News & Notes

Animation Magazine - - Frame- By- Frame -

Matt Groen­ing, the mind be­hind The Simp­sons and Fu­tu­rama, is re­port­edly in­tent on com­ing back with a new orig­i­nal an­i­mated se­ries to be de­vel­oped for Net­flix.

No de­tails have been re­vealed, but the un­der­stand­ing is that Net­flix is con­sid­er­ing an or­der of two 10-episode sea­sons.

Other than Groen­ing, no other key cre­atives have been named as at­tached to the project, nor have any pro­duc­tion stu­dios that may be work­ing on it.

Pete Doc­ter and Ron­nie del Car­men ac­cepted the Golden Globe for their Best An­i­mated Fea­ture Film win­ning Pixar flick Inside Out at the Jan. 17 awards cer­e­mony.

The in­ven­tive CG fam­ily film won out over in­die dar­ling Ano­ma­l­isa, Brit im­port Shaun the Sheep Movie, The Peanuts Movie and Pixar’s late-year re­lease The Good Di­nosaur. The vic­tory marked the sev­enth Pixar movie to win the cat­e­gory in the ten years it has ex­isted at the Globes.

The fea­ture also tri­umphed at the PGA Awards, held Jan. 24.

The cre­ator of hit Dis­ney TV an­i­mated se­ries Grav­ity Falls Alex Hirsch has re­port­edly inked a deal with Fox and 20th Cen­tury Fox TV to pro­duce an orig­i­nal script and pi­lot pre­sen- tation for a new toon.

The po­ten­tial project re­mains ut­terly hush­hush. “I’m cook­ing up some brand-new weird­ness,” said Hirsch.

Grav­ity Falls is cap­ping a 40-episode run with an hour-long spe­cial event Feb. 15 on Dis­ney XD.

Ja­panese film dis­trib­u­tor Toho has an­nounced its 2016 re­lease lineup, in­clud­ing the prom­ise that Stu­dio Ghi­bli’s fea­ture co-pro­duc­tion The Red Tur­tle, di­rected by Os­car-win­ning Dutch an­i­ma­tor Michael Du­dok de Wit ( Fa­ther & Daugh­ter), will hit Ja­panese screens in Septem­ber.

The project is co-pro­duced with French pro­duc­tion and distri­bu­tion house Wild Bunch. An­i­ma­tion is be­ing com­pleted in France.

Wild Bunch and Stu­dio Ghi­bli pre­vi­ously col­lab­o­rated on the 2010 film The Se­cret World of Ar­ri­etty.

DreamWorks An­i­ma­tion and the celebrity voices of the up­com­ing Trolls fea­ture (out Nov. 4 through Fox) took re­cently to Twit­ter to give a first look at the film’s col­or­fully coiffed char­ac­ters.

Justin Tim­ber­lake (voice of Branch), Anna Ken­drick (Poppy), Gwen Ste­fani (DJ Suki), James Cor­den (Big­gie), Rus­sell Brand (Creek), Swedish mu­si­cal duo Icona Pop (The Fash­ion­istas), rapidly ris­ing co­me­dian Ron Funches (Cooper) and The Big Bang The­ory’s Ku­nal Nay­yar (Guy Di­a­mond) all posed with their CG coun­ter­parts.

Tim­ber­lake also will write and per­form orig­i­nal songs for Trolls, di­rected by Mike Mitchell

and Walt Dohrn and pro­duced by Gina Shay.

Sony Pic­tures An­i­ma­tion’s be­la­bored CG Pop­eye project fi­nally looks to be mov­ing for­ward as the stu­dio an­nounced that T.J. Fix­man has signed on to draft a new screen­play.

Fix­man is one of the writ­ers be­hind the pop­u­lar Ratchet & Clank video games and penned the up­com­ing fea­ture adap­ta­tion from Rain­maker En­ter­tain­ment.

Fix­man is keep­ing busy, hav­ing been tapped by Has­bro Stu­dios as a cre­ative con­sul­tant for their fu­ture TV and film no­tions, and is cur­rently at­tached to a cou­ple fea­tures in devel­op­ment, in­clud­ing Dis­ney’s Gar­goyles.

Net­flix and DreamWorks An­i­ma­tion are ex­pand­ing their multi-year deal, an­nounc­ing a num­ber of new orig­i­nal fam­ily se­ries from the stu­dio that will de­but on the stream­ing ser­vice in the near fu­ture.

Among the up­com­ing ti­tles is a new take on Voltron and a fan­tasy-ad­ven­ture con­cept from Guillermo del Toro called Troll­hunters.

The deal also cov­ers stream­ing rights to the DWA fea­ture film li­brary, and ex­tends the rights of cur­rent orig­i­nal kids’ se­ries avail­able on Net­flix in op­er­at­ing mar­kets, as well as ex­pand­ing to in­clude sec­ond win­dow rights for the shows glob­ally (out­side China).

These in­clude The Ad­ven­tures of Puss in Boots, Dinotrux and Dragons: Race to the Edge.

FXX has pre­emp­tively nixed the fe­male lead ac­tion-buddy com­edy Cas­sius and Clay be­fore its TV de­but.

The 10-episode se­ries was picked up back in Au­gust but never re­ceived a pre­miere date.

A pi­lot was pro­duced by cre­ators Adam Reed ( Archer) and Me­gan Ganz ( Mod­ern Fam­ily).

Cas­sius and Clay was the lat­est project to come out of the an­i­ma­tion pro­duc­tion deal be-

tween FX Pro­duc­tions and Floyd County, which de­liv­ered FX come­dies Chozen and Un­su­per­vised — both can­celed af­ter one sea­son.

Co­me­di­ans Louis C.K. and Al­bert Brooks have teamed up to cre­ate and voice an an­i­mated com­edy pi­lot for FX.

C.K. and Brooks will write and ex­ec­u­tive pro­duce the new show, which is un­ti­tled. No premise has been re­leased for the show. The comics worked to­gether voic­ing char­ac­ters for the up­com­ing fea­ture The Se­cret Life of Pets, from Il­lu­mi­na­tion En­ter­tain­ment.

The 21st an­nual Crit­ics Choice Awards took place in Santa Mon­ica Jan. 17, with Pixar’s Inside Out snap­ping up the An­i­mated Fea­ture prize.

Pete Doc­ter’s in­ter­nal-ad­ven­ture flick won out over in­die fa­vorite Ano­ma­l­isa, Blue Sky’s The Peanuts Movie, Aard­man’s Shaun the Sheep Movie and Pixar’s The Good Di­nosaur.

On the TV side, Net­flix orig­i­nal se­ries BoJack Horse­man took the top prize for first-time show cre­ator Raphael Bob-Waks­berg. The Tor­nante Co./Shad­owMa­chine pro­duc­tion beat out Fox’s The Simp­sons and Bob’s Burgers as well as Com­edy Cen­tral’s South Park and Dis­ney XD’s Star Wars Rebels.

Star Wars: Episode VIII has been pushed back from its pre­vi­ously an­nounced May 26, 2017 de­but to Dec. 15, 2017. Pi­rates of the Caribbean: Dead Men Tell No Tales will now open in Episode VIII’s prior slot in­stead of July 7. ... In­ter­na­tional an­i­mat­ics ser­vice stu­dio An­i­mated Sto­ry­boards has opened a new of­fice in Toronto, and tapped Maria Hanafy to lead the lo­cal team as manag­ing di­rec­tor. ... Car­toon Net­work an­nounces that Pa­cific Li­cens­ing Stu­dio will rep­re­sent the com­pany’s con­sumer prod­ucts divi­sion in South­east Asia. ... Sam­sung an­nounced at Sun­dance it will be open­ing a stu­dio in New York to pro­duce im­mer­sive VR en­ter­tain­ment ex­pe­ri­ences. ... Splash En­ter­tain­ment’s CG an­i­mated fea­ture Norm of the North will see a the­atri­cal re­lease in China in April thanks to deals with Shang­hai-based in­vestor Yang Yang Pic­tures Cor­po­ra­tion and dis­trib­u­tor Chi­na­wood Me­dia Corp. ... Sony Pic­tures En­ter­tain­ment has ap­pointed Randy Lake as Pres­i­dent, Stu­dio Op­er­a­tions & Image­works. ... Fu­ni­ma­tion En­ter­tain­ment has set a March 4 lim­ited re­lease for Mamoru Hosoda’s lat­est an­i­mated fea­ture, The Boy and the Beast. ... Ma­ture au­di­ences an­i­ma­tion out­fit Au­gen­blick Stu­dios has kicked off pro­duc­tion on an orig­i­nal R-rated fea­ture film, The Ad­ven­tures of Drunky. Di­rected by Aaron Au­gen­blick from his orig­i­nal con­cept, the film fol­lows Drunky (voiced by Sam Rock­well), a barfly who finds him­self in the mid­dle of a cos­mic bat­tle be be­tween God (Jef­frey Tam­bor) and the Devil (Steve Coogan) over the fate of the Earth. ... Vi­a­com In­ter­na­tional Me­dia Net­works and Mex­ico’s Tele­visa have ex­tended a con­tent deal that will de­liver 400 hours of Nick­elodeon con­tent south of the bor­der. ... In­dus­try veteran Pam Lif­ford, pre­vi­ously EVP of global li­cens­ing for Quik­sil­ver, has been named Pres­i­dent of Warner Bros. Con­sumer Prod­ucts. ... Paris-based stu­dio TeamTO has promoted con­sul­tant Pa­tri­cia de Wilde to the per­ma­nent po­si­tion of Di­rec­tor of Mar­ket­ing and New Busi­ness for the en­tire TeamTO group. ... Toon Gog­gles’ on-de­mand chil­dren’s en­ter­tain­ment ser­vice will ap­pear on Philips Smart TVs un­der a new deal with the elec­tron­ics com­pany an­nounced at CES. ... In­die pro­duc­tion com­pany The Asy­lum, which achieved world­wide no­to­ri­ety for its hit Shark­nado fran­chise for Syfy, is launch­ing a new an­i­ma­tion divi­sion, with a fea­ture length fam­ily film ti­tled Izzie’s Way Home in the works. Tori Spell­ing and Joey Fa­tone are set to star.

Frank Ar­mitage, an Aus­tralian-born Amer­i­can painter who cre­ated back­grounds for sev­eral clas­sic Dis­ney an­i­mated films and mu­rals for Dis­ney parks, died Jan. 4 at his home in Paso Robles, Calif. He was 91.

Robert Balser, an­i­ma­tion di­rec­tor on The Bea­tles’ Yel­low Sub­ma­rine, died of res­pi­ra­tory fail­ure Jan. 4. He was 88.

David Bowie died Jan. 10 of cancer. He was 69.

Alan Rick­man, who played Hans Gru­ber in Die Hard and Severus Snape in the Harry Potter films, died Jan. 14. He was 69. [

8To­day on disc: The Peanuts Movie, Open Sea­son: Scared Silly, Be­yond Be­yond, Poke­mon Movie 18: Hoopa and the Clash of Ages, Yu-Gi-Oh! GX: Sea­son 3, Lit­tlest Pet Shop: Pet Tales, Psy­cho-Pass 2: Sea­son 2 BD, Peppa Pig: The Golden Boots, Brothers Con­flict: The Com­plete Se­ries BD, King­dom: Sea­son 2, Digimon Fu­sion: Sea­son 2. Today’s home releases: Eden of the East: The Com­plete Se­ries + Movies BD, The Jun­gle Book: The Leg­end of the Giant Claw, Hero Quest.

Zdigs in and does its home­work to cre­ate a con­vinc­ing and mod­ern new take on the talk­ing-an­i­mal movie. By Tom McLean.

ootopia may not be a real place that can be vis­ited the same way you can visit Paris, New York or Tokyo, but that doesn’t mean a tremen­dous amount of work wasn’t put into us­ing an­i­ma­tion to make it look as real as those fa­mous cities.

The fic­tional lo­cale — cre­ated by in­tel­li­gent an­i­mals in a world where hu­mans don’t ex­ist — shares its name with the ti­tle of Walt Dis­ney An­i­ma­tion Stu­dios’ 55th an­i­mated fea­ture, in which a young bunny comes to the big city to be a police of­fi­cer and finds her­self hav­ing to solve a crime with a cyn­i­cal and of­ten un­re­li­able fox in or­der to stay.

Di­rected by By­ron Howard of Tan­gled fame and Rich Moore of Wreck-It Ralph, Dis­ney’s new­est an­i­mated fea­ture — in the­aters March 4 — takes the clas­sic Dis­ney idea of talk­ing an­i­mals into a new realm with the help of the most-re­cent CG an­i­ma­tion tech­nol­ogy.

Howard says the project be­gan about five years ago when, af­ter fin­ish­ing Tan­gled, he sug­gested the idea of an­thro­po­mor­phic an­i­mal movie to Dis­ney an­i­ma­tion cre­ative chief John Las­seter. “He was very much into that,” says Howard. “He said we haven’t done a movie like that in a very, very long time — es­pe­cially now with CG — and it would be re­ally ex­cit­ing to see what that kind of Dis­ney film would feel like with the new tech­nol­ogy.”

Join­ing forces with Jared Bush, cre­ator of the Dis­ney TV An­i­ma­tion se­ries Penn Zero: Part-Time Hero, as a writer and later co-di­rec­tor, Howard dove into the re­search to ful­fill an edict from Las­seter to make the movie look like no other CG-an­i­mated talk­ing-an­i­mal movie. “We re­ally wanted to make sure that the world felt like an­i­mals built it and not hu­mans, and that led to some re­ally amaz­ing things,” Howard says.

Find­ing the Story The story it­self went through mul­ti­ple it­er­a­tions, start­ing out as a spy story, then be­com­ing a de­tec­tive yarn be­fore set­tling into shape as a tale about Judy Hopps, voiced by Gin­nifer Good­win, an ide­al­is­tic young rabbit who leaves Bunny Bur­roughs for the big city and a job as Zootopia’s first lap­ine police of­fi­cer. She meets up with sly fox Nick Wilde, played by Ja­son Bate­man, and winds up need­ing his help to solve a crime in a cou­ple of days be­fore she’s forced to re­turn home a fail­ure.

While ear­lier ver­sions fo­cused on the Nick

FDirec­tor Mark Os­borne uses the beloved novella to demon­strate the power such tales

have over peo­ple’s lives. By Tom McLean.

ew books are as beloved as The Lit­tle Prince, a stun­ning fan­tasy novella by French pi­lot and au­thor Antoine de Saint-Ex­u­pery. First pub­lished in 1944, it has since be­come one of the most pop­u­lar books in the world. The tale of an avi­a­tor stranded in the desert who tries to ex­plain the world to a young prince fallen to Earth from an as­ter­oid fea­tured lovely water­color il­lus­tra­tions and was styled like a chil­dren’s book, but of­fers deep in­sights into hu­man na­ture that are es­pe­cially com­pelling to adults.

To Mark Os­borne, best known for di­rect­ing DreamWorks An­i­ma­tion’s 2008 hit Kung Fu Panda, the book had a per­sonal con­no­ta­tion that made him hes­i­tant when he was first ap­proached about pos­si­bly di­rect­ing a big CG an­i­mated adap­ta­tion.

“My re­ac­tion was, ‘no,’” says Os­borne, who took that call about five years ago from France­based Onyx Films, which was work­ing with Saint-Ex­u­pery’s estate. “I said, ‘ You can’t make a big movie out of this lit­tle book.’ It’s just too pre­cious and it’s too im­por­tant to the peo­ple that read it.”

But then an idea crept in that changed his mind. “I re­al­ized there was this in­cred­i­ble op­por­tu­nity to tell a story about how pow­er­ful the book can be in some­body’s life,” he says. He came back to Onyx and said he thought there was a way to tell a larger story with CG, but the book it­self should be done with stop mo­tion. “That idea never got shot down,” he says. That idea was to tell a story about a lit­tle girl (voiced by Mackenzie Foy) who lives in a very or­dered world where her mother (Rachel McA­dams) has or­ga­nized her life down to the minute in an at­tempt to give her the very best shot at suc­ceed­ing in life. But the girl’s at­ten­tion is pulled away by her ec­cen­tric neigh­bor the Avi­a­tor (played by Jeff Bridges), who causes all sorts of trou­ble and passes on to her the story of The Lit­tle Prince as an ex­pe­ri­ence he him­self had. As the girl is drawn into the story, it changes her life and leads to an un­ex­pected merg­ing of the two realms in the film’s fi­nal act.

A Slow Start The idea, though, came about slowly as Os­borne worked on a treat­ment and then a script with Irena Brignull in col­lab­o­ra­tion with the story team, headed by Bob Per­sichetti.

“There were some big ideas in the be­gin­ning and there were some re­ally in­ter­est­ing and bold no­tions about how to take this very spe­cial work and how to bring out the themes and the el­e­ments from the book as much as pos­si­ble,” Os­borne says. “That was re­ally the goal from the be­gin­ning, but there’s a lot of artis­tic col­lab­o­ra­tion along the way to get us to the fi­nal re­sult that you see in the film.”

Work on the film be­gan in Paris with devel­op­ment at Onyx, which trans­formed dur­ing pro­duc­tion with some of its part­ners to be­come On En­ter­tain­ment. Pro­duc­tion took place in Mon­treal, with Mikros Im­age han­dling the CG side of things and sev­eral com­pa­nies, among them TouTenKar­toon, work­ing on the stop-mo­tion se­quence.

How to make a film that ef­fec­tively moves from CG to stop-mo­tion and back again was the first big chal­lenge for the show. “It was a com­pelling idea con­cep­tu­ally but very com­pli­cated to work out, and to be hon­est it was a no­tion that only be­came real once (stop-mo­tion cre­ative di­rec­tor) Jamie Caliri joined the project,” says Os­borne.

Caliri brought pro­duc­tion de­signer Alex Ju-

Talk­ing an­i­mals have been around as long as an­i­ma­tion has, but the lives of non-hu­man crea­tures try­ing to get by in the ur­ban jun­gle that is mod­ern day New York City serves up a fresh take on the idea in HBO’s new se­ries An­i­mals.

De­but­ing Feb. 5, the adult-ori­ented se­ries is cre­ated by Phil Matarese and Mike Lu­ciano, pro­duced by film­mak­ing brothers Mark and Jay Duplass and an­i­mated by Star­burns In­dus­tries. The 10-episode first sea­son has a home­made, im­pro­vised feel­ing and fea­tures guest voices such as Marc Maron, Nick Kroll, Rob Corddry, Aziz An­sari and Molly Shan­non.

“It’s re­ally a ‘Mike and I right now’ thing,” says Matarese. “If you don’t like it, they you re­ally don’t like Mike or my­self.”

The duo met three years ago while work­ing at an ad agency. One day, be­tween projects, they were look­ing out a win­dow at some pi­geons and im­pro­vised a con­ver­sa­tion be­tween them.

“And we said, that’s funny, let’s record us do­ing that, and we did,” says Matarese, who at the time was ex­per­i­ment­ing with a new Wa­com tablet and fig­ured out his own way to an­i­mate his sketches us­ing Il­lus­tra­tor and Fi­nal Cut.

“He sent me a text of the first pi­geon that he had drawn for it, with the city back­ground, and it just sud­denly was clear that our lit­tle riff­ing thing is go­ing to have an en­tire es­thetic that to me was just so ex­cit­ing,” says Lu­ciano.

Af­ter com­plet­ing one sketch, they sub­mit­ted it to Chan­nel 101 in New York and were hav­ing fun, so they kept at it. “Each episode got a lit­tle bit bet­ter and a lit­tle more in­volved look­ing,” says Matarese. “And then we just kind of found our­selves in an­i­ma­tion.”

They next pro­duced a 12-minute ver­sion and sub­mit­ted it to the New York Tele­vi­sion Festival, where it was well re­ceived and helped the duo make con­nec­tions and se­cure agents and man­agers through which the project came to the at­ten­tion of film­mak­ers Mark and Jay Duplass.

“They wanted to come on as ex­ec­u­tive pro­duc­ers to make it in­de­pen­dently and that was right up our al­ley be­cause we had been do­ing it just the two of us this whole time,” says Matarese. The con­nec­tion helped them raise fund­ing, and they moved out to an apart­ment in the Los Feliz neigh­bor­hood of Los An­ge­les, where they set up pro­duc­tion with a small hand­ful of an­i­ma­tors and worked seven days a week on the first sea­son.

With 10 episodes com­plete, two episodes were screened last year as a spe­cial event at the Sun­dance Film Festival, lead­ing to HBO pick­ing up the show for two sea­sons. That’s when the pro­duc­tion be­gan look­ing for a more es­tab­lished stu­dio and ended up at Star­burns In­dus­tries, mak­ers of Rick and Morty and Ano­ma­l­isa.

“Ev­ery step of the way, it’s just been an in­ter­est­ing process of tak­ing peo­ple who are all pretty tal­ented but who have maybe a set way that they’re used to do­ing an­i­ma­tion or draw­ing, and say­ing, let’s scale this back,” says Lu­ciano. “We don’t want that much move­ment or an­i­ma­tion, and the char­ac­ters need to have this kind of qual­ity to it, and that’s been a learn­ing process.”

Watch­ing the show evolve over its first sea­son has been a chal­lenge but also a lot of fun.

“It re­ally grows in an in­ter­est­ing way,” says Matarese. “Not nec­es­sar­ily in qual­ity but in how we tackle dif­fer­ent worlds and stuff like that. I think it’s go­ing to be an in­ter­est­ing thing for peo­ple to see over a 10-episode stretch.” [

Direc­tors: Starzak Pro­duc­ers: Lock­hart Writ­ers: Mark Bur­ton, Richard Starzak, Nick Park, Cal­lum Blades Stu­dios: Aard­man An­i­ma­tions, Lion­s­gate Re­lease date: Aug. 5 Box of­fice: $19 mil­lion do­mes­tic, $64 mil­lion for­eign Key noms to date: An­nie Awards (Best An­i­mated Fea­ture, Best Di­rect­ing, Best Pro­duc­tion De­sign, Best Writ­ing, Best Ed­i­to­rial), BAFTA Awards (Best An­i­mated Fea­ture), Crit­ics Choice Awards (Best An­i­mated Fea­ture), Euro­pean Film Awards (Euro­pean An­i­mated Fea­ture Film), Golden Globes (Best An­i­mated Fea­ture) VES Awards (Best Cre­ated En­vi­ron­ment). Re­view: “Like a great silent movie, it cre­ates its pathos and com­edy out of the con­crete ob­jects be­ing an­i­mated, build­ing elab­o­rate gags in­volv­ing ev­ery­day items trans­formed into Rube Gold­berg de­vices.” — Peter Keough, Bos­ton Globe. Quote: “I sort of felt that Shaun as a se­ries was sort of punch­ing above its weight, so as a fea­ture it was great to have that can­vas, and to have that time — es­pe­cially with no dia­log — to get into the sto­ry­telling in a big way.” — Richard Starzak, An­i­ma­tion Mag­a­zine #252 (Aug.-Sept. 2015) Why it might win: In­ven­tively evok­ing the age of silent movies with its good-hearted slap­stick hu­mor, Aard­man has al­ways gen­er­ated lots of love and good will from the academy and movie­go­ers in general. Di­rec­tor: Hiro­masa Yonebayashi Pro­duc­ers: Yoshi­aki Nishimura, Toshio Suzuki Writ­ers: Masashi Ando, Keiko Niwa, Hiro­masa Yonebayashi Stu­dios: Stu­dio Ghi­bli, GKIDS Re­lease date: May 22 Box of­fice: $561,000 do­mes­tic, $30 mil­lion for­eign Key noms to date: An­nie Awards (Best An­i­mated Fea­ture - In­de­pen­dent, Best Di­rect­ing, Best Writ­ing), Awards of the Ja­panese Academy (Best An­i­ma­tion Film) Key wins to date: Seat­tle In­ter­na­tional Film Festival (Film­s4Fam­i­lies Youth Jury Award), TIFF Kids In­ter­na­tional Film Festival (Best Fea­ture Film [Ages 11-13]). Re­view: “The old-school hand-drawn an­i­ma­tion cel­e­brates sweep­ing land­scapes and but also the telling de­tail, re­veal­ing char­ac­ter through spare ges­tures.” — Kerry Len­gel, The Ari­zona Re­pub­lic. Quote: “The orig­i­nal story was writ­ten al­most com­pletely from the per­spec­tive of Anna’s in­ter­nal voice. It wouldn’t have been pos­si­ble to make the en­tire film a mono­logue. As an an­i­ma­tor, I wanted to show the char­ac­ter’s in­ter­nal psy­chol­ogy through her be­hav­ior. I thought I could do that by mak­ing her a girl who likes to draw.” — Hiro­masa Yonebayashi, An­i­ma­tion Mag­a­zine #255 (Dec. 2015). Why it might win: Stu­dio Ghi­bli has earned plenty of Os­car love, and with Hayao Miyazaki nom­i­nally re­tired from film­mak­ing, Yonebayashi’s lovely and pic­turesque ghost tale eas­ily sat­is­fies the need for in­tel­li­gent and el­e­gant sto­ry­telling for all ages. Di­rec­tor: Gabriel Osorio Pro­ducer: Pato Es­cala Run­ning time: 11 mins. Key wins to date: Florida Film Festival (Au­di­ence Award - Best In­ter­na­tional Short), IndieLis­boa In­ter­na­tional In­de­pen­dent Film Festival (IndieJu­nior Award), River­Run In­ter­na­tional Film Festival (Jury Prize), Wash­ing­ton DC In­de­pen­dent Film Festival (Au­di­ence Award — Best An­i­ma­tion). Quote: “When you take some­one away from their fam­ily, it’s the worst thing you can do. I wanted to talk about this, to say some­thing pos­i­tive, that you can sur­vive this, that you can come back to your home as my grand­fa­ther did.” — Gabriel Osorio, An­i­ma­tion Mag­a­zine #257 (Feb. 2016) Why it might win: Osorio’s film tells an emo­tional and tragic story that builds an un­mis­tak­able and un­for­get­table emo­tional bond with its au­di­ence. Di­rec­tor: Richard Wil­liams Pro­ducer: Imo­gen Sut­ton Run­ning time: 6 mins. Key noms to date: BAFTA Film Awards (Best Short An­i­ma­tion) Quote: “I’ve been think­ing about this since I was 15 years old. I grew up un­der the shadow of world war and af­ter Hiroshima ev­ery­body thought that was fin­ished. We still live in a world where man end­lessly fights man.” — Richard Wil­liams, An­i­ma­tion Mag­a­zine #257 (Feb. 2016) Why it might win: Pro­logue has a vis­ceral im­pact that’s hard to ig­nore, us­ing strik­ingly beau­ti­ful images to con­vey a mes­sage about the ugly side of hu­man na­ture. Di­rec­tor: San­jay Pa­tel Pro­ducer: Ni­cole Grindle Run­ning time: 7 mins. Key nom to date: An­nie Awards (Best An­i­mated Short Film) Quote: “I thought that if I kind of kept push­ing it away they’d leave me alone. But John Las­seter saw my art­work at an em­ployee art show and said I had to make a movie and then they started com­ing to me and ask­ing me to put some­thing to­gether.” — San­jay Pa­tel, An­i­ma­tion Mag­a­zine #257 (Feb. 2016) Why it might win: Pixar’s magic comes in the short va­ri­ety as well, and few shorts can match up to the level of in­ven­tion and craft the stu­dio brings to this heart-warm­ing tale with near-univer­sal ap­peal. Di­rec­tor: Kon­stantin Bronzit Run­ning time: 16 mins. Key noms to date: Hiroshima In­ter­na­tional An­i­ma­tion Festival (Grand Prix), Nika Awards (Best An­i­mated Film), San Fran­cisco In­ter­na­tional Film Festival (Best An­i­mated Short). Key wins to date: Aspen Shorts­fest (Spe­cial Jury Award), China In­ter­na­tional New Me­dia Short Film Festival (Best An­i­ma­tion), Mel­bourne In­ter­na­tional Film Festival (Best An­i­ma­tion Short Film), Rhode Is­land In­ter­na­tional Film Festival (Best An­i­ma­tion), Tokyo Anime Award (Tokyo Metropoli­tan Gover­nor Prize-Short Film, Grand Prize-Short Film Com­pe­ti­tion). Quote: “It’s some­thing like self-ther­apy.

Out­stand­ing An­i­mated Per­for­mance in an Episode, Com­mer­cial, or Real-Time

Project Game of Thrones, “Mother’s Mercy,” Wounded Dro­gon — Flo­rian Fried­mann, Jonathan Sym­monds, Sven Skoczy­las, Se­bas­tian Lauer Game of Thrones, “Dance of Dragons,” Dro­gon Arena Res­cue — James Kin­nings, Michael Holzl, Joseph Hoback, Matt Derk­sen SSE, “Pier,” Orangutan — Jorge Mon­tiel, Sauce Vi­las, Philippe Moine, Sam Driscoll Sains­bury’s, “Mog” — Se­bas­tian Nino, Chris Hurtt, Joseph Hen­son, Gez Wright

Out­stand­ing Cre­ated En­vi­ron­ment in an Episode, Com­mer­cial, or Real-Time

Project Game of Thrones, City of Volan­tis — Do­minic Piche, Chris­tine Le­clerc, Pa­trice Poissant, Thomas Mont­miny-Brodeur Vik­ings, Paris — Paul Wishart, Karol Wlo­dar­czyk, Tom Mor­ri­son, Matt Ralph,

Dro­gon Arena — Rajeev B R., Lo­ganathan Peru­mal, Ramesh Shankers, An­ders Eric­son Black Sails, Charles Town Har­bor — Aladino De­bert, Matt Dougan, Greg Tee­gar­den, Ken Jones Out­stand­ing Vir­tual Cine­matog­ra­phy in a

Pho­to­real Project Ant-Man, Macro Ac­tion — James Baker, Alex Kahn, Thomas Luff, Re­becca Baehler Un­der­wa­ter Torus Cham­ber — Vin­cent Au­petit, Mar­gaux Durand-Ri­val, Christo­pher An­ci­aume, Robert El­swit

Fal­con Chase / Grave­yard — Paul Ka­vanagh, Colin Benoit, Susumu Yukuhiro, Greg Salter The Walk, Tow­ers Walk — Shawn Hull, Suzanne Cipol­letti, Lau­rent Taille­fer, Dar­iusz Wol­ski SSE, “Pier” — Matthew Fuller

“The Hunt Be­gins” —

Vladislav Tu­shevskiy, To­mas Zaveckas, Sho Hasegawa, Sergey Kosar­eff Lip­ton, “The Rev­o­lu­tion in Tea” — Jonathan “Wes” West­ley, Tom Raynor, Chris­tos Par­liaros Game of Thrones, “Hard­home” — David Ramos, An­to­nio Lado, Piotr Weiss, Félix Bergés Out­stand­ing Com­posit­ing in

a Pho­to­real Fea­ture San An­dreas, Los An­ge­les De­struc­tion — San­dro Blat­tner, Hamish Schu­macher, Ni­cholas Kim, Mario Ro­kicki Star Wars: The Force Awak­ens — Jay Cooper, Marian Mavrovic, Jean Lapointe, Alex Prichard To­mor­row­land — Francois Lam­bert, Jean Lapointe, Peter De­marest, Conny Fauser Mad Max: Fury Road — Lind­say Adams, Matthew Wynne, Chris Davies, Phil Outen The Revenant, Bear At­tack — Donny Rausch, Alan Travis, Charles Lai, TC Har­ri­son Out­stand­ing Mod­els in a Pho­to­real or An­i­mated

Project Star Wars: The Force Awak­ens, BB-8 — Joshua Lee, Matthew Den­ton, Lan­dis Fields, Cyrus Jam

Hulk­buster — Howie Weed, Robert Marinic, Daniel Gon­za­lez, Myr­iam Ca­trin Ever­est, Mount Ever­est — Matthias Bjar­nas­son, Ola­fur Har­alds­son, Kjar­tan Hardarson, Pe­tur Arnors­son Jurassic World, In­domi­nus Rex — Steve Ju­binville, Martin Mur­phy, Aaron Grey, Kevin Reuter

Out­stand­ing Ef­fects Sim­u­la­tions in a Pho­to­real

Fea­ture Mad Max: Fury Road, Toxic Storm — Dan Bethell, Clin­ton Downs, Chris Young

Hulk ver­sus Hulk­buster — Michael Ba­log, Jim Van Allen, Florent An­dorra, Ge­org Kal­tenbrun­ner

Hoover Dam / San Fran- cisco Tsunami — Joe Scarr, Lukas Lepi­cov­sky, Yves D-In­cau, Mar­cel Kern San An­dreas, L.A. De­struc­tion — Remy Torre, Marc Hors­field, Niall Flinn, Vic­tor Grant

Starkiller Base — Rick Hank­ins, Dan Born­stein, John Dou­blestein, Gary Wu Out­stand­ing Com­posit­ing in

a Pho­to­real Episode Vik­ings, “To the Gates” — Ovidiu Ci­nazan, Olivia Yapp, Greg La­mar, Meng An­gel Li Game of Thrones, “Hard­home” — Ed­uardo Díaz, Guillermo Orbe, Os­car Perea, In­mac­u­lada Nadela

“Dro­gon Arena” — Michael Crane, Travis Nel­son, Joe Salazar, Bev­erly Ber­nacki Game of Thrones, “Dro­gon Lair” — Travis No­bles, Mark Spindler, Max Riess, Nadja Ding

Out­stand­ing Ef­fects Sim­u­la­tions in an An­i­mated

Fea­ture Inside Out — Amit Baad­kar, Dave Hale, Vin­cent Ser­ritella, Paul Men­doza The Peanuts Movie — Alen Lai, Ilan Gabai, Chris Chap­man, Dou­glas Sei­den The Good Di­nosaur — Stephen Marshall, Mag­nus Wren­ninge, Michael Hall, Hema­giri Aru­mugam Home — Greg Glad­stone, Michael Lo­sure, Chris De St Jeor, Alex Tim­chenko Out­stand­ing Com­posit­ing in

a Pho­to­real Com­mer­cial SSE, “Pier” — Gary Driver, Greg Spencer, Grant Con­nor Game of War, “Rooftop Al­liance” — Becky Porter, Jean­nie Huynh, Patrick Heinen, Don Kim Halo 5, “The Hunt Be­gins” — Ian Holland, Brian Del­monico, Bran­don Nel­son, Ni­cholas Kim Un­der Ar­mour, “Rule Your­self” — Gavin Wells­man, Nathan Kane, Michael Smith, Ilia Mokhtareizadeh Out­stand­ing Vis­ual Ef­fects in

a Stu­dent Project Skål — Marco Hak­en­jos, Chris­tian Ze­het­meier, Timm Wa­gener, Manuel Seifert Jagon — Ju­lian Weiss, Vin­cent Ull­mann, Fabian Fricke, Yafes Sahin Ci­ti­pati — An­dreas Feix, Francesco Faranna Korser — Guil­laume Me­nard, Vin­cent Des­grippes, Jessie Hereng, Tangi Vail­lant [

work­ing on the likes of Pete’s Dragon be­fore mov­ing up to as­sis­tant di­rec­tor on The Fox and the Hound. As­so­ci­ate pro­ducer on the ground­break­ing Who Framed Roger Rabbit?, Hahn went on to pro­duce the Roger Rabbit shorts.

Hahn’s first fea­ture as pro­ducer was Beauty and the Beast, which be­came the first an­i­mated fea­ture to be nom­i­nated for a Best Pic­ture Os­car. He also pro­duced The Lion King, which re­mains one of the most iconic and suc­cess­ful Dis­ney an­i­mated fea­tures to date.

He is a founder and ex­ec­u­tive pro­ducer of Dis­ney­na­ture Films and was ex­ec­u­tive pro­ducer of Malef­i­cent, star­ring An­gelina Jolie.

Hahn di­rected three doc­u­men­tary films, in­clud­ing Wak­ing Sleep­ing Beauty, a chron­i­cle of the re­vival of Dis­ney an­i­ma­tion in the 1980s and early 1990s; and Christ­mas with Walt Dis­ney.

He also has writ­ten many books on an­i­ma­tion, art and cre­ativ­ity, in­clud­ing Drawn to Life and Be­fore Ever Af­ter: The Lost Lec­tures of Walt Dis­ney’s An­i­ma­tion Stu­dio. [

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