keyleedaud (REAL ESTATE)

"At the same time, though, Miyazaki's presence points up the limitations of Pixar, which are the limitations of American commercial entertainment generally. Pixar landed on this list, and in the penultimate slot, not strictly on its own merits (which are, as I've said, considerable), but because of its imaginative dominance of family entertainment, and its capacity to shape future moviegoers' sense of what animation (and entertainment) should be. Pixar represents the best of what American commercial filmmaking is. But Miyazaki shows what might be possible without Pixar's inhibitions (or constraints, take your pick). "Factor out the few dark and disturbing moments in Pixar's films this decade (there haven't been many, really) and you're looking at a body of work that's fairly easy for even the youngest children to grasp and process, and ultimately not challenging compared to Miyazaki. In Pixar films, good characters sound (and usually ...

I got an email from Amazon, informing me that there is now an expanded edition of The Animator's Survival Kit by Richard Williams. The cover is above and the contents for the additional material are below. If anyone has a copy of the revised edition, please leave your thoughts about the new material in the comments.

When I was growing up in New York City, every Thanksgiving and Christmas, Channel 11 would run March of the Wooden Soldiers with Laurel and Hardy. In those days before home video, it was the only way to see the film so you didn't want to miss your chance. As a result, the film became a local holiday tradition. You may be familiar with the Disney TV episode "From All of Us to All of You." It first ran on December 19, 1958 and was re-run for years. It's a clip show, using old shorts and feature excerpts. Apparently, the show is a huge holiday tradition in Sweden. It's been running for nearly 50 years and is still attracting one third to one half of the TV audience on Christmas Eve day. Jeremy Stahl discovered this when he traveled to Sweden to celebrate Christmas with his fiance's family and has investigated the phenomenon in this article for Slate .

I've written about Txesco , an animator who worked on the Pocoyo series, before . He's created this beautifully designed and animated holiday greeting . Take a look.

This book , the second in the archive series after Story , is a collection of animation drawings from the entire history of the Disney animation studio. Except for the introduction by John Lasseter, there is no text to speak of in the book beyond the captions identifying the drawings, which are the real stars of this book. A book like this is at once both a revelation and a frustration. The revelation has to do with the craft and beauty of the drawings. Animation drawings generally have more life than the image that results from them on screen. The evidence of the human hand is all over them, where that evidence tends to get lost by the time the drawings are pushed through the production pipeline to arrive at the final image. The frustration comes from the drawings that aren't in this book. Every drawing is a reminder of other scenes from the same film that one wishes to see. There is no credited editor, so it's impossible to know how these particular drawings were selecte...

In retrospect, it was the height of ignorance to think that because multinational corporations abandoned drawn animation, the medium would die. It may not have been as visible in North America as it once was, but smaller studios were happy to keep making drawn films as if nothing had happened. The Princess and the Frog is the third drawn feature I've seen this year (after Miyazaki's Ponyo and Tomm Moore's The Secret of Kells ) and had circumstances not prevented me from going to the Ottawa festival, I would also have seen Paul and Sandra Fierlinger's My Dog Tulip . Of the three I have seen, I'm sorry to say that The Princess and the Frog is the least interesting. Disney's return to drawn animation is also a return to Disney clichés. With the exception of race (and I want to come back to that), there's nothing in this film that Disney hasn't done before. The truth, as everyone now acknowledges, is that people weren't tired of drawn animation, t...

Greenbriar Picture Shows has a very interesting article on the fight between distributors and exhibitors over setting ticket prices for films in the early 1950's. Apparently, Peter Pan was point of contention between RKO, Disney's distributor at the time, and theatre owners. The U.S. Department of Justice got involved, holding hearings to determine if there was any collusion on setting prices. John McElwee, the author, wonders if Disney's dissatisfaction with RKO's handling of the situation had anything to do with Disney setting up its own distributor, Buena Vista, shortly afterwards.

A guilty pleasure is something that's not good (or good for you) but that you like anyway. I have to admit that early Van Beuren sound cartoons are a guilty pleasure of mine. No one would compare them to the animation produced by the best of American studios, but they are the definition of the word "quirky." While occasionally, there are well drawn or animated scenes, the majority of them are clumsy, but they are clumsy in a way that provokes amazement, disbelief and most of all, laughter. Steve Stanchfield's Thunderbean Animation has now collected the complete Van Beuren Tom and Jerry. These are not the cat and mouse cartoons that most associate with the character names, they are a human, Mutt and Jeff-like pair who starred in cartoons from 1931 to 1933. Because of the name confusion, when the cartoons were released to the home movie market, they were renamed Dick and Larry. The Van Beuren studio went out of business in 1936, so the cartoons became orphans and s...

Within the space of a week, I had the opportunity to see two of this year's animated features, The Secret of Kells and Mary and Max . The first is directed by Tomm Moore of the Irish studio Cartoon Saloon and the second is the work of Australian Adam Elliot. Both films were excellent, but for different reasons. Kells is one of the most beautifully art directed films I've ever seen. In some ways, its a feature that UPA should have made; it revels in flat design and is a riot of textures. It doesn't look like any feature that's been released to theatres in the recent past and stands out as a result. I was frankly surprised at how expressive the animation was given the design. Some of the animators worked with a completely graphic approach while others kept to the designs, but moved the characters dimensionally. In both cases, the designs hold up and the characters come to life for the audience. The Book of Kells is an actual illuminated manuscript of the gospels c...

I've always been fascinated by Disney's Woodland Cafe (1937) and this scene in particular. Like Mother Goose Goes Hollywood a year later, this cartoon looks both forward and backward in its animation style. There are some scenes that could have been done as early as 1933 or '34 and others, like the above, that point towards the 1940s. The cartoon concludes with an upbeat jazz number, "Everybody's Truckin,'" played by a band of grasshoppers who are drawn to resemble the black jazz bands of the time. The shot above is from the song. This shot has always been the highlight of the film for me. While the surrounding animation is full of energy, this shot just explodes off the screen. This shot is animated by Ward Kimball and I thank David Nethery (see comment below) for confirming that. I wanted to know why this shot stands out for me, so I took a closer look. You can click the images below to enlarge them. The shot is 56 frames long, entirely on ones...

The saying goes that comedy is a man in trouble. There is no shortage of trouble in Cordell Barker's films. In The Cat Came Back and Strange Invaders , a character arrives who is first welcome and then is revealed to be a source of chaos, destroying the lives of those around it. Both films end with the trouble-making character multiplying. In the first film, the main character accidentally kills himself while trying to get rid of the cat, and is then haunted by 9 feline ghosts. In Strange Invaders , the alien child calls down more of his brethren after destroying the home and marriage of the main characters. While it turns out to be a dream, the woman is pregnant with multiple children who resemble the alien child. These films are structurally very similar and both keep the chaos localized. The main characters are unfortunate victims, but their problems are not typical. While we can identify with their frustrations, the films say little about our own lives. With Runaway , ...

Thanks to my friend, the noted animation historian Jim Korkis, I was alerted to this page . Sally Holmes was a Disney employee and when she left the studio, the artists she knew drew personalized farewells in her copy of the book on Fantasia . Besides the fact that these drawings are great, they include work from lesser known Disney artists such as Cliff Nordberg (pictured above), Hal King, Jesse Marsh, Judge Whitaker, Marvin Woodward, George Kreisl as well as artists whose names weren't known to me. Of course, there are drawings by some of the heavyweights like Ward Kimball, Fred Moore, Eric Larson, Milt Kahl and Marc Davis. Take a minute to look at some fun artwork and envy whoever it was who purchased the book recently on Ebay.

Germans in the Woods from Rauch Brothers on Vimeo . In time for Veterans Day (in Canada, called Remembrance Day), here is a film from the Rauch Brothers. Quoting from an email I received from Mike Rauch: In honor of tomorrow, Veterans Day, Rauch Brothers Animation has posted "Germans in the Woods" to the web. In this animated documentary, 86-year-old World War II veteran Joseph Robertson remembers a German soldier he killed at the Battle of the Bulge. Produced in collaboration with national oral history project StoryCorps. Created with pencil on paper, Photoshop, and AfterEffects. I think one of the more interesting developments in animation has been the creation of animated documentaries. Animators routinely interpret audio tracks, looking to find the emotional core of a person's speech. Shifting that skill from fictional to real dialogue extends what animators do while providing an opportunity to visualize events beyond the reach of a camera. I'd like to thank ...

Last week, the 4th year students at Sheridan had a screening of their story reels. I mentor 10 of those students, out of 108 this year. I've been looking at my students' reels as they developed since September, but it's always different seeing work with an audience. It struck me that there are three stages the students have to tackle in order to make a successful film, and various films were already at different stages. The first is clarity. Can an audience understand what's happening on screen? I've asked students to explain something I don't understand about their films and their explanations make sense, but what's in their heads hasn't been communicated on the screen. Things, often important things, get left out. Clarity is pretty easy to achieve once a storyboard or story reel is shown to a few people, as they inevitably ask questions about things they don't understand. Logic is a bit tougher. Getting the events of a film and the character...

Adam Elliot's stop motion feature Mary and Max will have its Toronto premiere at the Bloor Cinema from November 20 to 25. It will screen on Nov. 20 at 7 p.m, Nov. 21 at 9:15 p.m, Nov. 22 at 7 p.m, Nov. 23 at 4:15 p.m. and 9:30 p.m, Nov. 24 at 9:30 p.m, and Nov. 25 at 4:15. The film is paired with Cordell Barker's new NFB short, Runaway . Elliot's earlier film, Harvie Krumpet (2003), won the Oscar for Best Animated Short. The Bloor Cinema is located at 506 Bloor Street West at Bathurst.

The new issue of Flip is out, featuring an interview with Howard Baker, a director who does straight-to-DVD features for budgets as low as $3 million. That's an area that's very interesting to me and one that I think has potential for different kinds of films. However, the real surprise was his reel. At 7:50, you can see a clip from the canceled Disney feature Wild Life . I have no idea how much of this feature actually exists, but this may be all you're ever likely to see of it.

As a follow up to my review of David Levy's book Animation Development From Pitch to Production , I'd like to point out a blog that Steve Schnier, creator of Freaky Stories , has assembled from his own pitch bibles. If you are thinking about pitching, you'll see some good examples of the kinds of materials you'll need at Steve's blog.

The article below dates from about 1981, though I no longer have a record of what Canadian publication it appeared in. Though no one knew it at the time, it was published at the peak of Nelvana's promise. The studio's trajectory had been on a steady climb with its TV specials and it was working on its first feature, known originally as Drats and later renamed Rock and Rule . By the time the feature was finished, it almost finished the studio. Nelvana had been forced to sell of its share of the film in order to raise the money to complete the film, which had gone over budget. Had the film turned into a hit, Nelvana would not have benefited except in the area of reputation. The distributor, United Artists, lost all interest in the film after a disastrous test screening in Boston, so even that potential benefit failed to appear. After the film's completion, the company was essentially bankrupt, but Michael Hirsh managed to bring in enough service work to keep the doors o...

Today is Ralph Bakshi's 71st birthday. Below is a publicity pamphlet that accompanied the release of Heavy Traffic . I still feel that Traffic is Bakshi's most satisfying film and one that pointed in a direction that too few have followed. Persepolis may be the only animated film I can think of that's similar. Note that the film was rated X at the time of release. Current versions are rated R, though I have no memory of what's been cut. Regardless of the rating, what makes the film groundbreaking for me is the combination of cartoony designs and realistic emotions. Besides breaking animation's family friendly stereotype, Bakshi also showed how much more a cartoon was capable of. Most of the film is on YouTube . One part is missing, and I suspect that it's the Maybelline sequence that Mark Kausler animated, as there is some explicit sexual content there. The film is also available on DVD for $10 U.S. It's not a great transfer, but the film is wor...

I'm sure that there will be many interviews coming to publicize The Princess and the Frog . Here's one that deals with some technical issues, the crew and the possible futures for drawn Disney animation. (link via Jim Caswell .)

Gene and Zdenka Deitch Gene Deitch has now been in Prague for 50 years and The Prague Post commemorates the occasion with this article on Gene and Zdenka. ( link via Fantagraphics Flog! blog )

Animation Development From Pitch to Production by David Levy is a very good book about a very bad process. What's good about it is that Levy does not minimize the difficulties of pitching and maneuvering a creation through the broadcast bureaucracy. He interviews creators and development executives about the various stages of the process and he is as quick to point out mistakes made by creators as those made by broadcasters. Levy has pitched his own material for over ten years and he is not shy about relating his own experiences, including those with unhappy endings or those where he later recognized he was at fault. If you are interested in selling a show to television, this book is the best preparation in print that I'm aware of. If you've just toyed with the idea, this book will let you know what you're up against and perhaps persuade you that there are better ways to spend your time. The development process is a badly flawed process on multiple fronts. One of t...

I had plans to attend the Ottawa International Animation Festival next week. In particular, I was looking forward to the feature films that will screen there. Unfortunately, some family business has come up that must be dealt with during the festival, so I am unable to go. I'm mentioning this in the advent any of you would be looking for me there. For those who are going, enjoy the festival.

I have no idea who created this , why they created this, how they created this or if it ever ends. If you are one of those people who enjoyed Alice in Wonderland while (how shall I put this?) under the influence, I suspect that you will find this an enjoyable experience.

Let’s get one thing straight: Paying artists is always a positive thing. But the manner in which the guys at Channel Frederator are doing it continues to reflect their lack of regard and respect for the filmmaking community upon which they’ve built their brand. Seriously, in what universe is $50 considered an acceptable fee for anything nowadays? Have they been misinformed that filmmakers can time travel back to 1964 to make all their purchases? Here’s a reality check—the last time I went out to lunch with Channel Frederator founder Fred Seibert, our lunch bill ended up being over fifty smackers. In other words, this paltry amount isn’t even enough to fill up Fred’s tummy for one afternoon, yet somehow it’s supposed to represent a filmmaker’s reward for months of blood, sweat and tears. They’ve also announced that every month they’ll pay the filmmaker of the most viewed film a whopping $200. Guess what? That’s still less than what we pay every single filmmaker on Cartoon Brew TV. - A...

If you have any interest in the way the film business operates or the climate that exists for independent films, you must read this talk given by Bill Mechanic, former head of Fox and now an independent producer. It's the keynote address to the Independent Film & Television Production Conference and is essential reading.

Fred Seibert at left. ScribeMedia.org is a video site focusing on the business, technology and culture of the web. There is a six part, 90 minute interview with Fred Seibert, called " Building Digital Entertainment Brands ," which talks about Next New Networks, his collection of internet channels. Other videos are on " The Power of Online Storytelling ," " Maximizing the Monetization of Online Video Content ," " Independent Filmmaking in the Digital World ," and " Hollywood 2.0 -- Content and Commerce ." All the above links are to talking heads videos. I wish that they were transcripts instead, as they would be searchable and easier to speed read for relevant information. However, the interviews are with industry professionals, so their insights are worth hearing.

Canadian Business profiles producer Michael Hirsh, a founding partner of Nelvana and currently the head of Cookie Jar. Whether you like the shows he's produced or not, there's no question that Canadian animation would have been significantly different without Hirsh. (link via Paul Teolis )

Rich Johnston , Nikki Finke and the N.Y. Times are reporting that the estate of Jack Kirby has filed for termination of copyright on the characters he co-created for Marvel Comics. Will this have an impact on Disney's intended purchase of Marvel? There is no single person in the history of comic books who created more successful characters than Jack Kirby. There is no one in the history of comic books who received less of his rightful financial due than Kirby. I have no idea how this will play out, but I hope that the Kirby estate realizes millions from this. I'm only sorry that Kirby himself isn't alive to benefit from it.

(There are spoilers below.) 9 is a post-apocalyptic fantasy that suffers from huge huge logic holes and underdeveloped characters. This is a shame, as the film has strong art direction and what Variety would call "solid tech credits." The story is about a scientist who invents a machine for the betterment of mankind and has it taken away from him and subverted by a military government. The machine is used for war and then turns on humans, wiping them out. Somehow, the scientist ends up being the last man alive. I would think that either he would be drafted to stop the doomsday machine or would be killed by an angry mob, but it appears that he's left alone to build dolls. Why he considers this the appropriate response is never explained. There's a streak of mysticism running through the film, as the scientist imparts a piece of his soul to the nine burlap dolls. After the ninth, the scientist has apparently run out of soul and dies. I have to assume that number...