May 1997 • MAGAZINE • Vol. 2 No. 2 CommercialsCommercials IssueIssue Profiles of: Acme Filmworks Blue Sky Studios PGA Karl Cohen on (Colossal)Õs Life After Chapter 11 Gunnar Str¿mÕs Fumes From The Fjords An Interview With AardmanÕs Peter Lord Table of Contents 3 Words From the Publisher A few changes 'round here. 5 Editor’s Notebook 6 Letters to the Editor QAS responds to the ASIFA Canada/Ottawa Festival discussion. 9 Acme Filmworks:The Independent's Commercial Studio Marcy Gardner explores the vision and diverse talents of this unique collective production company. 13 (Colossal) Pictures Proves There is Life After Chapter 11 Karl Cohen chronicles the saga of San Francisco's (Colossal) Pictures. 18 Ray Tracing With Blue Sky Studios Susan Ohmer profiles one of the leading edge computer animation studios working in the U.S. 21 Fumes From the Fjords Gunnar Strøm investigates the history behind pre-WWII Norwegian animated cigarette commercials. 25 The PGA Connection Gene Walz offers a look back at Canadian commercial studio Phillips, Gutkin and Associates. 28 Making the Cel:Women in Commercials Bonita Versh profiles some of the commercial industry's leading female animation directors. 31 An Interview With Peter Lord Wendy Jackson talks with co-founder and award winning director of Aardman Animation Studio. Festivals, Events: 1997 37 Cartoons on the Bay Giannalberto Bendazzi reports on the second annual gathering in Amalfi. 40 The World Animation Celebration The return of Los Angeles' only animation festival was bigger than ever. 43 The Hong Kong Film Festival Gigi Hu screens animation in Hong Kong on the dawn of a new era. Reviews: 45 Books: Fred Patten reviews Samurai from Outer Space: Understanding Japanese Animation. 47 Software: John Parazette-Tillar braves the world of Java, testing out two new programs, WebBurst and Jamba 50 News Cinar opens shop in Europe, Aardman announces their feature film, Pixar closes their interactive division and more… 59 On A Desert Island . .Commercial Free? May Ron Diamond, Darrel Van Citters and Paul Vester. AWN Comics 60 Dirdy Birdy by John Dilworth 61 Next Issue’s Highlights Cover: Image from Aleksandra Korejwo's Tammhäuser commercial for The Austin Lyric Opera. © Acme Filmworks. © 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 May 1997 2 by Ron Diamond 'd like to take this opportunity to Unlike the conventions of animat- commitment to the medium has introduce myself, and to share ed series television and the feature permitted me to distribute works to I some of the background that films of the day, these short films international audiences and to pro- motivated me to publish Animation only needed remain true to them- duce for directors whom I greatly World Magazine and motivates me selves and not to a premeditated admire. I invite you to learn more still in our great and growing ven- "bible" of character poses and in- of my recent history in the article in ture. I would like also to introduce character scenarios. With each new this issue on Acme Filmworks. my esteemed partner in AWN, and short would come the anticipation co-publisher, Dan Sarto. Dan is our that a new story or expression could It's as though there is a force with- technical guru and the spark behind challenge the foundations of my in us Animation World citizens to the creation of the magazine. earlier animation reference. choose this road less traveled, and to take on this ominous and We have just begun our sec- sometimes ridiculous task. The ond year in publication, suc- work is often tedious, compli- cessfully reaching people in cated and few (very few) people more than 100 countries who who work in this business make all share a common interest, a grand income. The answers animation. We are connected to the question of "why?" are as by our fascination, apprecia- varied as the numbers of the tion and enthusiasm for the ones asking the questions. For many ways animation has me, it is confirmed every time I come to enrich our lives. see a great animated film with a message well told, art well illus- I can recall a pivotal television trated or a beautiful blend of series offered in the early poetry and motion. To partici- 1970s that forever changed pate in this process, my time is my perception of what ani- well spent. mation could be. The series, entitled The World of To work within the system that Animation, was hosted by creates the extraordinary is a Jean Marsh and aired on Los blessing. Our lives are enriched Angeles' public television sta- Ron Diamond by working with the imagina- tion, KCET. The strong impressions it tive individuals who painstakingly made remain with me today. The My fascination with animation has envision to move the medium for- program featured work from the brought me along an unusual path. ward. From the day I became great National Film Board of Though I have not animated since involved professionally in animation, Canada and from Eastern Europe. some exercises in film school, my I've found animators to be a special ANIMATION WORLD MAGAZINE May 1997 3 ANIMATION WORLD NETWORK 6525 Sunset Blvd., Garden Suite 10 Hollywood, CA 90028 Phone : 213.468.2554 Fax : 213.464.5914 Email : [email protected] ANIMATION WORLD MAGAZINE [email protected] PUBLISHER Ron Diamond, President Dan Sarto, Chief Operating Officer EDITOR-IN-CHIEF Harvey Deneroff ASSOCIATE EDITOR/PUBLICITY We welcome our new Editor– Heather Kenyon. Wendy Jackson CONTRIBUTORS : Otto Adler breed. I am immensely impressed the magazine during our first year, Giannalberto Bendazzi by their humanity, creativity, orig- and we wish him success on all Janet Benn John R. Dilworth inality and by their dedication to his future endeavors. Please read Bruno Edera their art. I consider myself privi- Harvey's farewell in this issue's Maureen Furniss leged to have worked and to con- Editor's Notebook. Wendy Jackson Tom Knott tinue to work with so many tal- continues her expert and devot- Mark Langer ented people. ed work as Associate Editor of Arnaud Laster, Animation World Magazine, and Wendy Jackson With this issue, we also introduce also continues to compile the Mark Langer an important change at Animation Animation Flash. Philippe Moins World Magazine. It is my pleasure Chris Robinson to announce that Heather Kenyon It is my intention as Publisher of John Parazette-Tillar has joined our staff as Editor-in- Animation World Magazine to cel- Annick Teninge Chief. Heather has worked at ebrate all forms of animation, stu- Le WEBMASTER Hanna Barbera for the last 3 and dio and independent, student and Guillaume Calop 1/2 years, where she vacates the professional, commercial and art DESIGN/LAYOUT : position of Manager of the from all nations. Great works need John Parazette-Tillar Production Information to be viewed and discussed, and Guillaume Calop Department. I invite all who wish it is my continued desire to pro- IMP Graphic to send Heather a message (email: mote works representing diversi- [email protected]) to congratu- ty in animation. ADVERTISING SALES late her on her new position at . North America : Bart Vitek We are grateful to Harvey -Ron Diamond UK: Roger Watkins Deneroff for his contributions to ANIMATION WORLD MAGAZINE May 1997 4 by Harvey Deneroff Commercials and he wrote the original story for enabled me to both explore the Many years ago, when I was Gerald McBoing-Boing. With the com- heady possibilities of publishing on an undergraduate student, I volun- ing of television, commercial studios the Internet, as well as establishing teered to transcribe an oral history liberated many animators from an exciting new journal of news and interview with Hans Richter, one of dependence on a few theatrical stu- opinion. the pioneers of European avant garde dios as their almost sole source of Before departing, I would like cinema, whose career dated back to employment; in fact, spot houses to offer a few observations about the 1920s. One of the comments that came to dominate the New York ani- Internet publishing. When I was first stuck with me all these years was mation industry in the 1950s. It was approached about this assignment in about an offer he had to make an an era when such studios as UPA and late 1995, the conventional wisdom advertising film. As he considered him- Hanna-Barbera set up major com- held that none of the old rules for self first and foremost an artist, he mercial operations and which is still putting together a print magazine refused. Later, after seeing the result- looked upon as a Golden Age of really applied to online journals. After ing film, he was so delighted that he American Animated Commercials. all, given the nature of computers, changed his mind towards working Today, with the worldwide readers probably had little tolerance on such films. toon boom going on apace, com- for articles of more than a few hun- Today, with the likes of Spike mercials no longer play as dominant dred words. Needless to say, we Lee making commercials, the specter a role in the global animation com- ignored this sort of opinion and real- of selling out has long since vanished; munity; nevertheless, it remains a fer- ized that Internet publishing gave one this has been especially so for ani- tile ground for creativity. In the US, the freedom to publish longer articles mators, as early on advertising films this can be seen by increasing use of without having to worry about print- became an integral part of the ani- independent animators and design- ing costs.