Animation Magazine February Issue #307 2021 by Animation Magazine, Inc.

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“A nonstop delight, full of bright, colorful visuals... the animation is top notch.”

Best AnimAted FeAture Produced By Mark Swift p.g.a. Directed By Joel Crawford

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Our Annual Award Season Preview Issue Revealing Batman: Soul of the Dragon Welcoming a New Era of Diversity + Demon Slayer the Movie: Mugen Train Kill It and Leave This Town No. 7 Cherry Lane And Much, Much More

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Craig McCracken’s Kid Cosmic: A Loving Homage to Yesteryear’s Comics a

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“Sly wit, dazzling invention and a delicacy of feeling that approaches the sublime.” LOS ANGELES TIMES / Justin Chang

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Peter Hannan is best known as the brilliant, Annie-nominated creator, exec producer and show runner of the Nickelodeon series CatDog, for which he also wrote and sang the theme song. He is also the exec producer and writer of the PBS show Let’s Go Luna.

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B E S T A N I M AT E D F I L M “ONE OF THE MOST GORGEOUS ANIMATED FILMS EVER MADE.” “UNLIKE ANYTHING AUDIENCES HAVE SEEN BEFORE.”

“★★★★

VIBRANT AND HEARTFELT.”

“GLEN KEANE’S CHARACTER DESIGN IS BEAUTIFULLY EXPRESSIVE, ADDING REAL EMOTIONAL FORCE.”

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February 2021

Volume 35, Issue 2, Number 307

16 Frame-By-Frame

Streaming/TV

6 Stuff We Love

16 Close Encounters of the Retro Kind Animation star Craig McCracken discusses the origins and highlights of his muchanticipated new Netflix show, Kid Cosmic.

7 January/February Planner

Features 8 Vision Quest How Polish artist Mariusz Wilczyński took inspiration from powerful and painful moments in his life to create his acclaimed first feature Kill It and Leave This Town. By Ramin Zahed 10 Portrait of an Artist in Exile French cartoonist and director Aurel discusses his acclaimed animated movie Josep and his fascination with the life of Spanish artist Bartoli. 12 A Languid Walk Down Memory Lane In an exclusive interview, Hong Kong director Yonfan discusses the historic and artistic influences behind his first animated feature No. 7 Cherry Lane. By Ramin Zahed 14 On the Right Track A look at the remarkable success of Japan’s blockbuster hit Demon Slayer the Movie: Mugen Train. By Michael Mallory

19 Finally, Some Progress! More women and people of color are creating and overseeing animated shows than ever before. By Karen Idelson 22 That ’70s Dark Knight Show Bruce Timm, Sam Liu and Jeremy Adams reveal some of the secrets of their new animated DC feature Batman: Soul of the Dragon. By Tom McLean

People 24 In Memoriam Remembering the animation & VFX greats we lost in 2020.

Award Season 28 The 2021 Award Season Dossier A great year for wolves, lost souls, lunar trips and more. By Michael Mallory

12 34 Directors’ POV Great advice from the helmers of some of the year’s top animated movies. 36 In the Game in 2021 A preview of the animated features hitting screens in the coming year.

Shorts 40 On the (Virtual) Road to Oscar Gold A wide-angle look at the year’s Academy Award-qualifying animated short prizewinners. 44 Matters of Life, Death and Art Canvas, Cops and Robbers and Grab My Hand are three of the year’s noteworthy shorts which offer powerful and deeply felt messages. 46 Swimming with Grace Directors Max Lang and Daniel Snaddon discuss the details of making the acclaimed animated adaptation of The Snail and the Whale.

50 Building a Magical Journey Step by Step How the team at Baobab Studios constructed the detailed VR world of Baba Yaga.

VFX

51 Tech Tools: The Best of 2020 By Todd Sheridan Perry 52 Playing the Monster Game VFX supervisor Dennis Berardi details some of the fantastic creatures and world building involved in the new Monster Hunter movie. By Trevor Hogg

State of the Art

54 AI: Friend or Foe? A look ahead at the applications of artificial intelligence in the animation process. By Jose Frederick San Román

Opportunities

55 Autonomous Animator Content will be king in 2021. By Martin Grebing

A Day in the Life

57 A Day In The Life Of ... Canvas director Frank Abney III takes us through a typical day of family fun and creativity.

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Cover: Craig McCracken’s new series Kid Cosmic beams to Netflix in February.

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ANIMATION MAGAZINE February 2021

Vol. 35, Issue 2, No. 307 Info@animationmagazine.net

President and Publisher: Jean Thoren Accounting: Jan Bayouth

ell, it looks like we made it through another year. You don’t need me to remind you of all the insanity and suffering the world went through in 2020. As we all keep telling ourselves, there is hope in sight and this new year promises to be a much better one. We’ve been very busy these past few weeks putting together our annual Award Season Kick-Off issue. In previous years, we published this issue in November, but because of the delayed dates of the Oscars and the Annies in 2021, we also had to postpone the special issue a couple of months. Just as we’ve seen in recent months, there is almost too much animated content to write about every day. The stay-at-home requirements of the pandemic have accelerated the animation boom palpably. Our must-see list of TV shows, features and shorts continues to grow bigger all the time, but we hope we are able to spotlight as many quality projects as we can here in print and daily on our website. Hats off to our indomitable digital editor Mercedes Milligan, webmaster Steve Dietrich and asst. web master Matthew Keable for going above and beyond the call of duty every day. One of the highlights of the recent months for me was getting to chat with the supremely talented Craig McCracken about his new, lovingly crafted Netflix series Kid Cosmic. He’s one of our favorite small-screen auteurs, and it’s always cause for celebration when we get to meet one of his new animated creations. I have a feeling that fans of George Herriman’s Krazy Kat, Hergé’s The Adventures of Tintin and comic strips of the Golden Age will fall in love with the hand-crafted feel and retro touches of Craig’s new serialized adventure. Award season means we have a lot of interesting indie and international feature releases, all of which seem to arrive around the same time. This month alone, we have features on some of the most interesting, quirky and artistic releases of the year: Mariusz Wilczyński’s Kill It and Leave This Town, Yonfan’s No. 7 Cherry Lane, Aurel’s Josep and the blockbuster hit Demon Slayer the Movie: Mugen Train, which will arrive in the U.S. in the first quarter. If you had any doubts about the diversity of style and subject matter that is currently available in the world of animation, these examples will certainly convince you! We also have a nice behind-the-scenes look at the hot new Warner Bros.’ animated feature Batman: Soul of the Dragon. Our old friend Tom McLean interviewed animation icon Bruce Timm and director Sam Liu to bring you everything you needed to know about the Dark Knight’s ’70s-style adventure. Also not to miss is Karen Idelson’s insightful take on animated shows created and exec produced by women and people of color on the small screen. Among the talented people featured in her round-up are Elizabeth Ito (City of Ghosts), Jeff Tramell (Craig of the Creek), Miguel Puga (The Casagrandes) and Diego Molano (Victor and Valentino). It wouldn’t be an award season’s kick-off issue without Michael Mallory’s carefully prepared dossier, which features all the animated movies that have a chance of getting Oscar and Annie recognition in April! We tried to keep all the info up to date, but as you all know, we have all become accustomed to enormous changes at the last minute. So, please take everything with a grain of salt. In our book, all of these movies, TV shows and shorts are winners. The rest is just fodder for award season junkies and the well-oiled publicity machines at the studios. One final note: Thank you for all the support you have given us this past year. On behalf of Animag’s president and publisher Jean Thoren and the rest of the team, I’d like to express how grateful we are to be able to bring you the best of the animation and VFX world. We hope 2021 is a kinder, gentler year for all of us. Stay safe and animated!

EDITORIAL edit@animationmagazine.net

Editor in Chief: Ramin Zahed Multimedia Editor: Mercedes Milligan Webmaster: Steven Dietrich Asst. Webmaster: Matthew Keable Tech Reviews Editor: Todd Sheridan Perry Contributors: Martin Grebing, Peter Hannan, Trevor Hogg, Karen Idelson, Tom McLean, Michael Mallory, Myles Mellor, Jose Frederick San Román, Samantha Shanman, Tom Sito ADVERTISING SALES sales@animationmagazine.net

Sheri Shelton EVENTS Director: Kim Derevlany kim@animationmagazine.net

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Circulation Director: Jan Bayouth TO ADVERTISE: Phone: 818-883-2884 Fax: 818-883-3773 Email: sales@animationmagazine.net Website: www.animationmagazine.net

Animag covers featuring Craig McCracken’s The Powerpuff Girls, Foster’s Home for Imaginary Friends and Wander Over Yonder.

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Quote of the Month

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“A very young film critic in Poland reviewed our film and wrote, ‘For the first time I am afraid I might lose someone very close to me – my grandparents. There’s a pandemic, I am worried about them, so I call them every day to check if they’re okay. Kill It… is an antidote to my anxiety and fear.’ I was surprised to discover that even though it’s an art film and not a documentary or a typical feature, it can resonate with people and make them feel a little bit better.”

ANIMATION MAGAZINE 26500 W. Agoura Rd. Ste. 102-651 Calabasas, CA 91302 TO SUBSCRIBE: For the U.S., the rate is $60 for 1 year or $95 for 2 years. Rates for Canada and Mexico are US$75 for 1 year or US$120 for 2 years delivered by foreign airmail. Foreign rates are US$90 for 1 year or US$145 for 2 years delivered by foreign airmail. Please allow six to eight weeks for initial delivery. Also available in a digital version for $36 for 1 year or $60 for 2 years.

— Mariusz Wilczyński, writer and director, Kill It and Leave This Town

Animation Magazine © 2021 Animation Magazine Prior written approval must be obtained to duplicate any and all contents. The copyrights and trademarks of images featured herein are the property of their respective owners. Animation Magazine acknowledges the creators and copyright holders of the materials mentioned herein, and does not seek to infringe on those rights.

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‘Soul’ lives up to Pixar’s own impossibly high standards, but it represents the very best the studio has to offer: beauty, humour, heart, and a gut-punch of an existential crisis.

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THE INDEPENDENT, Clarisse Loughrey

B E S T P I C T U R E • B E S T A N I M AT E D F E AT U R E B E S T O R I G I N A L S C R E E N P L AY • B E S T O R I G I N A L S C O R E

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Frame-By-Frame

STUFF TO READ The Art of Star Wars: The Mandalorian [Abrams, $40] Go behind the scenes of Season One to see how the talented Lucasfilm artists brought Mando and The Child’s first adventures to Disney+ — and created a sci-fi touchstone with a classic Western twist. Over 250 pages pack this hardcover with concept art, story sketches and interviews with cast, crew and creatives, including EP/showrunner Jon Favreau and EP/director Dave Filoni.

Invisible Men: The Trailblazing Black Artists of Comic Books [Yoe Books, $35] Using primary source material from World War II-era Black newspapers and magazines, this compelling book profiles pioneers like E.C. Stoner, Owen Middleton and Matt Baker. Gorgeously illustrated with rare examples of each artist’s work, author Ken Quattro explores the social and cultural environments in which they lived and worked. Plus: full stories from mainstream comic books, rare reprints and unpublished artist’s photos.

The Walt Disney Film Archives: The Animated Movies 1921-1968 [Taschen, $25] Cradled in a striking carnelian hardcover, film history author and lecturer Daniel Kothenschulte’s expansively illustrated guide to Walt Disney’s unrivaled imaginative universe traces his creative journey from the Silent Era, through debut feature Snow White and final masterpiece The Jungle Book. The book draws on extensive research conducted in the studio’s archive and private collections, bringing each iconic film to life with concept art, storyboards, cel setups and rare photos.

Wild Minds: The Artists and Rivalries That Inspired the Golden Age of Animation [Atlantic Monthly Press, $28] “During its first half-century, animation was an important part of the culture wars about free speech, censorship, the appropriate boundaries of humor, and the influence of art and media on society,” author Reid Mitenbuler writes. This absorbing history tracks this 20th century explosion in creativity, from Winsor McCay to Max Fleischer, Walt Disney and Chuck Jones, from Betty Boop’s risqué flapper gags to beloved feature film feats.

STUFF TO WATCH

Akira 4K [Funimation, $60] Katsuhiro Otomo’s 1988 masterpiece was treated to a 4K remaster and audio remix this past year, bringing Kaneda, Tetsuo and the world of Neo Tokyo back to audiences in all their big screen glory. Now, the crown jewel of sci-fi anime comes home with new special features on the film’s sound, original ‘80s end credits, trailer collection and storyboards, on top of tons of legacy bonus content.

Bartender 15th Anniversary CE [Shout!, $50] Serve yourself a refreshing revisit to Takashiro Mizushima’s novel anthology series with this two-disc Blu-ray set. Legendary bartender Ryu Sasakura presides over a quiet bar tucked away in Tokyo’s Ginza district, where he helps patrons unload their burdens with the perfect cocktail for any occasion. Includes all 11 original episodes, plus nine cocktail recipes, four collectible coasters, clean opening/ending and bumpers. [Jan. 19]

Batman: Soul of the Dragon [Warner, $40 BD/4K] Director Sam Liu and producer Bruce Timm go retro in the latest DC animated adventure, following as Bruce Wayne trains under O-Sensei and unites with fellow pupils Richard Dragon, Ben Turner and Lady Shiva to battle a deadly menace with 1970s martial arts flair. Includes brand-new featurettes Batman - Raw Groove and Producer Jim Krieg’s Far Out Highlights and more bonuses. Opt for the Best Buy gift set and snag an exclusive figure! [Jan. 26]

Lupin III: The First [Shout!, $20 DVD/$27 BD/$33 LE SteelBook] In his first CG-animated feature, the elusive Lupin III sets out to snatch a famous archeologist’s diary, befriending a young woman named Laetitia and outwitting a rival’s shadowy secret society. Bonus features reveal the production process, art, interviews with cast and director Takashi Yamazaki (BD exc.) and “Yellow Carpet” Premiere. Order at ShoutFactory. com and get an exclusive lithograph while supplies last! [Jan. 12]

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Frame-By-Frame

We’d settle for a relatively sane, even mediocre 2021 — but here’s wishing you Happy New Year just in case!

If you’ve recovered from the celebrations, why not take a virtual tour of the PAFF! museum’s exhibit Masters of Black and White: Milton Caniff? See lesserknown works by the “Rembrandt of comics” at the Villa Galvani in Pordenone, Italy, or online through Jan. 24. [paff.it]

January

DreamWorks Animation invites youngsters to play in Gabby’s Dollhouse, a new original hybrid series from Blue’s Clues creators Traci Paige Johnson and Jennifer Twomey on Netflix.

Catch the elusive gentleman thief in his first CG movie as GKIDS & Shout! release Lupin III: The First on Blu-ray combo and SteelBook.

February

Nearly a month of programming is planned for the Kidscreen Summit Virtual, including businessfocused market week, conference program and the annual Kidscreen Awards. [summit.kidscreen.com/2021]

Anima, the Brussels Int’l Animation Film Festival, will kick off its 40th edition with Wolfwalkers and continue with over a hundred acclaimed shorts, features and more on offer through Feb. 21. [animafestival.be]

Animation Domination welcomes its newest original when The Great North premieres on FOX. The Alaskan family sitcom hails from Bob’s Burgers EPs Wendy Molyneux & Lizzie Molyneux-Logelin, and Regular Show writer Minty Lewis.

If you crave physical media, now’s your chance to grab streaming hits Harley Quinn: The Complete Second Season on DVD and Lovecraft Country: The Complete First Season on DVD/Blu-ray.

Catalonia’s Animac festival celebrates 25 years with a hybrid event taking place in Lleida and online through March 7. [animac.cat]

Bruce Timm takes Bruce Wayne back to the karate-kickin’ ‘70s in Batman: Soul of the Dragon, on disc today.

The prestigious Sundance Film Festival gets a digital makeover, with virtual gatherings, livestream Q&As and, of course, fabulous films through Feb. 3. [sundance.org] Misery Loves Company

Hanna-Barbera’s iconic cat and mouse return to the big screen in Tom & Jerry, debuting in theaters through Warner Bros. and in a month long simultaneous release on HBO Max.

A fully reshuffled awards season gets off to a proper start with the 78th Golden Globe Awards. [goldenglobes.com] The Tehran Int’l Animation Festival holds its 12th edition through March 4, presenting programs in and out of competition, special screenings and panorama selections. [tehran-animafestival.ir]

The Southeast U.K.’s largest animation celebration, Canterbury Anifest, returns for three days of toons. [canterburyanifest.com] Those seeking spicier selections can catch VOID, “the boldest animation film festival,” in Copenhagen today through March 6. [voidfilmfestival.com]

To get your company’s events and products listed in this monthly calendar, please e-mail edit@animationmagazine.net. february 20 7

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Features

Vision Quest How Polish artist Mariusz Wilczyński took inspiration from powerful and painful moments in his life to create his acclaimed first feature Kill It and Leave This Town. By Ramin Zahed

ore than 14 years ago, ,self-taught Polish artist, writer and director Mariusz Wilczyński set out to make a deeply personal animated short. As the years went by, that highly original project evolved and grew into a 90-minute tapestry of memories, characters from his favorite literary works and a deeply moving meditation about honoring and living with the ghosts of the past. In 2019, some fortunate festival-goers were finally able to see this labor of love, a project that was described by Indiewire as “a movie so lo-fi it makes Don Hertzfeldt look like Walt Disney!” Wilczyński, who has been creating highly creative animated shorts since the mid-’90s, been the subject of retrospectives at various museums and shown his work at the National Gallery in London and the Berlinale, says his project became more ambitious after he decided to have the role of an old train passenger be voiced by actress Irena Kwiatkowska, who was a childhood hero of his. Her dramatic reading made him realize what a huge difference a talented actor can make in an animated feature. “Her act-

ing made me realize what great impact an actor can have with all the mastery that she brought to my film,” he says. “I then created other characters, voiced by Andrzej Wajda and Gustaw Holoubek, and these characters also began to inspire me to create their identity and behavior in the film. I had their appearance, their words, I knew their manner of speaking, which helped me draw the characters precisely.” Another huge catalyst was a 2017 retrospective of his work at the Mill Valley Film Festival. “During that time I was invited to visit Pixar Studio,” he recalls. “They were just finishing Coco and I was given a tour by the great animator Doug Frankel. He took me to places that they don’t usually show visitors. That’s how I found out that they first come up with the characters and their lines of dialog, and then an animator records those lines, the lip-synched version is drawn and finally the star adds their voice to the project. So I decided to also use great Polish actors to create the world of my imagination, sensitivity and values … My goal was to surround myself with these people because I learned my values from them.”

Loss Inspires Art

According to the artist, his parent’s deaths about 20 years ago shook him quite heavily and inspired him to bring his experiences and emotions to animated life. “They separated when I was three years old, but they both died within a very short time,” he tells us. “My mother was the first to go. I felt very guilty for neglecting them, for being abrasive towards them, for not expressing love, especially towards my mom. I never told her that I loved her. At the time when they were both old and they needed assistance, when they were in the hospital, I never had time for them. I was busy doing everyday tasks, making my films and indulging in my hobbies. I was constantly telling myself, ‘I’ll call my mom later,’ or ‘I’ll visit her soon, but I have so much to do right now.’” It is quite painful for Wilczyński to look back at that time in his life. “You only need to do so little to bring joy to an elderly person — just a visit or a talk,” he admits. “But I couldn’t afford to do it — I was a self-centered egoist. I was always putting off visiting them or making a phone call. I would always say, ‘Tomorrow’ … and at some point, there

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Past Imperfect: Polish director Mariusz Wilczyński was inspired by figures in his own life and personal history to create the world of Kill It and Leave This Town. were no more ‘tomorrows.’ I felt devastated and remorseful for not hugging my parents before they died, for not telling them that I loved them. I had deserted them.” A special retrospective at MoMA gave him the encouragement to use his parents as a starting point for the movie. “I had to summon up the courage and reflect upon a part of my life and reconcile,” he notes. “I knew that I could build my ‘magic box,’ bring them back to life and make up for my mistakes. Then, a year into making the film, I lost my closest friend and the most important man in my life, Tadeusz Nalepa, whose music is the soundtrack of the film. He joined the land of ghosts in my film. The film was made for my mom, who supported me so much, but also for Tadeusz, who was my great friend. I am very pleased that I was able to use Tadeusz’s music in the movie since he didn’t get any airplay in Poland during his life, but is now acknowledged for his art. The point of making the film was to meet my mom, my dad and Tadeusz again, to have an honest conversation and tell them all that I love them.” Reflecting on his childhood, Wilczyński, says he always

program, I went crazy,” he says. “I decided to leave my painting career, cross out everything that had happened before, and make the pictures come alive. I didn’t know how to do it, but I made one crucial decision: I would never look at what other animators are doing or read books to learn the technology. My goal was to experience it on my own, in my own way. At 35, I was beginning a new adventure — and like a child, I was discovering the world from the very basics. I felt like Columbus and had no idea where I would sail to!” The artist decided to do all the backgrounds for Kill It and Leave This Town by hand. “The process of creating the environments was a bit like that of the film: I added up more and more elements of the story to finally get an hour and a half. The drawings emerged in a similar way — I drew a picture on a scrap of paper, but I lacked some space, so I glued it together with another piece of paper. Then, I felt like there wasn’t enough space, so I attached another picture, and that’s how it began to grow. You can see all these joints between pieces of paper in the film. I wanted to expose this,

‘Once you’ve got the determination and an idea for a feature film, some things will come naturally. I was lucky because we didn’t have a lot of money, but there was great determination, ambition and a lot of love for our film.’ — Writer, director & artist Mariusz Wilczyński

loved drawing as a young boy. A favorite subject were Polish knights fighting with Teutonic Order cavaliers. “I actually got my first ‘Fs’ in school for my drawings,” he admits. “When I was seven, I used to spend holidays in the countryside with my mother, and I noticed that the male horses had big willies. So, when I drew the most famous knight, Zawisza Czarny, on top of a horse, I included a huge wiener. My mom was called to school because of that and I was pretty close to getting expelled. Luckily, she managed to talk the principal out of it.”

Finding a New World

Nevertheless, Wilczyński kept drawing and he ended up studying painting at the Academy of Fine Arts in Łódź under the great painter Stanisław Fijałkowski. After graduation, he embarked on his own promising painting career. He drew many pictures for a celebration of the acclaimed poet and diplomat Czeslaw Milosz’s collection Road-side Dog for Polish television. “After I saw my drawings featured in the

because it’s a very organic and natural matter of paper, of surface, and some creasing. Some pictures behaved in the same way — as the film was in the making for a dozen years, some of the first drawings started to look more pale, the ink changed in shade, and everything started living its own life.” Wilczyński believed it was very important to keep the natural patina of the artwork throughout the movie. “I refused to clean it,” he says. “I wasn’t initially certain if I should leave it or not, but when I saw how it works together with the film and how it all lives organically, I loved that. We used all the effects manually. These were the neons, the lights, the lamps. Everything was photographed with a camera. We constructed these small neons by hand and so on. Raindrops, fog, city lights were manually put into the hand-drawn backgrounds. In the post-production stage, we used the most modern technologies and worked together with some young brilliant digital animation artists who assembled it all together.” Most of the film’s sounds were also recorded manually. “We no longer have those old streetcars in Łódź, so we recorded

the sound in Lisbon and in Prague,” explains the director. “The sounds of the trains were recorded in Vietnam, as those natural sounds are nowhere to be found in Poland anymore.”

The Personal Is Universal

The helmer is quite pleased that this hugely personal work has been getting positive reviews at festivals around the world. “It is very rewarding to hear other people saying that they will change their attitude toward their loved ones after watching the film,” he says. “But frankly speaking, I had no expectations from audiences whatsoever. I made the film for myself, my parents and my friend. I didn’t think that I was making a film that could help someone, that might give them something. I was a bit fearful that the film would not be understood outside of Poland, but also, I hoped that the audience would like it.” He says he also thought that the movie would only appeal to those over 35, but after a screening of the movie in Lima, Peru, three young people told him that they were deeply affected by it. “They told me, ‘What are you even saying? Here in Peru, we’ve had a lockdown for three months. Every one of us has lost a loved one to COVID. Don’t say the film is for an older audience because we’re in our 20s and we can perfectly understand it.’ It might be that this film, especially at this time, has an additional impact.” The director also was quite touched when a young film critic in Poland praised his movie and wrote, “For the first time I am afraid I might lose someone very close to me — my grandparents. There’s a pandemic, I am worried about them, so I call every day to check if they’re okay. Kill It and Leave This Town is an antidote to my anxiety and fear.” Wilczyński concludes, “I might have expected that the film would be understood in Poland, but I never thought that it would be readable outside of my country. These dozens of reviews and the awards we received came as a surprise to me. What was the most surprising and important is the reception of the film. Even though it’s an art film, a kind of tale based on my emotions, not a documentary or a typical feature, it can still resonate with people and make them a little bit better. I find it incredible that some elderly people’s lives might also become brighter thanks to it.” ◆ Kill It and Leave This Town won a Jury Distinction at Annecy and Best Animated Feature at Ottawa in 2020. The film will screen as part of the Vidiots Foundation Virtual Screening series on Feb. 3 and MoMA’s Contenders screening series Feb. 11-16. The film is distributed by Outsider Pictures and will expand in the first quarter of 2021.

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Features

Portrait of an Artist in Exile French cartoonist and director Aurel discusses his acclaimed animated movie Josep and his fascination with the life of Spanish artist Bartoli.

rival of the screenwriter Jean-Louis Milesi) were really more rench cartoonist Aurel’s animated feature Josep is a biographical. I was totally obsessed by his fascinating life. powerful account of a pivotal chapter in the life of Thanks to Jean-Louis, we brought the script to something Spanish artist Josep Bartoli (1910-1995), who fought Franco’s regime, was interned in a French concentration more fictional and also stronger. Our biggest challenge was financing the movie. It took us two years even before the camp and eventually made it to Mexico, where he became production began, and then about 14 months to make it.” Frida Kahlo’s lover. The highly artistic movie was one of the According to the director, most of the film, which was proCannes Festival’s official selections last year and went on to win the European Film Award for Best Animated Feature duced under the Les Films d’Ici Méditerranée banner, was produced in France: The backgrounds were produced by Film (beating out heavyweights such as Klaus, The Nose and Calamity). The director was kind enough to answer a few of Lille-based Tchack, and animation and editing was handled by Angoulême’s Les Films du Poisson Rouge. Montepellier’s our questions via email. “About 10 years ago, I came across the book La Retirada, which is written by George ‘I hope Josep is a kind of manifesto and tribute to the Bartoli, Josep’s nephew,” recalls Aurel. “This art of drawing. I want the movie to show how book is about the Spanish exiles in France drawings can be powerful and evocative — even at the end of the Spanish war in 1939. It’s illustrated by several of Josep’s drawings without any or a lot of movement.’ — including the cover, which is the first — Director Aurel drawing I’d ever seen from him. Ever since I discovered his work, I knew that I wanted to work on his art and life story. I was actually making my first animated short project Octobre Noir (Black October) at the time and knew that I wanted to continue to explore animation through Josep Bartoli’s work and life.” Aurel says he was passionate about Spain and the history of the Spanish Civil War, especially after seeing Ken Loach’s movie Land and Freedom, which came out when he was a teenager. “So, I think I saw the opportunity to join my two passions with this story,” he says. “However, the first few versions of the script (before the ar-

Les Fées Spéciales handled the compositing, while sound was done by Piste Rouge in Paris. Part of the animation was also produced by Belgium’s Lunanime and voices were recorded in Barcelona. (Noted Spanish actor Sergi López of Pan’s Labyrinth fame voices the film’s lead character.) In total, around 70 people worked on the project.

Through the Mists of Memory Since the film is told through flashbacks, it needed two distinct visual styles: one devoted to the contemporary era, and the other representing 1939-era France. The director selected 2D animation created with TVPaint (produced by Lunanime) for the modern sequences of the movie, and for the historic sections he went with Poisson Rouge’s Hoodoo-produced animation. “I think it’s an amazing animation software, although I’m not an expert in animation,” he says. “It’s a vector-based drawing software which you can use with your own drawing tools (i.e. my own pencils and ink brushes, etc., from my pencil case). Every line an animator drew in the software is mine thanks to a library filled with lines I had drawn before and scanned. Plus, Hoodoo helps animation by offering intervals to the animator … directly picked-up from my lines library. Obviously, the animators can modify every image. It brings a real handmade quality to the animation.” Aurel says the reason he decided to opt for a different kind of animation for the period sections of the film was two-fold. “The story is told by an older man to his

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Features Intersection of Art and Politics: A gendarme’s encounter with Catalan artist Josep Bartoli in a French concentration camp after the Spanish Civil War creates the framework for Aurel’s Josep.

grandson, so it’s based on a dying man’s memory,” says the artist. “We can imagine that it’s not very fluent and more impressionistic. We also need to feel that it’s the first time he is telling this old story. “ The second reason is quite personal and heartfelt. Aurel explains, “This was very important to me because this movie is an homage to both my art and Josep’s art— and that means drawing, and more precisely, cartooning. It means we use this art to express movement without any motion. We express acting without any action. We only draw. And our drawings need to be read very fast and to carry all the action and the meaning in a few lines. I wanted to bring this to cinema. So I decided to realize this historical part through this method of drawing, which involved taking out every ‘interval,’ every action that could be resumed in only one drawing. That is what you see on the screen. That matches quite well with the idea of a fading memory. Of course, the response from production was, ‘OK, but we don’t know how to do that, so help yourself …!’ So, that’s why I had to draw the characters featured in the entire 800 shots!” The director praises his producer Serge Lalou for supporting all his artistic choices and sticking up for his special vision. “I’m really glad to have been totally free to stick to my artistic choices, even when it was about taking out most of the movement from the movie! Thanks to Serge, I could think and make a film entirely as I wanted to. The most exciting part of the experience was to bring life to

my drawings, keeping their essence, but also adding voices, music, special effects, etc. to the project.”

A Fan of Looney Tunes When we ask him about his artistic influences and favorite animated projects, Aurel says, “Darn, that’s a trap! I don’t know! As every French (and European, I guess) person from my generation, cheap Japanese manga animation was a huge part of my culture because of TV shows I used to watch! As a child, I also loved a French production called Il était une fois la vie (Once Upon a Time… Life) [Procidis’ children’s show about the human body]. But I am definitively a huge fan of classic Looney Tunes and Hanna-Barbera shows. For me, Tweety and Sylvester and The Road Runner are at the top of my pantheon. More recent favorites include The Simpsons, obviously, and American Dad!” The veteran artist says he hopes audiences will learn more about a lesser-known period in French and Spanish history thanks to the movie. “I think what viewers will take away from the movie will be different, depending on where they are from,” he points out. “In France, I hope it will help to educate people more about this part of our history, which is totally erased from the books. In general, I hope Josep is a kind of manifesto and tribute to the art of drawing. I mean I want the movie to show how drawings can be powerful and evocative — even without any or a lot of movement. Even in cinema.”

When it comes to the world of animation, Aurel says he is pleased to see a lot of interesting and daring works being produced all around the world. “I’m glad to see that because of animation, drawing is playing a huge role as an art form, and that the medium can be used to tackle serious subjects for adult audiences today.” ◆

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A Languid Walk Down Memory Lane In an exclusive interview, Hong Kong director Yonfan discusses the historic and artistic influences behind his first animated feature No. 7 Cherry Lane. By Ramin Zahed

ong Kong-based helmer and photographer Yonfan’s No. 7 Cherry Lane was one of the most unusual animated features of the past year. The director’s first movie in 10 years and his first foray in animation has been described by critics as a lush, sensual and nostalgic head trip back to his country’s past, circa 1967. The film, which takes its cue from the artistic and languorous

movies of Wong Kar-Wai, centers on a young English literature tutor who finds himself sexually attracted to both his student and her mother. Along the way, the director manages to throw in references to some of his favorites, including Jane Eyre, Remembrance of Things Past, Room at the Top and Casque d’Or! When asked about the inspiration for his movie, Yonfan

responds, “1967 was a revolutionary year. Martin Luther King, Jr. denounced the Vietnam War. Unconventional and artistic films like Blow Up, The Graduate and Bonnie and Clyde arrived on the major Hollywood scene. The Cultural Revolution was spreading all over China, while Hong Kong was facing a riot that almost brought down the whole colony. I was 20 years old and in love with movies and literature.

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Steamy Triangle: Never one to shy away from controversy, Yonfan explores a three-way romance between an English teacher, his young student and her mother in the Hong Kong-Chinese adult feature No. 7 Cherry Lane.

to a Beijing studio to develop the shots in CG, which were then brought back to hand-drawn 2D. Yonfan says he chose a heavily textured background against the simple linear character drawings because he believes the contrast can achieve a different level of art. “The whole process took about five years of meditation and hard work, and we had around 100 artists who worked on the project,” he notes.

Look Back in Wonder

‘[In 1967] I was 20 years old and in love with movies and literature. I told myself that I wanted to tell a story of love among the ruins. So, half a century later, I made No. 7 Cherry Lane.’ — Writer-director Yonfan

I told myself that I wanted to tell a story of love among the ruins. So, half a century later, I made No. 7 Cherry Lane.” Born in Wuhan in 1947 and brought up in Taiwan, Yonfan believes animation and painting to be different sides of the same coin. “I believe paintings of different styles can offer different forms of imagination much more than photography. I believe good art is somewhere in between reality and imagination. I also believe only through this form of art can my desolation of splendor be delivered.”

Eco-Friendly Art Form The helmer, whose most recent live-action movie was of 2009’s Prince of Tears, says it’s the solitude of working with the artists in animation that led him to have more meditative thoughts. “Animation is very environmentally friendly,” he explains. “There are no sets, no costumes, no trailers — all very quiet and no waste. It also provides you with a tre-

mendous amount of art when the animation is finished.” He adds, “I learned how good teamwork can combine so many different thoughts in one and make things really happen. You start with one single sketch, pencil on rice paper, then it moves into the complicated 3D animation then back into the very basic 2D hand drawing. I was told that this process was never done before!” Regarding the film’s distinctive style and visuals, Yonfan says he is gifted with a very distinguished visual eye. “Even when I was shooting live-action movies I knew all my shots cinematically. For this movie, I included most of my visual knowledge, from both East and West, from Chinese ink to French Impressionistic oil paintings and even Pop Art. I know all my art inside out!” The animation, produced by the Far Sun Film Company, under the aegis of Zhang Gang, began with all the background art created in Taiwan. Then the production moved

Yonfan says his biggest challenge on this movie was simply finishing it. “During these five years, whenever I got on a flight, I prayed to God, ‘No accidents please! I’ve got a project to finish and that is important.’” The director admits that he is not an avid follower of animation. However, he counts one Japanese animated feature as a huge source of inspiration. “My favorite animated movie is Miyazaki’s The Wind Rises. It is so real and so imaginative, and I love its social message.” That acclaimed 2013 release centers on a Japanese engineer whose lifelong love of aviation leads him to the creation of the A6M World War II fighter plane. Despite all the praise the movie has received at festivals around the world — it won the Best Screenplay prize at the 2019 Venice Festival — the director was surprised by how some boycotted the film for the conservative way it looks at the violent 1967 Hong Kong riots against British rule in the region. “Two years after the Venice Festival premiere, I screened the film in Hong Kong and received very bad reviews,” he points out. “People boycotted the film because it’s not the Hong Kong they want to see at this moment.” Yonfan says he hopes a wider audience around the world will be able to enjoy his unique movie on the big screen. “I was told that No. 7 Cherry Lane is only a festival movie, not a regular theatrical release picture. I hope to break this curse in the months ahead.” In closing, we asked him what he thought about the state of animation in China and all over the world. He says, “This is a question not for me to answer. I never make movies as a business. I don’t know the market. Therefore, I am not allowed to express my opinion!” ◆ No. 7 Cherry Lane had a limited theatrical release for award season consideration in November. The film will be part of a virtual screening run with the Museum of Modern Art Jan. 21 to Feb. 4.

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On the Right Track A look at the remarkable success of Japan’s blockbuster hit Demon Slayer the Movie: Mugen Train. By Michael Mallory

iven its phenomenal success in Asia and Europe, the anime epic Demon Slayer the Movie: Mugen Train (a.k.a. Gekijō-ban Kimetsu no Yaiba: Mugen Ressha-Hen) might persuade one to believe that mugen is the Japanese for “gravy” (purely for the record, mugen means “infinite”). Since its release in Japan last October, the feature film has already racked up an incredible series of box office records. In its first 10 days, Demon Slayer the Movie: Mugen Train — which is slated for release this year in North America through Funimation Films and Aniplex of America — took in $100 million, making it the fastest film ever to reach that milestone. It went on to become Japan’s highest grossing film of 2020, the second highest grossing film ever for that nation and 2020’s sixth highest grossing film on a global basis. Perhaps its most significant and startling achievement is that with a box office take of $267 million to date, it is now poised to surpass the success of Japan’s highest grossing film ever, Hayao Miyazaki’s 2001 masterpiece Spirited Away. While the filmmakers behind Mugen Train seem to make a point of not talking about their work, no less a figure than Miyazaki himself has weighed in on the prospect of his losing the top place in the record books … with characteristic calm. “I don’t think it has anything to do with me,” Miyazaki said recently. “As long as the workplace they make is peaceful, and

they’re doing their best, that’s all that matters.” The workplace at the Tokyo-based anime studio ufotable, which produced the film, may be peaceful, but the predicament of the characters in Mugen Train is anything but. The film is a

direct follow-up to the television series Demon Slayer: Kimetsu no Yaiba, which began airing in Japan in April 2019. That, in turn, drew its inspiration from the hugely popular manga by Koyoharu Gotōge. The show’s director Haruo Sotozaki, who

Pandemic Pastime: At press time, the blockbuster hit Demon Slayer the Movie had amassed over $301 million. The pic is poised to pass Miyazaki’s Spirited Away as the highestgrossing movie in Japan.

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also served as a key animator for several episodes, helmed the feature as well, working from a story credited to Gotōge and a screenplay attributed to ufotable (that’s one way to maintain credit parity). As was its source material (the film being an expansion of the “Mugen Train Arc” of the manga), the film is set in the early 20th century, during the reign of Emperor Taishō, who briefly installed a post-World War I democratic system of government for the nation.

A Young Hero Rises The central character is a young man named Tanjiro Kamado, whose bravery was tested as an even younger man through saving his younger brother from a falling brazier, an incident that left Tanjiro with a pronounced red scar on his forehead. Tanjiro labors to support his family, only to return home one day and discover that everyone except his younger sister, Nezuko, was viciously slaughtered by demons. Even though Nezuko’s life was spared, she was transformed into a demon (albeit a rather benign one), which prompts Tanjiro to join the ranks of Demon Slayers to avenge his family and find a cure for Nezuko’s affliction. With its large and complex cast of demons and demon slayers, and multiple levels of combat, the shonen saga overall might be compared to the uninitiated as a young adult elevation of Pokémon. The primary antagonist of Mugen Train is Emmu, a sadistic lower-rank demon who will achieve upper-rank status if he kills Tanjiro. Meanwhile, Tanjiro and two other members of the Demon Slayer Corps (a civilian special ops unit dedicated to protecting humanity from vicious demons) join up with Kyojuro Rengoku, the Flame Hashira, who is one of the most powerful swordmasters in the human realm, on board a seemingly endless, demon-haunted train. Once there, they are drawn into the mystery of the disappearances of several people on the “infinity” train.

While the film is mostly traditionally animated — Akira Matsushima served as chief animation director as well as character designer, though the animators are again represented simply under the banner of “ufotable” — the train itself is sleekly rendered in 3D. Digital effects were also used for the big-screen renderings of the franchise’s trademark flashing sword fight scenes, with the CG work supervised by Kazuki Nishiwaki. Not surprisingly, voices for the English-language dub are provided by the American actors who played the same roles in the TV series. Zach Aguilar, who portrays Tanjiro, says he is “extremely honored to be able to be a part of such a fantastic anime.” Meanwhile, Abby Trott returns as the voice of his sister, Nezuko, who, despite having been rendered demonic, still retains some basic humanity. “Nezuko as a human is a sweet, caring sister, and even when a demon, when it comes to Tanjiro, she must protect,” Trott says. “I definitely relate to her sentiments about protecting the people and pets I hold dear.”

Bitter Coffee to the Rescue To play the role of the fierce demon slayer Inosuke Hashibara, who fights with a hollowed-out boar’s head as a mask, voice actor Bryce Papenbrook developed a unique approach for achieving the character’s harsh, gravelly voice. “My technique to make my voice sound so deep is to literally drink the worst

‘With its large and complex cast of demons and demon slayers, and multiple levels of combat, the shonen saga overall might be compared to the uninitiated as a young adult elevation of Pokémon’

coffee possible — the darkest, strongest-brewed coffee, where you take a sip and go … oh, no ...,” he revealed to a crowd at last year’s Katsucon in Washington, D.C. “Before every line I take a sip of the coffee and then under the beeps [a cueing system that preps the actors for a take] I amp myself up and say the line. I have to get to that point for every single line.” J-Pop star LiSA has provided the picture’s theme song, titled “Homura,” the lyrics for which were co-written by the film’s music score composer, Yuki Kajiura. “Homura” set a record of its own by achieving 10 million views in its first week on YouTube. This is not the singer/songwriter’s first brush with Demon Slayer; her hit song “Gurenge” became even more popular as the theme song for the series Kimetsu yo Naiba, surpassing the million-download mark, the first such achievement in Japan for a female artist. The franchise in general, and Mugen Train in particular, is a singular success for the 20-year-old ufotable studio, which had already scored big with such earlier manga-based projects as the 2011 series Fate/Zero, 2015’s God Eater and lighter shows such as 2003’s Dokkoida?! and 2004’s Ninja Nonsense. Targeting mainly the shonen audience (male tweens and teens) ufotable animation has become known for its execution of intensely choreographed, highly cinematic battle and fight scenes. While available in English dubbed versions, those hits did not quite make the trans-oceanic splash of Demon Slayer (the income from which, incidentally, helped offset the studio’s recent income tax problems … as if 2020 wasn’t already bad enough). Given the plethora of anime films arriving in 2021, it is an open question as to whether Demon Slayer the Movie: Mugen Train will break North American box-office records as well. However, chances are many more fans all over the world will be hitching a ride on this train in the next few months. ◆ Funimation Films will release Demon Slayer the Movie: Mugen Train in North America in early 2021.

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Close Encounters of the Retro Kind Animation star Craig McCracken discusses the origins and highlights of his much-anticipated new Netflix show, Kid Cosmic.

he name Craig McCracken evokes deep feelings of admiration and respect in animation circles. The friendly toon auteur, who is turning 50 this March, was the creative force behind the popular animated shows The Powerpuff Girls and Foster’s Home for Imaginary Friends at Cartoon Network and Wander Over Yonder at Disney Channel. McCracken, a talented Cal Arts alum who got his first big breaks working on 2 Stupid Dogs and Dexter’s Laboratory, is back next month with a fantastic new show on Netflix called Kid Cosmic. The two-time Emmy winner, who is married to acclaimed animation designer, writer and producer Lauren Faust (DC Super Hero Girls, My Little Pony: Friendship Is Magic) was kind enough to answer a few of our questions during a recent phone interview: Animag: Congratulations on your fantastic new series. Can you tell us a little bit about the origins and inspirations for Kid Cosmic? Craig McCracken: I wanted to create a show about this period in a kid’s life when they have this naïve confidence that whatever they want to do can happen. I remember when I was a kid, I used to draw comic strips and comic books and www.animationmagazine.net 16

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Out of This World: Kid Cosmic centers on an imaginative nine-yearold boy who comes across five magical rings with superpowers in a remote deser t town. The voice cast includes Jack Fisher, Amanda C. Miller, Keith Ferguson, Tom Kenny, Fred Tatasciore and Lily Rose Silver.

didn’t understand why I wasn’t ready to be published at 12. There was another period when I decided to start a t-shirt drawing business and I started drawing cartoon characters and band logos, so I put the word out in school. I thought I was going to have this business where I was going to make tons of money! I had this conviction it was going to work. When developing Kid Cosmic, I wanted to tap into this naïve confidence that all kids have. So, the show is about a kid who has this fantasy of being a hero and that opportunity literally lands at his feet. Would the fantasy play out the way it does in movies or comic-book scenes, or would the reality be much different? That was the basic inspiration. I read somewhere that you had thought up this concept many years ago. Right? Yes, I actually started thinking about this idea back in 2009, but the more I thought about it, I realized that this needed to be serialized. I can’t do random 11-minute or 22-minute cartoons with this. This character needs to grow and change, so I put it on the backburner. In recent years, as you know, more networks have been open to the idea of serialization in comic adaptations. So, Netflix came around, and I thought: this is something I’ve been wanting to do for years. I presented the idea to them, and they loved it. So we started production! I started thinking about it about five years ago, and we started with Netflix in early 2018. Was the show development experience at Netflix different from your previous work?

It was completely different from any of the other previous ways we had approached a new show. I was fortunate to have an animatic for the pilot. The way it worked I went in on a Thursday, and I showed it to Netflix. They called me back the next Wednesday to give me a tour of their future studio facilities. I asked them, “So what is the process for getting a greenlight here?” They said, “We love it. How about making a 10-episode, 22-minute, serialized show?” And I said, “Perfect!” It was really quick and quite an incredible experience!” Who is your animation production partner on this show? Mercury Filmworks in Ottawa is animating the show for us. They’re animating the show in Toon Boom Harmony. We have about 45 people in our Netflix Animation team in L.A., and the Mercury Filmworks side has about 110 members at a time. Each episode takes approximately a year and a half from writing start to finish. One of the great things about having 10 episodes to work on is that you can focus on making each episode unique and special, and you’re not churning out volume, which is an opportunity I’ve never had before. I believe I saw your wife’s name (Lauren Faust) listed as character designer, too. The thing about Lauren and I is that if you hire one of us, you get the other one for free! [laughs] As I was developing it, Lauren was always there going, here is an idea, oh, here’s an idea. So, she has been part of that and has helped out with some of the writing here and there, too.

Did your young daughter also help with the inspiration? I think so. What’s interesting is that we have this four-yearold character Rosa on the show, and started writing her prior to having our daughter. As I was developing and writing it, I was noticing things that I got right and also things that I totally didn’t get right about how four-year olds actually are. Her energy and playful spirit are definitely there. Can you discuss the lived-in, unique visuals of the show? One of the things I wanted to focus on with the show was to have it grounded in reality. We came up with a design style that reflected that. I started looking at cartoonists that worked more in print media — people like Hank Ketchum (Dennis the Menace), Hergé (Tintin), they have a nice balance between being believable and also being cartoony. We aimed for that print, comic-book approach. Kid and his team are kind of like a punk rock superhero team, so we wanted to focus on a look that was a little bit rough around the edges and not hide the fact that these are drawings. So, for the backgrounds and the line work on the characters, we kind of left that textured, hand-drawn feel in there. We wanted to get across that human quality. What prompted you to set the story in a desert town in New Mexico? When I was a kid, my mom used to take me to the desert all the time, and I kind of fell in love with it. It is also rural enough that you can believe that a team of regular people can fight aliens there without everyone finding out. New Mexico is also

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Streamng/TV I started drawing when I was three or four years old. I was a big fan of Tintin and The Rocketeer and classic comic strips like Krazy Kat. (There is even a line in Kid Cosmic where one character is wandering in the desert just saying “Krazy Kat” repeatedly. That is my homage to the cartoonist George Herriman.) Back then, my dream job was to be a comic-strip artist. But by the time I was ready to get into that industry, it was really dying, so I gravitated towards animation. When I was 12, I didn’t know whether I wanted to work in print or animation, but I think when I was in high school and doing comic books and comic strips, I found that I wanted to add music to them. I would come up with a joke that was based on timing or the way a line was said. That’s when I realized that the way my imagination was working, I wanted to be more of a filmmaker and to work in animation. So I applied to CalArts right out of high school and got in.

synonymous with spaceship crashes, and it’s iconic. Another major reason is that it’s a production favor: You don’t have to do buildings and crowds, and can go with horizon lines and mountains and focus on the characters and the story. What would you say was the toughest part of the project? The toughest part was doing the serialized aspect of it. When you do random 11-minute shows, each cartoon can stand on its own. But when you are telling one big story, it needs to feel like one piece. It needs to feel like it was written and directed by one person. That was a bit of a challenge to keep that unity in all 10 episodes of the season. When you’re doing a non-serialized show, you have that freedom to have a variety of tone, but with this show, it was a concerted effort to make it feel like a three hour and 20 minute movie broken up into chapters, conceived and written by one hand. What was the best part of the experience? I am just really proud of the freedom and trust that Netflix afforded us and that we pulled off what we wanted to do. It’s exactly the show I envisioned and wanted to make, and I’m very happy with the episodes, and super excited about kids finally getting to see it. It’s nice to have a project that I can just tell people, “It’s called Kid Cosmic and it’s on Netflix.” I don’t have to say, “It’s on Friday nights, or maybe they moved it to Monday.” With some of my other shows, the networks would shuffle the schedules around so it was hard to tell people when they were going to air. We’re all really, really proud of the work we’ve done on the show. I am working with my old friend Rob Renzetti, who is the co-exec producer on the show Band of Misfits: The Kid forms a team of oddball local heroes to stop an onslaught of aliens who want to steal back the cosmic stones.

with me. It’s great to partner with someone I creatively trust and have known for about 30 years. How did the pandemic and stay-at-home restrictions impact the production? Since March we’ve all been working remotely from home. As far as executing the work, it really hasn’t changed anything. The quality of the work is maintained. What we miss is that before all of this, when we’d get a work print or final episode in, we’d all get together and watch it together. It was a collective feeling of satisfaction and completion. It has actually opened up opportunities to work with people from different places. My lead character designer lives in Canada, one of my storyboard artists lives in Mexico. That has been really nice. When did you decide you wanted to pursue a career in animation?

You’ve seen the animation industry change a lot in the past few decades. What is your take on the state of the business as we embark on a new year? I am really excited about the work that is being produced at Netflix, which is unlike anything I’ve seen: They really put a lot of trust and freedom in all their creators. Every project I have seen come through is so different from each other and also so different from what you’d see from another studio. I am really excited about what is going to come out in the years ahead. I think people are going to be surprised by the variety of content and the different voices that are given the opportunity to tell their stories. I think it will be really good for the industry and show people what you can do when you trust creative people to realize their vision. I hope it forces other studios and people to try that, too. Streaming still feels like a new frontier. It reminds me of the time I first started at Cartoon Network: Those were the early days of basic cable. We didn’t even get lavatories in the building back then! What advice do you give young people who want to create their own shows? Find your voice. Figure out what you want to do and produce it. Right now there are so many opportunities for people to get their work out on the internet. I always tell people: focus on what you want to say and who you want to be as an artist and stick to that. If you can, before you do your own show, try to get a job in the industry. Getting your foot in the door and working on a production teaches you so much about how the business works, what is required of a showrunner, etc. In my own personal experience, working on four seasons of Dexter’s Laboratory made The Powerpuff Girls that much better. I had that idea when we were making Dexter’s, but I wasn’t ready to make that show until I had some time on another production. What do you hope audiences will take away from Kid Cosmic? I hope they relate to Kid and see a real story about real people. The series is about what it really means to be a hero. We focus less on the powers and more on the people. Here is a real kid with authentic experience — he has a range of emotions, he gets angry, frustrated, he struggles. I hope audiences will love these characters and want to spend time with them. I just want them to have a good time watching our show. Kid Cosmic premieres on Netflix on February 2.

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Jeff Trammell, head writer of Craig of the Creek.

Finally, Some Progress! More women and people of color are creating and overseeing animated shows than ever before. By Karen Idelson

n recent years, we’ve witnessed a much-needed effort to have women and people of color play more prominent and influential roles as creative forces in animation. While change hasn’t come easily or overnight, a quick look at the types of shows being made and the artists who are making them are indications that a shift is finally happening. Recent TV series such as Nickelodeon’s The Casagrandes and Disney Channel’s Mira, Royal Detective feature characters from diverse backgrounds, and the creatives behind the scenes are often just as diverse. When hiring, many shows seek out writers who can speak to a culture based on their own background or personal history. Other times, consultants are brought in to make sure the details included in a story are correct and reflect the authentic culture. Netflix has brought on animation powerhouses such as Chris Nee (Doc McStuffins) and Jorge Gutiérrez (Book of Life, El Tigre) to develop a slate of projects for the streamer. Cartoon Network, Amazon, Hulu, HBO Max, Disney +, Apple TV+ and much all the other streamers and cablers have several shows created by and featuring people of color in their pipelines in 2021. L.A.-based animation veteran Elizabeth Ito has seen the

animation industry become more inclusive in recent years. Over the last 15 years, Ito worked as a supervising director on Adventure Time and a feature storyboard artist on Hotel Transylvania, Astro Boy and The SpongeBob Movie: Sponge Out of Water. She’s currently developing City of Ghosts, a much-anticipated hybrid documentary-style show about Angeleno ghosts for Netflix. “There have definitely been some big changes,” says Ito. “There are women creating and running shows, and more women writing, storyboarding and directing in general. We’ve had more diverse characters on screen, in both design and substance. We’ve also seen more minority directors. Studios are finally being more conscious about who voices characters, and whether they could make better choices when casting.”

Real Representation Another industry veteran, Sascha Paladino, believes there is greater awareness of the need for diversity and inclusion. Paladino is currently executive producer on Mira, Royal Detective, where aside from himself, there is an all-female

‘I’ve been fortunate enough to work in a lot of writers’ rooms, but more often than not I’m the only POC in the room and I’d love to see that change going forward.’ — Jeff Trammell, head writer, Craig of the Creek

writers room. The show’s cast is also made up of performers who are South Asian or of South Asian descent. “I’ve been working in TV for 20 years and I feel like almost all of the shows that I’ve worked on, [diversity] has been top of mind for the creatives behind it,” says Paladino. “But in the last couple of years it’s definitely become a much more important topic, something that’s baked in. To me, it’s really the most important thing that shows are discussing these days. There’s such a movement in the culture toward better and more fair representation, and I think that is reflected in kids’ TV both in the content and by the people making it. He adds, “For Mira, Royal Detective, we’re portraying South Asian culture, which is a first for Disney Junior so it’s a huge responsibility. It’s something that I, as executive producer of the show, think about and wrestle with a lot because we want to portray this culture in an authentic and thoughtful and sensitive way so that South Asian kids really see themselves on screen and so that non-South Asian kids learn about the culture in a way that makes them want to learn more.”

The Only POC in the Room? While there has been concentrated effort to bring in voices that can authentically speak for a culture or perspective in some cases, it’s part of a long process. Jeff Trammell, head writer on Cartoon Network’s hit show Craig of the Creek and a voice actor, points out there’s still work to be done. “I do believe that rooms have become slightly more in-

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Streamng/TV Disney Junior’s Mira, Royal Detective is inspired by South Asian culture.

‘Hopefully, I’m leaving the door open behind me so they can come into this industry. And I’m not the first one to do it.There have been so many before me,

Elizabeth Ito’s City of Ghosts will debut on Netflix later this year.

like Jorge Gutiérrez and Bill Melendez, that opened the door for me.’ — Miguel Puga, co-exec producer, The Casagrandes

clusive and diverse, but I both hope and believe that in the coming years this will become more commonplace,” he notes. “I’ve been fortunate enough to work in a lot of writers’ rooms, but more often than not I’m the only POC in the room and I’d love to see that change going forward.” Diego Molano is the creator/showrunner of Cartoon Network’s Victor and Valentino, which incorporates Mesoamerican folklore and culture into the show’s storytelling. Molano believes there are many benefits for audiences and studios alike when diverse stories are told. “Animation is changing, but slowly,” says Molano. “I think companies are just now noticing that we have stories that are not only relevant and entertaining, but that there is a gigantic demand from audiences for it. And if they don’t change with the times, they’re leaving money on the table. It’s honestly encouraging to see more people of color get a chance to tell their stories. This is important, we need to hear those voices because it would be a shame for these stories that we can all learn so much from, be forgotten. His-

torically, it has been hard for people of color to get traction with anything that isn’t the same story, told in a way that companies are comfortable with. But now with so much demand for all sorts of different content, there is hope.”

The Power of Reflection Miguel Puga, co-executive producer on Nickelodeon’s The Casagrandes, also wants to tell authentic stories about his culture and hopes the children who watch the show — regardless of their background — will gain perspective. “It’s a window into the Latin culture and to normalize that and show their stories count,” says Puga. “Hopefully, I’m leaving the door open behind me so they can come into this industry. And I’m not the first one to do it. There have been so many before me, like Jorge Gutiérrez and Bill Melendez, that opened the door for me and showed that change is attainable and hard work and dedication pays off. Authenticity makes a great show because kids can tell when something isn’t authentic. It makes a better story, it

‘There are women creating and running shows, and more women writing, storyboarding and directing in general.We’ve had more diverse characters on screen, in both design and substance. We’ve also seen more minority directors.’ — Elizabeth Ito, creator, City of Ghosts www.animationmagazine.net 20

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Streaming/TV We do a lot of work reaching out to historical black universities to identify new writing talent.” Throughout the last few years, cultural movements have celebrated diversity and inclusion and that’s bound to impact how audiences see shows. This could be especially true for kids who are growing up in a more inclusive and sensitive culture.

Miguel Puga, director and creative producer of Nickelodeon’s The Casagrandes.

An Inclusive Generation

‘The truth is that 50 percent of kids under the age of 12 are not white … We want our kids, our audience, to watch our shows and see themselves and identify with our characters in an authentic way.’ — Ramsey Naito, president, Nickelodeon Animation

makes a better cartoon, or a better show or movie. We create these characters so viewers can see themselves. The power of reflection is a huge issue for us.” As the U.S. population changes, reflection takes on a new meaning and a new mandate. The viewing audience for animation is changing quickly. “The truth is that 50 percent of kids under the age of 12 are not white,” says Ramsey Naito, president of Nickelodeon Animation. “This is a very, very diverse day and time in kids’ television, so the emergence [of diverse content] is quite natural, I think. We want our kids, our audience to watch our

shows and see themselves and identify with our characters in an authentic way. Kids love to see themselves. They want to see themselves, and seeing themselves empowers them.” Meredith Roberts, senior vice president/general manager of television animation for Disney Channels, sees their audience becoming more diverse, too. “We know from monitoring census statistics that the population is changing and we want to change with it,” says Roberts. “In addition to our current slate, the future development also reflects the work to be much more inclusive and authentic with underrepresented writers and directors.

“We are also looking at ourselves across the inclusion and equity spectrum — race/ethnicity, gender, socio-economic status, body type, disability and LGBTQIA+ — to evaluate projects in development, production and in the greenlight process to make sure that our content is truly reflective of the kids/families watching,” says Amy Friedman, head of programming for Cartoon Network and HBO Max Kids & Family. There’s no doubt animation audiences have incredible access to past animated shows and that might even make the thirst for something new that gives a more real and respectful view of different cultures even stronger. “With kids being exposed to entire catalogues of animation on streaming sites, I think they expect new animation to be more advanced and considerate in the way we tell our stories, and present them,” says Molano. “Kids are way more knowledgeable about animation than 15 years ago, and I think it’s really awesome that they’re demanding stories that reflect themselves. Historically, kids have only watched what has been presented to them, but now, it’s nice to know they’re taking part in creating what gets made.” Ito believes audiences still want many of the same things — but with a caveat. “I think audiences are always genuinely looking for a compelling story they can relate to, and in that way, they haven’t changed at all,” says Ito. “The part that has changed is that audiences who have been underrepresented have made it clear how much it means to them when big studios take chances on projects that make them feel seen.” Karen Idelson is a journalist who loves writing about animation, VFX and technology. She lives in the South Bay Area of L.A. with her husband, daughter, a dog named Disco and a jalapeño plant that won’t die regardless of how much it is ignored.

Diego Molano, creator of Cartoon Network’s Victor and Valentino.

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A Swinging Homage: Batman: Soul of the Dragon stars David Giuntoli as Batman, Mark Dacascos as Richard Dragon, Kelly Hu as Lady Shiva and Michael Jai White as Bronze Tiger.

That ’70s Dark Knight Show Bruce Timm, Sam Liu and Jeremy Adams reveal some of the secrets of their new animated DC feature Batman: Soul of the Dragon. By Tom McLean

ruce Timm’s love of Batman is well known — he has animated the character in TV series and movies for three decades. But it’s taken until now for his love of early 1970s kung fu and blaxploitation movies to come to the screen alongside the Dark Knight in the DC Universe animated feature Batman: Soul of the Dragon. Tapping into the martial-arts corner of DC’s 80 years of comic-book storytelling, Batman: Soul of the Dragon finds Bruce Wayne reunited with martial arts legend O-Sensei’s elite students — Richard Dragon, Ben Turner (a.k.a. Bronze Tiger) and the deadly Lady Shiva — to save the world from a supernatural threat only they can stop. Arriving Jan. 12 on digital and Jan. 26 on 4K and Bluray discs, Batman: Soul of the Dragon stars David Giuntoli, Mark Dacascos, Kelly Hu, Michael Jai White and James Hong. Directed by DC Universe veteran Sam Liu and written by Jeremy Adams, it is produced by Liu, Jim Krieg and Kimberly S. Moreau, with Timm, Sam Register and Michael Uslan as executive producers. For Timm, Soul of the Dragon is a chance to evoke the magic he felt growing up in the early 1970s, when the Bruce Lee classic feature Enter the Dragon added a martial-arts movie craze to the era’s already heady mix of blaxploitation

action pics, a wave of modern R&B classics on the radio and a steady stream of innovative comic-book storytelling.

Flashback to a Soulful Era “It’s [a reflection of] my love of the early ’70s in general and it’s also specifically my fascination with kung fu movies and blaxploitation movies of that period,” Timm says. “Those genres were so huge back then, I thought, ‘Wouldn’t it be fun to kind of mash the two together?’” Timm’s off-the-cuff pitch in a regular meeting with DC and WB execs was met with instant enthusiasm and a green light. “Normally, you have to talk people into stuff, but that one kind of resonated with everybody,” Timm says. ”Some of my suggestions are kind of esoteric, but this one I think everyone liked the fun nature of it.” Writer Jeremy Adams, whose previous tours of duty in DC animation included Green Lantern: The Animated Series,

Justice League Action and DC Super Hero Girls, was primed and ready. ”I had been pitching to [producer] Jim [Krieg] and other people that we should do Enter the Dragon with Batman — ad nauseam,” he says. ”And then one day Jim comes in and goes, ’This is your lucky day!’” The story immediately scooped up martial arts characters from 1970s DC comic books: Richard Dragon, who starred in his own short-lived series; the deadly Lady Shiva; Ben Turner, who later became Bronze Tiger; and wise master O-Sensei. Batman also had a martial-arts phase at the time, with memorable globetrotting stories drawn by comics legend Neal Adams. Most of the material was written by Denny O’Neil, to whom Soul of the Dragon is dedicated after he died in June 2020 at the age of 80. Adams says he felt it was his job as the writer to serve Timm’s vision and create a story that would inspire the rest of the crew to bring their best talents to the table. For example, Adams drew

‘The thing we wanted to do was that we wanted the design of the movie to evoke the ’70s but we didn’t want to make it a parody of the era.’ — Exec producer Bruce Timm

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Killer Moves: Ben Turner/Bronze Tiger (voiced by Michael Jai White) takes this fight scene to vintage 1970s extremes in this silhouetted image from Batman: Soul of the Dragon.

on his own martial-arts experience to pack the script with fight sequences Timm originally said were too detailed. “I said, ‘Well, I just wanted to make sure the storyboard guys — who are geniuses in their own right — have a springboard,’” Adams says. ”They don’t have to use it, but they can definitely look at it and draw inspiration from it. And [Timm] really understood that.” One of the most-fun elements for Timm was playing with the era’s fashions, hair styles, colors, cars and language. “The thing we wanted to do — and this applied to every aspect of the production — was that we wanted the design of the movie to evoke the ’70s but we didn’t want to make it a parody of the ’70s,” Timm says. ”There’s things about ’70s fashions that I think are genuinely cool, but there’s also tons of it that is just genuinely hideous.”

Timm curated these elements himself, frequently rejecting ideas that failed to fit his vision, like references to disco, which wasn’t yet a thing in the movie’s 1973-1974 time frame. ”I was trying to get him to do those old Shaw Brothers kind of sound effects, as far as punches and things like that,” adds director Sam Liu. “But he kind of wasn’t going for that.” Timm also wanted more of Bruce Wayne without the cape and cowl. DC had concerns, he says, but the sheer amount of Batman product out there and peppering Batman appearances throughout the movie overcame them. ”I thought this would be a good opportunity for showing Bruce Wayne doing action stuff himself while wearing a crushed velvet jacket and bell bottoms and with long sideburns,” Timm says. ”I thought it would be more ’70s.”

‘I was trying to get [Bruce Timm] to do those old Shaw Brothers kind of sound effects, as far as punches and things like that, but he kind of wasn’t going for that.’ — Director Sam Liu

Three images from the film’s animatics and a final shot featuring Lady Shiva.

The other design focus was creating a Batman costume specific to Soul of the Dragon. Timm wanted to evoke the flowing, lean look 1970s artists like Neal Adams and Jim Aparo brought to Batman. “In the time we had, we just couldn’t crack that code,” Timm says. Working with Liu and lead character designer Aluir Amancio, Timm eventually decided on a look influenced by more modern artists like Cliff Chiang and Steve Rude. Liu says he was hesitant to direct the movie at first, because period pieces that depict overseas cultures are vulnerable to criticisms of insensitivity, but the fun, actionpacked nature of the story won him over. The scripts on DC animated features run about 90 pages, with each board artist taking about 10 pages, Liu says. About six board artists are on staff with a full load, while the remainder is spread among freelancers.

Less Time, More Ingenuity Time is a huge factor, with movies like this being turned around in about six months, so Liu says they decided to emulate the 2D look established by Timm’s 1990s Batman work, which allowed for re-use of stock environments and background characters. The most difficult aspect of directing on so tight a schedule is that there’s rarely time to change animation that comes back from an overseas studio partner if it’s not what you expected, Liu says. ”I feel like nowadays we’re getting it in a lot less time than we were maybe 10, 15 years ago,” he says. “So we have a tendency to board things a little more cautiously nowadays.” Timm also credits composer Joachim Horsley for helping sell the 1970s style, adding in era-appropriate funk, R&B and brassy spy sounds. The final result is one Timm says he was very excited to work on and anxious to share with an audience. He notes, “This is the kind of project that comes along every once in a while that gets me really excited, because we’re getting a chance to explore different versions of Batman or different aspects of his world that we don’t normally get to do.” ◆ Warner Bros. Animation’s Batman: Soul of the Dragon premieres on digital on January 12 and on 4K and Blu-ray on Jan. 26.

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People

In Memoriam Remembering the Animation & VFX Greats We Lost in 2020

e had to bid farewell to an awfully large number of talented men and women who worked in the animation and visual effects business in 2020. We honor their memory on these pages and share our gratitude for the many artistic contributions they made to our world. A big thanks to animation veteran, author and educator Tom Sito, who is producing a virtual Afternoon of Remembrance on Saturday, January 30 at noon (PST) to honor these animation luminaries. At press time, Animation Magazine was still receiving reports of passsings; see our website for a more comprehensive remembrance.

Patricia Alice Albrecht. American actress, writer and poet, best known for her role as Phyllis “Pizzazz” Gabor in the series Jem, as well as her roles in The New Yogi Bear Show, The Snorks and New Kids on the Block. Died Dec. 25, 2019, age 66.

Alfred Budnick. Background artist who worked on shows such as Scooby’s Laff-A-Lympics, Ghostbusters, She-Ra: Princess of Power, BraveStarr, The Critic, Garfield and Friends, Oh Yeah! Cartoons, Family Dog and Hey Arnold! Died Feb. 29, age 81.

Michael Angelis. British actor known for narrating the Thomas & Friends series, from 1991 to 2012. Died May 30, age 76.

Marge Champion. Actress and dancer who served as the model for Disney’s Snow White, the Blue Fairy (Pinocchio) and Hyacinth Hippo (Fantasia). Died Oct. 21, age 101.

Román Arámbula. Mexican artist who drew the Mickey Mouse comic strip. Died March 19, age 83.

Curtis Cim. Character designer and story artist on shows such as Godzilla, Scooby-Doo and Scrappy-Doo, Super Friends, He-Man and the Masters of the Universe, Ghostbusters, She-Ra, Dragon Tales, Courage the Cowardly Dog, The Wild Thornberrys, Static Shock, Ozzy & Drix, King of the Hill and Curious George. Died March 10, age 65.

Kelly Asbury. Prolific animator and director of five features — Shrek 2 (co-directed with Conrad Vernon), Spirit: Stallion of the Cimarron, Gnomeo and Juliet, Smurfs: The Lost Village and UglyDolls. He also worked on The Little Mermaid, The Nightmare Before Christmas, James and the Giant Peach, The Prince of Egypt, Chicken Run, Shrek, WreckIt-Ralph, Frozen, Sherlock Gnomes, Beauty and the Beast, Toy Story, Kung Fu Panda and Madagascar: Escape 2 Africa. Died June 26, age 60. Julie Bennett. Actress who voiced Cindy Bear on The Yogi Bear Show and several Yogi Bear movies. Also recorded voices for UPA, Warner Bros, MGM, Format Films and Hanna-Barbera. Died March 31, age 88. Dorris Bergstrom. Assistant animator at Filmation, Hanna-Barbera, Warner Bros. and Disney. Died Oct. 24, age 97. Chadwick Boseman. Hugely popular actor best known for playing Black Panther in four MCU films. He also portrayed Jackie Robinson in 42, James Brown in Get on Up and Justice Thurgood Marshall in Marshall. His final film, Ma Rainey’s Black Bottom was released in December. Died Aug. 20, age 44. Kobe Bryant. Beloved sports icon, 18-time NBA All Star who helped the L.A. Lakers to five championship wins. Writer, producer and star of the Oscar-winning animated short Dear Basketball, directed by Glen Keane. Died Jan. 26, age 41.

Ron Cobb. American-Australian cartoonist, artist and film designer, who worked on numerous major films including Dark Star, Star Wars, Alien, Raiders of the Lost Ark, Conan the Barbarian, Back to the Future and Total Recall. Died Sept. 21, age 83. Doug Crane. Veteran New York-based animator who worked at Terrytoons, Hanna-Barbera, MTV, Filmation and Oriolo Films, among others, and was a professor of animation at School of Visual Arts. Among his many credits are Spider-Man, Godzilla, Beavis and Butt-Head, Raggedy Ann & Andy, Heavy Metal, Super Friends, The Smurfs, HeMan and the Masters of the Universe, She-Ra, BraveStarr, Downtown and feature documentary Chicago 10. Died Dec. 17, age 85. Bill Davis. Animator, illustrator and pottery artist, cofounder and president of The Davis Artworks and Artbear Pigmation. Created animation for Sesame Street, Reading Rainbow, Free to Be You and Me, Raggedy Anne and Andy, Winky Love and more. Author of Creating 2D Animation in a Small Studio with his wife, Colleen. Died Jan. 13, age 66. Jason Davis. Actor best known for voicing Mikey Blumberg on Disney’s Recess. Died Feb. 16, age 35.

Gene Deitch. American-born Czech illustrator, animator, comics artist and film director best known for creating toons such as Munro, Tom Terrific and Nudnik, his work on Popeye and Tom and Jerry shorts and directing the Oscarnominated short Sidney’s Family Tree. Winner of the Annie Awards’ Winsor McCay Award. Died April 16, age 95. William Dufris. Voice actor whose animation credits include Appleseed, Bob the Builder (U.S. dub), Lupin the 3rd, Patlabor: The Movie and Patlabor 2. Died March 24, age 62. Tony Eastman. Emmy-nominated animator, storyboard artist and director. He was an animator on the feature A Soldier’s Tale, directed the pilot for Nickelodeon’s Doug and worked on shows such as Codename: Kids Next Door, Courage the Cowardly Dog, Daria, Beavis and Butt-head, Sheep in the Big City, Harvey Birdman: Attorney at Law and KaBlam! He also directed numerous commercials at The Ink Tank and J. J. Sedelmaier Productions. Died Nov. 2, age 77. Rob Gibbs. Story artist for Pixar, who worked on features such as Toy Story 2, Monster, Inc., Finding Nemo, WALL·E, Up, Brave, Incredibles 2 and Onward. He directed two episodes of Cars Toons: Mater’s Tall Tales and was one of the writers of Air Mater. He was the father of Mary Gibbs, who voices Boo in Monsters, Inc. Died April 24, age 55. Juan Giménez López. Argentine comic-book artist and writer of Metal Hurlant, L’Eternauta magazines, Time Paradox and the comic series Metabarons. Died April 2, age 76. Mark Glamack. Emmy-nominated animator, writer, director and producer who worked on shows such as He-Man and the Masters of the Universe, She-Ra: Princess of Power, G.I. Joe, Godzilla, Spiderwoman, A Flintstone Christmas, Life with Louie, All Dogs Go to Heaven, Scooby’s Laff-A-Lympics, Yogi’s Space Race and The Scooby-Doo/Dynomutt Hour. Died May 29, age 73. Danny Goldman. Character actor and casting director best known for providing the voice of Brainy Smurf (The Smurfs, Robot Chicken). Died April 12, age 80.

R.I.P., from left, Anatoly Prokhorov, Michael Angelis, Ann Sullivan, Blair Kitchen, David Wise, Doug Crane, William Dufris, Fred Willard and Gene Deitch,

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People David Hemblen. British actor known to longtime Marvel fans as the voice of Magneto on X-Men: The Animated Series. Died Nov. 16, age 79. Ed Henderson. Artist and animator who worked on The Fox and the Crow series, Disney’s Sleeping Beauty and the animations for Houston’s Astrodome scoreboard, and designed maps and replicas of the Astroworld theme park. Died Jan. 25, age 95. Harry “Bud” Hester. Animator/assistant animator for Disney, Bob Clampett Studios and Hanna-Barbera; Business Agent of The Animation Guild, IATSE Local 839. Died Feb. 3, age 92. Sir Ian Holm. Award-winning British actor best known for his roles in Alien (Sam), The Hobbit (Bilbo Baggins) and The Fifth Element (Father Cornelius) as well as Time Bandits, Brazil and Chariots of Fire. He voiced Chef Skinner in Ratatouille. Died June 19, age 88. Cullen Blaine Houghtaling. Supervising director for such hits as Ace Ventura, Spider-Man and the Pink Panther show, animation director successes include The Simpsons, 101 Dalmatians: The Series and Timon & Pumbaa. He won two Emmys for his work with Tiny Toon Adventures for Warner Bros. Died Dec. 2, age 85. Blair Kitchen. Canadian storyboard artist, animator and designer who worked on the movies The Book of Life and Ferdinand, and many series including Tales of Arcadia, Looney Tunes Cartoons, Wayside, Busytown Mysteries, Johnny Test, Scaredy Squirrel, Welcome to the Wayne, Spliced, The Ripping Friends and Hoze Houndz. Died Jan. 5, age 43. Bill Knoll. Assistant animator, timing director and animation director at Hanna-Barbera, Marvel, Disney TV, Warner Bros. and other studios on shows such as G.I. Joe, The Transformers, The Real Ghostbusters and Animaniacs. Died July 22. Helen Komar. New York-based illustrator, cartoonist and animator who worked on Popeye the Sailor Man, Casper the Friendly Ghost, Spider-Man and The Incredible Mr. Limpet, Fritz the Cat, Raggedy Ann & Andy, The Soldier’s Tale and Daffy Duck’s Quackbusters. Died Nov. 27, age 93. Hana Kukal. Czech-born Canadian animation director, animator, character designer and storyboard artist who worked on series such as The Raccoons, Rupert, Max and Ruby, Katie & Orbie, PAW Patrol, Pound Puppies, Dirtgirlworld and the features FernGully: The Last Rainforest and Eight Crazy Nights. Died Nov. 5, age 59.

David Lander. Actor, best known for playing Squiggy on Laverne and Shirley, who also voiced numerous animated characters including Henry the Penguin on Oswald. Other credits include Batman: The Animated Series, Tom and Jerry: The Movie, Johnny Bravo, 101 Dalmatians: The Series and The Garfield Show. Died Dec. 4, age 73. Nancy Lane. Ink and paint artist and animation checker who worked on Raggedy Ann & Andy, Doug, Beavis and Butt-Head Do America and 101 Dalmatians: The Series. Died Nov. 20, age 80. Rodolfo Marcenaro. Pioneer in animated advertising cartoons born in Genova, Italy. He worked in publishing and television (Studio K, Tipofilm, TVS) and set up a company specialized in electronic art with his sons in the 1980s. Made a comics version of the Communist Manifesto for Edizioni Ottaviano in Milan in 1976 and was a cartoonist for numerous dailies and magazines. Died Nov. 9, age 83. Syd Mead. Widely celebrated and influential industrial designer and neo-future concept artist, known for his designs for sci-fi classics such as Blade Runner, Aliens, TRON, Star Trek: The Motion Picture, Blade Runner 2049, Tomorrowland, Elysium and Turn A Gundam. Died Dec. 30, 2019, age 86. Lee Mendelson. Iconic animator, voice actor and director who began his career working on Disney’s Pinocchio, Fantasia, Dumbo and Bambi, and went on to produce A Charlie Brown Christmas, It’s the Great Pumpkin, Charlie Brown and numerous other Peanuts TV specials and series. He directed A Boy Named Charlie Brown, Snoopy, Come Home, Race for Your Life, Charlie Brown and Bon Voyage, Charlie Brown and provided the voices for Snoopy and Woodstock. He also produced Cathy, Garfield and Friends and Mother Goose & Grimm. Died Dec. 25, 2019, age 86. Luis Alfonso Mendoza. Known as the Spanish-language voice of Bugs Bunny and Daffy Duck, he was one of Mexico’s most popular voice actors and Latin American dub stars. Other roles included Dragon Ball’s Gohan, the title character in Count Duckula and Teenage Mutant Ninja Turtles’ Leonardo. Died Feb. 29, age 55. Vatroslav Mimica. Acclaimed Croatian director and screenwriter of animated and live-action films, whose distinctive style helped establish the “Zagreb School of Animation.” Credits include The Inspector Returns Home, The Lonely, The Fireman and Typhoid. Died Feb. 15, age 96. Maureen Karen Mlynarczyk. Emmy-winning animation timing director, who worked on shows such as Mission Hill, What’s New Scooby-Doo, Family Guy, VeggieTales, The Marvelous Misadventures of Flapjack, American Dad!, The Cleveland Show, Clarence, Craig of the Creek, Adventure Time, Disenchantment, Steven Universe, Summer Camp Island and Big Mouth. Died Feb. 16, age 47.

Francisca Moralde. Worked in cel service at Disney, Hanna-Barbera and Kroyer Films. Died April 8. Sue Nichols. Designer, storyboard and visual development artist best known for her work on Beauty and the Beast, Aladdin, The Lion King, The Hunchback of Notre Dame, Hercules, Mulan, Fantasia 2000, The Emperor’s New Groove, Atlantis: The Lost Empire, Lilo & Stitch, Piglet’s Big Movie, Enchanted, The Princess and the Frog, Moana and UglyDolls. Died Sept. 1, age 55. Kumiko Okae. Japanese actress who voiced Elena in The Dog of Flanders, Haru’s mother in Studio Ghibli’s The Cat Returns and Jenny in Pokémon: Lucario and the Mystery of Mew. Died April 23, age 53. Dominic Orlando. Storyboard artist and supervisor who worked on shows such as The Fairly OddParents, CatDog, Dora the Explorer, Rugrats and SpongeBob SquarePants. Died May 14. Joan Orloff. Inker, cel painter and Ink & Paint Supervisor at Disney Feature Animation and Filmfair, among other studios. Died July 16. Juan Padrón. Cuban director and writer of many animated films, including the popular Quinoscopio anthologies, Elpidio Valdes and Vampires in Havana movies. Was known as the “Walt Disney of Cuba.” Died March 24, age 73. Martin Pasko. Canadian comic-book and animation writer, who wrote for Superman in various media and recreated Doctor Fate. His TV animation career included writing episodes of Thundarr the Barbarian with Steve Gerber, as well as Teenage Mutant Ninja Turtles, Teen Wolf, Berenstain Bears, G.I. Joe and My Little Pony. Died May 10, age 65. Lisa Poitevint. Animation checker at Disney Feature Animation on films such as The Little Mermaid, Oliver & Company and The Black Cauldron. Died Jan. 15, age 87. Anatoly Prokhorov. Key force in commercial and artistic animation in Russia, best known for founding the Petersburg Animation Studio and creating the Kikoriki franchise (known as Smeshariki in Russia). He also co-produced more than 30 films, including Aleksey Khatitidi’s Oscarnominated short Gagarin, and co-produced Cartoon Network’s Mike, Lu & Og. Died Aug. 30, age 72. Quino. (Né Joaquín Salvador Lavado.) Argentine creator of the globally popular comic strip Mafalda, which centered on an inquisitive six-year old girl with a mop of black hair. Died Sept. 30, age 88.

From left, Mark Glamack, Helen Reddy, Joe Ruby, John Rooney, Julie Bennett, Kelly Asbury, Ken Spears, Kobe Bryant, Luis Mendoza.

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People Rebecca Ramsey. Trailblazing visual effects producer whose dozens of credits include Watchmen, The Hunger Games and Harry Potter and the Deathly Hallows. She also worked on Life of Pi, Spider-Man 3, Pirates of Caribbean: Dead Man’s Chest. Died March 7, age 53. Helen Reddy. Singer of the iconic song “I Am Woman” and “Angie Baby,” who is best remembered by animation fans as the star of 1977 movie Pete’s Dragon. Died Sept. 29, age 78. Nick Rijgersberg. Canadian animation director and storyboard artist who worked on series such as The Country Mouse and the City Mouse Adventures, For Better or for Worse, The Busy World of Richard Scarry, The Little Lulu Show, The Ren & Stimpy Show, The Raccoons, Caillou, Punky Brewster and Bratz: Starrin’ & Stylin’. Died April 20, age 60. Cesar Romero. Stop-motion costumer and puppet maker at Screen Novelties who worked on shows such as Robot Chicken, SpongeBob SquarePants, Adventures of Sam & Max, Marvelous Misadventures of Flapjack and The Tortoise and the Hare. Died April 23, age 47. John Rooney. Canadian animation exec, executive director of TAAFI (Toronto Animation Arts Festival Intl.), director of programming at Corus Kids & Family and Teletoon, responsible for launching Cartoon Network and Adult Swim in Canada. He also worked as a consultant for Mattel, WildBrain, Zodiak Media and Epic Story Media. Died Dec. 10, Age 50. Pamela Ross. Manager of New York’s Actors Playhouse and production manager at animation studio Jumbo Pictures who worked on shows such as Doug, The Cramp Twins and 101 Dalmatians: The Series. Died April 2, age 55. Joe Ruby. Co-creator of Scooby-Doo, Shaggy, Fred, Velma and Daphne and co-founder of Ruby-Spears Productions (with partner Ken Spears). Ruby and Spears launched their own production company in 1977, which was behind popular toons such Scooby-Doo, Where Are You?, Dynomutt, Jabberjaw, Mister T, Alvin and the Chipmunks, Superman, Thundarr the Barbarian, Fangface and The Plastic Man Comedy-Adventure Hour. Died Aug. 28, age 87. Adam Schlesinger. Emmy and Grammy Award-winning songwriter and founding member of Fountains of Wayne. Created songs for Elmo The Musical, Sesame Street, Bubble Guppies, The Fresh Beat Band and Robert Smigel’s Saturday Night Live cartoons for J.J. Sedelmaier. Died April 1, age 52.

Gary Schumer. Effects animator at Walt Disney Animation (Mulan, Tarzan, Lilo & Stitch, Brother Bear) and animation teacher at Ringling College of Art and Design. Jerry Slick. Sound designer on Bud Luckey’s animated Sesame Street shorts, cinematographer and documentary filmmaker. Died March 17, age 80. Ed Smith. New York animator who worked on John Hubley’s Moonbird and The Tender Game, as well as Simple Gifts, The Soldier’s Tale, KaBlam!, Between the Lions and Metropia. Died April 14, Age 95. Ken Spears. TV writer, producer and sound editor who with Joe Ruby created the Scooby-Doo franchise for Hanna-Barbera and co-founded TV production company Ruby-Spears. Together, they produced shows such as Dynomutt, Fangface, Captain Caveman, Jabberjaw, The Barkleys, The Houndcats, The Plastic Man Comedy/Adventure Show, Thundarr the Barbarian, Saturday Supercade, Mister T, Alvin and the Chipmunks and Superman. Died Nov. 6, age 82. Norm Spencer. Canadian actor who voiced Cyclops in X-Men: The Animated Series and Spider-Man: The Animated Series. Other credits include The Busy World of Richard Scarry, Silver Surfer, The Dumb Bunnies, Grossology and Rescue Heroes. Died April 31, age 62. Herbert Stott. Layout artist, background artist and art director for classic cartoons such as Pink Panther, The Sylvester & Tweety Mysteries, Muppet Babies, Pinky and the Brain and Fritz the Cat. Died Feb. 8, age 85. Marty Strudler. Designer and background and layout artist at DePatie-Freleng, Bakshi, Hanna-Barbera and Warner Bros. His many credits include The Deputy Dawg Show, Lidsville, Wizards, The Nine Lives of Fritz the Cats, various Pink Panther shorts, Dungeons and Dragons, Muppet Babies, Tiny Toon Adventures, Freakazoid!, Pinky and the Brain, Animaniacs and The Sylvester and Tweety Mysteries. Died Oct. 15, age 91. Ann Sullivan. Longtime animator who got her first job at an animation paint lab at Disney in the ‘50s. She went on to apply her brush and palette to Disney classics such as The Little Mermaid, The Lion King and Lilo & Stitch. Died April 13, age 91.

Albert Uderzo. Renowned French comic-book artist who created the hugely popular character Asterix with writer RenéGoscinny. The Gaulois warrior, his powerful friend Obelix, his pet Dogmatix and their friends have featured in 10 popular animated and live-action features. Died March 24, age 92. Pino Van Lamsweerde. Italian-born Belgian animation designer and director who worked on movies and shows such as Heavy Metal, The Nutcracker Prince, The Legend of White Fang, Code Lyoko, Dragon Hunters, Spirou and Asterix in Britain. Died April 17, Age 79. Phillip Walsh. Emmy-nominated writer and producer of shows such as Beakman’s World, Recess, Pound Puppies, Teamo Supremo and Mickey Mouse Clubhouse. Died Sept. 20. Fred Willard. Popular actor, comedian and writer best known for his roles in mockumentaries such as This Is Spinal Tap and Best in Show. In animation, he lent his voice to characters in movies such as such as Chicken Little, Monster House, WALL·E and Planes: Fire and Rescue and TV shows like Hercules, The Simpsons, Buzz Lightyear of Star Command, King of the Hill, The Loud House and Milo Murphy’s Law. Died May 15, age 86. David Wise. Prolific writer who worked at Hanna-Barbera, Filmation, Disney and Warner Bros. He wrote for a wide variety of series including Teenage Mutant Ninja Turtles, Zorro, Batman: The Animated Series, Speed Racer, Chip ‘n’ Dale: Rescue Rangers, Jem, The Biskitts, Godzilla, Transformers, He-Man and Star Trek: The Animated Series. Died March 3, age 65. Bill Wolf. Timing and animation director at Disney, Bagdassarian, Marvel and Klasky-Csupo whose TV credits included Teenage Mutant Ninja Turtles, Duckman, Wild Thornberrys, Rugrats, All Grown Up and The Boondocks. Died March 24. Hikari Yono. Voice actress best known for voicing Samui in Naruto and Kaolinite in Sailor Moon Crystal. She was also part of the voice cast of Basilisko, Ghost in the Shell, Lupin the 3rd, Mobile Suit Gundam, Tiger & Bunny and many others. Died Nov. 15, age 46. ◆

Rudy Tomaselli. Founder of New York City’s commercial arts company Cel-Art who worked as animation checker on shows such as Downtown, Codename: Kids Next Door and Beavis and Butt-Head. Died April 26, age 87. Top row, from left, Marge Champion, Marty Strudler, Maureen Mlynarczyk, Lee Mendelson, Vatroslav Mimica, Hikari Yono, Nick Rijgersberg. Bottom row, from left, Albert Uderzo, Tony Eastman, Syd Mead, Sue Nichols, Rob Gibbs, Rebecca Ramsey, Quino.

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9 > 11 march 2021 Bordeaux Nouvelle-Aquitaine

CO-PRO & PITCHING EVENT FOR ANIMATED FEATURES

www.cartoon-media.eu

In the Next Issue of Animation Magazine » The Scoop on Warner Bros.’ Tom and Jerry » Wendy and Lizzie Molyneux on FOX-TV’s The Great North » Animag’s Annual Education and Career Guide » Award Season Focus: Visual Effects » Hot New Titles at Cartoon Movie

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Award Season Spotlight

The 2021 Award Season Dossier A Great Year for Wolves, Lost Souls, Lunar Trips and More By Michael Mallory

oinks, what a year! COVID-19’s forced separation of studios and theaters during much of 2020 has meant that most of Hollywood got its action on the download, seriously affecting box-office returns. Despite changes in distribution, however, the year is a remarkably strong one for Oscar contenders, particularly among foreign films. In fact, 2020 might be the first year animated films from other countries outnumber American contenders. A major player in the animated feature sweepstakes this time around is Netflix, which in two years has gone from threatened exclusion from the Oscar table to serving as a lifeboat for the industry overall. Meanwhile, a subtle but potentially game-changing question looms in the Academy’s new diversity criterion for any Best Picture contender. Since animation traditionally has a better track record of diversity than live action, will this mandate make it easier for an animated feature to slide up into the top category? Conventional wisdom holds that the creation of the Best Animated Feature category in 2001 closed the door to a Best Picture nod for any animated film, though the 2021 ceremony might tell us a different story.

BEST BETS:

A Shaun the Sheep Movie: Farmageddon

Over the Moon

(Aardman Animations, Netflix) Directors: Richard Phelan, Will Becher Release Date: September 22, 2019 (U.K.) Rotten Tomatoes Score: 96% Synopsis: The human and animal denizens of Mossy Bottom Farm discover a space alien, whom the sheep try to keep safe while Farmer John uses the opportunity to transform his struggling farm into a theme park. Director Talk: “As the first film was coming to an end, we started to have brainstorm meetings about what we could do next with Shaun the Sheep. Richard Starzak, who created Shaun the Sheep, said, ‘What if an alien crashed on the farm?’ And then everyone just lit up, because we realized we’d never made a sci-fi film at Aardman.” — Will Becher The Word: “It’s a very funny movie — and an endlessly, refreshingly cheerful one, which is just as rare.” — Jason Bailey, New York Times Nomination Chances: From the early days of Creature Comforts and Wallace & Gromit shorts, Aardman has had a history of being invited to the Oscar party — and the Bristolbased studio has a way of melting the hearts of animation lovers all over the world.

(Pearl Studio, Glen Keane Prods., Sony Pictures Animation, Netflix) Director: Glen Keane Release Date: October 23, 2020 Rotten Tomatoes Score: 79% Synopsis: A young girl channels her grief over the death of her mother to create a rocketship, and flies it to the moon to meet the Moon Goddess. Director Talk: “I love characters that believe the impossible is possible … We all face impossible odds in our life, now more than ever, and nothing can stop a character that sees that goal.” — Glen Keane The Word: “It laudably strives to work many new elements into feature animation. Strange, then, how so much of it seems like someplace we’ve been to many times before.” — Bob Strauss, San Francisco Chronicle Nomination Chances: Exquisite animation, heartfelt emotions and design overcome some convoluted storytelling, putting this in the good chance range.

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Award Season Spotlight

Soul

Wolfwalkers

(Pixar Animation Studio, Walt Disney Pictures) Director: Pete Docter Co-director: Kemp Powers Release Date: December 25, 2020 Rotten Tomatoes Score: 100% Synopsis: An accident causes a musician/teacher to become separated from his soul, landing him into the “Great Before,” where he helps prepare souls for their eventual human form while hoping to reunite with his own body. Director Talk: “One of my great joys was when we did one of our first audience previews and hearing all these young college-age kids saying, ‘[The film’s protagonist] Joe really helped me process what I’m going through now as a 19-year-old freshman in college.’” — Pete Docter The Word: “It’s sad, funny and beautifully realized.” — Ed Potton, The Times (UK) Nomination Chances: An innovative story, a diverse cast and Pixar magic mean this is probably the closest thing to a sure bet this year. Awards watchers are even predicting that this one may break out of the animation category and enter the Best Feature and Original Screenplay race as well.

(Cartoon Saloon, Mélusine Prods., GKIDS, Apple) Directors: Tomm Moore, Ross Stewart Release Date: November 13, 2020 (U.S. theatrical) Rotten Tomatoes Score: 96% Synopsis: In a time of mystery and magic, a young apprentice wolf hunter befriends another young girl who may be a lycanthrope, leading to the discovery of secrets about herself and her own family. Director Talk: “Wolves are important to Irish folklore. The wolf was seen as a person and a partner, an apex predator rather than a monster that we had to fight against, and that was really inspiring to us.” — Tomm Moore The Word: “A visually dazzling, richly imaginative, emotionally resonant production that taps into contemporary concerns while being true to its distant origins.” — Michael Rechtshaffen, Hollywood Reporter Nomination Chances: Stylistically and thematically, it looks to be a very good bet; from the makers of 2010 nominee The Secret of Kells. All four previous Cartoon Saloon movies have received Oscar nods to date, which is a pretty magical record for a European indie.

LONGER SHOTS

Bombay Rose

The Croods: A New Age

(Cinestaan Film Co., Netflix) Director: Gitanjali Rao Release Date: December 4, 2020 Rotten Tomatoes Score: 82% Synopsis: Three stories of love set against the metropolis of Bombay interconnect through a red rose. Director Talk: “A painted, frame-by-frame, 2D animated film is considered a huge labor, but it was still less of a labor for me than to find people who had faith in the film and were ready to take a risk and put their money into the film.” — Gitanjali Rao The Word: “The film itself is beautifully animated, the color palette dripping in bright and vibrant colors, even in the darkest of moments.” — Katie Hogan, Zavvi Nomination Chances: This opulently beautiful, Hindi-language romance is a festival fave, and its hand-crafted artistry will draw attention, giving it a fair shot at an Oscar nod.

(DreamWorks Animation, Universal Pictures) Director: Joel Crawford Release Date: November 25, 2020 Rotten Tomatoes Score: 72% Synopsis: The prehistoric Crood family find themselves having to keep up with the Bettermans, a more evolved clan, and then must join forces with them to save their children. Director Talk: “In the first movie, Eep and Guy meet each other and they’re in love. But they’re the only two teenagers in the world, so of course they love each other. Through the course of this story, we challenge what their relationship means, and why they should spend their future together.” — Joel Crawford The Word: “It’s a conventional animated movie, but it’s funny and sweet and it’s not like every animated movie needs to reinvent the wheel.” — Chris Hewett, Minneapolis Star Tribune Nomination Chances: 2013’s The Croods received an Academy nod, establishing the franchise’s credentials and name recognition among voters, but this year might be too competitive for the sequel to score.

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Award Season Spotlight

Calamity, a Childhood of Martha Jane Cannary

Kill It and Leave This Town

(Maybe Movies, Nørlum, Indie Sales) Director: Rémi Chayé Release Date: Limited release is planned in the U.S. in the first quarter. Rotten Tomatoes Score: Not Available Synopsis: A beautiful look at the imagined childhood of the plucky Western heroine as she takes her of her younger siblings and helps the family travel across the Oregon Trail, circa 1863. Director Talk: ““Our movie is about a girl that crosses the cultural fence between genders. It’s also about the price she pays for doing so. It’s a movie that says that you don’t have to be defined by the strict traditions and gender stereotypes associated with being a girl. I hope that the public will leave the theater feeling that they have actually met Calamity Jane and know a lot more about this fascinating figure.” The Word: “Calamity favors the simplicity of the line in an explosion of colors, a very judicious visual strategy which also highlights the bluegrass music composed by Florencia Di Concilio. But most of all, Chayé find the perfect balance to please all generations of viewers as they follow the adventures of a new female hero, the valiant and endearing flagbearer of the legitimate conquests of the female condition.” Fabien LeMerceier, Cineuropa Nomination Chances: Although its surprise last-minute arrival on the list of this year’s contenders might limit its exposure, the movie’s painterly qualities and powerful message of gender equality and championing those who fight gender stereotypes are irresistible. The film won the top prize for Best Animated Feature at Annecy and Best Children’s Film at Cinekid 2020.

(Bombanierka, Extreme Emotions, Outsider Pictures) Director: Mariusz Wilczyński Release Date: February 22, 2020 (Berlinale); December 3, 2020 (North America) Rotten Tomatoes Score: 100% Synopsis: A grieving man enters a city of his own creation inside his head, which is accessible to other entities. Director Talk: “In my own way, I wanted to finish an interrupted conversation with my parents. They are gone now, and I had no time to talk to them or take better care of them when there was still time … You tell your parents, ‘Let’s talk tomorrow,’ but sometimes there is no tomorrow.” — Mariusz Wilczyński The Word: “Although the story is not easy to follow, the anger behind it is so virulent that it sweeps the narrative along on a wave of rage and repulsion.” — Deborah Young, The Hollywood Reporter Nomination Chances: A highly personal, adult art film, some 14 years in the making, employing stark, rudimentary animation in multiple media to evoke deep emotion … the high-art-loving members of Academy may eat this up with a lyźka.

Lupin III: The First

Earwig and the Witch (Studio Ghibli, GKIDS) Director: Gorō Miyazaki Release Date: December 30, 2020 (Japan); Early 2021 (U.S.) Synopsis: A headstrong young orphan named Earwig is adopted by a self-absorbed witch and taken to a magical, mysterious house where a battle of wills ensues. Director Talk: “Nowadays, in our country, there are many adults and few children. It must be tough for these children, so few of them having to deal with so many adults. It was while I was thinking about this that I got to know Earwig, and I realized, ’That’s it!’ How does Earwig deal with the annoying adults?” — Gorō Miyazaki Nomination Chances: The name Miyazaki — writer Hayao and his son director Gorō — alone might be enough to garner serious consideration, but it’s not a slam-dunk. It’s Studio Ghibli’s first CG-animated feature, and that may dampen the spirit of 2D purists.

(TMS Entertainment, Marza Animation Planet, GKIDS) Director: Takashi Yamazaki Release Date: October 18, 2020 Rotten Tomatoes Score: 100% Synopsis: Based on the long-running manga franchise, third-generation gentleman thief Arsene Lupin III battles a consortium of neo-Nazis for a dangerous diary and amulet left by an archaeologist during World War II, which contains the secret to vast wealth. Director Talk: “What I did with Lupin was not something that I could normally do in Japan in live action, but it’s not like I was like trying to do different things just because this is CG. I was really thinking about what I wanted to do with the film if I were to work on Lupin.” — Takashi Yamazaki The Word: “If I was initially worried about how well Lupin III would translate to 3D CG, these (probably underpaid) animators blew my mind and put my fears to rest. All the character designs, backgrounds and action moved as smooth as silk.” — Courtney Lanning, Arkansas Democrat-Gazette Nomination Chances: Given its acclaim in Japan and its response here, chances are fair that this CGI action-adventure will earn golden man recognition.

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Award Season Spotlight

No. 7 Cherry Lane

Onward

[Far Sun Film Co.] Director: Yonfan, with animation by Zhang Gang Release Date: November 20, 2020 Rotten Tomatoes Score: 86% Synopsis: Set in 1967 Hong Kong, this lush, sophisticated and very grown-up movie centers on an English tutor who falls in love with both his student and her cultured Taiwanese mother. The Word: “Intellectually intoxicating and stylistically sumptuous, this romantic oddity about the passage of time evokes the grand elegance of a Wong Kar-wai epic infused with mature droplets akin to anime like Belladonna of Sadness or Millennium Actress.” — Carlos Aguilar, Los Angeles Times Director Talk: “I witnessed mass demonstrations, and bombings, experienced the curfews and the fear, and I saw violence and bloodshed. Those were Hong Kong’s colonial days. We knew nothing about human rights and democracy. Looking back, I’m amazed at how nonchalant and lackadaisical I was. Now history is repeating itself, 52 years later. I wonder what today’s young people will think when they reminisce about 2019, many years from now.” —Yonfan The Word: The movie was a festival favorite in Venice, Toronto, Busan and Tokyo, and has received raves from critics. However, it may be a little too languid for the voters with lower attention spans, spoiled by the fast pace of Pixar and DreamWorks movies.

(Pixar Animation Studios, Walt Disney Pictures) Director: Dan Scanlon Release Date: March 6, 2020 Rotten Tomatoes Score: 88% Synopsis: Two elf brothers go on a magical quest to try and revive their dead father for a day. Director Talk: “We wanted to tell the story about these kids getting this chance to meet their dad. And we thought, well, that’s magic. I don’t know how else you do it. And that led to the fun of, ‘What if this was a fantasy story? And what if it was a very modern one?’” Dan Scanlon The Word: “There’s something here for everyone, even if the overall package isn’t likely to go down as the next Disney/Pixar ‘classic.’” — James Berardinelli, ReelViews Nomination Chances: Acknowledgement that Onward is Pixar at B-game level, in direct competition with the studio’s A-game (Soul), weakens its chances.

On-Gaku: Our Sound

The Willoughbys

(Rock’n Roll Mountain, Tip Top, GKIDS) Director: Kenji Iwaisawa Release Date: December 11, 2020 Rotten Tomatoes Score: Not yet available. Synopsis: Buddy comedy about three delinquent teenagers who form a rock band to try and impress girls and show up a rival gang. Director Talk: “If we’d tried to animate the orthodox way, I don’t think we’d have been able to produce an animated feature. I’m convinced that rotoscoping is what let us finish the film, however long it took.” — Kenji Iwaisawa The Word: “A wee 71-minute hand-drawn animated feature about three high school lunkheads who form a band, the film’s minimalist expression breaks the mold of Japan’s bigbudget studio-cloned anime glutted with mind-bending sci-fi conundrums or elaborate time-slip-body-switching fantasies.” — Maggie Lee, Variety Nomination Chances: Although it wooed the audiences at the Annecy and Ottawa animation festivals, this ultra-indie still might have a hard time persuading Academy voters to ignore bigger and splashier films.

(BRON Studios, Netflix) Director: Kris Pearn Co-directors: Cory Evans, Rob Lodermeier Release Date: April 22, 2020 Rotten Tomatoes Score: 90% Synopsis: Tired of their neglectful parents, the four Willoughby children set out to banish their folks and raise themselves, leading to a series of darkly bizarre adventures. Director Talk: “I never wanted the film to feel mean, even though there were dark things in the film. I also never wanted the film to feel affected. I wanted all the characters to be optimistic and have an earnestness because that’s what I find funny.” — Kris Pearn The Word: “Though it tends to feel disjointed as a whole, The Willoughbys thrives when it embraces its grim plot and lets mischief reign.” — Natalia Winkleman, New York Times Nomination Chances: Despite its critical success and innovative visuals, the film’s relative obscurity in such a competitive year may diminish its chances, but don’t count it out yet. The story’s neglectful and downright abusive parents are also hard to stomach.

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Award Season Spotlight NOT IMPOSSIBLE, BUT…

Children of the Sea

Jungle Beat: The Movie

(Studio 4°C, GKIDS) Director: Ayumu Watanabe Release Date: May 19, 2019 (Japan); Sept. 1, 2020 (U.S. home video) Rotten Tomatoes Score: 61% Synopsis: An alienated teenager named Ruka meets two strange brothers, and together they discover a spiritual connection to the sea and the life within it. Director Talk: “I always have the main character face the child within me when I create characters. What’s always difficult is waiting for them to move. I’m always careful not to get ahead of the characters when advancing the story.” — Amuyu Watanabe The Word: “Children of the Sea is yet another animated fantasy based on hackneyed tropes, like sprite-like martyrs, the guiding hands of fate, and vague nostalgia for a pre-technological past.” — Simon Abrams, RogerEbert.com Nomination Chances: Not distinctive enough from other anime adventures with children and sea creatures to really stand out.

(Sandcastle Studios, Sunrise Prods., Timeless Films) Director: Brent Dawes Release Date: June 26, 2020 (U.S. streaming) Rotten Tomatoes Score: Not available. Synopsis: African safari animals adopt a young space alien, and then come together to thwart the efforts of its conqueror father to take over the planet. Director Talk: “How could I justify that these [previously mute] animals could suddenly speak? Is it some sort of mad scientist who’s invented this thing? And I just settled on the fact that there’s this alien technology because this alien needs to be able to communicate with the planets he’s going to. So that was the start of it.” — Brent Dawes The Word: “Sweet, wholesome family fare that should win the approval of parents and hold the attention of younger viewers.” — Alan Hunter, Screen International Nomination Chances: Based on the popular South African TV series, the film is kid-andfamily-friendly to the max, but unlikely to warm Oscar’s heart.

Demon Slayer the Movie: Mugen Train

Ride Your Wave

(ufotable, Aniplex, Funimation Films) Director: Haruo Sotozaki Release Date: October 16, 2020 (Japan); 2021 (U.S.) Synopsis: Members of the Demon Slayer Corps go on a dangerous mission to investigate the disappearances of people on a seemingly-endless train and face some pretty hideous demons in the process. Director Talk: Not available — Sotozuki-san appears to work sans publicity. The Word: “It is a show full of action, but also one that strikes you on an unexpected emotional level.” — Rachel Freeman, The Pop Break Nomination Chances: A record-breaking hit in Japan, the uphill challenge for this feature film adaptation of a popular manga and television series will be to break through the fan base to reach mainstream Academy voters.

(Science SARU, GKIDS) Director: Masaaki Yuasa Release Date: February 19, 2020 Rotten Tomatoes Score: 93% Synopsis: A young surfer falls in love with a young firefighter, who previously saved her life, and after his drowning finds his spirit in the waves. Director Talk: “It’s a story about our instincts with regards to water. While it’s a movie about surfing, the main theme is really ‘riding the waves’ … the waves of life.” — Masaaki Yuasa The Word: “It doesn’t constitute Yuasa’s top effort, but it’s inviting enough to persuade audiences unfamiliar with him to dip their feet and then fully dive into the profundity of his imagination, where wonder awaits.” — Carlos Aguillar, The Wrap Nomination Chances: Fair at best, since it would have to break through a plethora of highly regarded anime films this year.

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Award Season Spotlight

Scoob!

Trolls World Tour

(Warner Animation Group) Director: Tony Cervone Release Date: May 15, 2020 Rotten Tomatoes Score: 48% Synopsis: Scooby-Doo and the gang face their greatest challenge in outer space, as they battle (with the help of several other classic Hanna-Barbera characters) Dick Dastardly’s plot to unleash the hellish dog Cerberus on the world. Director Talk: “I like to challenge the characters. I feel like they’re real people. Scooby and Shaggy’s friendship is so strong I think it’s inspiring to people, I think it’s one of the reasons we still watch the characters.” — Tony Cervone The Word: “Beyond the improved computer animation compared to the hand-drawn origins, sequences worthy of attention are too few and very far between.” — Brian Lowry, CNN.com Nomination Chances: A CG valentine to classic HB buffs, it’s unlikely to get away with a nomination from those meddling Academy voters.

(DreamWorks Animation, Universal Pictures) Director: Walt Dohrn Co-Director: David P. Smith Release Date: April 10, 2020 Rotten Tomatoes Score: 70% Synopsis: Six different Troll lands, each governed by a style of music, face a threat from hard-rocker Queen Barb, who wants to impose her sound on all the others. Director Talk: “In talking to some rock bands and reading a lot about rock people, they are very hardcore and passionate about their genre. That’s what allowed us to tell that story from the rock point of view.” — Walt Dohrn. The Word: “Trolls World Tour is not a mind-blowing cinematic achievement, but it is exactly what kids, and parents, need right now.” — Randy Myers, San Jose Mercury News Nomination Chances: A very long shot.

The SpongeBob Movie: Sponge on the Run (Paramount Animation, Mikros Image, Nickelodeon Movies) Director: Tim Hill Release Date: August 14, 2020 (Canada); Early 2021 (U.S. PVOD) Rotten Tomatoes Score: 77% Synopsis: SpongeBob and Patrick seek to rescue SpongeBob’s snail pal Gary, who has been kidnapped by King Poseidon and taken to the lost Atlantic City. Director Talk: “Everyone comes together to help SpongeBob because of all the things he has done for them. It’s a celebration of creativity and humor, and by extension, it’s an homage to what Steve [Hillenberg, SpongeBob’s creator] gave to all of us during his lifetime.” — Tim Hill The Word: “‘I’m so confused,’ said my 10-year old, reacting to the movie’s strange distractions and delights while barely hanging onto the throwaway plot.” — Radheyan Simonpillai, NOW Toronto Nomination Chances: Everybody loves SpongeBob, though like its previous franchise features, this one is unlikely to soak up a nomination.

A Whisker Away (Studio Colorido, Toho Animation, Twin Engine, Netflix) Directors: Jun’ichi Satô, Tomotaka Shibayama Release Date: June 18, 2020 Rotten Tomatoes Score: 93% Synopsis: A lovestruck adolescent girl discovers a magic mask that enables her to turn into a cat, which she hopes will gain her attention. The Word: “What A Whisker Away loses in terms of flow and legibility, it makes up for in its celebration of the fullness of human life.” — David Erlich, IndieWire Nomination Chances: It will be a daunting struggle for this cat to break through this year’s pack and find its patch of light.

Last-Minute Surprise? Connected (Sony Pictures Animation, Lord Miller Productions) Director: Mike Rianda Release Date: TBD (Fall/Winter 2020) Synopsis: Mechanical devices of the world unite and try to take over, leaving it up to the roadtripping Mitchell family to save the planet. Director Talk: “What is great about humanity that can’t be replaced by robots? … What

about technology is going to bring us together and what about technology is going to pull us apart? Those all seem like really interesting things to talk about and things to explore over the course of a movie.” ─ Mike Rianda Nomination Chances: At press time, we were waiting to find out whether Sony was going to release this much-anticipated title in time for this year’s awards. In the past the Academy has smiled upon films whose themes involved the collision of technology and humanity. Early word praises the easy-going humor, likeable characters and clever mix of 2D elements and CG visuals. Come on, movie release overlords, make this happen!

Michael Mallory is an award-winning author, actor and journalist who specializes in animation and pop culture. He has also written the script for the annual Annie Awards ceremony for the past 25 years. february 21 33

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Award Season Spotlight

Directors’ POV Great advice from the helmers of some of the year’s top animated movies.

e had the great opportunity to chat with the brilliant directors of eight of 2020’s best animated movies. They talked about the inspirations for their movies, their favorite scenes, the importance of diversity and representation in animation, among other things. In this excerpt, they tell us what kind of advice they would have given their younger selves when they were just starting out in the business. (You can watch the full roundtable on our website this month.)

Joel Crawford Director, The Croods: A New Age “I remember working with Walt Dohrn on Shrek. I have taken so much advice from him and totally agree with him on the importance of expanding your idea and definition of an idea, music, sport or culture: I think the wider that prism gets, the more empathy we feel. What’s amazing about animation is that it is this ultimate casing of empathy, so that we’re able to take these characters that are usually inanimate or animals, and put everybody, regardless of gender or race, into the point of view of the protagonist. The only way we can make the audience see that is to see that ourselves, so broadening our empathy for others and for the world is a crucial step in growing.”

Walt Dohrn Director, Trolls World Tour “I find myself telling a lot of young people this. I wish someone had told this to me, too. While you’re studying animation, you end up immersing yourself in the history of cinema and a lot of art. But once you get to be a director, how much do you really apply those studies to the making of the film? You have to go out there and have real experiences, fall in love, get your heart broken, study psychology and the history of the world. Because those are the things that come up in the meetings. Most of all, get away from the screen and go live your life, and also pop open all kinds of books.”

Glen Keane Director, Over the Moon “If there was a point when the rocket took off for me, it was when I was eight and my dad who was a cartoonist [Bil Keane, creator of The Family Circus] told me, ‘I am a cartoonist, but you are an artist.’ It was the most wonderful moment for me. It was like being knighted. What he didn’t tell me (and I wish he had told me) is that as an artist, you think that because you are growing in age and you desire to grow, your path is going to be a straight line upward. But it is not like that. It goes like a step curve. “I didn’t realize that until I hit my first wall. I was 20 years old and I was working at Disney, and I remember feeling, ‘What a mistake! I am terrible … I am not liking anything that I am doing.’ I was just at the end of my rope. I felt like I needed to get out. I remember getting up and going to the stairwell and up to the second floor where Walt Disney had a library. He was collecting art books to move his staff from doing Silly Symphonies and very simple animation to working on Bambi on a higher level. He would personally drive his artists to the Art Center so they could get the training. I pulled out a book on Degas, and there was something about his work that really struck me. I just loved the beautiful grace of his ballerinas and the pastel colors. Suddenly I wasn’t thinking about animation anymore, and I was in love with the art and the artist. So I took that back with me and started to draw my wife that way. Pretty soon, I was no longer stuck and my animation was getting better. I was able to go beyond that wall because I stepped out of that frame of mind of just trying to solve the artistic problem. I had to try something new. So my advice is to open the windows, listen to some music, read a poem, find a new artist. Realize that you don’t have to know what that is. It’s going to be a gift. I truly believe that the very best things in life are a gift when we are open to discover them. If I could have told myself that back then, that would have saved me some pain!”

Tomm Moore Writer, Director, Wolfwalkers “When I was younger, I was anxious and unsure if I should keep going with my own path or I should cash in my chips and try and get a real job. At every stage, I was lucky that a friend would pop up and encourage me to keep going. If I could go back in time and say that to the younger me who was anxious and fretting and wondering if he was on the right path, I’d tell him to keep going. It’s worth it to keep plugging along.”

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Kris Pearn Writer, Director, The Willoughbys “I recall being anxious too when I was younger. We were afraid that the world would be ending: We couldn’t draw on paper. What was going to happen? The lesson is that I would take away the fear. To echo what everyone else was saying: to find your life and find your voice in that. It’s OK. As long as I have a sketchbook and a pencil to draw with, life is going to be OK. I think that was something I was aware of when I was starting out at age 18. That sort of base skill, the courage to just sit quietly in the corner and just draw quietly what you see. That’s where the solutions are.”

Kemp Powers Writer, Co-director, Soul “I would have told my younger self that my voice has value at a time when I was being dismissed. Similarly, I would have encouraged perseverance: It wouldn’t have changed the challenges that I had to face during those years, but I would have saved a lot of money in Xanax.”

Gitanjali Rao Writer, Director, Producer, Bombay Rose “In 2006, when my first short film made it to the Cannes Festival and won three awards, I was so overwhelmed. Everybody was asking me, ‘So, are you on to making your feature film?’ Because that’s the way to go. But I didn’t have the confidence. I wasn’t ready and thought it was all a bit too much. So at that point, I said I just wanted to make short films. By the time I was ready to make a feature, that steam had gone. If I had been more confident and ambitious — of course, circumstances made me less confident — but I would have told my younger self to go ahead. I would have made my first feature film a few years earlier. Of course, the situation has changed a lot for younger women animators. They can definitely go for it.”

Dan Scanlon Writer, Director, Onward “I agree with everything that has been said so far. One thing I would have told myself is to be more aware of diversity in storytelling and thinking more about the folks around me that weren’t getting the privileges that I was given. I wish there had been something that I had been more aware of at a younger age. Trusting your gut and having life experiences are key.”

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Award Season Spotlight Toons to Come: Clockwise from top left: Rumble, The Boss Baby: Family Business, Luca, Pinocchio, Minions: The Rise of Gru, Connected, Raya and the Last Dragon, Wish Dragon, Encanto, Spirit Untamed and PAW Patrol: The Movie are among 2021’s big animated movies.

In the Game in 2021 H

ere’s an early look at the major animated releases of the year. All release dates are subject to change because of the unpredictability of theatrical openings worldwide:

The Addams Family 2. MGM’s 2019 feature about the

popular and kooky family gets a fast sequel, with new voices Bill Hader and Javon “Wanna” Walton. Charlize Theron, Oscar Isaac, Chloe Grace Moretz, Nick Kroll, Bette Midler and Snoop Dogg resume their original roles. Greg Tiernan and Conrad Vernon also return as directors. MGM/UA, Oct. 8

Arlo the Alligator Boy. Ryan Crego’s 2D animated musi-

cal follows the adventures of an alligator-boy who heads to New York City in search of his long-lost father. Featuring the voices of Michael J. Woodard, Mary Lambert, Flea, Annie Potts and Tony Hale. Netflix/Titmouse

Back to the Outback. Directed by Clare Knight and Harry Cripps, this musical comedy follows the adventures of a ragtag group of Australia’s deadliest creatures which launch a daring escape from their zoo. With Isla Fisher, Tim Minchin, Eric Bana, Guy Pearce, Miranda Tapsell, Rachel House, Keith Urban, Jackie Weaver and Diesel Cash La Torraca. Netflix/Reel FX, Fall 2021 The Bad Guys. Directed by Pierre Perifel, this CG-animat-

ed adaptation of Aaron Blabey’s book centers on several reformed yet misunderstood villains (Mr. Wolf, Mr. Piranha, Mr. Snake, Mr. Shark and Ms. Tarantula) who decide to live their lives as forces of good! DreamWorks/Universal, Sept. 17

Bob’s Burgers: The Movie. Loren Bouchard brings his beloved Fox TV family to the big screen in this fun, musical comedy featuring the series’ main cast (H. Jon Benjamin, Dan Mintz, Eugene Mirman, Larry Murphy, John Roberts and Kristen Schaal) and some

special guest voices as well. 20th Century/Bento Box, April 9

The Boss Baby: Family Business. Director Tom McGrath and original Boss Baby voice actor Alec Baldwin return to the world of the 2017 blockbuster. In the sequel, Tim (James Marsden) and Ted (Baldwin) are now grown up, and there’s a new Boss Baby in the house — baby Tina (Amy Sedaris), who is tasked with uncovering the evil plot by Dr. Erwin Armstrong (Jeff Goldblum), the principal of Tim’s daughter’s school. DreamWorks/Universal, Sept. 17 Connected. Produced by Chris Miller and Phil Lord and

directed by Gravity Falls alum Mike Rianda, this clever new comedy-adventure follows a suburban family as they face a global takeover by hostile computers. Voiced by Maya Rudolph, Danny McBride, Olivia Colman, Abbi Jacobson and Eric Andre. Co-directed by Jeff Rowe. Sony Pictures Animation

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Award Season Spotlight Encanto. The 60th animated feature from Walt Disney Ani-

mation Studios centers on a Colombian girl who lacks special powers, despite coming from a magical family. Directed by Byron Howard and Jared Bush (Zootopia) and co-directed by Charise Castro Smith, and produced by Clark Spencer, Yvett Merino Flores and Jennifer Lee. Disney, Nov. 24

Animation’s first feature, which follows the adventures of a 12-year-old boy who ends up with a bot best friend who doesn’t quite work like all the others. Produced by Locksmith co-founders Sarah Smith and Julie Lockhart, with a script by Smith and Peter Baynham. Locksmith Animation/20th Century Studios, April 23

Hotel Transylvania 4. Count Dracula (Adam Sandler), his daughter Mavis (Selena Gomez) and regular human sonin-law Jonathan (Andy Samberg) continue their wild and wacky adventures in this fourth outing for the popular animated monster clan. Directed by Derek Dymon and Jennifer Kluska. Franchise maestro Genndy Tartakosvky writes and executive produces the latest entry. Sony Pictures Animation, August 6

Rumble. Directed by Hamish Grieve (head of story on Rise of the Guardians), this CG-animated pic is set in a world where monster wrestling is a global sport and follows teenager Winnie as she seeks to follow in her dad’s footsteps by coaching a lovable monster. Matt Lieberman (Scoob!, The Addams Family) penned the script. With the voices of Will Arnett, Ben Schwartz, Geraldine Viswanathan, Terry Crews, Becky Lynch and Charles Barkley. Paramount, May 14

Luca. Directed by Enrico Casarosa and produced by Andrea

Sing 2. The musically gifted animals of Illumination’s hit

Warren, Pixar’s 24th feature is set on the beautiful Italian Riviera. Described as a coming-of-age story, the movie centers on a young boy’s unforgettable summer, filled with gelato, pasta, scooter rides and a sea monster from another world. Disney/Pixar, June 18

Minions: The Rise of Gru. Delayed from last year, this much-anticipated prequel centers on the origins of the evil mastermind Gru (Steve Carell) and is directed by Kyle Balda and co-directors Brad Ableson and Jonathan del Val. With the voices of Alan Arkin, Julie Andrews, Jean-Claude Van Damme, Taraji P. Henson, Danny Trejo, Lucy Lawless, Michelle Yeoh and Russell Brand! Universal/Illumination, July 2 My Father’s Dragon. Nora Twomey (The Breadwinner) directs this adaptation of Ruth Stiles Gannett’s children’s book about a runaway who searches for a captive dragon on Wild Island and finds much more than he could ever have anticipated. Netflix/Cartoon Saloon PAW Patrol: The Movie. Keith Chapman’s beloved ani-

mated canines are heading for the big screen in this eagerly awaited adventure, directed by Cal Brunker (The Nut Job 2). The plot finds Ryder and the pups in Adventure City to stop Mayor Humdinger from turning the bustling metropolis into a state of chaos. The very odd voice cast includes Iain Armitage, Kim Kardashian West, Jimmy Kimmel, Yara Shahidi, Jimmy Kimmel, Dax Shepard and Tyler Perry. Paramount/Spin Master/Mikros, August 20

Pinocchio. Fantasy and horror master Guillermo del Toro (The Shape of Water, Tales of Arcadia) is helming this stopmotion adaptation of Carlo Collodi’s 1883 novel, based on designs by Gris Grimly. Mark Gustafson (Fantastic Mr. Fox) is co-directing this darker version of the fairy tale about the wooden boy’s adventures. Script is penned by del Toro and Patrick McHale (Over the Garden Wall, Adventure Time). Voice cast includes Tilda Swinton, Cate Blanchett, Ewan McGregor, Finn Wolfhard, Christoph Waltz and Ron Perlman. ShadowMachine/The Jim Henson Co./Netflix Raya and the Last Dragon. Directed by Don Hall and Carlos López Estrada, this Disney fantasy epic is set in a magical world where humans coexist with dragons and draws from Southeast Asian cultures and mythology. Written By Adele Lim (Crazy Rich Asians) and Qui Nguyen. With the voices of Kelly Marie Tran (Raya) and Awkwafina (Sisu the Water Dragon). Disney, March 12 Ron’s Gone Wrong. Pixar story veteran J.P. Vine (Inside

movie return in this holiday release, which finds them leaving Moon Theater for the lights of the big city. Writer/director Garth Jennings is back with voice stars Matthew McConaughey, Reese Witherspoon, Scarlett Johansson, Taron Egerton, Seth MacFarlane, John C. Reilly, Nick Kroll and Tori Kelly. illumination/Universal, Dec. 22

Space Jam: A New Legacy. Malcolm D. Lee (Night

School) directs this sequel to the popular 1996 live-action/ animation hybrid sports comedy. The new outing features LeBron James, Don Cheadle, Sonequa Martin-Green, as well as Looney Tunes characters such as Bugs Bunny, Daffy Duck, Pepe Le Pew, Marvin the Martian and Lola Bunny. James is also producing the movie with Ryan Coogler (Creed, Black Panther), who co-wrote the script with Sev Ohanian (Fruitvale Station). Warner Animation Group, July 16

Spirit Untamed. Lucky Prescott’s life is changed forever

when she moves from her home in the city to a small frontier town and befriends a wild mustang named Spirit in this feature outing of the popular animated show, developed by Aury Wallington. Directed by DreamWorks veterans Elaine Bogan (Trollhunters, Dragons: Race to the Edge) and Ennio Torresan (head of story on Abominable, The Boss Baby). DreamWorks/Universal, June 4

The SpongeBob Movie: Sponge on the Run. Our op-

timistic hero searches for his beloved snail Gary in this charming CG-animated spin on the two-decades-old 2D toon. Directed by Tim Hill, featuring the talents of Tom Kenny, Bill Fagerbakke, Rodger Bumpass, Clancy Brown, Mr. Lawrence, Jill Talley, Carolyn Lawrence, Awkwakina, Reggie

Watts, Keanu Reeves and Snoop Dogg! Paramount/Nickelodeon/Mikro/CBS All Access, Early 2021

Tom and Jerry. Tim Story (Ride Along 2, Shaft) directs this

live-action/CG hybrid take on the classic Hanna-Barbera characters, which finds the cat and mouse duo causing trouble in a posh hotel in Manhattan. Stars Chloë Grace Moretz, Michael Peña, Ken Jeong, Rob Delaney, Pallavi Sharda and Colin Jost, and features the voices of Frank Welker and the late William Hanna, June Foray and Mel Blanc via archival footage. Warner Animation Group/HBO Max, March 5

Trollhunters: Rise of the Titans. This movie enterprise

based on Guillermo del Toro’s Tales of Arcadia trilogy is directed by Johane Matte, Francisco Ruiz Velasco and Andrew L. Schmidt. It finds the heroes of Trollhunters, 3Below and Wizards fighting the Arcane Order for control over the magic that binds them all. With the voices of Emile Hirsch, Lexi Medrano, Charlie Saxton, Kelsey Grammer, Alfred Molina, Steven Yeun, Nick Frost, Diego Luna, Tatiana Maslany, Nick Offerman, Tom Kenny, Laraine Newman, Grey Griffin and Cheryl Hines. DreamWorks/Netflix

Vivo. Directed by Kirk DeMicco and co-directed by Brandon Jeffords, this colorful CG-animated feature is based on a screenplay by DeMicco and Quiara Alegría Hudes (In the Heights) with songs by Lin-Manuel Miranda. The story focuses on a musically-inclined capuchin monkey who, with a thirst for adventure and a passion for music, makes a treacherous journey from Havana, Cuba to Miami, Florida in pursuit of his dreams to fulfill his destiny. Sony Pictures Animation, June 4 Wendell and Wild. This imaginative stop-motion movie

centers on two demon brothers (Jordan Peele and KeeganMichael Key) who face off against a nun and a couple of goth teens. Directed by stop-motion master Henry Selick (Coraline, The Nightmare Before Christmas) and produced by Selick, Peele and Ellen Goldsmith-Vein. Netflix/Monkeypaw/Gotham Group

Wish Dragon. Penned and directed by Chris Applehans, this modern-day fairy tale centers on the moral challenges that emerge from the encounter between a young boy and a dragon who can make his wishes come true. Jackie Chan, who’s producing the movie, is also providing the voice of Pipa God. With Constance Wu, John Cho, Will Yun Lee, Jimmy Wong and Bobby Lee. Sony Pictures Animations/Base FX/ Flagship Ent. Group

Also in 2021: The Adventures of Pil (TAT Productions, France 3 Cinema, SND) Batman: Soul of the Dragon (Warner Bros. Animation, DC Ent.) Batman: The Long Halloween (Warner Bros. Animation, DC Ent.) Clifford the Big Red Dog (Paramount, Scholastic, Walden) Detective Conan: The Scarlet Bullet (TMS) Evangelion 3.0+1.0 Thrice Upon a Time (Khara) Hansel and Gretel (Wizart) Inu-Oh (Science Saru) Justice Society: World War II (Warner Bros. Animation, DC Ent.) Las Leyendas: El Origen (Anima Estudios) My Friend Finnick (Riki Group) My Little Pony Movie Untitled (Paramount, Allspark, Entertainment One) Sailor Moon Eternal (Toei Animation)

Sailor Moon Eternal

Out) and Octavio E. Rodriguez direct U.K.-based Locksmith

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Shorts

On the (Virtual) Road to Oscar Gold In a year of global tragedy, stress and uncertainty, advanced technology and dedicated cinephiles around the world joined forces to help animation lovers enjoy 2020’s crop of artistic, thought-provoking (or just plain entertaining) films. While most festivals were held online, their Academy Award-qualifying prizewinners have an IRL chance at one of film’s most prestigious animated short honors: Altötting Germany Director: Andreas Hykade Produced by: Thomas Meyer-Hermann, Abi Feijó, Marc Bertrand, Julie Roy Qualifying Win: Cinanima Int’l Animated Film Festival Grand Prize Synopsis: In the small Bavarian town of Altötting, a mother takes her young son to visit a nearby chapel. The boy becomes entranced by the Shrine of the Virgin Mary inside the chapel and begins daily pilgrimages to see his beloved Madonna. His love, devotion, and passion for her continue to grow, until one day his world is crushed by the devastating secret behind her eternal beauty.

And Then the Bear France Director: Agnès Patron Produced by: Ron Dyens (Sacrebleu Productions) Qualifying win: Aspen Shortsfest - Best Animation Synopsis: When a boy’s close bond with his mother is imperiled one night by the arrival of a mysterious stranger, matters of nature and nurture collide.

Any Instant Whatever United States Director: Michelle Brand Qualifying Win: Raindance Film Festival - Best Animation Short Synopsis: A man. In a room. In a film. This is simultaneously the becoming of something and becoming in itself. And nothing is as solid as we believe… Any Instant Whatever explores our perception of time, bodies and objects, and our innate inability to comprehend the full reality of things.

The Beauty Germany Director: Pascal Schelbli

Produced by: Filmakademie BadenWürttemberg Qualifying Win: Student Academy Award Animation (Int’l) Gold Medal Synopsis: What if plastic could be integrated into sea life? Take a deep breath and dive into a world, where feelings of guilt dissolve amongst the mysterious depths of the ocean. A world where we encounter bizarre creatures and discover eerily beautiful landscapes. Unfortunately, our air doesn’t last forever and we have to realize that nature alone can’t solve this issue

tian Hall & Sam Koji Hale Qualifying win: Santa Barbara Int’l Film Festival - Bruce Corwin Award Best Animation Short Film Synopsis: Cosmic Fling is the tale of Stan, an intergalactic garbage man who lives alone on an asteroid. To feed himself, he harpoons space debris and converts it into nourishment. To feed his soul, he dreams only of love. One day, he spots Beatrice, a fellow astronaut stranded on a passing comet. He falls instantly in love … but must wait for her comet to return. In order to be with her, he will need to resort to extreme measures.

The Cubicbird Colombia Director: Jorge Alberto Vega Produced

Ciervo United States Director: Pilar GarciaFernandezsesma Produced by: Rhode Island School of Design Qualifying Win: Student Academy Award Animation (Domestic) Gold Medal Synopsis: An emotionally haunting and visually beautiful experience, Ciervo tells the story of a young girl who holds violence, submission and independence in an uneasy balance as one morphs into the other.

The Coin China Director: Siqi Song Produced by: Film Independent Qualifying Win: Chilemonos Int’l Animation Festival - Best Int’l Animation Short Film Synopsis: A young woman loses a jar on her journey to a new country, which contains the lucky coins she has been collecting growing up. Her life in a new country begins with a search to find the coin.

Cosmic Fling United States Director: Jonathan Langager Produced by: Chris-

by: Marcos Mas, Ángela Revelo Qualifying Win: Bogoshorts - Best Animation Short Film National Competition Synopsis: Pedro is a bird who grew up in a birdcage. When he was one year old he had a dream of an owl, who told him to grow strong and break free. Pedro eats and eats, and starts to fill out the whole cage, he pushes it and breaks it up, but its shape forms him into the first cubic bird.

A Dark Day of Injustice Argentina Director: Daniela Fiore Qualifying Win: Chilemonos Int’l Animation Festival - Best Latin American Animated Short Film Synopsis: Describing the last day of the life of writer Rodolfo Walsh, where he was captured and killed by ESMA under the Argentinian Dictatorship

The Fabric of You United Kingdom Director: Josephine Lohoar Self Produced by: Holly Daniel, Calum Hart, Ross McKenzie, Carolynne Sinclair Kidd, Reetta

Tihinen, Paul Welsh Qualifying Win: Palm Springs Int’l ShortFest Best Animation Short Synopsis: Unable to show his true identity, Michael, a grieving tailor mouse, recounts and reckons with the memories of a past lover.

Freeze Frame Belgium Director: Soetkin Verstegen Produced by: Akademie Schloss Solitude, Soetkin Verstegen Qualifying Win: Ann Arbor Film Festival Chris Frayne Award for Best Animated Film Synopsis: Freeze frame: the most absurd technique since the invention of the moving image. Through an elaborate process of duplicating the same image over and over again, it creates the illusion of stillness.

Friends Germany Director: Florian Grolig Qualifying win: Tribeca Film Festival - Best Animated Short Synopsis: The “small” one is, well, small, and the “big” one is definitely very big. They are friends.

Genius Loci France Director: Adrien Merigeau Produced by: Amaury Ovise Qualifying wins: Go Short - Best European Short Animation, Bucheon Int’l Animation Festival Grand Prize, Vienna Shorts - ASIFA Austria Award Synopsis: One night, Reine, a young loner, sees the urban chaos as a mystical oneness that seems alive, like some sort of guide.

Giant Bear Canada Directors: Neil Christopher & Daniel Gies Produced by: Neil Christopher; Emily Paige Qualifying Win: Canadian Screen Awards

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Shorts - Best Animated Short Synopsis: Giant Bear follows a hunter in the depths of starvation.The snow is thick, his dogs are mysteriously dying and food is nowhere to be found. A quest for answers leads him straight to a nanurluk, an iceberg-sized polar bear, setting up a kill or be killed battle that pits one man’s wits against a fearsome foe.

Baek Qualifying Win: Student Academy Award - Animation (Domestic) Bronze Medal Synopsis: A young Israeli girl is oblivious to the historical conflict she lives in. On a trip to the market, her mother reinforces her fear of “the other.” However, when chaos strikes she finds that the people she was once afraid of are not so bad.

Have a Nice Dog! Germany Director: Jalal Maghout Produced by: Karsten Matern

GNT Australia Director: Sara Hirner & Rosemary VasquezBrown Qualifying Win: Sydney Film Festival - Yoram Gross Animation Award Synopsis: Glenn is a woman on an unwholesome mission, but just how far will she go to conquer the clique- and social media at large?

Filmproduktion Qualifying Win: Uppsala Int’l Short Film Festival - Int’l Competition Grand Prix Synopsis: In Damascus, surrounded by war, an isolated man becomes increasingly lost in fantasies of escaping and the inner dialogues with his dog.

Grandad Was a Romantic United Kingdom Director: Maryam Mohajer Qualifying Win: BAFTA for Best British Short Animation Synopsis: My granddad was a romantic. He once saw a picture of my granny and realized that she was the love of his life, until one day he decided to go meet my granny.

Hamsa United States Directors: Daniela Dwek, Maya Mendonca & Chrisy

I’m Here Poland Director: Julia Orlik Produced by: Agata Golanska Qualifying Win: Dok Leipzig - Golden Dove for Int’l Short Animation Synopsis: She is the center of attention, but exhausted by life. An old woman in her final days, bedridden and too weak to speak to her husband and daughter. Her selfhood fades away while in the care of her relatives, who have problems of their own.

Just a Guy Germany Director: Shoko Hara Produced by: Studio Sefz Qualifying

A Home for the Brave Mexico Direction: Hugo Crosthwaite Produced by: Hugo

Grab My Hand: A Letter to My Dad United States Directors: Camrus Johnson & Pedro Piccinini Qualifying Wins: New York Int’l Children’s Film Festival - Best Animated Short, Chicago Int’l Children’s Film Festival - Professional Jury First Place Animated Short Synopsis: A retelling of his dad’s relationship with his best friend, Grab My Hand is Camrus Johnson’s gift to his grieving father and a message to all to cherish every second you have with the ones you love while you still can.

hurt left by a tragic event that leaves their family changed forever. The film juxtaposes the excruciating pain one can feel as well as the resilience of the human spirit.

Crosthwaite, Theresa Magario Qualifying Win: Morelia Int’l Film Festival Best Animated Short Film Synopsis: A stop-motion animation that tells the story of a Mexican migrant family crossing the border into the United States.

Win: Animafest Zagreb Grand Prix Synopsis: Three women contemplate their relationship with convicted serial killer Richard Ramirez.

Kapaemahu United States Director: Hinaleimoana WongKalu, Dean Hamer, Joe

Homeless Home France, Spain Director: Alberto Vázquez Produced by: Nicolas Schmerkin (Autour de Minuit) & Iván Minambres (UniKo Estudio Creativo) Qualifying Win: Annecy Jury Award Synopsis: No one can escape their roots, however rotten they may be.

If Anything Happens I Love You United States Directors: Michael Govier & Will McCormack Produced by: Gary Gilbert, Gerald Chamales Qualifying Win: Edmonton Int’l Film Festival Animated Short FIlm Award Synopsis: An extraordinary emotional journey of two parents struggling to overcome the

Wilson Produced by: Dean Hamer, Joe Wilson, Hinaleimoana Wong-Kalu Qualifying Wins: Atlanta Film Festival - Best Animated Short Film, Animayo - Grand Jury Prize, Bengaluru Int’l Short Film Festival - Best Animated Short, Nashville Film Festival - Best Animated Short, Foyle Film Festival - Best Animated Short Film Synopsis: Kapaemahu reveals the healing power of four mysterious stones on Waikiki Beach -- and the legendary transgender spirits within them.

The Kite Czech Republic / Slovakia / Romania Director: Martin Smatana Produced by: Bfilm Qualifying win: Austin Film Festival - Animated Short Jury Award 2019 Synopsis: Late in the summer, Grandpa gives

his grandson a kite. By autumn, the old man has grown frail and thin. A strong wind blows him away. In springtime, they meet again.

KKUM

Zazac Qualifying Win: Ottawa Int’l Animation Festival - Nelvana Grand Prize for Independent Short Synopsis: My mother’s dreams have always been strong premonitions for important moments in my life. I rely on her dreams more than any religion.

Lal Turkey Director: Gökalp Gönen Qualifying Win: Izmir Int’l Short Film Festival - Best Nat’l Short Animation Synopsis: Born with a word from nothing, the creature must eat one of its own in order to survive. Even though this word the creature manages to utter brings it to friends, enemies and new prey, it is difficult to establish the balance. The big fight is inevitable and it will take a long time to get back to the beginning.

Little Hilly Taiwan Director: Yun-Sian Huang Produced by: Chun Wei Hsieh Yan-Jie Wu Qualifying win: LA Shorts Fest - Best Animation Synopsis: Hilly is a 10-year-old silent Taiwanese girl, nobody was concerned about her depression and the pressure she suffered from everyday life. Hilly hates that she always oppresses herself, and also hates the world controlled by adults. What does Hilly really want to speak out to the adults?

The Little Soul Poland Director: Barbara Rupik Produced by: National Film School in Łódź Qualifying win: Slamdance Film Festival - Jury Award for Best Animation Short Synopsis: A dead body became stuck by a river bank. Its decaying insides still hide a human

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Shorts soul -- a miniature of the deceased. Rotting organs part and a tiny creature gets out. Standing on the river bank, it says goodbye to the corpse and sets off on a journey through the post-mortem land.

Loop United States Director: Erica Milsom Produced by: Krissy Cababa and Michael Warch; Pixar Animation Studios Qualifying Win: SIGGRAPH Computer Animation Festival - Best in Show Synopsis: A non-verbal, autistic girl and a chatty boy are partnered on a canoeing trip. To complete their journey across an urban lake, they must both learn how the other experiences the world.

Madrid 2120 Spain Director: José Luís Quirós, Paco Sáez Produced by: Nicolas Matji Qualifying Win: Goya Best Animated Short Film Synopsis: In the year 2120, life in Madrid is divided by class and elevation. Nitrogreen, a highly unstable liquid capable of generating Instant Vegetation, is the most valuable contraband merchandise. After a smuggling operation gone wrong, an anonymous taxi driver faces the most important decision of his life: Settle on his level, or risk his life to get to the top.

Mime Your Manners United States Directors: Kate Namowicz & Skyler Porras Produced by: Ringling College of Art & Design Qualifying Win: Student Academy Award - Animation (Domestic) Silver Medal Synopsis: An arrogant man named Julian is transformed into a mime. Given a taste of his own medicine, he must grow to be a better person to be freed.

My Galactic Twin Galaction Russia Director: Sasha Svirsky Produced by: Alexander Gerasimov

Qualifying Win: In The Place Int’l Short Film Festival - Best Animation Int’l Competition Synopsis: One day he receives an email that looks like spam: there is apparently trouble in a neighbouring galaxy that will soon threaten his own. His galactic twin, Galaction, asks him for help in the struggle against evil. Thus begins a boldly colourful adventure in which good and evil, utopia and dystopia, narrative and postnarrative compete to entertain the audience.

My Generation France Director: Ludovic Houplain Produced by: Ludovic Houplain, Mirwaïs Ahmadzaï Qualifying Win: Cleveland Int’l Film Festival Best Animated Short Synopsis: Disney’s big boss, Bob Iger, said, “Hitler would have loved social media.” He would have felt at ease in our time of soft totalitarianism (less and less soft actually). What if we put down our smartphones and opened our eyes wide shut? It is ironic that it should be an animated film which reveals the truth of a lobotomized society with the need for intensive care.

The Natural Death of a Mouse Germany Director: Katharina Huber Produced by: Katharina Huber, Quimu Casalprim Qualifying win: German Short Film Award Animated Films 1-30 min. Synopsis: Some days she imagines that by her sheer will she can make body parts fall off of people who seem vicious to her. And some other days everyone around her looks beautiful. And when she was little, she wished that flowers would grow out of her footprints

Night of the Plastic Bags France Director: Gabriel Harel Produced by: Amaury Ovise Qualifying win: César Award - Best Animated Short Film, Odense Int’l Film Festival Animation Competition Synopsis: Agathe, 39 years old, has only one obsession: having a child. It’s decided: she will find her ex boyfriend, Marc-Antoine, who works as a DJ in Marseille. As she tries to convince him to get back together, plastic bags come to life and attack the city.

o28 France Directors: Otalia Caussé, Geoffroy Collin, Louise Grardel, Antoine Marchand, Robin Merle & Rabien Meyran Produced by: Rubika Qualifying Win: Hollyshorts Film Festival - Best Short Animation Synopsis: In Lisbon, a german married couple is about to get aboard the legendary No. 28 tramway, but how should you react when the brakes let go and embark you on a vertiginous race with a baby on board.

- Best Animated Short Synopsis: The summer afternoon was nothing special, until the kids in the village, playing war games, found a replica pistol. As the trigger was pulled, the whole forest was awakened.

Purpleboy

United States Directors: Lisa LaBracio & Anna Samo Qualifying Win: Florida Film Festival - Best Animated Short Synopsis: A classroom erupts into a war of words as students grapple with a seemingly simple prompt: what is the opposite of a gun?

Portugal Director: Alexandre Siqueira Produced by: Rodrigo Areias, Mickael Carton, Serge Kestemont, Thierry Zamparut Qualifying Win: Anima - Best Int’l Short Film, Rhode Island Int’l Film Festival - Best Animated Short Synopsis: Oscar is a child who sprouts in his parents garden. Nobody knows his biological sex but he claims the masculine gender. One day Oscar lives an extraordinary but painful adventure in an authoritarian and oppressive world. Will he manage to have the identity recognition he desires so much?

Orgiastic Hyper-Plastic

Red Rover

The Opposites Game

Denmark / U.K. Director: Paul Bush Produced by: Lana Tankosa Nikolic (Late Love Prod.) and Paul Bush (Ancient Mariner Prod.) Qualifying Win: Odense Int’l Film Festival Børge Ring Award for Best Animated Film Synopsis: An elegy to a love affair that has gone sour, a fond farewell to that most beautiful material that has subjugated our planet – plastic.

Precious France Director: Paul Mas Produced by: Je Suis Bien Content Qualifying Win: Black Nights Film Festival POFF Shorts Grand Prix Animation Synopsis: Julie doesn’t manage to fit in at her school. The arrival of Émile, an autistic child, will change all that.

Pretty Thing China Director: Li Zexi Qualifying win: Riverrun Int’l Film Festival

United Kingdom Director: Astrid Goldsmith Produced by: Hank Starrs; Mock Duck Studios Qualifying Win: Sitges Int’l Fantastic Film Festival of Catalonia - Best Animated Short Film Synopsis: When a robotic rover is sent from Earth to drill for signs of life on Mars, it threatens the lives of the planet’s tiny native rock creatures.

Something to Remember Sweden Director: Niki Lindroth von Bahr Produced by: Malade A.B., Kalle Wettre Qualifying Wins: Guanajuato Int’l Film Festival - Best Short Animation, Animator Grand Jury Prize - Golden Pegasus, Leeds Int’l Film Festival - World Animation Award Synopsis: A lullaby before the great disaster. Two pigeons visit a zoo without animals, a snail measures his blood pressure at the doctor, in the CERN laboratory something has gone terribly wrong.

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Shorts Song Sparrow Denmark / Iran Director: Farzaneh Omidvarnia Qualifying Win: Lebu Int’l Film Festival - Best Int’l Animation Synopsis: A group of refugees tries to reach themselves to a safe country in search for a better life. They pay a smuggler to convey them across the borders in a refrigerated truck. However, the freezing temperature of the truck turns their hopes for a better future into a fierce struggle for survival.

Tie Portugal / France Director: Alexandra Ramires Qualifying win: Chicago Intl’ FIlm Festival - Gold Hugo Animated Short Film Synopsis: Two characters search for missing pieces of themselves in a gloomy, surreal landscape.

Tiger and Ox South Korea Director: Seung-hee Kim Qualifying win: AFI Fest - Grand Jury Award for Animation Synopsis: What does divorce mean to women in Korean patriarchal society? Is a fatherless family a failure? In order to find the answer to these questions, a single mother and her daughter start a conversation.

The Tiger Who Came to Tea United Kingdom Director: Robin Shaw Produced by: Camilla Deakin, Ruth Fielding; Lupus Films Qualifying win: Encounters Film Festival - Animated Encounters Grand Prix Synopsis: A mysterious tiger turns up unannounced and invites himself in for afternoon tea with a young girl and her mother.

To the Dusty Sea France Director: Héloïse Ferlay Produced by: EnsAD

Qualifying Wins: Austin Film Festival - Animated Short Jury Award 2020, St. Louis International Film Festival - Best Animated Short Synopsis: Left alone in the deepest of the summer, Malo and Zoe are trying their best to catch their mother’s elusive eye.

Orleans Film Festival - Best Animated Short Synopsis: An animated documentary exploring how a mother’s abusive relationship shaped the director’s own experiences in boarding school.

The Torture Letters

The White Whale United States Director: Laurence Ralph Produced by: Lau-

Iran Director: Amir Mehran Qualifying Win: Warsaw Film

rence Ralph, Adam Ellick Qualifying Win: SPARK Animation - Best in Show Synopsis: One of Laurence Ralph’s first memories of the police is when a plainclothes officer harassed his family. Now a Princeton anthropology professor, Ralph traces his story to the entrenched practices of torture by the Chicago Police.

Festival - Best Animated Short Film Synopsis: Long years ago, a young man has lost his friends in an air attack on a big river. After 30 years, he is looking for their remains. A white whale is the only sign he has.

Tot

Spain Director: Begoña Arostegui Produced by: Fernando Franco Qualifying win: ALCINE - National Short Film Synopsis: For our protagonist, every day looks a bit alike. Or, rather, they are too much alike: the same routines are repeated over and over again with appalling monotony. However, something as simple as a sign that says “Park” is going to change everything.

Ireland? Directors: Tom Getty, Aimée Kirkham Priester & Fiona McLaughlin Produced by: Fiona McLaughlin, Tom Getty Qualifying Win: Galway Film Fleadh - James Horgan Award for the Best Animation Synopsis: After the death of her father, Tot roams through a mystical world carrying her grief with her as she searches for closure.

Your Own Bullshit

France Directors: Hugo Frassetto & Sophie Taverty Macian Produced by: Arnaud Demuynck; Les Films du Nord Qualifying Win: Hamptons Film: Indy Shorts Int’l Film Festival - Best Animated Short Synopsis: Thirty-six thousand years ago, in the Ardèche river gorge, when an animal was painted, it was hunted. When it is again time to go hunting and painting, Gwel is appointed head of the group of hunters while Karou the painter and his apprentice Lani set off to paint the walls of the great cavern. But they hadn’t counted on meeting a cave lion.

Poland Director: Daria Kopiec Produced by: Ewa Jastrzębska, Jerzy Kapuściński (Munk Studio - Polish Filmmakers Association), Justyna Rucińska (Likaon Sp. z o.o) Qualifying Win: Krakow Silver Dragon for Best Short Animated Film Synopsis: Do family meetings always need to look like that? The father tells the son to find a good job and get married, the mother wants him only to be happy. The same platitudes repeated for years are like a tangled cassette tape -- sometimes they make him choke, sometimes his ears bleed. Combining different animation styles, film genres and references to culture, this production is not only a caricature of a family dinner, but a satire on life in the shadow of social expectations. It is a drama in three acts: two dishes and a dessert – topped with a religious sauce, spiced with choral singing and served on grotesque tableware.

United States Director: Danski Tang Qualifying Win: New

Burrow (Pixar Animation Studios) A young rabbit sets out to dig the burrow of her dreams -- despite not having a clue what she’s doing. After hitting (bed)rock bottom, she learns there is no shame in asking for help. Two-time Annie nominated artist Madeline Sharafian directed this SparkShorts project, produced by Mike Capbarat. The short was originally set to open in theaters in front of Soul.

Canvas (Netflix) Directed by Frank E. Abney III, produced by Paige Johnstone. (See story on page

Traces

Umbilical

Streaming & Studio Contenders

44.)

Cops and Robbers (Netflix) Directed by Timothy Ware-Hill & Arnon Manor, produced by Lawrence Bender. (See story on page 44.)

Lost & Crowned (Psyop) Inspired by Supercell’s “Clash” mobile games universe, Spanish writer-director Borja Peña Gorostegui’s tale of two skeleton brothers caught up in mad enchanted castle caper reminiscent of kid adventure classics like The Goonies racked up over 100 million views across all platforms in its first two months. Psyop’s Amanda Miller produced the finely crafted CG short.

Once Upon a Snowman (Walt Disney Animation Studios) Discover the origins of Elsa and Anna’s heartwarming, ice-cold buddy Olaf as he magically comes to life and steps out to search for his identity in the snowy mountains outside Arendelle. Directed by Frozen II’s Trent Correy (Olaf’s animation supervisor) and Dan Abraham (story artist), produced by Nicole Hearon and Peter Del Vecho. continued on page 45

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Shorts

Canvas

Cops and Robbers

Grab My Hand: A Letter to My Dad

Matters of Life, Death and Art Canvas, Cops and Robbers and Grab My Hand are three of the year’s noteworthy shorts which offer powerful and deeply felt messages.

his past year, we were fortunate enough to witness an abundance of beautifully made animated shorts which addressed important and heartfelt messages. We caught up with the talented artists behind three of these shorts to find out about their sources of inspiration and techniques. Canvas is animation veteran writer, producer and director Frank Abney III’s labor of love, which took about nine years to complete. The nine-minute short, which debuted on Netflix in December, centers on a grieving man who loses his creative spark after the loss of a dear loved one, and recovers it thanks to his inquisitive young granddaughter. “Canvas was inspired by my personal experiences dealing with tragedy and loss,” says Abney. “We lost my father when I was five, and it affected my family immensely — especially my mother. As a kid, I watched as she pushed to take care of my sister and I, and often showed some kind of artistic background. But I never got to see too much of it, and wondered if there was more to that story and she had to push her talent to the side to raise us. Through my mother, I got to spend time with my grandpa (her father) growing up, and often saw this stoic man that would engage a bit, but I always felt had things bottled up, deep down. I wanted to tell a story about overcoming grief and surviving this type of trauma with the love and support of those around you.” Abney says aside from the narrative, he wanted to feature characters that represented who he is. “We don’t see

many Black characters in animation, and as a Black artist, I feel a responsibility to represent who I am in this industry,” says the helmer, who has worked as an animator on many features (including Kung Fu Panda 2, Incredibles 2, Coco, Toy Story 4, Onward and Soul) and exec produced last year’s Oscar-winning Hair Love. “Visually, my inspiration came from live-action films. I love how films like Moonlight, Selma and Pariah (to name a few) captured the narrative in such a poetic way. A lot of the references I pulled were from the real world, rather than previous animated films. I also consulted with live-action cinematographer/director Morgan Cooper, to help lend an eye to the visuals.” He says he made the short with about 80 people, from artists on the production side to musicians, editors, riggers, etc. “For the production, we used Autodesk’s Maya for the 3D animation,” he notes. “For the 2D animation in the short film, we used Toon Boom Harmony, TVPaint, Procreate and Adobe Photoshop. We were on a pretty shoestring budget compared to short films in the typical studio space.” The talented artist hopes Canvas will leave viewers with a positive spark. “I’d like audiences to take away a feeling of hope!” says Abney. “Hope that no matter what they’re going through, you can get through it, and you don’t have to do it by yourself. My community has become accustomed to moving on from its losses/traumas, and not taking the time to deal with them because of so many other things we have

to worry about in the world around us. But, I don’t want that feeling to be the norm, so with Canvas, hopefully it can leave a good feeling, that we can overcome and reclaim those things that bring us joy.”

Demanding Justice and Equality

Arnon Manor and Timothy Ware-Hill’s powerful short Cops and Robbers was the result of the filmmakers’ direct reaction to the murder of Ahmaud Arbery by three white residents of Brunswick, Georgia, while he was jogging in early 2020. Ware-Hill created the initial non-animated version of Cops and Robbers in response to the video released of Arbery’s murder. “This killing angered me, but it did not surprise me, because we as Black Americans have been going through this since the inception of our nation,” he says. “My hope was to not only express my frustration through an artistic platform, but also to bring awareness to these atrocities that we continue to face.” “I came across Timothy’s video poem on Instagram the following day, and I was moved and inspired by his powerful words to create an animated version of his poem, so I reached out to him with that idea,” says Manor. “I needed to express my anger and also be an ally to the cause in the best way that I knew how. My intent was that the film would spur further outrage at the ongoing police violence towards

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Shorts African Americans and encourage more white allies.” The animated short took about six months to complete, from May to October of 2020. “Because our film encompasses a wide range of animation styles and techniques; 2D, 3D, stop-motion, graphics, etc., our artists used a variety of animation tools, such as Animate CC, Toon Boom and After Effects for the 2D animation, Maya and Houdini for 3D, Dragonframe for the stop-motion, Nuke and After Effects for compositing,” says Manor, a VFX production veteran whose credits include Peter Rabbit, Charlie’s Angels and Baby Driver. “We ended up with over 130 people working on the project from around the world, and our budget was zero! Everyone donated their time and talent to the cause,” says Ware-Hill. “We divided the film into around 30 segments and brought on teams of individual artists, animators, students and VFX companies to each create their own visual interpretation of the subject matter within their segment. The duo points out that animation allows artists to create imagery that on the one hand can be seen as fantastical, but on the other hand, it can drive the emotional aspect of a subject in a way that traditional filmmaking can’t. “In the case of our subject matter, because unfortunately we’ve all seen, too often, the shocking reality of video or phone camera footage of people being killed by police, we knew that with animation we can create our own imagined world and hoped we can make an emotional impact in a way that has not been seen before,” the filmmakers point out. “We wanted to bring a unique aesthetic that can be both beautiful and disturbing at the same time.” “I hope that when people watch our short, they are charged with the task of becoming true allies,” says Ware-

Frank Abney III

Hill. “I hope that they are moved to act and to call out hate and racism when they see it. It is through this ally-ship that we can move forward as a nation and one day get to a place where there are no more Black hashtags from police violence and killings.”

The Bonds That Matter The powerful friendship between two Black men inspired writer-director-actor Camrus Johnson’s 2019 short Grab My Hand: A Letter to My Dad. “One day, my dad called me and told me that his best friend, my uncle, was rushed to the hospital,” Johnson recalls. “I always knew that they were close, but I never knew how close until he told me they would call each other every morning to say, ‘Gate Check.’ It was their daily special check-in to make sure they were okay before their days got started — they’d been doing it since they were teenagers. I thought that was so beautiful, especially as two grown Black men in a world that teaches us not to be too affectionate toward each other, and that somehow cementing their friendship forever would be a way to help my dad grieve and heal.” Johnson, who directed the short with Pedro Piccinini, finished the short in just two months. “We were so focused on getting it to my dad asap that we were working on it nearly every single day,” he says. “It helped that we were only focused on what would connect and be meaningful to one person. It felt like when you’re a kid and your teacher has you make a Father’s Day card out of construction paper. It was less about planning and more about making sure that your message was heard exactly how you wanted it to be by the person you look up to the most.”

Timothy Ware-Hill

“Pedro Piccinini and I very quickly became partners so I’m not sure a budget was ever even brought up,” Johnson mentions. “The only thing that cost money was the music! It’s funny because, since we didn’t think of Grab My Hand as a film yet, we never even considered having music. Frazier Smith offered his talents so I said I’d listen to a sample and it completely transformed the film. That’s when I knew we made something special. Pedro used Adobe After Effects, Adobe Animate and Adobe Photoshop to produce the animation.” Of course, the short’s most important audience had to be Johnson’s father. “While visiting me, we were joking about something while I was casually connecting my laptop to the TV and I awkwardly cut him off to say, ‘Okay, umm, so, I made something for you and … we are … going to watch it now!’ I played it, and when the credits rolled he started sobbing and kept saying, ‘That was amazing.’ We cried and hugged and, man, I’ve never seen him so vulnerable before.” Regarding the importance of representation in animation, Johnson says, “If you don’t see yourself in any 2D or 3D animated stories where the possibilities are endless, it’s harder to imagine being welcomed into it and you may feel that you are limited in your own opportunities or abilities. And what a sad world we would live in if we continued to not let one of the most welcoming art forms on earth not let everyone, regardless of background, religion, sex or age, feel welcome.” Johnson says he hopes his short is a reminder that men have emotions, too. “I hope it reminds people how fragile life is. We have to surround ourselves with the most amazing souls we can find that make us feel loved and protected and supported, without forgetting to make them feel the same.” ◆

Arnon Manor

Camrus Johnson

continued from page 43

The Snail and the Whale (Magic Light Pictures) Directed by Max Lang & Daniel Snaddon, produced by Martin Pope and Michael Rose. (See story on page 46.)

To: Gerard (DreamWorks Animation) Selected for a Tribeca

Umbrella (Stratostorm) Directed by Helena Hilario &

Film Festival premiere, Taylor Meacham’s directorial debut is a CG animated love letter to his father which tells a heartfelt story about how life’s greatest magic is inspiring someone else to follow their dreams … even if you haven’t achieved your own. Produced by Jeff Hermann, the short features character designs by four-time Annie-winning artist Nico Marlet.

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Mario Pece, produced by Helena Hilariou. (See story on page 48.)

— Compiled by Mercedes Milligan and Samantha Shanman

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Swimming with Grace Directors Max Lang and Daniel Snaddon discuss the details of making the acclaimed animated adaptation of The Snail and the Whale.

ax Lang and Daniel Snaddon are no strangers to bringing popular children’s books to animated life. Lang is the helmer of Oscar-nominated The Gruffalo and Room on the Broom and the Annie-nominated and Int’l Emmy-winning 2019 special Zog, while Snaddon also directed Zog as well as Stick Man and worked on The Highway Rat and Revolting Rhymes. Their latest collaboration The Snail and the Whale is one of this year’s well-received shorts making the award season rounds. The project, which originally aired on BBC One in 2019, is based on a 2003 children’s book written by Julia Donaldson and illustrated by Axel Scheffler and centers on a kindhearted snail who longs to see the world, so she hitches a lift on a whale’s tail. Nominated for a British Animation Award, the 26-minute short features the late Diana Rigg as the narrator, Oscar-winner Sally Hawkins as the intrepid snail and Rob Brydon as the whale. Lang says he finds himself easily drawn to the worlds of Donaldson and Sheffler, whose work also inspired Magic Light Pictures’ series of award-winning specials (The Gruffalo, Room on the Broom, The Highway Rat, Stick Man, The Gruffalo’s Child). “Julia and Axel have a great sense for creating memorable stories and characters,” says the Germanborn director. “There’s a lot of heart and warmth, but also wit and humor in the rhyme and good illustrations. If you work from such a strong foundation it gives you a lot of

freedom to focus on the creative aspects of filmmaking. We always try to stay very true to their original vision and add to it, as opposed to changing it.”

Shared Vision According to the filmmakers, the team began storyboarding and pre-production on the project while they were making Zog in 2018 and wrapped the show in October of 2019. “Balancing both productions was a bit of a trick, so I was glad that there were two of us directing,” says Snaddon, who worked with the talented team at Cape Town-base Triggerfish studios to produce the special. “Our producers, Magic Light Pictures (headed by producers Michael Rose and Martin Pope), are based in London and I was in Cape Town with Triggerfish, so the film is a result of international collaboration. All the images were made at Triggerfish, and at the height of production the team climbed up to around 70ish. The voice recordings, music and post-production

were all done in London with Magic Light.” Working with a ballpark budget of $2.8 million, the production team used Maya to create the CG animation with the exception of the water effects, which were produced using Houdini. Snaddon explains: “We created a Maya to Houdini, back to Maya then to Arnold workflow for the VFX shots. Arnold’s Scene Source (.ass) files really made this possible. All the comp was done in Nuke.” Snaddon says while the two main characters are quite different from each other physically, the creative team discovered that in both cases, less was more. “It drove the animators a little crazy in the beginning because they like to move stuff, but once we found the rhythms for our two leads, we found that there is a real connection between the two in their gentle and more subtle motions,” he recalls. Beyond the technical details, the production faced various challenges along the way. The team at Triggerfish (Adventures in Zambezia, Khumba)

‘In its core it has a friendship between two characters that couldn’t be more different. It celebrates the beauty of our planet and its environmental message is very clear but doesn’t hit you over the head.’ — Writer-director Max Lang

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Shorts didn’t originally plan to make The Snail and the Whale as they were gearing up for their next feature film, and didn’t think they could split their key supervisors across the two projects. “Luckily, we realized that there was a new generation of very talented and capable young artists who were Max Lang ready to step into new roles,” says Snaddon. “On Snail, most of our supervisors and leads were fresh in their roles, and did a smashing job! The other big challenge was doing a lot of CGI water on a budget. We had to assemble a whole new VFX team, many of whom were learning Houdini on the fly! We’re very happy with the results, but they were hard-won!” Daniel Snaddon Lang mentions that on a story level, the filmmakers had to find a way to have two characters relate that don’t have a lot of dialogue or anthropomorphic body language. “In addition, they can hardly share the same frame because of their drastic size difference, and yet so much love and understanding between the two has to come across,” he notes. “We made sure that they are very aware of each other and tuned in to each other’s emotions. We also used the world around them and the water to reflect their feelings and give them shared experiences.” Lang, who wrote the adaptation with his wife Suzanne, says The Snail and the Whale is one of his favorite picture books of all time. He has read it to his own kids countDAVID OYELOWO

Whale of a Tale: Based on the book by Julia Donaldson and Axel Scheffler, The Snail and the Whale showcases the voices of the late Diana Rigg, Sally Hawkins and Rob Brydon.

less times and even loves reading it on his own. “The story and rhymes are so well crafted and fun to read and the illustrations are so beautiful,” he adds. “It’s so touching, and at its core it has a friendship between two characters that couldn’t be more different. It celebrates the beauty of our planet and its environmental message is very clear, but doesn’t hit you over the head.” He adds, “I’d been dreaming about making it into a film since we discovered it during the making of The Gruffalo in 2008. It’s a story that is perfect for and can only be told in animation. There is no way around it. And yet its pro-

BENEDICT CUMBERBATCH

tagonists are even unusual and special for animation, and came with many challenges that we had to find creative and technical solutions for. It also celebrates nature and the beauty of our planet. A lot of films these days try to wedge in too much plot and either become too long or frenetic. We wanted to take a step back from that, and give the story, characters and scope time to unfold. It’s a story that touches me every time I read or watch it. Its message is very universal and relatable.” ◆ For more info, visit magiclightpictures.com and triggerfish.com. TAMSIN GREIG

FOR YOUR CONSIDERATION

BEST ANIMATED SHORT FILM 93RD ACADEMY AWARDS™

‘An instant Christmas classic’ FINANCIAL TIMES

‘Pure unmitigated joy’ THE INDEPENDENT

‘A glowing tribute’ RADIO TIMES

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Advertorial

A Shelter from the Storm Stratostorm Studio’s award-winning new short Umbrella promotes a message of hope and empathy.

n animated short about kindness and helping those in need in times of adversity seems to be the perfect antidote to our troubled times. Brazilian studio Stratostorm’s new project Umbrella has arrived at the right moment. Directed and written by co-founder and exec producer Helena Hilario, along with Mario Pece, the short tells the story of a young orphan who dreams of owning a yellow umbrella, and the chance encounter with a kind girl who makes a big difference in his life. “Filled with messages of hope and empathy, this short was inspired by a situation experienced by my sister,” says Hilario in a recent interview. “It makes us reflect on the importance of observing, listening, and understanding that we cannot judge people without knowing what is behind their experience. Everyone goes through situations that we can’t even imagine, so we must be kind to each other. That’s why we thought about bringing empathy and hope to this narrative. Something we need more and more.” It took the Hilario and her team at Stratostorm about eight years to realize this dream. “We had to gather experience in animation, plan financially to produce it independently, and put together the right talent artists to bring the project to life. Once we were ready, it took us 20 months of full-time production,” says the director. “Umbrella is the first-ever full character-and-story-driven animated short that was rendered using Corona Render, and it was created and produced in Brazil with a small team of talented artists at our studio, who put all their love and dedication into the execution of all stages of production and brought to life exactly what Mario and I envisioned.”

All About Teamwork

Hilario says she is very pleased with the result of an incredible collaborative process between everyone on her team. “We had three full-time CGI artists, and we reached up to a total of nine CGI artists during a few months into the production and a total of five animators. The main characters were beautifully crafted and

portunity given to our beloved short film during this year.” She adds, “I think the reception has been positive because Umbrella has a timeless message of empathy and everyone can relate to it. The story offers a message of hope and kindness that makes us think that we shouldn’t judge other people’s actions without knowing what they are personally going through.” This year, Hilario and her talented team at the studio (which has offices in São Paulo and Los Angeles) will be working on their second animated short. Founded in 2016, Stratostorm specializes in CGI, 3D animation, and content creation based on storytelling for entertainment and advertising projects. “We are currently developing Stratostorm´s new animated projects and producing content for several clients that add up to thousands of hours of original content for online platforms and advertising projects,” says the studio co-founder. “During these difficult times, we were fortunate to keep working from home by having a strong pipeline that allows all the artists to connect to our remote workflow while keeping everyone safe until we return to work at the studio.” As a wider audience discovers Umbrella this year, Hilario says she hopes people will take its message to heart. “As storytellers, we want to say work hard, and be disciplined towards achieving your dreams,” she says. “Find a unique story within your own experiences, be truthful, and turn it into art! A story that you really believe and it is made with all your heart will find its way to come to life. Be passionate and patient because an independent animated project might take a long time to come to life: Enjoy the journey and people you will meet along the way, and in the end, it will be worth it!” ◆

Stratostorm founders and Umbrella directors Helena Hilario and Mario Pece

designed by Victor Hugo, a talented Brazilian 3D artist who worked previously on Moana and Marvel projects.” Of course, producing this ambitious short had its share of challenges. “Back in 2016, our resources back in were limited, and we had to figure out solutions for the problems we were encountering on the way, from concept to storyboard, to animation and rendering,” recalls the director. “Still, successfully we figured everything out and had fun during the making of Umbrella while keeping the production on schedule and within our budget. The challenge in terms of storytelling was to fit an entire emotional story in eight minutes without dialogue and using the animation and music as the keys to evoke complex emotions.” After the short was completed, the team had to prepare Umbrella for its global festival debut. “It was our first time at film festivals, so it required much planning and research around the submissions and deadlines,” explains Hilario. “Gladly, our short had a wonderful reception with festival programmers, juries, and audiences, and we are thankful for every op-

For more information visit stratostorm.com

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Building a Magical Journey Step by Step How the team at Baobab Studios constructed the detailed VR world of Baba Yaga.

aobab Studios’ latest project Baba Yaga has raised the bar of what is achievable in the VR animation world. Directed and written by Eric Darnell (Madagascar movies) and co-directed by Mathias Chelebourg, the short features the voices of Kate Winslet, Daisy Ridley and Jennifer Hudson. It invites viewers to be a main character to be part of a haunting fairytale and step inside the world of an enigmatic witch who uses her powers to stop the villagers from destroying her enchanted forest. The team at the studio was kind enough to share some of the behind-the-scenes images from their acclaimed project With the viewer able to look and move anywhere in virtual reality very early in development, the team must lay out how a scene, the viewer and characters will appear in detail. They designed the forest to account for numerous scenarios, while focusing on a singular narrative goal. This also helps determine the overall size, how the viewer might move around the space, and the respective importance of the project’s various elements.

The project’s creators wanted the scenes to feel hand-crafted but still provide depth and allow for the viewer to move and interact with key elements. They created a layered effect similar to a pop-up illustration to create the storybook feel but still having interactive 3D characters and forest creatures.

Production design work for the project, created by lead character designer Kal Athannassov.

Using Baobab’s Real-Time Storyteller Platform, the studio created its first human character, Magda, with the challenge of needing her to feel present all the time from her hair, skin, clothing and facial expressions. This is important for virtual reality, due to how close the user is to Magda, but difficult to do in real time on a mobile headset running at 90 frames per second in each eye. This scene was one of the most crucial to get right as it is the first time the viewer is interacting with their “sister.”

Texture and surfacing of hair, skin and clothing is an important detail to consider in VR, since the viewer stands quite close to the characters and can take time to note how hair falls, or how fabric looks and moves. The team chose to hand-animate Magda’s clothing to give a nice tactile feel and help build the bond with the viewer’s sister. Magda is a complex character who is brave but is also a young girl who must overcome her fears to face Baba Yaga.

The final render of Magda handing the viewer the lantern and thereby asking them to accompany her. Using the Storyteller Platform, the creative team set the tone by using theatrical lighting, Magda’s positioning and her complex facial expressions, delivering an emotional connection between the user and their sister. The lantern helps establish that bond and makes Magda’s journey the user’s journey. ◆

For more info, visit baobabstudios.com. www.animationmagazine.net 50

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february 21

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VFX

Tech Tools: The Best of 2020

by Todd Sheridan Perry

et’s face it, being on a “Best of 2020” list isn’t setting a very high bar for anyone. You could have invented a Reese’s Peanut Butter Cup with double the amount of peanut butter and it would have been a win. Nevertheless, there have been several industry advances that can be celebrated — some because of the pandemic, and some despite it.

1. Working from Home. Ever since the visual effects and animation industry went digital, many have wondered why artists can’t work from home. This past year, technology and a global pandemic came together to press the issue. The hands of producers and studio overlords have been forced — and lo and behold, confounding all of their worst fears, they discovered that artists can and will work from home. 2. Teradici. Since it has been supplying the industry with both hardware and software solutions for years, Teradici was ready for the year we all had to work from home. The technology is built around the idea of controlling workstations remotely with little to no lag. Large facilities like Industrial Light & Magic, Sony Imageworks and Scanline have been using it for years. Now, we all get to reap the rewards. 3. Handheld Lidar. Both the new iPhone and iPad have Lidar in them now, presumably to help with depth algorithms and AR applications. But am I going to use it for that? Probably not, when there is a whole world to scan into 3D objects out there. The fidelity isn’t quite primo yet, there is a lot to clean up. But this is definitely an exciting path. 4. Virtual Production (Again!). Last year, The Mandalorian opened a whole can of virtual worms. Because of COVID restrictions, every production studio on Earth wanted some of those worms, because somehow we needed to start limiting the size of crews and not going around the world to shoot things in person. 5. Unreal Fellowship. Who better to feed the studios with talent to work in virtual production than Epic. Committing time and resources, Epic reached out to all those experienced digital artists and supervisors out there who were now out of work and asked if they wanted to join a four- to six-week intensive bootcamp, walk away with an animated short and get paid. The response was, shall we say, epic. 6. Unreal 4.26 and Hair and Weta. Epic’s latest Unreal release offers impressive improvements in creation of realistic hair and fur. And just to prove a point, Weta

KineFX

Digital gave it to their insanely talented team of artists to make a short about a meerkat and an egg. It’s simply wonderful. To make the deal even sweeter, Weta released the assets into the ecosphere so that we could all benefit from it! 7.

Unreal 5 Preview. Even before its 4.26 release, Epic Games provides a taste of the future with a glimpse into Unreal 5. Lumen in the Land of Nanite shows off virtualized geometry and fully dynamic global illumination. No amount of written description can impart how jaw-dropping this is. Just do yourself a favor and check out the fantastic demo.

8. Nuke. Indie trailblazer Foundry stepped up its valuable support of artists working from home with not only remote workflows, but also a pricing structure that allows independent artists to afford the use of the digital compositing and VFX app. 9. KineFX. SideFX Software (which recently gained Epic Games as a minority investor) released Houdini 18.5 with a toolset called KineFX. Rigging is a bit of alchemy that I generally leave to the alchemists. But I’m still impressed when lead turns to gold. Taking Houdini’s procedural workflow and building tools for non-destructive rigging, motion retargeting and motion editing is pretty close to magic. KineFX is only a small subset of Houdini 18.5’s features. 10. Notch. A procedural and dynamic animation system — that renders in real time. I’m stepping a little out of my comfort zone of traditional render engines, but this is going into live performances where the animation is responding to the performers on stage. It’s very useful in a pandemic — as shown by the integrated LED screens for the 2020 Video Music Awards. But, it will be even greater when we can all go back to attending live performances, with a big crowd of people. Isn’t that weird to imagine?

Todd Sheridan Perry is an award-winning VFX supervisor and digital artist whose credits include Black Panther, Avengers: Age of Ultron and The Christmas Chronicles. You can reach him at todd@teaspoonvfx.com.

LIDAR

Nuke Studio Lumen in the Land of Nanite

Image: Syn.com

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Meerkat (Weta Digital) www.animationmagazine.net

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VFX

Playing the Monster Game VFX supervisor Dennis Berardi details some of the fantastic creatures and world building involved in the new Monster Hunter movie. By Trevor Hogg

ilmmaker Paul W.S. Anderson extends his relationship with Japanese video game publisher Capcom beyond the Resident Evil franchise with the new action-packed sci-fi movie Monster Hunter. Partnering with Anderson on this year-end thrill ride are producers Jeremy Bolt and Dennis Berardi, who also serves as the visual effects supervisor on the cinematic adaptation. The storyline centers on an American military unit led by Lt. Natalie Artemis (Milla Jovovich), who is swept away to a parallel world by a mysteri-

ous storm. They find themselves teaming up with a band of warriors to prevent massive predatory creatures from travelling to Earth. “Because Monster Hunter was so visual effects-driven and that informed how we were going to shoot the movie, it made sense for me to be involved more than a visual effects supervisor,” explains Berardi, whose many credits include Guillermo del Toro’s Oscar-winning feature The Shape of Water, Crimson Peak and Ad Astra. “One of the reasons that

I’ve stuck with Paul for a lot of years is because his process is fun. It is a real partnership. He is open to ideas right down the line — not just with me but with the artists.” Mr. X, which was founded by Berardi, was the main vendor for the film’s 1,300 VFX shots, with additional support provided by South Africa-based BlackGinger. “We storyboarded every key sequence and did 2D animatics to get a sense of timing that included action music and dialogue; that went back and forth with Paul. In some cases the animatic was Wings of Terror: Although it faces a tough battle at the box office worldwide, Paul W.S. Anderson’s adaptation of the Capcom game Monster Hunter features eye-popping visuals, supervised by Dennis Berardi and Mr. X.

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VFX caption

World Building in South Africa

‘The environment work, set extensions and effects simulations are things that we’ve done before. But we haven’t run this many creatures into one movie with fans who are religious about them.’ —

VFX supervisor Dennis Berardi, CEO of Mr. X

enough, but when we had some technical shooting we did full 3D previs and even some tech-vis.”

Calling on Capcom’s Dragons Capcom was heavily involved with the design process, especially for the creatures. “We wanted to be faithful to the designs so that the fans could buy into this as well,” remarks Berardi. “Capcom gave us models and they needed to be modified to make them more film ready and cinematic. We shot this on an ARRI ALEXA LF and wanted the CG to be rendered as if it was photographed with the large-format sensor camera.” The 3D creature models could be rendered from any angle. “The creatures are in full daylight so you get a good look at them,” says the VFX supervisor. “Capcom would make notes right down to toenail details, which was great. We actually have shots where we see that kind of detail. It took a few months to go back and forth to get a design that Capcom approved which was essentially based on their design. Once the design process was approved, it was done. I have done a lot of creature movies where the design process continues to evolve almost to the end, which can be tough.” A winged, dark-horned monster known as the Black Diablos was one of the most challenging creatures produced for the movie. “The Black Diablos was a challenge because he has these huge horns, and it was difficult to come up with a sense of how he would move and the weighting of the head,” notes Berardi. “The horns are so heavy that our sense was he would be front heavy but is balanced by a big heavy tail. We created a motion rig head because there is a scene when Artemis and Hunter (Tony Jaa) are on top of him.” Another one of the film’s big monsters is Rathalos, an

apex monster of the Ancient Forest which descends upon invaders and attacks them with its venomous claws and fiery breath. “The creature’s wingspan and how it flies were difficult for us to track because we had to keep the scale but also make it believable that he wouldn’t fall out of the sky if his wings didn’t move faster. We wanted it to be not derivative of a Game of Thrones dragon. We shot some lighting reference but most of the flame work was digital. It’s not a sustained flamethrower type of look. It’s more of a firebomb that explodes out of his mouth and lands with some force. We were always trying to put in scale references for these creatures and respected what a cinematographer would do to photograph them.” Berardi notes that the 400-person-plus effects team played with everything on Rathalos, from the proportions of the snout to the distance between the eyes to the size of its eyes and brow. “We wanted to be able to perform intricate emotive expressions on the creatures as well, so we added all kinds of rigging controls,” he notes. The creative team took some liberties with the Palicoes (cat-like combat companions) especially the Meowscular Chef. “In the game lore, the Palico cats act as guides to the players,” explains Berardi. “We pitched an idea back to Capcom that was loosely based on their design. Paul wanted him to be muscular, have an expressive photoreal face, a pirate look and be more grizzled. We played with hanging dreadlocks. It’s an upright cat character. This was the only time that we shot a stand-in; I did put an actor in a target suit. It gave Milla someone to play off of, gave us great lighting reference, and was good for composition. We ended up doing mostly keyframe animation.”

Shooting in real settings in South Africa such as the Valley of the Red Gods and the Atlantis dunes helped ground the overall action. “We did shoot a lot of this stuff in some cool locations, so in a lot of cases we have real photography — that was a big mandate from Paul,” remarks Berardi. “There was a significant amount of world building. The oasis and Sky Tower are essentially digital, while the Ships Graveyard was mostly built by the art department.” All the locations and sets were LiDAR-scanned and photo surveyed. (LiDAR is a method for measuring distances by illuminating the target with laser light and measuring the reflection with a sensor.) “We were able to recreate the environment geometry in 3D and correctly put the creature on that ground plate,” explains Berardi. “We match-moved that camera so we could create a track of the camera in the environment. Once we had that, we could start animating. Then, we added elements like dust, debris and kick-up from the creature interacting with the environment. We did an environment survey of the lighting, and took the real-world lighting and applied them to our creatures.” The weapons used in the movie’s fantastic world are just as enormous as the creatures. “One of the things that we had to figure out was the size of some of these swords,” notes Berardi. “In the video games they’re huge. We made them big and got some positive feedback from the fans. We made them really big. Some of the swords have a hot iron look. You can level those up in the video game and when it’s charged there is a magical component to it. We scaled Hunter’s sword to be a real-world size so our actor Tony Jaa could run around and perform with it.” Berardi says the biggest challenge for him and his effects team was representing the monsters faithfully while being cinematic. “The environment work, set extensions and effects simulations are things that we’ve done before,” he points out. “But we haven’t run this many creatures into one movie with fans who are religious about them. I want to stress that it was a great collaboration with Paul and Capcom. We worked very hard to bring cinematic versions of these monsters to the big screen. I’m proud of it.” ◆ Sony/Columbia’s Monster Hunter continues its international theatrical rollout in early January.

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State of the Art By Jose Frederick San Román

AI: Friend or Foe? A look ahead at the applications of artificial intelligence in the animation process. Wonder Park

he world of 3D CG animation has grown rapidly over the past few decades with larger production houses and more content generated across the board. In addition to the U.S. major animation studios and a few large independent players, VOD streaming companies are now powerful players in this space as well. Furthermore, the current global pandemic has led to a sharp rise in the consumption of animation content to unprecedented levels, putting greater demand on animation production houses to revamp their production pipelines and deliver yet more content at a global scale. One of the popular buzzwords of our current era is Artificial Intelligence (AI), which will have an important role to play in the animation space. By definition, AI is a broad term that includes many existing and upcoming new tools that will interact between humans and technology (hardware and software). It has only been in the past 10 to 15 years, with the increase in processing speeds and more data available, that AI has really taken off. As such, AI in the animation industry is also going to disrupt how production pipelines work, speeding up the turnaround of projects, shortening production timetables and allowing artists and talent alike to focus more on the creative part of content and less on the production process itself. Contrary to popular belief, AI is not here to take your job. In fact, AI consists of tools that will “democratize animation production” by lowering barriers to entry as production pipelines become a commodity and are easily accessible at a fraction of the cost a decade ago. Both the creative community as well as technical talent should embrace this new wave as an opportunity to really work on generating new and exciting original stories in yet unimaginable visual settings.

Pushing Efficiency For the time being, however, the actual process of producing animation is still very much manually driven by the artists themselves, which makes it unreasonably expensive and time consuming. The key to introducing AI into an animation pipeline is to drive production efficiency while retaining the high artistic quality produced by the artists, but at a fraction of the time (and cost) spent in the past. Whereas a number of AI tools are in the process of being developed as we speak, three come to my mind as key for an animation pipeline to thrive in this brave new world where there is a higher demand for output and more original content. They are: Robotics Process Automation (RPA), Machine Learning (ML) and Natural Language Processing (NLP). Below is a classic animation pipeline where potentially AI can be introduced.

with pipeline management programs such as Shotgun. ML can help in automating, approving and streamlining the decision making process, allowing artists (and production crew) to spend greater time on the creative direction of the project and its storyline. As the AI tool develops over time with better quality data and recurrent intuitive interaction, the production pipeline improves in efficiency and turnaround times, impacting positively both on the shortened delivery date and reduced production costs derived from savings across the whole process. Natural Language Processing (NLP) could be considered a variant of ML within the AI universe. In an animation pipeline, NLP can make an important impact when combined with ML tools. Assuming we have a closed script, an agreed production design, character specs and sets & props already in place, NLP used together with ML can teach the computer to “read” the script, based on a given context defined previously in my earlier four elements, and then “act” in order to “animate” the given character or object (i.e. arm, legs, helicopter, car, cloud in the sky, etc.).

Close Monitoring Required Mortadelo and Filemon

Robotics Process Automation or RPA is the first of the AI tools that can make a significant impact in numerous departments of an animated production pipeline, as shown in the diagram above. For example, in the “Sets & Props” department, RPA can help in “building” the library of many objects that will be used in the feature (i.e. car, lamp, book, plate, road, tree…), once the production designer has established a “look & feel” for the production. This unit alone, integrating AI RPA tools, can significantly cut the time to process these early stages of production work, saving money and time. RPA can provide 80-90% of the standard movements a character (be it human, animal or living-object like) will make. Movements such as limbs (hands, fingers, legs) or hair (very complex) are generated and stored in a library that will “improve” as more “animation memory” adds to the prior process. The artist will ultimately focus on adding their personal talent to finessing these RPA generated movements, again at a fraction of time and cost in a production. Machine Learning (ML) focuses on automating a process by finding a solution based on multiple recurrent examples. Multiple variations of ML exist (supervised, unsupervised, active learning, transfer learning, etc.). In a classic animation pipeline, perhaps the biggest impact will be when ML is used jointly

The introduction of AI tools in an animation pipeline should be done in small steps, ensuring close monitoring to generate key performance metrics that can substantiate the expected efficiencies and cost savings established at the outset of the process. If successful, artists can focus more on generating ideas and creating new worlds, and less on the more mechanical process of the feature film. This entry of AI in the animation space should boost the number of original content developed and allow for more production players to enter the game with lower barriers of entry. Time will tell, but early tests indicate AI will have a positive impact in the animation process, which will allow for more players to enter and grow the talent pool worldwide. Special thanks to Thomas Malone (Patrick J. McGovern [1959] Professor of Management at MIT Sloan School of Management), Daniela Rus (Andrew [1956] and Erna Viterbi Professor of Electrical Engineering and Computer Science; Director of the Computer Science and Artificial Intelligence Laboratory [CSAIL] at MIT), Brian Charles and Rodwell Mangisi for their support in the field of AI. ◆ Jose F. San Román is a Madrid-based animation industry veteran who was the CEO of Ilion Animation Studios from 2011 to 2020. Among the features he helped produce at the studio were Mortadelo and Filemon: Mission Implausible and Wonder Park.

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february 21

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Opportunities

Autonomous Animator By Martin Grebing

It’s Time to Put on Makeup! This video call trailer for the Disney+ show Muppets Now was a harbinger of how we’ll continue to interact in 2021.

Content Will Be King in 2021 T

echnology has been rapidly moving toward virtual connectivity and interactivity for decades. And with the recent assistance of COVID, this scenario has been ushered in with great haste. This is something that has always been in development and part of the natural evolution of technology for decades, however with the recent pandemic, this scenario has been forced upon us globally and with great urgency. Everything from schools to colleges to office jobs to movie theatres to restaurants have been shifted, seemingly overnight, from standard in-person modus operandi to isolationist protocols. While the world holds its breath waiting for a cure and for things to return to normal, when normal comes back, I have a feeling it won’t resemble pre-COVID normalcy as much as expected. Rather, the new normal, as far as business operations go, may look surprisingly similar to in-pandemic existence.

The Problem If you were to interview office managers at virtually any business, government entity, school, or college, they will probably tell you the following: 1) They are having record amounts of online meetings and presentations. 2) They don’t see this slowing down in 2021 and in many cases may see it increase even further. 3) Their online meetings and presentations could use a lot of improvement. Almost all businesses were taught a sharp, deep-cutting lesson that, unless you were in the hospitality industry, your busi-

ness could pretty much operate at an acceptable level, some even experiencing record growth, with everyone working from home. Therefore, once COVID is finally a thing of the past, many if not most businesses may be reluctant or outright refuse to return back to pre-COVID operating procedures because they have found through experience that it’s simply not necessary to the bottom line. That is why we should all prepare for even more online meetings, presentations and learning sessions. Imagine companies worldwide conducting most if not all of their meetings and presentations online. Now, imagine how much help will be needed to bring all these presentations and meetings up to a standard that will truly engage if not impress their audience and/or separate them from the competition. For this to happen, companies all over the world will need to invest heavily in one of the most precious commodities being developed today: content. That’s where you come in. Forward-thinking companies will soon realize they need to upgrade their online presence. Millions upon millions of children, college students, employees, managers and business owners, have been plunged headlong into the deep end of virtual meetings and multi-hour learning sessions whereas many or most have never been exposed before even in the slightest. It’s hard enough to wrangle a massive amount of people together for an online meeting, so how can companies all over the world keep everyone’s attention fully engaged throughout an online session, many of which are help for extended amounts of time?

The Solution Pack each presentation and meeting with eye-catching visuals, full motion infographics, animated characters, visual effects and all the eye candy that can possibly be crammed into an online session. If companies wish to engage their audience, they need to make the visuals jump out at the viewer, always keeping them on their toes, guessing about what might be coming next. The real opportunity in this scenario is for high-quality content makers and providers. Every school, every business and every government entity will need to boost their presentations with premium content, otherwise their brand and morale will be left in the dust and ultimately their staff, students and clients will follow suit. The first person, team or studio to come to the table with massive amounts of presentation-enhancing, meetingengaging, learning-boosting content that effectively and strikingly visualizes, communicates and illustrates a wide variety of material in an interesting and compelling fashion, very well may usher in the next gold rush. With lots of help from animators and visual designers, blasé meetings and presentations may soon be a thing of the past, much to the joy of online viewers and virtual meeting attendees around the world. ◆

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Martin Grebing is the president of Funnybone Animation Studios. He can be reached at funnyboneanimation.com. www.animationmagazine.net

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A D ay I n T he L ife

What a treat to get a glimpse of a day in the life of animation veteran Frank Abney III, whose new short Canvas has received a lot of praise since it premiered on Netflix in December.

I accidentally skip breakfast sometimes. But! When I’m there for the meal, I love plant-based waffles, although I don’t eat them as often as I’d love to!

Working in this field, we’re no strangers to meetings. And lots of them! After breakfast, that’s typically where I’m headed.

I get back to it after lunch. But if there’s time in between meetings, my family and I try to squeeze in activities we can enjoy. We’ve tried to get things in our backyard that can make our kids feel like they’re at a park.

Since I was a teenager, I’ve loved riding my bike. BMX has been a safe space for me to escape the madness of the world.

Movie time: Since I work in film, I always try to catch up on some good films that I’ve had my eye on … Now that my short film Canvas is out on Netflix, I can share it with the family!

Bedtime Story: Stories have been very pivotal in my early years and they still are! At bedtime, we try to pick a book, or sometimes a few, to read to the kids.

After a few hours of work and meetings, I try to make sure I have lunch with my family.

Dinnertime is another family moment for us. Gathering around some good food and winding down from the day is always a highlight for me. Pictured is probably my favorite kind of salad — Caesar!

After the family heads to bed, I take some time to develop more ideas of my own to send out in the world one day.

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february 21

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The Academy Awards Crossword Puzzle Across

1. She’s the voice of Mrs. Zhong in Over The Moon, 2 words 6. Warner Animation Group film directed by Tony Cervone 9. Aficionado, informally 10. German city on the Danube 12. Star Darlings character 13. Disney’s flying elephant 15. Alex and Scar, for example 18. Actress who voices Poppy in Trolls World Tour, Anna ___ 22. Highest point 25. Moana setting 26. First film in the SpongeBob franchise to be fully animated with stylized CGI rather than traditional 2D animation, 4 words - goes with 39 across 30. Soul in ancient Egypt 31. Murders in the ___ Morgue 32. She voiced Roberta Tubbs of The Cleveland Show, ____ Long 33. He stars in The Willoughbys, Will ___ 35. Curve 37. The Silent ___ of films 38. DreamWorks film voice starring Nicolas Cage and Emma Stone 39. See 26 across 41. Music holder 42. __ Mans car race 44. Pigs Is Pigs, a Disney short from 1954 included two of these “pigs” 46. The Lion King character 47. Snake 49. Battery size 50. First name of the writer of Le Petit Vampire, ___ Sommer-Bodenburg 51. ___ Slayer, one of the best selling manga series of all time

Down

1. Jamie Foxx voices Joe Gardner in this captivating Disney-Pixar film 2. Lost fish in film 3. First name of one of the directors of Wolfwalkers 4. Musical comedy from Kenji Iwaisawa, 4 words 5. Color 6. Tragic 7. Unit of electrical resistance 8. Explosion noise 11. Started a fire 14. He bent spoons telepathically, first name 16. Matrix character 17. Mr. ___, the talking horse

19. Christmas drink 20. Newbie 21. Unhappy director’s cry 22. First name of the director of Lupin III: The First 23. Letter afterthought 24. __ Man (comic-book character) 25. ___ of the Sea, animated movie from 2014 directed by Tomm Moore 27. Country club golf trainer 28. Take-home pay 29. Part of H.R.H. 33. Real

34. Finale 35. Company that produced A Shaun the Sheep Movie: Farmageddon 36. Martha Jane in a Rémi Chayé animation 40. Escape from Planet Earth was one of the few animated films in which Jessica ___ voiced a character 41. “Bye now” 43. Very, very long time 45. Go on to say 46. Voice actor ___ Elliott in The Good Dinosaur 48. Attorney General, for short

Myles Mellor is one of the top crossword writers in the world. Published in over 600 magazines, newspapers and web outlets. Over 15,000 crosswords published worldwide. Supplying theme crosswords, diamond crosswords, syndicated puzzles, cryptograms, diagramless crosswords, word search, sudokus, anagrams, and word games. Published on mobile devices and e-readers. www. themecrosswords.com. Subscribe to Myles’ crosswords at www.ilovecrosswords.com.

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Practice the Art of Giving!

A D ay I n T he L ife

Save over 35% off Newsstand with this Special Year-End Savings. Subscribe with Promo Code - MHOL20 -

Offer Valid through February 15th 2021.

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february 21

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FOR

YOUR

CO N S I D E R AT I O N

“‘Kipo’ is a

MODERN CLASSIC of ANIMATION”

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In these unprecedented times, it is great to welcome any ray of light, and that is certainly the case with TROLLS WORLD TOUR. A fantasia of bright and vivid color.”

BEST ANIMATED FEATURE Produced By GINA SHAY p.g.a. Directed By WALT DOHRN

BEST ORIGINAL SONG “JUST SING (TROLLS WORLD TOUR)” Written By JUSTIN TIMBERLAKE, ¨ LUDWIG GORANSSON, MAX MARTIN, SARAH AARONS

universalpicturesawards.com

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Animation Magazine February Issue #307 2021

Articles inside

A Day In The Life Of

AI: Friend or Foe?

Playing the Monster Game

Building a Magical Journey Step by Step

Tech Tools: The Best of 2020

Swimming with Grace

Matters of Life, Death and Art

In the Game in 2021

Directors’ POV

The 2021 Award Season Dossier

In Memoriam

That ’70s Dark Knight Show

On the Right Track

Vision Quest

Close Encounters of the Retro Kind

Finally, Some Progress

Portrait of an Artist in Exile

A Languid Walk Down Memory Lane

Stuff We Love

January/February Planner