuted in Japan in on a high-definition video projec- ducer. 1994 at regional expositions in the tion screen with five-track surround cities of Wakayama and Mie, and in sound. Each of the main characters Panasonic showrooms to promote is some kind of animated musical their HDTV system. It was later notation. The lead role is played by Judith Rubin redubbed in French for display at an animated treble clef called MC ([email protected]) is an Treble. He ex- Oakland-based freelance writer presses himself in the themed entertainment in rap music industry, with a particular inter- mode. Another est in special-format film and character is a entertainment applications of young, single technology. In addition to con- note called Tad. tributing a regular column to At- Tad is one of the-Park magazine, she writes the Sound for Fujitsu Cultural Rangers, a team Technologies’ WorldsAway of endearing product family of animated, young hero online virtual communities. types. Audiana is The Mars Ride © SimEx Digital Studios a solar system of

ANIMATION WORLD MAGAZINE November 1996 12 BRCBRC ImaginationImagination ArtsArts by Rita Street he artists and engineers of say to ourselves, ‘Remember. It’s a BRC Imagination Arts have party.’ “ Tbeen in the business of creat- ing special venue attractions for the Party Time past decade. In fact, if your sum- And a party it’s certainly been mer vacation plans took you to the for this company that opened back Disney-MGM Studios Theme Park in 1981. Hidden behind an unas- in Florida, NASA/Johnson Space suming brick facade in an industri- Center’s Visitor Center in Texas or al area of Burbank, California, BRC Knott’s Berry Farm in California, is a think tank of 25 visual artists then you probably experienced a that, along with an army of free- little of their collective genius at lancers, have won over 200 inter- work. national awards and two Oscar Says executive producer, vice nominations for their films and president George Wiktor, “In attractions at World Fairs, aquari- essence everything we create is for ums, museums and visitors centers. people on holiday. Therefore every- “We’re also known as the funny thing we do has to be entertain- George Wiktor,Vice President, format filmmakers,” jokes producer ing. That doesn’t mean it can’t be Production, BRC Imagination Arts Marci Carlin, who says that her informative, but it does mean our © BRC Imagination Arts company has produced films for work has to transport vacationers in a group. In fact, that’s one of our every format imaginable, for view- outside of themselves.” Wiktor adds basic rules. It’s not technological at ing in every kind of theater—even that even though his company cre- all but it’s important—that special venues that entirely surround the ates events and attractions using a venues are group experiences; audience. Excusing herself for what multitude of formats and creative shared events between family, sounds like corporate propaganda, techniques—including animation— friends and strangers. It’s definitely she adds, “Basically we sell solu- the process of production never more fun to ride a roller coaster tions”—a catchy phrase that defi- overshadows the end result. Since after watching hundreds of nitely describes BRC’s core business. content is the one thing that keeps strangers get on a ride, scream and For example, in 1988, Walt people coming back to attractions yell and then get off, than it would Disney Imagineers approached BRC year after year, the quality of con- be to not have seen them. It sounds to assist them in creating a tour tent, rather than the technology cliché, but when we are designing through a working animation stu- used to create it, must remain the and producing a project we always dio built at the Disney/MGM focus. And, if there’s one thing Studios theme park. Making the Wiktor has learned about content “We always imbue our projects production experience accessible over the years—it’s gotta be fun. with a sense of humor, wonder to viewers without disturbing the Says Wiktor, “We always imbue and emotion—all those ele- artists was the challenge. our projects with a sense of humor, ments that people love to “The first step in a project like wonder and emotion—all those share in a group.” this,” says Carlin, “is to figure out elements that people love to share just how long your experience

ANIMATION WORLD MAGAZINE November 1996 13 wants to be. Then you figure out Imagineers, BRC artists developed, rary animation studio, but did your capacity—how many people scripted and produced all the short involve scripting and direction. One can and need to be moving films exhibited throughout the called “Animators on Animation” is through the experience based on experience. To introduce newcom- an interview/documentary with the number of people in the park ers to the animation process in a famous Disney animators delving on a given day. Then you design compelling fashion, BRC producers into the reasons why these artists an experience that can chose animation as comfortably accommo- their life long careers. date that many peo- The other is a mon- ple.” tage of classic Disney animation. Magic of Disney For “The Magic of Space Center Disney Animation,” BRC Houston and the Disney BRC delved into the Imagineers decided to realm of computer move approximately animation for its expe- 1000 guest through rience called “Space the exhibit per hour. Center Houston.” The experience begins One element of this in a movie theater inspirational attrac- (each theater holds tion, dedicated to “re- approximately 250 generating” interest in audience members), the Space Program, is then moves through all Magic of Disney,Walter Cronkite and Robin Williams a Space Shuttle the departments of an © Walt Disney Company Training Simulator ride animation studio—sto- called Land the ryboard, layout, character anima- cast veteran newscaster Walter Shuttle. Using IBM hardware and tion, etc.—in elevated tiered pas- Cronkite as a host or straight-man software, BRC artists and engineers sageways that allow both the visi- to the energetic Robin Williams. In mixed live action with real-time ani- tors to view the animators and the the film Back To Neverland, mation to create a ride that visitors animators, if they desire, to view Cronkite turns Williams into an ani- could control. “We shot an astro- the visitors. mated character—one of the Lost naut character on a green screen “We wanted the audience to Boys from Peter Pan—and togeth- stage so that his scenes could be have sort of an over-the-shoulder er they lead the audience through composited with our animation,” experience,” says Carlin. “So we put a very “animated” tour of the pro- explains Carlin. “This character, several risers in front of the win- duction process. The film, directed named Chet, gives the player feed- dows that look down on the ani- by Jerry Rees, (Brave Little Toaster) back on how he or she is doing; if mators. This made for better view- was created in-house at BRC by a the nose is down too far or the ing but also allowed us to increase crew of Los Angeles-based free- speed is too high. The shots of Chet the number of people moving lancers. were recorded on laserdisc and it through.” became the computer software’s After a demonstration in the Carlin admits that what they job to sync up the frames of Chet camera department audience are currently doing is so cut- with the real-time action of the ani- members queue up for their third ting edge that it’s a little hard mation. For instance if you crashed, and final film experience (the sec- to deal with. then the computer would find the ond is enjoyed while standing in appropriate frame on the laserdisc line for the last theater) then move The other two media experi- and display a disheveled version of into a museum-like display of ences BRC produced for “The the astronaut.” famous Disney animation projects. Magic of Disney Animation” attrac- Carlin is working on a top secret Working closely with tion did not require BRC’s tempo- project now for client General

ANIMATION WORLD MAGAZINE November 1996 14 Motors that will also include a sim- the water was used to ulation ride. This time, however, the visually aid an elderly team at BRC will be using Silicon Indian narrator as he Graphics Hardware and several off- tells the story of his life the-shelf animation products that to the audience. Carlin, are linked by proprietary software who describes the look systems. Carlin admits that what of the effect as “images they are currently doing is so cut- floating in a virtual ting edge that it’s a little hard to plane,” won’t give away deal with. “We always say technol- just how it is accom- ogy is not the solution—its the plished. However, she experience, but in this case, we’re will say that the techni- asking our software, and our hard- cal application of this ware, to do things that they weren’t patented process called originally intended to do in order “Holovision” is actually to create the story we want. But based on a 100-year-old that sort of thing happens to us a magician’s illusion called lot. We end up developing a new “Pepper’s Ghost.” system or a new technique at the Future projects for same time we are creating a solu- BRC include a “totally tion and a story for a client.” new kind of theme BRC artists definitely have a few park” for Warner Bros. Knott’s Berry Farms Mystery Lodge, with special effects unusual techniques, even patents, Once again, artists and makes the tales of an Old Storyteller come alive. © BRC Imagination Arts up their collective sleeves. One very executives are commit- interesting—and very proprietary— ted to keeping this one a secret entertainment is going to become example has to do with the ani- until it premieres, but rumor has it fascinating over the next several mation of smoke. For a stage show that it may include animation. years, but I don’t see it taking away at Knott’s Berry Farm called Mystery As for the future of special from the popularity of special Lodge, animated smoke that curls venues? George Wiktor believes venues. Just look at the corollary into images of salmon swimming that the world has only seen the between film and television. Film is upstream, or whales leaping from tip of the iceberg. “Granted, home more popular than it ever was. Also, special venues are now break- ing out of amusement park ghet- tos—moving into malls and other venues that are more accessible— and thus becoming more a part of our daily lives.”

Rita Street, a freelance writer based in Los Angeles, is the founder of Women in Animation and former editor and publisher of Animation Magazine.

Knott’s Berry Farms Mystery Lodge, with special effects makes the tales of an Old Storyteller come alive. © BRC Imagination Arts

ANIMATION WORLD MAGAZINE November 1996 15 by Bob Swain T2-3DT2-3D

im Cameron’s reworking of Ross and Stan Winston. The com- resolution and in three dimensions Terminator 2 for the Universal puter work was broken down into so we had a lot of 3D science to work JStudios theme park in Orlando two areas—computer graphics imag- out.” has resulted in one of the most spec- ing and compositing. A total of 47 tacular displays of computer anima- computer graphic artists and 8 com- “T2-3D forced us to mature tion and special effects ever. Shot in positors worked full-time on the pro- our CG animation department a stereoscopic 65mm format, ject for more than 6 months. very, very rapidly, because we Terminator 2–3D combines live The story sweeps the audience had to.” action, computer animation and real from the present day forward to the on-stage elements. year 2029 with Arnold T2-3D is the first such major pro- The final sections of the Schwarzenegger’s T-800 and resis- duction to be 100 percent digitally tance leader John Connor. They are processed. Every frame, including the pursued by Robert Patrick’s liquid live action, was manipulated in the metal T-1000 and a team of other computer in some way before being Terminators as they search for the recorded to film. Cameron believes central controlling core of Skynet. But that eventually all films will be digi- when they do finally reach it they are tally processed from start to finish, faced with the ultimate test of the T- making for easier editing, effects and one million (or T-Meg). The con- fine tuning. The current cost of digi- frontation with this six-legged crea- tizing an entire two-hour feature film ture features in a climactic 90 second remains prohibitive, but the relative- James Cameron and Arnold 3D computer animation sequence ly short running time of T2-3D and Schwarzenegger across all three screens. the fact it was being made at a digi- © Universal Studios Florida 12-minute production are projected 100% Digitally Processed onto three 24 x 50 foot screens, giv- “T2-3D forced us to mature our ing a total image span of 150 feet. CG animation department very, very That’s three separate 65mm images rapidly, because we had to,” says side by side, each of them made up Cameron. of separate images for the right and “The mimetic poly-alloy we used left eye. to create the first T-1000 and now Cameron produced the project the T-Meg is so well understood, it’s The inner skeleton of the T-Meg from the T2- at Digital Domain, the company he been duplicated by everyone since 3D ride from Digital Domain © Digital Domain founded in 1993 together with Scott T2. But it’s never been done at this

ANIMATION WORLD MAGAZINE November 1996 16 tal production facility made it a real- everything from layering 3 or 4 ele- istic option on this occasion. Act 1 ments in scenes involving the inser- takes place in the Cyberdyne audito- tion of the computer generated Mini rium and starts with the Cyberdyne Hunter-Killers to layers 40-thick which logo melting and morphing into the were used to create the detailed com- reflective head of the T-1000 and puter generated Skynet interior in the then into the face of actor Robert final scenes. Both Flame and Digital Patrick. The 3D technique makes the Domain’s own proprietary Nuke pro- T-1000 seem to leap out into the the- gram were used for the compositing. ater and then snap back to the screen The final Act begins with live stage James Cameron on the set of T2. just as a real T-1000 actor is catapult- actors descending in an elevator. But © Universal Studios Florida ed out from a trap door onto the then all three screens are revealed to screen, extending its legs out into the stage. Computer generated elements show a completely computer gener- audience with the 3D effects. It was were modeled and animated using a ated environment. The gleaming animated using Softimage Inverse beta test version of Alias 7.0 and ren- steel of Skynet’s central core features Kinematics and lighting, color and dered in Renderman using a Digital on the center screen, with a chrome texture were added with Softimage pyramid in front of a Mental Ray. This came in particularly corridor that seems to useful for the self-reflections caused stretch away to infini- by its multiple chrome legs. ty: catwalks and con- The point when the monster final- veyor belts crisscross ly explodes into thousands of pieces the scene and liquid was triggered using the particle ani- nitrogen moves mation properties of Prisms, control- through translucent ling velocity, mass and weight. The walls and streams legs collapse together under the con- The T-Meg from the T2-3D ride from Digital Domain down from vents and © Digital Domain trol of Alias Dynamics. Digital Domain piping. created its own in-house program Domain conversion program. Also Most of the Skynet modeling was called Shatter SOP (Shatter Surface featured in the first section and cre- done by an outside supplier using Operation) to break the image up ated using Alias and Renderman is a Side Effects’ Prisms software. Digital into interestingly shaped fragments computer generated T-800 on a Domain used Prisms and some Alias and to interface with Prisms, which Harley-Davidson motorbike. applications to add lighting, shading was used to animate the pieces. The Act 2 is primarily live action and and some further models. The end T-Meg is then reformed using features puppet robotics and anima- result is a vast and highly detailed Softimage Meta-Clay. tronics by Stan Winston. Computer world. In order to integrate Alias, Prisms generated elements include Mini and Softimage, Digital Domain wrote Hunter-Killers—flying probes approx- Catwalks and conveyor belts another in-house program to create imately one foot in diameter used to crisscross the scene and liquid a universal language which could search out the fugitives when they nitrogen moves through then be ported direct to Renderman are hiding from the full helicopter-size translucent walls and streams for the final rendering process. Hunter-Killers. They were created as down from vents and piping. models, then digitally scanned into the computer and enhanced with Softimage and Renderman to give The Ultimate Terminator Bob Swain, who lives in texture and shading. At this stage the ultimate Brighton, England, is a Digital compositing was used Terminator makes its appearance. scriptwriter and journalist, who throughout for everything from repo- Modeled in Softimage, T-Meg is a specializes in animation, com- sitioning and reshaping explosions to six-legged poly-alloy spider which puter graphics and special extending doors and other elements morphs out of molten chrome. effects. This article first appeared of the set so that they would look Standing 30 feet high and with razor in the British magazine, Cuts. larger than life. Compositing involved sharp legs, it scrambles from screen to

ANIMATION WORLD MAGAZINE November 1996 17 TheThe FFrremontemont StrStreeteet Experience—Experience— NoNo Glitz,Glitz, NoNo GlorGlory!y! by Frankie Kowalski hen one visits Las Vegas for tem. Las Vegas obviously never aban- the first time, it seems like dons its sense of scale! Wthis big shiny oasis in the According to Steve Weeks, assis- middle of a desert. As you arrive by tant division manager with Young plane, you can see the lights of the Electric Sign Company, “This is the famous Strip miles away. And when biggest project our company has ever you land, an air of excitement rush- worked on in its 75-year history.” es through your veins while walking Within the frame are 208 speakers through the airport amidst an army capable of producing 540,000 watts of one arm bandits. But that’s not all of “concert quality music” and 121 Las Vegas is about. computers containing a combined For instance, Fremont Street, or 100 gigabytes of storage which can Glitter Gulch, has not been as glam- Jane Baer, Principal of Baer Animation generate the animated images and orous for visitors and locals, yet it is still Company and her dog Millie. sound. an important part of the local scene. The Experience was put together So, how was the animation cre- Of late, the area has been rejuve- by the efforts of the Fremont Street nated with the construction of a new Experience Company (made up of a Set into the inner surface are pedestrian mall, built in the hope of collection of hotel and casino opera- nearly 2.1 million lights and is complementing the extravaganza of tors), the City of Las Vegas and the unofficially the world’s largest hotels and casinos on the more illus- Las Vegas Convention and Visitors graphics display system. trious Strip. The result is a mall in the Authority, who collectively invested classic Vegas style, highlighted by the $70 million to transform Fremont ated for this mammouth Space glitz of the Fremont Street Experience, Street into an urban “people place.” Frame? I decided to drop in and see which had its gala opening The highlight is the huge Space Jane Baer, principal of Baer December 14, 1995. Frame, which features dazzling com- Animation, the first studio to do ani- puter-animated light and sound mation for the Freemont Street shows every night produced by such Experience. “Like everything we try studios as The Baer Animation at Baer,” she said, “working on this Company and See3. project was new adventure for us. I thought is was a fabulous idea from A Sense of Scale. the beginning, lighting up four city The Space Frame itself arches to blocks while entertaining passersby.” a height of 90 feet above street level Timed to country western favorites, and stretches almost 1,400 feet along dazzled spectators see and hear ani- Fremont Street, from Main Street to mated dancing cowboys, stamped- Fourth Street; its interior surface cov- ing buffalos, TNT barrels exploding, ers more than 175,700 square feet, collages of card decks snapping, star- an area equal to slightly more than ry constellations, and honky tonk fid- four acres. The frame is 5 feet deep dles playing in a seven minute film and has a curved radius of 44 feet. originally entitled Rodeo (now Set into the inner surface of the frame Americana) created at the launch of are nearly 2.1 million lights and is the project. Scenes from the Fremont Street Experience unofficially considered to be the Jane Baer, who received her ini- © The Fremont Street Experience Company world’s largest graphics display sys- tial training in animation at Disney’s

ANIMATION WORLD MAGAZINE November 1996 18 under the tutelage of the “Nine Old of Atlandia Design, a subsidiary of Men,” began her company in 1984. Mirage Resorts, who provided exper- Since then it has created animation tise in design and construction. Jane for a wide range of productions, was introduced to them by a long- ranging from features to commer- time friend, Roland Fargo Krump. cials. The studio is housed in a quaint One of the reasons she hit it off so Spanish-style house in Studio City, well with the Wynns,who were fas- California, with beam ceilings and cinated with Walt Disney and that garden patio, with Jane’s canine com- Steve Wynn had a visual sense panion, Millie as unofficial greeter. much like Disney. The company is best known their Jane says that all she and direc- work on the groundbreaking Who tor Russell Calibrisi had to go on Framed Roger Rabbit, being respon- when they started working on the sible for the “Toon Town” and “Benny project was the eight country west- the Cab” sequences. In addition to ern songs that were to be used as doing the animation for key the soundtrack. Then they and their sequences in a number of other crew storyboarded, created the major animated features, the studio color design and produced the ani- has done commercials for such prod- mation in just two months. Baer Scene from Rodeo the Fremont Street ucts as Coca Cola, Rice Krispies, explained that, “We were working Experience produced by Baer Animation Pampers, Kellogg’s Frosted Flakes, in a short amount of time with a © The Fremont Street Experience Company and (Charlie the) Starkist Tuna. So, brand new technology It was some- to the song as in the old Fleischer selecting Baer Animation for the first thing that had never been done sing-a-longs. “People at the show real- Space Frame animation was the per- before. One of the challenges we ly get involved, singing and dancing fect fit for Jane Baer and the Fremont faced was choosing the best color along. It was exciting to watch first Street Experience Company. palette. Transferring animation into hand,” Jane remarked. Her favorite light limited our color range, because part, though, is the opening, which certain colors, like greens and yel- is animated to Willie Nelson’s “Don’t “Transferring animation into lows, went flat. And some colors Let Your Sons Grow Up to be light limited our color range, turned to white light!” Cowboys.” because certain colors, like Each animation cycle was pro- The Fremont Street Experience greens and yellows, went flat. grammed using a complex math has had some success in attracting And some colors turned to equation to traverse the five bays that traffic downtown, with gaming rev- white light!” encompass the Space Frame, each enues alone having increasing almost of which had different dimensions. 16% since March, the biggest month- Fascinated With Disney And due to both the scale and the to-month increase in 4 years. It is not The Fremont Street Experience technology involved, Jane com- often that animation can both pio- was the brainchild of Steve Wynns, of mented that, “the subtly we are neer a new technique and bring a Mirage Resorts, and Kenny Wynns, accustomed to in animation just did- new vitality to a major urban land- n’t work. We were lucky to get it scape. We shouldn’t expect any less right the first time because we tried from the glimmering lights and minds to tell too much of a story. We of Las Vegas. learned from our experience to use much broader elements in our design.” Frankie Kowalski is Associate Rodeo features large blocked Editor of Animation World images of legendary cowboy heroes Magazine and is currently on crisscross across the arc of the Space ASIFA-Hollywood’s Board of Frame and ends with a beautiful Directors. She was a recent con- array of constellations streaming tributor to Daily Variety’s Special Fremont Street Experience’s Space Frame across the screen. Some of the eight Animation Issue. © The Fremont Street Experience Company animated cycles display the words

ANIMATION WORLD MAGAZINE November 1996 19 The Electric Felix Man by John Canemaker ship of the character would pass After years of devising pan- from him to Messmer proved tomimic performances for a simple untrue. ink blot character, Messmer may Yet, Messmer considered himself have felt insecure about his ability a lucky man. A shy artist, he often to make toons using the new tech- stated that he felt fortunate to work nology of soundtracks and color. all day at his drawing board as a Less was always more when “salaried man,” shielded by Sullivan Messmer animated Felix; his silent from the high pressure, aggressive black and white drawn world was domain of film business deals and so direct, simple and pure, it Messmer at his desk at Douglas Leigh Organization. Courtesy Doris Messmer product promotion. Messmer’s gift seemed like cinematic haiku. lay in dreaming up brilliant visual Messmer continued to draw the gags and imaginative stories for Felix comic books, but his film direct- Otto Messmer was a lucky man. Felix, and gently (but authoritative- ing days seemed to be over. Then, True, he never received screen ly) supervising the small team of ani- in 1937, his luck again came to the credit on the more than 150 Felix mators who assisted him in making fore when he was hired by Douglas the Cat cartoon shorts he directed one film every two weeks. If during the 1920s. Producer Pat forfeiture of fame and riches Sullivan saw that only his name was the price to be paid for accompanied Felix’s on the screen. enjoying a decade of intense- It is also true that Messmer never ly personal creative expres- received a cent of the lucrative roy- sion, Messmer considered it alties generated from licensing the to be more than a fair Cat’s image to an international array exchange. of merchandisers; along with acco- When the Felix studio lades from Felix fans around the died with Pat Sullivan in world, Sullivan also happily accept- 1933, Messmer unhappily ed all the licensing loot. wandered Felix-less to other And it is true that Messmer never cartoon studios. In 1936, the owned the copyright to the famed Van Buren Studio acquired cartoon Cat he created in 1919 and rights from Sullivan’s heirs to to whom he gave a distinctive per- make three sound-and- sonality that profoundly inspired the Technicolor Felix shorts. character animators who followed, Messmer was asked to direct Messmer (left) discussed with Don Leigh a story- including Walt Disney. A deathbed but he wriggled out of the board for a giant animated electric sign. Courtesy promise from Sullivan that owner- assignment. Doris Messmer

ANIMATION WORLD MAGAZINE November 1996 20 urban spaces around the globe. For and enjoyed by a worldwide audi- the next 37 years until his retirement ence. in 1973, Messmer designed and It is amusing and somewhat directed characters and moving touching to note that in 1937, graphics for the Leigh-EPOK while Messmer was enjoying a giant Spectacular, described by Leigh as leap backward in animation tech- “an oversized advertising display nique and aesthetics, Walt Disney with neons or lamps in unusual ani- was premiering his first feature- mations.” length cartoon Snow White And Otto and EPOK were a miracu- The Seven Dwarfs. lous match. Here was work that was incredibly similar to what Messmer © John Canemaker did when he first joined the Sullivan studio nearly a quarter century before: dreaming up silent visual John Canemaker is a filmmaker gags for black-silhouetted person- and animation historian. He heads the animation program An advertisement for Mattel Toys, drawn ality-driven characters. Working by Otto Messmer, one of the many clients essentially alone, with only an assis- at New York University and his using Leigh-EPOK animated electric tant to blacken in the drawings, books include Before Animation signs. Messmer was again a salaried man Begins: The Art and Lives of Courtesy Doris Messmer Disney Inspirational Sketch shielded from bothersome business Artists (Hyperion), Tex Avery: Leigh, the “Sign King” or details by a strong entrepreneur. The MGM Years (Turner), and “Lamplighter of Broadway,” the man Leigh, like Sullivan, paid him a week- Felix: The Twisted Tale of the behind the construction of huge ly salary for anonymously creating World’s Most Famous Cat (Da animated electric signs that illumi- lively cartoons that would be seen nated Times Square and other Capo). REGISTER with Animation World Network TODAY and

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ANIMATION WORLD MAGAZINE November 1996 21

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he idea of a National Lottery mate was way out—each center Millennium Fund (which will build has always seemed an un- receives between £250-£280 mil- the new site for the Tate Gallery) TBritish sort of thing, somehow lion ($396-$444 million) per and The Charities Board. All appli- colliding with the Protestant work annum from this fabulous source. cations for Lottery cash must be ethic and distinctly continental in Add to this sum the same amount processed through one or other of flavor. Nevertheless, when the again taken by the Treasury, 7% these five centers. National Lottery opened for business in Funding for Film December 1994, no The Arts Council is one, least of all the Tory the center responsible for Government which film and unofficially the devised it, had correctly figure allotted to this area predicted the spectacu- from the Arts Council lar take up rate from Lottery income stands at amongst all sections of 15%. The cash will be the Great British popula- accessed via the Film tion. Perhaps the shift Programme which is in from post-war settlement the process of being and the politics of con- established and which will sensus to monetarist eco- fund commercial features nomics and the politics and other large scale film of conviction has bred projects. The jury is still out Jukebox by Run Wrake,Animate! 5 minutes, 1994 the kind of individualism Two years in five minutes ... How old are you? Employing a montage on whether or not film that now embraces the of xeroxed paintings and sound, Jukebox is a personal journey applications will also be opportunity for huge through fragmented experience. Former Royal College of Art stu- able to access cash from dent Run Wrake now works out of commercials production house personal gain. Bermuda Shorts. the Arts for Everyone pro- The five centers gram which is the bottom selected to distribute Lottery money taken by Camelot, the company layer of funding, part of which is were told to expect about £15 mil- which administers the Lottery and earmarked for initiatives which sup- lion (US$23.8 million) per annum the many millions won every week port the commissioning of new income from the Lottery. This esti- by the punters—the total is astro- work from the youth, community, nomical. popular and amateur sectors. Where does all this money go? As part of its pre-Lottery remit, This movement from public to The five centers are: The Arts the Arts Council has been admin- private is part of a wider trend Council, The Sports Council, The istering a number of film funding towards privitization of public National Heritage Memorial Fund schemes through its Film, Video services that the Tory adminis- (which purchased the Churchill and Broadcasting Department, cur- tration has pursued relentlessly papers for the controversial sum of rently headed up by Rodney since 1979. £8 million [$12.7 million]), The Wilson. These projects range over

ANIMATION WORLD MAGAZINE November 1996 22 supporting new talent and pro- viding an opportunity for filmmak- ers to experiment in both form and content. Animate! will follow Rodney Wilson out of the Arts Council into the newly-created quasi-private sec- tor. This movement from public to private is part of a wider trend towards privitization of public ser- vices that the Tory administration has pursued relentlessly since 1979. Banner headlines greet each sale of the major utilities—water, railways, telecommunications, etc.—but less publicity attends the extensive privatization of public ser- vices previously offered through Jumping Joan by Petra Freeman,Animate!, 8 mins., 1994 local authorities, for instance, street This film was inspired by the old children’s rhyme. Ex-Royal College of Art student cleaning, building and road main- Petra Freeman created the images by painting on a hard plaster slab directly under the tenance, healthcare, education, animation camera. etc. This privatization process, a number of areas, including doc- vision company as co-investor, as known as compulsory competitive umentary films about the arts and well as broadcaster. In the case of tendering, has been widely pro- films by artists. This latter catego- animated film the relevant scheme moted by the Tories as a “value for ry, which includes animation, is run is called Animate! which is now in money” policy, which ultimately by Film Officer Dave Curtis, who its seventh year and has financed relieves the public of burdensome will be known to many readers as a total of 25 new works since its taxes and other levies. an expert on early animation. The inception, many of which have But beneath this acceptable Lottery has impacted directly on all won major international awards. face of capitalism lies a single-mind- these programs in the following This year the Arts Council’s contri- ed political ambition to smash the way: applications for Lottery fund- bution to the production of ani- post-war settlement and replace its ing for film can only be made to mation was honored the Arts Council; so therefore if a by the Zagreb World particular scheme is to benefit from Festival of Animated the Lottery, then it can no longer Films which presented remain inside the funding center. one of its most presti- As a result, Rodney Wilson will gious awards to Dave leave the Arts Council, taking all Curtis and the these schemes with him, and set Animate! production up an agency at arms length from adviser Dick Arnall. which he will be able to apply for Animate! is a partner- Lottery money. More of this later ship between the Arts ... Council and Channel 4 (annual funding cur- Animate! rently stands at The various schemes which £69,000 [$109, 365] 15th February by Tim Webb,Animate! 7 mins., 1995 have been successfully launched from Channel 4 and Tim Webb graduated from the West Surrey College of Art and Design and now teaches in the Royal College of Art by Rodney Wilson and Dave Curtis £27,000 [$42,795] Animation Department. 15th February mixes live action are all linked in some way to tele- from the Arts Council) and animation to describe a symbolic rejection and its vision, often with a particular tele- and is committed to sadistic outcome as related in the poem by Peter Reading.

ANIMATION WORLD MAGAZINE November 1996 23 broad-based nurturing ideology received from the Arts Council, but information data banks, archive with something more akin to a this may not necessarily reduce material and a film and publica- Hobbesian state of nature, a free- Channel 4’s contribution: in fact, it tions library, and, more important- for-all in which everyone competes may increase it. Worse, it may make ly, an ongoing production fund. in an open market. As a result, the it unnecessary; in which case, Through the Trust, not only would UK is undergoing a period of mas- Animate! would be cut loose from the Animate! scheme survive (in sive social change the outcome of its personal connection with Clare another form perhaps), but a much which is only now beginning to be Kitson and, already at arm’s length wider commitment to animation in predictable. from David Curtis, may drift away the UK would be established. It from first principles and lose sight would be able to pick up the slack of its standards. This gloomy sce- from a privatized Channel 4 and Through the Trust,not only nario is further complicated by sustain the talent that has been would the Animate! scheme problems over at Channel 4, where nurtured by Channel 4, the Arts survive, but a much wider com- Chief Executive, Michael Grade, is Council and other similarly-threat- mitment to animation in the fighting a battle against privatiza- ened public funding bodies over UK would be established. tion—more Tory dogma. the last decade and a half. The Privatization will inevitably under- prodigious sums of money avail- How does Animate! fit able from the Lottery may be into the wider picture? used to purchase buildings, Animate! is a fragile scheme, for capital expenses, person- nutured within the Arts nel costs and project fund- Council by Dave Curtis and ing—the Animation Trust within Channel 4 by Clare might just slip through as just Kitson, Commissioning one of a multitude of other Editor for Animation—two hare-brained schemes. But individuals whose passion the idea had better be float- and commitment to anima- ed soon before the Lottery tion have set the rigorous dust settles and public selection standards for the accountability becomes an scheme which has resulted issue. The Government may in the production of award- Sunset Strip by Kayla Parker,Animate! 4 minutes, 1996 be chuckling over its reduced winning work. Animate! will Time-lapse drawings of one year’s sunsets—including those public spending budget as a obscured by clouds—are rendered directly onto 35mm film pass from this warm envi- stock using a variety of materials, including nail varnish, mag- result of the success of the ronment into an unfriendly nolia petals, hair and net stocking.The result is a dazzling Lottery, but when the public marketplace, where it must expression of the visual music revealed by 365 setting suns. wakes up to its own spend- jostle for funding with more glam- mine the original 1982 remit of the ing, then it may withdraw or ques- orous, high profile, commercial Channel to provide innovative pro- tion its support for schemes which projects. gramming for minority audiences, are relatively unaccessible to the The first alarm bells have a remit which was entirely appro- majority of punters. already rung. Over at Channel 4, priate to the funding of schemes the newly-appointed Controller of such as Animate! Jill McGreal owns and runs her Arts and Entertainment, Stuart But there may be a silver lining. own London-based animation Cosgrove, has put the Animate! What the Lottery taketh it may also production company, CODE- scheme (and other such schemes) giveth away! Dave Curtis has infor- NAME The Animation Agency. on hold. It’s a sensible move. In the mally floated an idea for an She produces television series first place, Cosgrove will need to Animation Trust, the thrust of for children and represents ascertain what the new funding which is to establish an entity many well-known international implications are for the Channel 4 which would support the anima- directors for commercial work. budget. In principle, Animate! tion community in the UK. Its major She continues to write and should receive more money from functions would be to provide a teach about animation and film the Lottery than it previously research academy, comprised of in general.

ANIMATION WORLD MAGAZINE November 1996 24 Contracts for Original Works Published on Internet by Nicolas Valluet Translated by William Moritz This is the first of a series of the work to the public by either a right, upfront payment—or some occasional articles from attorneys direct or indirect process, such as combination of the two. from various countries around the television or the Internet. The Considering the difficulties in pre- world on problems of interna- rights to reproduction, on the dicting and calculating remuner- tional law as they apply to ani- other hand, gives authorization ation proportional to the online mation. Our opening article in this to fix the work materially, includ- access to a work, it is more rea- series deals, appropriately ing its reproduction by printing sonable to plan a system of out- enough, with the Internet and is on paper or its reproduction by a right payment to the author. written from a French perspective. digital process in the computer’s But the mode of compensa- memory. tion also influences the duration he putting online of an orig- The author may refuse to cede inal work demands that the his rights to reproduction, and The mode of compensation Towner of rights to the “work” demand that the publisher forbid also influences the duration of (author or assignee) specifically the visitors to his site from down- the rights ceded. authorizes the online-service (pub- loading any information figuring lisher) to exploit it on the Internet. in the work. However, since this of the rights ceded. In effect, the The existence of prior contracts prohibition is difficult to monitor combination of a long-running forseeing the ceding of rights for in practice, I believe the author contract with an upfront payment certain venues without alluding should negotiate for ceding the seems dangerous for the author, to online use, is no longer suffi- rights to reproduction. since he loses financial control of cient grounds for the publisher to Further issues involve the his work for a long time. Though assume that he has rights to extent of the rights ceded by the it is theoretically possible to cede broadcast the work on the Net. contract, which include the mode the rights for the whole duration The law now demands a signa- of payment, the territory covered, of the copyright, commonly in the ture on a specific Internet con- the length of time for which the digital domain one cedes rights tract—which also has the merit of contract will be valid, and respect- for a limited time, accompanied clarifying the rights of both par- ing of the author’s moral rights. by a clause that automatically ties. Concerning the territory, it is renews the contract, unless one illusory to limit the ceding to such party informs the other to the con- The right to play consists of and such territory considering the trary. So, while there exists a free- communicating the work to international nature of the dom of choice for both parties in the public by either a direct or Internet, and the fact that the respect to the duration of the ced- indirect process, such as televi- users are hard to locate. So the ing of rights to exploit the work, sion or the Internet. attention of the parties should a combination of upfront pay- focus on the length of the ceding ment with a limited duration of In the eyes of the French law, and on how the author will be the contract is favored by French this contract should include ced- remunerated. jurisprudence and tenet. ing the right to play the work on The parties must decide Aside from proprietary rights, the Net, and usually ceding the between a proportional remu- we must also consider the moral rights to reproduction. The right neration or royalty (if it were pos- rights of the author, which is quite to play consists of communicating sible to calculate that) and an out- specific in continental European

ANIMATION WORLD MAGAZINE November 1996 25 law (but doesn’t exist in the United States). French law poses the principle of perpetual moral Les contrats rights of the author, which acts as a right beyond copyright and con- fers on the author rights in respect d’exploitation to his name, his quality and his work—and over the publication of those. These moral rights are d’oeuvres specifically attached to the person of the author, being perpetual originales sur and inalienable, and they cannot be annulled or made void. So the moral right remains attached to l’Internet the author and his heirs, who may not cede this right, but who may use it to continue the exploitation par Nicolas Valluet of the work after the expiration of the formal copyright. Similarly the Cet article est le premier d’une du droit de représentation de author or his heirs may use this série d’articles ponctuels écrits par l’oeuvre sur le réseau et le plus moral right to oppose a usage des avocats de différents pays du souvent cession du droit de repro- made of the work even after globe sur la législation interna- duction. rights for exploitation have been tionale concernant l’animation. Ce Le droit de représentation con- contractually ceded. premier article traite de l’exploita- siste dans la communication de In the final analysis, French tion d’œuvres sur l’Internet, au l’oeuvre au public par un procédé law protects the interests of the regard du droit francais. quelconque direct ou indirect, author, and it is absolutely neces- comme la télévision ou l’Internet. sary that the Internet publisher a mise en ligne d’une oeuvre obtain these rights with a contract originale exige que le titulaire Le droit de représentation that considers the duration of Ldes droits sur l’oeuvre (auteur consiste dans la communica- ceded rights and the mode of ou cessionnaire) autorise spéci- tion de l’oeuvre au public par remuneration for them, and fiquement le diffuseur- exploitant un procédé quelconque direct which is conscious of the moral du service en ligne à exploiter ou indirect, comme la télévi- rights of the author. l’oeuvre sur l’Internet. sion ou l’Internet. L’existence de contrats an- térieurs prévoyant la cession de De son côté le droit de repro- droits pour certains supports sans duction emporte autorisation de que soit visé la mise en ligne n’est fixer matériellement l’oeuvre ce qui pas aujourd’hui suffisante pour comporte la reproduction sur sup- que le diffuseur puisse s’estimer port papierpar édition ou repro- Nicolas Valluet is a lawyer at the Court of Paris, associated with titulaire du droit de diffuser l’oeu- duction par procédé numérique the firm Valluet-Achache et vre sur le réseau. dans la mémoire d’un ordinateur. associées, as well as president La jurisprudence tend en effet L’auteur peut refuser de céder of l’Association des Avocats du à exiger la signature d’un contrat son droit de reproduction et exiger Droit d’Auteur (Association of spécifique ce qui a également le du diffuseur qu’il interdise le télé- Lawyers for the Rights of mérite de clarifier les droits des chargement par les visiteurs du Authors). parties. site des informations figurant sur Au regard du droit français ce son serveur toutefois cette inter- contrat devra comporter cession diction sera difficile à mettre en

ANIMATION WORLD MAGAZINE November 1996 26 oeuvre techniquement ce qui teur sur la durée des droits cédés. tiers qui ne peuvent le céder et milite à mon sens en faveur de la En effet, la conjugaison d’une qui disposent donc d’un droit de cession du droit de reproduction. cession de longue durée et d’une regard sur l’exploitation de l’oeu- Se pose alors les questions rémunération forfaitaire apparaît vre après la cession éventuelles liées à l’étendue des droits cédés comme dangereuse pour l’auteur de leurs droits patrimoniaux. dans le cadre du contrat ce qui puisqu’il perd le contrôle financier C’est ainsi que l’auteur ou ses comprend en particulier le mode de son travail pour une longue héritiers peuvent s’opposer à de rémunération, le territoire, la durée. l’usage qui est fait de l’ oeuvre durée de cession et le respect du Car s’il est théoriquement pos- après la cession des droits d’ex- droit moral de l’auteur. sible de céder les droits pour ploitation. Il convient de passer en revue toute la durée de protection du Il résulte de ce qui précède les principeaux points à négocier droit d’auteur il est d’usage dans que le droit français est pro- entre les parties pour la conclu- le domaine numérique de prévoir tecteur des intérêts de l’auteur sion du contrat de cession de une durée de cession limitée et qu’il est indispensable que le droits. assortie le cas échéant d’une diffuseur tire ses droits d’un con- clause de reconduction automa- trat écrit prévoyant la durée et L’attention des parties doit tique sauf dénonciation par l’une le mode de rémunération de la être portée sur la durée de ou l’autre des parties. cession et qu’il ait conscience de cession et sur le mode de En synthèse, on peut dire qu’il l’existence du droit moral de l’au- rémunération de l’auteur. existe une liberté de choix pour teur. les parties relativement à la durée de cession des droits d’ex- Concernant le territoire, il est ploitation de l’oeuvre mais que le illusoire de limiter la cession à tel système associant une rémunéra- ou tel territoire compte tenu du tion forfaitaire avec une durée de caractère international de cession limitée à les faveurs de la l’Internet et de ses utilisateurs qui jurisprudence et de la doctrine pose des difficultés matérielles de française. localisation. A côté des droits patrimoni- L’attention des parties doit aux, il convient enfin de se donc être portée sur la durée de pencher sur cession et sur le mode de le droit moral de l’auteur qui est rémunération de l’auteur. une spécificité du droit conti- C’est ainsi que les parties nental européen qui n’existe pas doivent se décider entre une aux Etats-Unis. rémunération proportionelle si Le droit français pose le son calcul est possible et une principe de l’incessibilité du droit rémunération forfaitaire ou moral de l’auteur qui s’analyse encore la combinaison des deux. comme un droit extra-patrimoni- Nicolas Valluet est avocat à la Compte tenu des difficultées al et confère à l’auteur le droit au Cour de Pareis, associé du cabi- à prévoir pour le calcul de la respect de son nom, de sa qual- net Valluet-Achache et associés rémunération proportionelle lors ité et de son oeuvre et sur la ainsi que Président de de la mise en ligne d’une oeuvre, divulgation de cette dernière. l’Association des il est plus rationel de prévoir un Le droit moral a la particular- Avocats du Droit d’Auteur. système de rémunération for- ité d’être attaché à la personne faitaire de l’auteur. de l’auteur, d’être perpétuel, inal- A ce stade il est indispensable iénable et imprescriptible. de se pencher sur l’influence du Le droit moral reste donc mode de rémunération de l’au- attaché à l’auteur et à ses héri-

ANIMATION WORLD MAGAZINE November 1996 27 Betty Boop: The Definitive Collection

seems to have been the original erwise. intent) and that it lacks any pro- Betty, who celebrated her 65th gram notes worthy of the name. birthday last year, is rightly cele- epublic (Thus, the only listing of the films is brated as the first major female car- Picture on the box for each tape and there toon star. Based on the persona of Rs has is no information on release dates.) singer Helen Kane, she was initial- just released a boxed For this, the blame must fall on ly designed by the legendary Grim set of almost all the Republic’s shoulders, rather than Natwick (possibly assisted by Ted extant Fleischer Betty Boop Sears), who also animated Betty shorts as Betty Boop: The in her screen debut, Dizzy Dishes Definitive Collection. One of her (1930). early films, Accordion Joe, seems Who exactly had the original to have been inadvertently left idea for creating Boop is not exact- out, while Republic did not have ly clear. Natwick stated that Dave the rights to Popeye the Sailor, an Fleischer brought him a piece of official Boop film in which she sheet music with a picture of Kane only appears briefly, and to four on it and instructed him to make other late films which are mostly her into a cartoon character. lost:Pudgy and the Lost Kitten, However, the idea may just as well Buzzy Boop (which does exist in have come from Paramount some poor 16mm prints), Buzzy Pictures, Fleischer’s distributor and Boop at the Concert and Honest who also had Helen Kane under Love and True. (Buzzy is Betty’s 12- contract. (Kane later protested, year-old niece.). Also, one film, suing both Fleischer and Romantic Melodies is presented in Paramount for damages, but a black & white print of a col- failed to convince the judge and orized version of the film, though lost.) better material certainly exists. What is known is that Also, the films are arranged the- Paramount was eager for Fleischer matically, rather than chronolog- Studios to come up with a viable ically, which is somewhat off- cartoon star to compete with the putting, given the lack of proper likes of Mickey Mouse. During the liner notes. silent period, the studio had relied Despite its flaws, the collection on Koko the Clown, who dated is an invaluable resource for both back to Max and Dave Fleischer’s animation buffs and historians, as first films and whose popularity, it provides the first large scale col- Betty Boop:The Definitive Collection as Mark Langer has pointed out lection of films from the Fleischer to me, paled besides that of some- Studios available in video; howev- on Jerry Beck, who nominally one like Felix the Cat. The Fleischers er, it is a shame that it was not curated the set, and who certain- initially came up with Bimbo, the issued in laserdisc format (which ly would have preferred to do oth- dog, but without much success.

ANIMATION WORLD MAGAZINE November 1996 28 Willard Bowsky’s The Mysterious Mose (Fleischer, 1930), one of Betty Boop’s first films showing her early sex appeal.

Betty, though, was another story vince Hollywood executives that on video is in this collection, which and was an instant hit. her films were originally not made is priced at US$69.95 for eight tape (For the rest of its existence, the for kids.) And when the Production boxed set. Fleischers were unable to come up Code Administration clamped with any other original cartoon down on her risque ways, many characters that gained any sub- felt that the changeover took much stantial degree of popularity. Its of her spunk away. (Lillian other major stars were Popeye and Friedman, the first women anima- Superman, both of whom had tor, who worked on many of Betty’s Harvey Deneroff has written gained their initial fame in comic films, agreed with this assessment.) extensively on the Fleischer strips and comic books!) A number of her later films (espe- Studios, where his father, Joe It’s also interesting that Betty’s cially the ones featuring Grampy), Deneroff, worked as an inbe- early films were basically designed however, are not without their tweener in both New York and more for adults than for kids. charms. But for most, films such as Miami., including a number of (When Max Fleischer’s son, Richard Bimbo’s Initiation, Snow-White and Betty Boop films. was trying to peddle the idea of the spectacular Poor Cinderella are Betty Boop feature a few years what Betty is all about. And for ago, he found it difficult to con- now, the best place to find them

Seymour Kneitel’s Poor Cinderella (Fleischer, 1934), was the first color film for both Betty and Fleischer.A large scale spectacle, it showcased Max Fleischer’s new three-dimensional process, in which animation was photographed against miniature sets.

ANIMATION WORLD MAGAZINE November 1996 29 Ottawa International Animation Festival by Gene Walz f you like to second-guess jury in finding ways to ensure that no meddling official”, this bizarre and decisions, Ottawa ‘96 was the per- one felt cheated. Second-guessing irreverent film proves that England Ifect animation festival for you. is much easier when first choices is securing its future as the model- Almost as good as the O.J. Simpson animation capital of the world. Yet trial. Even the Grand Prize Winner Second-guessing is much easier few people in the audience would engaged in some public when first choices aren’t very have objected if any one of the nine second-guessing. obvious, when no one domi- other films in the category had been When Russian animator Igor nates. given the prize. The overall quality Kovalyov came forward to accept was that good. his best film of the festival trophy for aren’t very obvious, when no one The jury indicated just how Bird in the Window, he was suit- dominates. That was the case at good by giving special mention to ably gracious if somewhat stunned. Ottawa this year. two other first films—to the boldly He thought Priit Parn would win it black and white (no colors, no greys for his film 1895. First Films even) film Tale about the Cat and This was the perfect ending to Surprisingly, the most competi- the Moon by Pedro Serragina which an enjoyable animation takes anthropomor- festival that featured phism in a slightly dif- some peculiar choices ferent direction, and for inclusion in the com- to the elusive Lazarus petition, several surpris- by Vanessa Cruz. ing prize-winners, and More revealingly, two no clearly outstanding other films from this triumphs. So it was easy category, the hilari- to second-guess things ous Hilary and the here. equally funny I’m not suggesting Gagarin, already rec- in any way that the jury ognized at other ani- was less than compe- mation festivals, were tent or that Bird in the multiple award win- Window was an ners in the craft and unworthy winner or Ottawa award winners, Igor Kovalyov, Pritt Parn and Paul Dressien media areas here. that the festival’s line-up (And Da DA, also a was skimpy. tive category of all had to be the first-time effort, was not entered in On the contrary, Kovalyov’s film one for first films. The National Film this category.) So it looks like the was richly designed and intriguingly Board of Canada-sponsored award near future of the art of animation plotted. The festival itself was in this category went to Mike Booth is very bright. crammed with good movies that for his five-minute film The Saint In case you haven’t already were, given certain limitations, Inspector. Amusingly described in heard, Gagarin by Russian anima- well-programmed. And, in deter- the program as the story of “a high- tor Alexij Kharitidi features a cute mining the awards, the jury was er being in a state of pious bliss Disney-style bug who has a taste for impressively skillful and diplomatic [who] endures the attention of a adventure. During a badminton

ANIMATION WORLD MAGAZINE November 1996 30 second film in the As did the additional prizes festival, proves awarded in the short animation cat- just how compet- egory. Alice Stevens’ Yellow Shoes, itive the short ani- a mock documentary that could mation (under 10 easily have won the educational cat- minutes) catego- egory (where, oddly, no prize was ry was. In this presented) was cited for outstand- slight variation on ing design. Vuk Jevremovic’s The Hilary, a mother Wind Subsides was singled out for babbles at her its energetic line drawings of wild wide-eyed son in animals running. As was Petra an eerily Freeman for the unusual technique dank-looking rep- of Jumping Joan, an award that tile house. was met by many quizzical looks The Warner Bros. crew at the Ottawa Picnic: Standing (left to Although the nar- from the crowd. right): Piet Kroon,Allison Abate, Ron Tippe;sitting (left to right):Tom Knott,Babs Parent, Dave Master, Catherine Winder rative is equally and Ellen Cockrill (Universal). quirky and the Over 10s game he hitches a ride inside the puppet anima- In another tell-tale indication of shuttlecock. The story switches to tion a decided advance on Hilary (if the current state of animation, five his point of view as he is batted back somewhat more conventional), out of the six films entered in the and forth between the badminton Combination Skin could only gar- over-ten-minute category were des- players. The cel-animation here is ner a special mention. It and Piet ignated for recognition of some expertly rendered, the overall tim- Kroon’s Da DA, a well-drawn but sort. What this means is hard to fath- ing is marvelous, and the humor predictable parable about confor- om—unless you were the unfortu- warm and refreshing. It won craft mity and parental competitiveness, nate sixth entrant. prizes for animation and humor. lost out to on of the more curious Paul Driessen’s The End of the Hilary by Michael Hodgeson, choices at the festival—Joe’s World in Four Seasons, with 8 and another British model animator, is Apartment: Funky Towel by Chris 9 images competing for the viewer’s an offbeat bedtime story told by a Wedge. attention at the same time, took the cynical dad as he takes his bewil- A zany send-up of Esther category prize. By doing so, he dered young son on a weird trip to Williams’ synchronized swimming somewhat redeemed the NFB’s rep- slumberland. While the animation musicals of the of the two main characters is pret- 1940s, Funky ty elementary, the trick of concen- Towel choreo- trating on the background details graphs cock- and the jaded attitude of the father’s roaches in a tale more than compensate. The filthy toilet clever writing won it prizes for best bowl. While it story and for most popular film in is based on a audience polling. great premise If there were any films at Ottawa and is nicely ‘96 which, on the basis of awards, orchestrated, inched ahead of the rest, Gagarin some audience and Hilary were the ones. And they members won- were first-time films. Does this mean dered why it Frédéric Back and Kevin Kurytnick (Quickdraw Animation Society). that the all’s right in the animation wasn’t in the world? I’ll leave the second-guess- promotional ing to you. works category since it is a music utation, which had been tarnished video excerpted from a feature film. more than a little by having all but Then There Were Shorts Not exactly controversial, but it did two of its films rejected for the com- Combination Skin, Hodgeson’s lead to some lively discussions. petition in its home country. The

ANIMATION WORLD MAGAZINE November 1996 31 other NFB production, Robert gory had almost as many entries as Park’s previous efforts, A Close Shave Doucet’s stirringly beautiful folktale the final four categories: children’s, was missing some, perhaps inde- Flying Canoe won the best educational, made-for-television, finable, quality. It pits the hard-work- Canadian film award; so the NFB and episodic television. Two of these ing Gromit against a sheep-nap- went two for two (or maybe 2 for ping, controlling pet of a knitting- 20). store owner with whom Wallace Priit Parn’s amusing but perhaps the inveterate inventor is smitten. overlong twisted-history of the While it is marvelously inventive Lumiere Brothers before they and pleasing, it is already too famil- invented cinema, 1895, won a iar to legitimately claim “Best of special prize for design. And Wat’s Show” awards. Pig, a dauntingly detailed, often Likewise the Simpsons episode split-screened medieval story of a Treehouse of Horror VI: Homer 3D ruler and his poor, misplaced twin, which, despite its computer-gen- done in claymation by Peter Lord, erated graphics and Tron refer- helped win Aardman Animations ences, was neither as funny nor as a Special Jury Prize. It was a pretty biting as the best episodes of this good year for long-form anima- series can be. Still, the jury select- tion. ed it, in an unprecedented twin- ning of the Grand Prize, as the win- Promos, Educational & TV ner for Best Television Production. Hubert Tison (President ASIFA-Canada), Louise The most bloated category in Beaudet (Ottawa Honorary President),Andrea Intriguingly, there was no prize in the entire festival, not surprisingly Mancia (Museum of Modern Art Film Archives) The Simpsons’ regular category. in this overly and overtly commer- Plenty of room for speculation and cialized era, was the promos and categories (educational and episod- second-guessing there. ads category. Twenty-two produc- ic TV) were (arguably) too under- If the competition part of the fes- tions were in the running for prizes. represented for the jury to decide tival was not quite up to the quali- In a refreshing challenge to the on an award. Whether this means ty of some previous festivals, the rest predominance of brassy, computer- that good stuff is not being done of the events at Ottawa ‘96 were generated, 3D modeling, the first or whether it is just not making its spectacularly successful. prize was given to Winnipeg ani- way to Ottawa or whatever, is mator Cordell Barker for his simple where the good second-guessing In Retrospect animated doodles on Quebec tele- comes in. Retrospectives of the works of phone bills. For those of you won- In the made-for television com- German animator Raimund dering about what happened to petition, Nick Park’s latest Wallace Krumme, Estonia’s Priit Parn, the this Oscar-nominee (for The Cat and Gromit story, A Close Shave was incomparable Shamus Culhane Came Back), the award shows that clearly more ambitious than its two he has not lost his touch; he’s just main competitors Johnny Bravo narrowed his audience and tem- and Raging Rudolf. porarily succumbed to the lure of Johnny Bravo, a cel-animation advertising. about an over-muscled, politically incorrect Elvis look-alike with blond The most bloated category in hair, is already slated to be a TV the entire festival, not surpris- series, but it was less interesting ingly in this overly and overtly than some of the other Cartoon commercialized era, was the Network material. Raging Rudolf promos and ads category. is a clever retelling of the Christmas reindeer’s story in terms of A late night Animation World Network demo As if further evidence is needed Scorsesean profanity, intimidation- at Chez Ani. Pictured left to right, Gunnar for the current state of affairs in ani- tactics, and gore. Strøm, Otto Adler and friend, and Gerben Schermer. mation, the promos and ads cate- As amusing and precise as Nick Photo by Frankie Kowalski

ANIMATION WORLD MAGAZINE November 1996 32 who labored in many of personal favorites chosen by The Telltale Heart (both firsts for me Hollywood’s animation factories, Kaj Honorary President Louise Beaudet on the big screen), as well as the Pindal and Derek Lamb from the from the vaults of the incomparable The Thieving Magpie NFB, and especially Fedor Chitruk Cinémathèque Québécoise. were but a few of Beaudet’s fine from Russia not only showcased the Ford’s thorough examination of choices. They will provide lasting immense talents of these animation the contribution of Friz Freleng has memories for me. giants; they also showed, inevitably, how indebted many of today’s ani- Mexican animators can do full mators are to their work (including frontal nudity and sex better festival winner Kovalyov) and how than anyone. alert many other animators should be to their techniques and especially In this day of inane cartoons for their storytelling mastery. TV, ritualistic cloning of empty suc- Screenings of rare Israeli and cesses, and the relentless throb of Mexican animation were less rampant commercialization (all of rewarding, except to show that them in evidence at Ottawa ‘96— Israel was influenced too by UPA, this was a festival with a wide and Mexican animators can do full sweep), it is invigorating to see that frontal nudity and sex better than undeniable masterpieces are still anyone. allowed to share the program. A salute to Nelvana Studios of The Ottawa International Toronto, a sampling of the Cartoon Animation Festival may be known Network’s new shorts (previously far and wide for its pumpkin-carv- Joanna Priestly (animator and Ottawa unavailable in Canada, although jury member) and Chris Robinson ing picnic and its opening and clos- already hits with many of the (Festival Director) at the closing party in ing night parties (in a grunge bar Americans in the audience), and the the Parliament Building. called The Cave, complete with premiere of the NFB’s new feature enough pool tables to let even the animation La Plante Humaine all to be the best study of animation neophytes at AWN compete, and served as welcome tonics to the ever filmed. Freleng has too long then in the actual Canadian crushingly opportunistic previews taken a back seat to his more gar- Parliament buildings, no less). It’s of Warner Bros.’ break-the-bank rulous Warner Bros. contempo- also renowned for its willingness to Michael Jordan film Space Jam and raries. With many examples from combine the business of recruiting Disney’s latest ventures into feature- classic films, Ford demonstrates why with the necessities of useful work- length advertising for plastic mer- Freleng’s flawless sense of timing shops (a great one on the making chandise available at McDonalds. and unsurpassed use of music of the 3D Homer) and the pleasures The highlights of the festival for should give him pride of place at of seeing new animation. All of me were the screenings of Greg Termite Terrace. This was long over- these things, plus the generous Ford’s long-awaited documentary due and well worth the wait. sampling of works from the mas- Freleng: Frame by Frame and the Louise Beaudet’s program fea- ters, have made this the “festival of tured exquisite prints of choice” for many animation fans. some remarkable artis- There’s no second-guessing that. tic animations. Oscar Fischinger’s wonderful Gene Walz is head of the film 1937 An Optical Poem program at the University of with its lovely geomet- Manitoba, Winnipeg. He is cur- rics, two of Lejf rently finishing a biography on Marcussen’s hard-to-see character designer Charlie films The Public Voice Thorson and is now editing a and Lederkonkurrence, book called Great Canadian the legendary Frank Films. Pumpkin contenders at the Ottawa Annual Picnic. Film and UPA’s excellent Photo by Frankie Kowalski

ANIMATION WORLD MAGAZINE November 1996 33 Brisbane Animation Festival by David Marshall estivals are wonderful places to of about 200 attended most of the Television), featured a retrospective of discover the like-minded and the sessions on offer. recent animation from Europe, Flike-minded wannabes. The Canada and Australia. Particularly debut of the Brisbane Animation Short Filled Sessions impressive were the celebrated and Festival, cheekily entitled Celluloid The weekend was organized into endearing Barbro Hallstom’s Mr. Bohm Briefs, drew the vibrant Queensland five sessions filled with shorts. What and the Herring (Sweden), the com- animation community and the lovers made the festival somewhat different- puter-animated and mesmerizing of animation to revel in two days of ly focused was that several of these Pencil Dance and Michèle Cournoyer’s flickering projected images. And, it sessions were guest curated by televi- emotively promotional An Artist appears from the success of this first sion producers and executives involved (Canada). The naive style of Trace time out, it will be, as the organizers in showcasing animation. Clare Kitson, Balla’s Hungary-to-Australia immigra- have promised, a biennial event. Head of Animation at the United tion saga, Lilly and the Yellow Cake, Kingdom’s Channel 4, and Joy Toma, was a compelling, simple story. The festival provided an insight executive producer of the experimen- Featured in the selection was the into the locations where inde- tal showcase Eat Carpet program from Australian children’s international ani- pendent productions may be mation showcase program Babble-on commissioned, or at the very from SBS. least exhibited to the largest The Queensland Animator’s Group audiences. culled world animation for a provoca- tive second session. Barflies, the stop- Brisbane, a city of about one and motion production by the Australian a half million has a surprisingly active director Stuart MacDonald, about two animation group. With 260 members drunken flies playing chicken with a in the Queensland Animators Group, fly-zapper was absolutely hilarious and the organization is certainly on the cut- is a must-see. Award-winning pro- ting edge of the Australian animation ductions populated this session includ- scene. After last year’s loud, spectacu- ing: Rybcynski’s highly choreographed lar and cacophonic Kaboom exhibi- trick film, Tango, where events are tion curated by Philip Brophy at the sequentially layered on top of each Sydney Powerhouse Museum, the other in a fixed space; Fleischer’s Brisbane setting and its festival offered Minnie the Moocher; and the com- a much more theatrical exhibition of puter animated Joe and Basket by international animation. The subtrop- the Australian Special Broadcasting Germany’s Peter Scarab. Chuck Jones’ ical environment fulfilled its promise Service (SBS), were two of the invited melodramatic What’s Opera Doc? by keeping the general feel of the fes- special presenters. The festival thus pro- completed the world tour. tival unpretentious, relaxed and vided an insight into the locations accommodating to both the where independent productions may Day Two cognoscenti and the newly initiated. be commissioned, or at the very least The tribute to Hollywood’s creative The Schonell Theatre, located on the exhibited to the largest audiences. source for animation presented by the idyllic grounds of the University of The Saturday “matinee” session, Australian National Cinematheque Queensland, was the comfortable site Kids’ Stuff, curated by Dina Browne launched day two. The session devel- of the Festival where the usual crowd (from the Festival of Australian oped a thesis about the kinetic, some-

ANIMATION WORLD MAGAZINE November 1996 34 time slapstick, counter-aesthetic to mentary with parodic glee, in a film work. The emphasis on the television Disney’s verisimilitude emerging from that attempted to artistically represent sites of exhibition made the sessions the animation units of competing stu- the varied stories of Americans who perhaps too decontextualized; as a dios (particularly Warner’s) from the have been abducted by aliens. result, we were left with images with- 1930s to 1950s. Bob Clampett’s polit- Completely on the other side of the out placing where they have come ically irreverent, visually compelling and fence, Tim Webb’s use of animation to from and why they were grouped overtly adult Coal Black and the Seben depict the world of autistic children together. Future programming may Dwarfs was a personal highlight. through their drawings, in A is for benefit from a more designed pattern Clampett’s Abbott and Costello-inspired Autism, was wonderfully original in its of selection than how they were exhib- Tale of Two Kitties produced what I efforts to document their altered real- ited for the various television programs. would cite as the best line of the festi- ity states. The technical engineering of Although there was no ghettoization val. As two cats are attempting to cap- the stop-motion masterpiece Screen of Australian and local animation, there ture Tweety Bird (his debut film), the was also no session which specifical- Costello character mutters in double- ly highlighted its recent achievements. code: “I’ll get the bird—if the Hays Organizers, including Darren Hughes Office would let me.” of the Queensland Animators Group, The fourth session was present- indicated this would definitely be part ed by SBS’ Eat Carpet showcase pro- of the plan for the next festival. gram. Alison Snowden and David What made the festival doubly Fine’s 1995 Oscar-winning Bob’s enjoyable for many participants was Birthday, with British-mannered the National Animation Conference humor about middle class and mid- held at Griffith University on the Friday dle age was delicious. An episode of Key festival organizers, from left to right: Jane and Saturday. The conference was the ambitious 3-D computer animat- Creasy (Festival Coordinator), Peter Moyes decidedly production and exhibition ed The Quarks Quandary, by French (Festival Coordinator), Darren Hughes oriented and allowed for some (President, Queensland Animators Group), Clare director Maurice Benayoun was Kitson (Channel 4 UK), Max Bannah (indepen- worthwhile discussions of the trans- shown, which demonstrated the dent animator), and Jonathon Dawson forming commercial environment in need with computer animation to (Associate Professor, Pacific School of Screen animation. Production). have a compelling story to carry the The Brisbane Animation Festival impressive technical feats. The South Play by Barry Purves is deserving of fur- has all of the ingredients of becoming African drawn animation, Captive of ther viewing as it presents and then a major event on the international and the City (William Kentridge) provided a suddenly radically subverts our expec- national calendar. Watch for it in future perplexing closure to the session with tations of a traditional Japanese tale and plan for a visit to the Antipodes its depiction of the manoeuvring of of love. with Brisbane Australia as your gate- megabusinessman Soho Eckstein and In the finale, the Queensland way in 1998. was mesmerising in its sweeping Animators Group exhibited two beau- movements of shades and figures. tiful productions: Eva Steegmayer’s Ah Pook is Here, narrated by the distinc- David Marshall is the Director of We were left with images with- tive vocals of William Burroughs, pro- the Media and Cultural Studies out placing where they have vided a dystopian description of the Centre at the University of come from and why they were order of death. To provide a yang to Queensland in Brisbane and grouped together. this ying, the festival closed with Priit writes and lectures on televi- Parn’s Grand Prix-winning 1895, a sion, film and popular culture. The closing Sunday session quirky, subjective, humorous history He is the author of Celebrity allowed for the showcasing of British of the origin of cinema. and Power (University of animation through Claire Kitson’s Minnesota) to be released in Channel 4 curation. Certainly, the Out of Context March 1997.The Queensland swirling and transforming images of There were some noticeable gaps Animators Group can be con- Triangle (Erica Russell) provided the in this year’s inaugural festival. Oddly, tacted through their website: most compelling images in its rhyth- there was no Asian animation, which http://www.gu.edu.au/gext/an mic flow depicting a love triangle. Paul has a high level of significance in the im/anim.htm. Vester’s Abductees blended the docu- aesthetics of contemporary Australian

ANIMATION WORLD MAGAZINE November 1996 35 Society for Animation Studies 8th Annual Conference

by Harvey Deneroff find that the annual conferences them out of the woodwork. It was inevitably spoke with considerable of the Society for Animation an incident that eventually led me, passion on anime! IStudies (SAS) is one of those with the help of other like-minded necessities of life that refreshes both people, to start SAS. (One of those What It’s All About the mind and the spirit. While they like-minded people was Russell After a half day of screenings may often lack the scale and fre- Merritt, who helped run the 1984 and a tour of Wisconsin Center for netic energy that one encounters conference!) And sure enough, Film & Theater Research, the con- at festivals (although their second when the first SAS conference was ference proper began on Thursday, conference was held in conjunc- held at UCLA in 1989, some 40 September 26, with a panel on tion with Ottawa ‘90) or even at a (academic and independent) schol- Animation Technology, featuring conference of the 1200-member ars and filmmakers showed up papers by Richard Leskosky and Society for Cinema Studies (SCS), from around the world to partici- Carolyn Shaffer on the history of that’s not the point. SAS is still a fair- pate. (Total attendance at the three the Mutoscope and the technolo- ly modest-sized organization, day event was over 100.) gy of puppet animation respec- whose membership generally lurks tively. Both presentations were under 150. However, if you want There were a large number of embellished by a constant inter- to know what’s going on in ani- mainstream cinema studies change in which the audience mation history, theory and criticism, superstars who mostly spoke seemed to collaborate with the SAS is the place to go. But then I’m with considerable passion on panelists in the process of their his- biased, since I started SAS back in anime! torical research. This, after all, is 1987 and was its president for sev- what academic conferences are eral years. Since then, schools in the US, really all about, as researchers test This year’s event, which focused Canada and England have played their findings and hunches with on “Japanese Animation and host to SAS each year, sometimes in their colleagues before going pub- Global Media” and was held at the conjunction with local film archives lic. University of Wisconsin, Madison, and festivals. As a result, other With the exception of Brian September 25-29, had a special organizations, including SCS and Camp (who spoke on “The meaning for me. Back in 1984, I the Asian Cinema Studies Society, Evolution of Street Fighter: From had come to Madison to present have opened their arms wider to Video Game to Spiritual Quest”), my first conference paper at an SCS animation, as have mainstream the anime papers were mostly conference. Originally, I was to be academic journals. given by people who were not part of a panel on animation, but The organizer for this year’s specialists in Japanese animation. it did not make and I and another event was Donald Crafton, whose However, many were expert in panelist were placed elsewhere. pioneering history of silent anima- Japanese live-action films and The idea that there were only tion, Before Mickey (1982), helped helped put the development of two acceptable proposals seemed provide a solid academic footing anime in a different perspective. absurd, as I knew there were a lot to the field. While the conference This was especially evident in David more animation scholars out there. was not the biggest in SAS history, Bordwell’s “Stylistic Transformations But somehow the Society for Crafton did bring in a large num- Between Live-Action and Cinema Studies, for all its power ber of mainstream cinema studies Animation in Japanese Cinema,” as and prestige, was unable to draw superstars, most of whom well as David Dresser’s “Why

ANIMATION WORLD MAGAZINE November 1996 36 Anime?,” which dealt with anime’s offer the rarities provided in years rise against the background of the past by the likes of the UCLA Film decline of Japanese live-action cin- & TV Archive and the George ema. On the other hand, Rei Eastman House, but some (like the Your Ad Okamoto, who specializes in Popeye retrospective) proved use- wartime literature of Japan, pro- ful. The James Whitney Could Be vided some new insights into Retrospective, though, proved Momotaro—Divine Troops of the much more than that, especially Ocean, that nicely complemented given William Moritz’ thoughtful Here! Fred Patten’s piece on the film in accompanying lecture. the September issue of Animation But above all, the conference World Magazine. once again proved a great place For rate cards and Outside of anime, there were to meet friends, find out what’s additional information the usual mix of papers exploring going on and even do business. about the familiar and unveiling the little (Editors from five academic jour- various opportunities known. Thus, Mark Langer nals were present, including for exposure at revealed his researches into the sil- myself.) In other words, SAS is Animation World houette films of Canada’s Bryant doing exactly what I was hoping Fryer, while John A. Lent provided it would do when it began nine Network, a historical overview of Korean ani- years ago. contact our mation (which, not surprisingly, Next year’s conference will be Los Angeles has been heavily influenced by hosted by the Nederlands Institute office at anime). At the same time, Hank for Animation Film under the direc- Sartin talked about “Bugs Bunny tion of Ton Crone, and will most 213.468.2554 and the Problem of Stardom” and likely be held in Amsterdam; in Christopher Sieving presented “A 1997, the venue will switch to Social Analysis of MGM’s Tom and California’s Orange County, up-the- or e-mail Jerry Cartoons.” road a bit from Disneyland at any of our sales Chapman University, under the representatives: guidance of Maureen Furniss (edi- Helping explain twhat the hell tor of Animation Journal). squash and stretch is all North America: about—something which is not For more information on SAS as obvious as it may seem. Wendy Jackson check out its home page at: [email protected] http://www.awn.com/sas/index.h Lelsie Bishko shared her expe- tml. riences in using Laban’s dance Europe: notation system in helping explain Vincent Ferri Harvey Deneroff, in addition to to computer animation students [email protected] what the hell squash and stretch his duties as Editor of Animation is all about—something which is World Magazine, edits and pub- perhaps not as obvious as it may lishes The Animation Report, an U.K. seem. Sybil DelGaudio explored industry newsletter, which can Alan Smith be reached at deneroff@pac- the almost forgotten training films [email protected] which gave UPA and John Hubley bell.net. He is also Editor-In- their start, while Mikhail Gurevich Chief of Animation Review, AWN’s new peer reviewed aca- looked at the nature of “Literary Asia: Animation” in a series of Russian demic journal and serves on the films based on the drawings and Society for Animation Studies’ Bruce Teitelbaum writings of Aleksander Pushkin. Steering Committee. [email protected] This year’s screenings did not

ANIMATION WORLD MAGAZINE November 1996 37 PleasePlease keepkeep youryour armsarms inin thethe vehiclevehicle whilewhile thethe rideride isis inin motion!motion! compiled by Frankie Kowalski

It is a thrill a minute with these folks who, in one way or another, have Bob Roger’s picks... been involved with theme park animation: Scott Ross, founder Digital Domain; Jane Baer, Principal, The Baer Animation Company; and Bob 1. Destry Rides Again by George Rogers, Chairman/CEO, BRC Imagination Arts. Marshall 2. Dumbo by Walt Disney Scott Ross’ top 10 picks... Jane Baer’s picks... 3. The General by Buster Keaton “Shooting a film in 3D is 4. High Noon by Fred Zinneman like taking an experimental 1. Crac! and The Mighty River by 5. The Kid Brother (Harold Lloyd) weapon to a war.” Frédéric Back by Lewis Milestone, J.A. Howe, 2. Fantasia by Walt Disney Lex Neal & Ted Wilde 1. Lawrence of Arabia by David 3. The Rocky Horror Picture Show 6. Peter Pan by Walt Disney Lean by Jim Sharman 7. Singing in the Rain by Stanley 2. Nuovo Cinema Paradiso by 4. Harold and Maude by Hal Donen & Gene Kelly Giuseppe Tornatore Ashby 8. Sons of the Desert (Laurel & 3. Ghost in the Shell by Mamoru 5. Every episode of Absolutely Hardy) by William Seiter Oshii Fabulous 9. Sullivan’s Travels by Preston 4. It’s a Wonderful Life by Frank 6. Every episode of Mr. Bean Sturges Capra 7. Picnic at Hanging Rock by Peter 10. The Wizard of Oz by Victor 5. The Godfather, Parts 1 & 2 by Weir Fleming Francis Ford Coppola 8. The Godfather Part 1 by Francis 6. Citizen Kane by Orson Welles Ford Coppola 7. The Deer Hunter by Michael 9. Bambi by Walt Disney Cimino 10. Pinocchio by Walt Disney 8. Pinocchio by Walt Disney 11. The Rescuers by Walt Disney 9. Witness For the Prosecution by 12. Where’s Poppa by Carl Reiner Billy Wilder 10. Avalon by Barry Levinson

Bob Rogers, Chairman/CEO, BRC Imagination Arts.

ANIMATION WORLD MAGAZINE November 1996 38 AWN Comics

The Dirdy Birdy by John R. Dilworth

© All Rights Reserved. JRD 1996.

ANIMATION WORLD MAGAZINE November 1996 39 Wallace and Gromit endars, postcards, tee-shirts, bal- Conquer America loons, jewelry, mugs, figurines, and by Mark Segall refrigerator magnets are all men- tioned. “Eventually there will be a New York City, October 22, 1996— Wallace and Gromit item in every In contrast to the gaudy surround- American home,” says CBS Fox ings of New York’s Tavern on the President/CEO Sara Frayne. “You Green restaurant in Central Park, chuckle, but that’s my dream.” British animation phenomenon Nick The press is given a short histo- Park’s entrance is anything but ry of Aardman Animations studio, ostentatious. The press corps does- where Nick started straight out of n’t even notice the three-time Oscar art school and where he has pro- winner bending down to open a duced all his work. “Wallace & black foam lined case to remove the superstars at home, they almost got Gromit are akin to the crown jewels plasticine figures of the buck- lost in New York. The cabbie who in Great Britain,” says VP for toothed, bald-headed Wallace and brought Park to his hotel in a tor- Childrens Marketing, Andre Backer. his long-suffering best friend Gromit rential downpour two nights earlier “They’ve been visited by Queen the dog. When Wallace and hurried away with the models still Elizabeth. We’re looking for the Gromit’s second half-hour adventure in the trunk. When this calamity same popularity in the US.” The Wrong Trousers aired on BBC2 made the TV news, he quickly CBS/Fox’s battle plan for conquer- Christmas day 1993, 3.3 million UK returned them. To commemorate ing America: “We’ll be going into viewers tuned in. At Easter time this miraculous rescue, today’s pub- over 100 markets, airing promos for those numbers more than dou- licity event kicks off with NYC’s Taxi the videos and the books on kids bled—something that just isn’t sup- and Limousine Commissioner shows like Fox Kids Network. There’ll posed to happen on a repeat. extolling cab drivers and welcom- be extensive advertising in Totally Thirty-nine percent of all British ing Park on behalf of Mayor Giuliani. Kids, the Fox Kids Club magazine. screens were tuned to Park’s ani- Nick displays the models to the press There will be joint displays of the mated comedy. On Christmas Eve and thanks the driver for the return books and videos.” 1995, the third Wallace and Gromit of his “babies.” This photo op con- As cameras snap away, Nick Park short, A Close Shave, pulled in 42% cluded, the CBS Fox Video publici- squats down in a makeshift pen of the UK audience, beating out the ty team swings into action, lined with pristine bales of hay to year’s biggest sports matches to announcing the US home video pet the heads of four or five spot- become BBC2’s most popular pro- release of all three half-hour Wallace less sheep. He’s presented with a gram of 1995. and Gromit adventures, along with green sign that declares this to be While Wallace and Gromit are innumerable tie-ins. Storybooks, cal- “Nick Park.” Park bears these photo

Nick Park in his recent visit to New York promoting the CBS Fox video release of his Academy Award winning film A Close Shave.

ANIMATION WORLD MAGAZINE November 1996 40 ops with good grace but balks at addressed envelope to: Medicine produce subtle facial expressions. being escorted to his next appear- Wheel Animation Festival, PO Box According to Gustafson, “The ani- ance in a motorcycle sidecar. He 1088, Groton, MA 01450-3088. mation was stylized because we grabs a cab instead. The bike enthu- Phone/fax (508)-448-3717. Email: wanted the dolls’ movement to be siast who rounded up the vintage [email protected]. Deadline for as doll-like as possible. We were able Harley (a close match to Gromit’s entries is February 1, 1997. to get maximum performance out cycle in A Close Shave) grumbles, of the characters with limited “he chickened out on me!,” then dri- The Sixth Annual Environmental motion.” ves down Broadway to Times Media Awards Announced. Square’s Virgin Superstore alone. Among this year’s winners are: Allen Digs Ants At DreamWorks. The Virgin SuperStore burrows Rocko’s Modern Life (Children’s TV Woody Allen will take a voice-over down under Times Square in a Program, Animated), The Simpsons: part in DreamWorks’ animated fea- series of basements and sub-base- Lisa the Vegetarian (TV Episodic ture Ants. Allen will play “a charac- ments. Virgin sets Park up at a table Comedy) and Ann Telnaes, North ter who becomes disenchanted two levels down, next to the video American Syndicate (Editorial with the day-to-day drudgery of the section and just in front of the in- Cartoonist). Major contributors for totalitarian ant world,” according to store cafe. So many fans line up the event are DreamWorks, as well the news release. The film is a col- (over 200, by my count) that as other entertainment related com- laboration between DreamWorks halfway through a guard panies, including Variety. SKG Feature Animation and com- announces there will be no more puter animation studio Pacific Data personal dedications—just straight Spy Dogs To Infiltrate USA Images, which is 40% owned by signatures. Nick’s arm is getting tired, Networks. InVision Entertainment, DreamWorks. but he keeps smiling. the Sherman Oaks, California-based Wallace and Gromit’s chances of animation studio owned by Daniel Early Kid Gets WB’s Earthworm. becoming household names in S. Kletzky and Michael Hack, has In a move aimed at reducing the America? With CBS Fox behind announced that it has entered into drain of kids viewing levels on them, pretty good. I’m already a development deal with USA Saturday morning, the WB Network showing everybody my calendar Networks based on a concept by is taking a tactical gamble by flip- and refrigerator magnet. cartoonist Jim Benton,The Secret flopping its schedule. The change, Files of the Spy Dogs. The cable net- which was initiated on October 19, Eighth Annual Medicine Wheel work is contemplating the animated is dubbed “Big Kids Go First...” and Animation Festival Issues Call series for fall 1997 on its USA puts “older-skewing superhero” pro- For Films This touring festival is Network. In a separate deal, Kletzky’s grams Freakazoid and Earthworm open to US and Canadian inde- Entertainment Licensing Associates, Jim in the starting positions in the pendent filmmakers (born or resid- in Santa Monica, has been appoint- morning schedule, followed by ing). Films must be 16mm, under ed the worldwide licensing agency Superman and Road Rovers . The 25 minutes and may be from any for the series. plan reverses the usual practice of year. There is no entry fee. Medicine beginning Saturday morning sched- Wheel is a non-profit organization Will Vinton & TBWA Chait/Day uleds with “younger-skewing promoting animation as an art form. Enjoy The Ride In New Toys Spot shows.” This sort of change is likely The Festival plays at colleges, muse- For Nissan. Will Vinton Studios has being done in response to the wide- ums, galleries, and art theaters such just completed Toys, a new 60-sec- spread decline among US terrestri- as George Eastman House, ond commercial for TBWA al broadcasters in their audience for Rochester, NY and the Rhode Island Chait/Day and Nissan. The spot children’s programming, while the School of Design. Beauty, innova- which combines stop-motion ani- Nickelodeon cable network has dra- tion, content and experimentation mation with live-action to punctu- matically increased its ratings in the are the qualities wanted in submis- ate Nissan’s new tagline “Enjoy the same marketplace. sions. All proceeds go to the film- ride.” Directed by Mark Gustafson, makers or the Medicine Wheel the commercial uses specially cre- John Canemaker’sTex Avery, The Artists’ Retreat. Entry forms are avail- ated plastic dolls with clay facial Great Animation Director Form able by sending a stamped, self- parts that were hand-sculpted to The Golden Age Of The Hollywood

ANIMATION WORLD MAGAZINE November 1996 41 Cartoon Now Available. This illus- Network. The move is essentially an necessary guarantees to secure trated coffee table book by anima- expansion of last year’s alliance short term financing and some of tion historian and filmmaker John between Fox and Saban to start a which will go into production in the Canemaker, contains an assemblage new series of children’s networks next 6 months: La Vache (UK, 13 x of Tex Avery-related art work, includ- around the world. The alliance gives l0’), Hospital (UK, 13 x 26’), The First ing original storyboards, animation FCN access to Saban’s large library Snow of Winter (UK, 1 x 26’), Steam cels and character sketches. It cov- of animated and other TV shows Rail(Italy, 26 x 26’), Max & Moritz ers Avery’s period at MGM from (including Mighty Morphin Power (Germany, 39 x 7’), Séléna et 1942-55, which included some of Rangers and X-Men), including Coeurdor (Germany, 26 x 5’), the director’s most famous films. The numerous titles made for the over- Bemmi Bommerland (Germany, 13 book is available from Turner seas market, which it is said to need x 5’), Eugenio (France, l x 26’), Tim Publishing at $34.95. in order to more effectively compete Techno (UK, 13 x 22’), A la with the likes of Disney and Warner Recherche du Père Noël (Belgium, Bros. The move is also aimed at rais- l x 52’), Pense Bêtes (France, 52 x ing money for further expansion, 6’30”), Patrouille 03 (France, 26 x possibly through a public stock offer- 24’), Perry and Nick, the Alien Dogs ing. There was also speculation that (Germany, 26 x 26’), The Rabbit the move may also be a sign that Rovers (Germany, 26 x l2’) Varnii Murdoch is backing away from chil- Roop (UK, 13 x 11’), L’Enfant au dren’s markets in the US in favor of Grelot (France, 1 x 26’), Tom & news and talk shows. Sheenah (France, 26 x 26’), Henrietta, Hippo Tales (UK, 24 x 5’), Quest Wins Cartoon d’Or At and Les Mémoires extraordinaires Connemara Cartoon Forum. The de la Sorcière Camomille (France, 1996 Cartoon d’Or Award present- 52 x 6’). ed at the 7th CARTOON Forum, Twenty-one projects received held in Galway, Ireland, September sufficient interest to indicate that 19-21, was given to the young they will “secure the financing in the German director Tyron Montgomery average term.” These projects rep- for his first film, Quest, a 11-1/2 resent 117 hours of animation and The following items are from minute short featuring a puppet budgets totaling over 71.1 million AWM’s October 7, 1996 Email made out of sand in pursuit of ECU [about $88.9 million]. News Flash: water ... The trophy was accompa- The Forum also saw the pre- nied by a 35,000 ECU (US$43,750) miere of La Freccia Azzurra, a new Fox Kids Network To Go prize that will allow Montgomery to animated feature from Italy’s La Independent With Saban: Rupert start a more ambitious project, such Lanterna Magica and directed by Murdoch’s News Corp. is cutting its as a feature film or a TV special. Enzo D’Alo. (The film, it was noted, Fox Children’s Network (FCN) loose Supported by the MEDIA received aid for development 1992- as part of an agreement to place Programme of the European Union, 93 Cartoon Forums.) the operation into a jointly-held the Cartoon Forum gathered The 8th Cartoon Forum is sched- company with Saban together some 500 participants, uled to be held in Arles, France, Entertainment. FCN will continue including 250 producers, 129 from September 17-21, 1997. For to be under the direction of broadcasters and other investors to further information please contact Margaret Loesch, who now have discuss 67 animation projects CARTOON, Boulevard Lambermont, an equity position in the company; designed for television or theaters. 418 - 1030 Brussels, Belgium. Loesch leadership has been thought (CARTOON’s members include 304 Telephone: (32) (2) 245 12 00. Fax: responsible for the network’s domi- companies from 18 countries.) (32) (2) 245 46 89. nance in children’s TV in the US, a After 3 days of negotiation, 19 position which has lately been whit- projects (87 hours of animation, Kurosawa & Pioneer Join Perfect tled away by Nickelodeon, the with budgets totaling over 53.6 mil- World To Do Animation. Pioneer, Cartoon Network and the new WB lion ECU [$67 million]) received the the giant Japanese electronics firm,

ANIMATION WORLD MAGAZINE November 1996 42 and Kurosawa Enterprises USA, a announced the formation of HBO World Premiere Toon series. Los Angeles-based production com- Animation, which will be a division However, the films apparently pany associated with ace Japanese of HBO Original Programming, proved to be unsuitable for the fam- director Akira Kurosawa, have which will create animated pro- ily-oriented network. It is unlikely launched a new animation venture gramming for HBO and other that Bakshi will have the same prob- with Perfect World Entertainment, broadcast and cable networks. The lem with HBO.) a newly formed corporation. It plans division’s first two projects, both slat- The new operation will be to produce animated feature films ed to debut with six episodes on supervised by Catherine Winder (for- using Japanese animation and direc- HBO in 1997, are Spawn, an adap- mer producer of Aeon Flux), vice tion, combined with North tation of Todd McFarlane’s comic president, HBO Animation, who will American and European artists, writ- book originally created in 1992, and oversee all the day-to-day creative ers and properties. The new com- Spicy City, a “contemporary” adap- and operational facets of the divi- pany’s vice president of develop- tation of pulp magazine fare from sion. “We are taking a theatrical ment, Randy Lofficier, noted that, the 1930s and 1940s, is being cre- approach to television production,” “Pioneer will be a controlling partner ated by veteran animator Ralph Winder says, with an emphasis on in Perfect World, as well as being Bakshi (Fritz the Cat). Spawn will originality, quality and detail.” artistically involved with every phase closely follow the story lines and use The division will also be available of production, from development the same characters as the original on a service basis for third-party pro- to distribution.” comic book, which involves a hired jects. As with its in-house projects, Perfect World has already devel- killer who dies in a fire, then makes outside productions to be produced oping several projects, with each a deal with the devil to return to his by HBO Animation will include both partner contributing from one-third mortal state. Spicy City, which will family and prime time program- to one-half of the $10 to $15 mil- be an anthology series, will cover ming. In addition, Eric Radomski lion budgets. Overseeing the ven- such genres as science fiction, hor- (producer-director on Batman:The ture’s operations are Taro Maki (pro- ror and film noir, and is said to Animated Series), the division’s ducer of the popular direct-to-video explore such themes as cyberspace, supervising director, has been given anime feature, Tenchi Muyo), exec- DNA cloning and virtual sex a development deal enabling him utive producer of Pioneer’s Film machines. to create and work on original prop- Business Division, who will be in Despite its penchant for adult erties, including an anthology series charge of production, Tak W. Abe, programming like its Real Sex doc- dealing with dysfunctional relation- president of Kurosawa Enterprises umentary series, original animation ships. HBO Animation is also work- USA, who will coordinate activities on HBO has usually been family ing on two other possible series, between Los Angeles and Tokyo, fare. Chris Albrecht, president, HBO including a comedy and a political and Ms. Lofficier (formerly vice pres- Original Programming, stated that, satire. Budgets for these projects ident of Starwatcher, a comic book “HBO Animation will explore the seem to be on the high end, in the and animation talent agency). largely untapped field of adult-ori- $600,000-$700,000 per episode The most unusual aspect of the ented animation, allowing offbeat range, which is considerably high- deal is the involvement of Akira creative talents the kind of unre- er than most Saturday morning Kurosawa, whose live-action films strictive freedom that’s rare on tele- series. such as Rashomon and Seven vision.” The new division was found- Samurai, are often included on lists ed by Carmi Zlotnik, vice president Cats Feature Project Gets New of the greatest films of all times. Tak of Original Programming, Life. The Andrew Lloyd Webber W. Abe, who has been with Production and Creative Affairs, and musical play, for which Universal Kurosawa for 16 years, has previ- will be based at HBO’s Los Angeles Pictures bought the screen rights a ously worked extensively on offices. number of years ago for Steven Japanese animated features and (In this regard, it should be Spielberg’s London-based television productions. noted that Ralph Bakshi, who ani- Amblimation unit, is now scheduled mation has not been evident since to be done by Universal itself. The HBO Creates New Animation the failure of his last feature, Cool studio has commissioned Joel Division. Home Box Office (HBO), World, recently made several short Cohen and Alec Sokolow to redo the US cable network, has films for the Cartoon Network’s the script that playwright Tom

ANIMATION WORLD MAGAZINE November 1996 43 Stoppard wrote in 1994. Cohen and only recouped its investment in current release, Disney has gone Sokolow are best known for their Mainframe, but has turned a hand- back and used the original picture Oscar-nominated screenplay for Toy some profit as well. material for this sequence, though Story. The film will be produced by the soundtrack seems to be from Webber’s Really Useful Film Co. with Semi-Original Version Of Disney’s the reissue (and is thus a bit out of Universal, with ex-Amblimation Three Little Pigs Now On Video synch). It is not clear why this ver- directors Phil Nibbelink (American Walt Disney Home Video last month sion was released, and one won- Tail: Fievel Goes West) and Dick released Three Little Pigs, featuring ders if there will be any sort of reac- Zondag (Balto) set to direct. three Academy Award winning car- tion from Jewish groups this time Amblimation had set up a sepa- toons in its “Favorite Stories” series. around. However, most viewers, rate company, City Feature The cassette features pristine copies ignorant of stereotypes gone by, Animation, to handle the produc- of Three Little Pigs (Bert Gillett, 1933) may not realize what they are see- tion on Cats, and it was even and its two sequels, The Big Bad ing. In any case, for film historians at rumored that Spielberg was think- Wolf (1934) and Three Little Wolves least, it is an unexpected surprise. ing of using it to make his anima- (1936), all with their original titles, The tape is available in the US for tion directing debut. The project though (as noted below) not always $12.99. was nominally kept alive when with the original soundtracks. Amblimation moved from London Armored Trooper Votoms Stage 2: to the Los Angeles area, before Kummen Jungle Wars On Video. Spielberg’s operations were merged Volumes 1-5 of the science-fiction into DreamWorks SKG. adventure will be released to the American home video market by 3DO Switches Drops Hardware Central Park Media on December 3. To Focus On Software. The The series is centered on Armored Redwood City, California-based Trooper pilot Chirico Cuvie, who is video game company says it intends on the run from a conspiracy and to sell part or all of its hardware busi- his own army. Each tape, which is ness by year’s end and eliminate 150 Bert Gillett’s Three Little Pigs (Disney, subtitled in English is available at jobs from its 450 person staff. 1933) in which the Big Bad Wolf disguises $24.95 each, or $99.95 for the himself as a Jewish Fuller Brushman, a Chairman and chief executive offi- scene later reanimated for the film’s 1948 “Collector’s Set.” cer Trip Hawkins will also hand over reissue. operating control to 3DO president Electronic Arts Signs Agreement Hugh Martin. The company’s focus The huge success of Three Little With Blizzard. San Mateo, will now shift to Internet and com- Pigs, with its enormously popular California-based Electronic Arts, a puter games. Its first Internet game, theme song, “Who’s Afraid of the leading interactive software com- Meridian 59, will be launched this Big Bad Wolf?,” was such that it said pany, announced it has entered into month. to have led Disney to go ahead with an exclusive worldwide agreement plans to make animated features. with Blizzard Entertainment of Alliance Communications (The film made more money than Irvine, California, to develop, publish Reduces Stake In Reboot many live-action features.) It also and distribute their best-selling Producer: Toronto-based Alliance, spawned some controversy for the Warcraft II and upcoming Diablo at its annual meeting last month scene when the Big Bad Wolf dis- titles for “next generation that Vancouver-based Mainframe guises himself as a Jewish Fuller videogame systems.” Under the Entertainment paid it C$8.6 million Brush Man when he comes knock- agreement, Electronic Arts gains (US$6.3 million) to buy back some ing on the house of the third little exclusive development and pub- of its shares. This reduces Alliance’s pig, complete with stereotypical lishing rights to the console versions stake in the computer animation clothes and a heavy accent. Disney of these popular strategy and role- house to 15% from the 33% stake later reanimated the peddler sec- playing games, as well as gaining it acquired 2 years ago. This is on tion for the 1948 reissue and it was exclusive distribution rights. top of a US$5.5 million buyout in the version that has been in circu- In related news, Electronic Arts July, which means Alliance has not lation ever since. However, for the has released Andretti Racing 97 for

ANIMATION WORLD MAGAZINE November 1996 44 the Sony Playstation platform. The Canemaker’s Felix In Paperback. which is due to be released at the game features interviews with rac- John Canemaker’s Felix: The Twisted same time.) Such deals, which pro- ing legend Mario Andretti and his Tale of the World’s Most Famous vide considerable promotion and sons Michael and Jeff, along with a Cat has just been issued in paper- up front money, are considered “head-to-head” racing in both Indy back. The book tells the story of Otto essential these days for big budget and Stock car competitions on 16 Messmer, the man behind the cre- animated films. different courses. It carries a sug- ation of Felix back in 1919 and who gested retail price of $59.95. drew him for over three decades, The following items are from and of his boss, Pat Sullivan, who AWM’s October 21, 1996 Email Midland Opens New Offices In took credit for the character who News Flash: Berkeley. Midland Productions, became the first animated cartoon makers of the Imax ridefilm, Fun superstar. Canemaker, an animator Ottawa 96 Award Winners: House Express (which featured stop- and animation historian, heads motion animation), has moved from New York University’s animation pro- • Grand Prize for Best Film: Bird Richmond, California, to new quar- gram and is the author of Winsor In The Window by Igor Kovalyov ters in nearby Berkeley. The new McCay: His Art and Life and Before (Klasky-Csupo), USA. facility boasts new digital capabili- Animation Begins. • Grand Prize for Best Television ties, which Midland vice president Production: Treehouse Of Yas Takata says will “greatly expands Whole Toon Catalog Returns. Horror VI: Homer 3D by Tim our storytelling capabilities and what The 12th edition of the catalog of Johnson, USA. we can offer our clients. We’re “over 27,000 foreign, classic • Category A: Best production pleased that the Midland toolbox American, silent, documentary, fine under 10 minutes in length that now includes live action, miniatures arts and animation videos” has just is not classified in categories C and computer-generated images been issued by Chicago-based to H: Joe’s Apartment: Funky (CGI) for all film and video formats.” Facets Video. The direct mail retail- Towel by Chris Wedge, USA. The company’s digital-animation er of videos, laserdiscs and books, Special Mention went to: Da Da team is presently at work on an founded eight years ago by Seattle’s by Piet Kroon, The Netherlands independent production slated for Doug Ranney, closed down last and Combination Skin by release in mid-1997. The company year and its status was unclear until Anthony Hodgeson, UK. was founded in 1986 and entered Facets stepped in. Copies of Whole • Category B: Best production the simulation and special-venue Toon Catalog #12 are available free between 10 and 30 minutes in fields in 1988. It also creates special by calling Facets at 1-800-331-6197, length that is not classified in cat- effects for commercials and feature writing Facets Video at 1517 W. egories C to H: The End Of The films. Fullerton Ave., Chicago, IL 60614, World In Four Seasons by Paul by fax at 1-312-929-5437, email at Driessen, Canada. MCA Gets International Rights [email protected]. You can also check • Category C: The National Film To Rocky & His Friends: MCA TV their Web page on AWN at Board Prize for best first film: The International acquired 10-year for- http://www.awn.com. Saint Inspector by Mike Booth, eign TV distribution rights to the UK. Special Mention went to classic TV show. The estate of Jay Wendy’s Fast Food Quest. The Estorio Do Gato E Da Luna (Tale Ward, the Rocky producer who died new Warner Bros. animated fea- About The Cat And The Moon) in 1989, signed with MCA when its ture,The Quest for Camelot, due for by Pedro Serrazina, Portugal and agreement with Disney for similar release in fall 1997, is apparently Lazarus by Vanessa B. Cruz, rights expired. For MCA, the 1960s- scheduled to sign on Wendy’s as its USA. vintage show provides library ani- fast food partner for North America. • Category D: Children’s animat- mation, which is in short supply. Jim Warners started negotiating with ed productions that are not part McNamara, president of MCA the fast food chain when talks with of a made-for-television: Katten Worldwide Television Distribution, Burger King (considered a more Mons (Mons The Cat) by Pjotr said the property will be a priority desirable partner) broke down. Sapegin, Norway. at the MIPCOM TV program market (Burger King eventually signed on • Category E: Educational pro- that starts October 7 in Cannes. with 20th Century-Fox’s Anastasia, ductions: No prize awarded

ANIMATION WORLD MAGAZINE November 1996 45 • Category F: Promotional works healthy and environmentally such as commercials, public ser- safe world: Goldtooth by Derek Nickelodeon Clicks With Kids. vice announcements, opening Lamb & Kaj Pindal, Canada. Nickelodeon continued its yearlong titles, etc. produced for film or • Viacom Canada Prize for best gains in viewership among kids television: Intermax by Cordell Canadian production: La Chasse ages 2-11 in the opening round of Barker, Canada. Special Mention Galerie (Flying Canoe) by Robert the new season last month with went to Bell Atlantic: Big Deal Doucet, Canada. another 12% increase in viewership, by Carlos Saldanha, USA and M- • Zack Schwartz Award for Best giving Nickelodeon control of 56% ID: Taku-Overdrive (Karate Boy) Story: Hilary by Anthony of that audience, while the net- by Isao Nishigouri, Japan. Hodgeson, UK. works and syndicators lost 23% of • Category G: Animated produc- • Chromocolour Prize for Best their market share, according to tions especially produced for Student Film: Hilary by Anthony Neilson Media Research figures pro- television, and which are not Hodgeson, UK. vided by Nickelodeon. part of a series: A Close Shave • Special Jury Prize: Aardman by Nick Park, UK. Animations. Casper Special Halloween • Category H: Animated produc- Episode To Air On Fox Kids tions especially produced for Writers Form Wolfmill Network. Now in its second sea- television, and which are part of Entertain-ment. Craig Miller and son on Fox Kids Network, Casper a series: No prize awarded Marv Wolf-man have joined togeth- haunts the airwaves with a special er to develop and produce live- Halloween episode to air Saturday, Craft Prizes: action and animated television pro- October 26, 1996 at 8 a.m. PT/9 • Special Prize for Animation: gramming aimed at the children’s a.m. ET. The half-hour special will Gagarin by Alexij Kharitidi, and young adult market. Wolfmill follow the adventures of Casper, Kat, Russia. already has deals in place for three Stretch, Stinkie, Spooky, and Poil in • Special Prize for Design: 1895 series: Pocket Dragon Adventures three stories, The Tricks A Treat, by Priit Parn & Janno Poldma, debuting internationally fall of 1997, Spooky & Poil Meet the Monsters Estonia and Yellow Shoes by T.H.U.N.D.E.R. Agents, based on and Thirteen Ways To Scare a Alice Stevens, UK. the 60s comic book by Wally Wood, Fleshie. The Universal Studios • Music/Sound Award: Normand and “A Man Called Ax”, also based Monsters, including Dracula, Roger for the The End Of The on a comic book by Wolfman and Frankenstein, The Creature from the World In Four Seasons, Canada. artist Shawn McManus. Black Lagoon and the Mummy join • Best Computer Animation: Bell in the ghostly exploits with the gang Atlantic Big Deal by Carlos Toronto’s Catapult Productions at Whipstaff Manor. Saldanha, USA. Monster By Mistake To Air On Canada’s YTV. The Halloween TV Activision Enters Distribution Media Prizes: special will air on Canada’s YTV on Deal With Parsoft Interactive. • Special Prize for Drawn Saturday, October 26, at 5:30 PM. Activision has aquired worldwide Animation: The Wind Subsides The story concerns an 8 year old Windows 95 rights to three of by Vuk Jevremovic, Germany. boy who gets mixed up in a magic Parsoft’s flight combat simulation • Special Prize for Unusual spell and becomes a monster at games. The company expects to Technique: Jumping Joan by inopportune times. His big sister and ship the first title, A-10 Cuba!, (sequel Petra Freeman, UK. the ghost of a jazz musician try to to A-10 Attack!) by the Christmas hol- • The Public Prize: Hilary by help him out of his predicament. iday season. The other two games, Anthony Hodgeson, UK. The show is the first effort of tentatively titled A-10 Gulf! and • The Norman McLaren Heritage Toronto’s Catapult Productions. Dogfight, are slated for release in Award: Louise Beaudet. Partnered with Cambium Film and 1997. All three games will ofer sin- • The Gordon Bruce Award for Video for the project, the two com- gle and multi-player modes and will Humor: Gagarin by Alexij panies hope to sell a series based allow gamers head-to-head via Kharitidi, Russia. on the special. The entire show was modem or against their friends over • UNICEF Prize for best represen- done using Prisms software and local area networks. tation of a vision of children in a Silicon Graphics hardware.

ANIMATION WORLD MAGAZINE November 1996 46 Animation World Magazine 1996–97 Calendar

December Issue Highlights

Welcome to the ever expanding world of Interactive Animation. We’ll have an overview of the latest trends in CD-ROM interactive games, as well as a roundup of quotes from industry leaders. We’ll step into the offices of Sierra On Line, Creative Capers and take a close up look at the various animations based on the Street Fighter video games.

Other feature stories include Linda Jones’ personal look at the history of Animation Art, complemented by a look back at How the Grinch Stole Christmas on its 30th Anniversary of Chuck Jones. There is also a review of Space Jam, as well as much, much more.

Animation Festivals (January ‘97)

A study of the world of international animation festivals, how they have changed over the years and how they have affected the animation industry.

International Animation Industry (February '97)

Spotlighting key animation around the world, focusing on aspects of the business of animation, including the state of the industry, labor relations and production.

Children & Animation (March '97)

This issue deals with several facets of the relationship of children and animation; animation for children, animation made by children, and the use of animation to reach the children’s market.

ANIMATION WORLD MAGAZINE November 1996 48