News & Notes

Animation Magazine - - Frame- By- Frame -

The nom­i­na­tions for the 2016 Prime Time Emmy Awards are in, with few sur­prises in the run­ning this year — at least in the top an­i­ma­tion cat­e­gories. The nom­i­nees in those cat­e­gories are: Out­stand­ing An­i­mated Pro­gram: • Archer (FX) • Bob’s Burg­ers (Fox) • Phineas and Ferb Last Day of Sum­mer ney) • The Simp­sons (Fox) • South Park (Com­edy Cen­tral) Out­stand­ing Short Form An­i­mated Pro­gram Ad­ven­ture Time (Car­toon Net­work) The Pow­er­puff Girls (Car­toon Net­work) Robot Chicken (Adult Swim) Sponge­Bob SquarePants (Nick­elodeon) Steven Uni­verse (Car­toon Net­work) Out­stand­ing Char­ac­ter Voice-Over Per­for­mance • Seth MacFar­lane, Fam­ily Guy (Fox) • Trey Parker, South Park (Com­edy Cen­tral) • Matt Stone, South Park (Com­edy Cen­tral) • Kee­gan-Michael Key, Su­perMan­sion (Crackle) • Chris Pine, Su­perMan­sion (Crackle) com. The Cre­ative Arts Em­mys win­ners will be an­nounced Sept. 17 in a cer­e­mony at the Mi­crosoft The­ater in Los An­ge­les; the Prime­time win­ners will be an­nounced Sept. 18 in a cer­e­mony at the same venue. an­i­ma­tors work­ing with a Toon Boom pipeline. The stu­dio pro­vides ser­vice an­i­ma­tion for The Loud House and The Bagel and Becky Show for Nick­elodeon, and cre­ated Numb Chucks for YTV.

ment.

In a fol­low-up piece, the Los An­ge­les Times spoke with artists who re­mained on the pro­duc­tion who felt that the de­part­ing em­ploy­ees jumped ship look­ing for big­ger gigs at the newly re­lo­cated Sony Pic­tures Image­works.

“A big, shiny stu­dio rolled into town just as an­i­ma­tion for Sausage Party was gear­ing up, and of­fered more money,” ed­i­tor Ellery Van Dooye­weert told the pa­per. “They left their friends and team­mates be­hind scram­bling to keep the project to­gether. Most an­i­ma­tors left be­liev­ing Sausage Party would never fin­ish, and would be a garbage flick. Now that it’s the talk of the town, they are won­der­ing where their credit went.” artin Markle, se­nior di­rec­tor of chil­dren’s con­tent for Cana­dian pub­lic broad­caster CBC Tele­vi­sion, has va­cated his post af­ter less than a year on the job. ... Corus En­ter­tain­ment has ap­pointed es­tab­lished an­i­ma­tion ex­ec­u­tive Athena Ge­or­gak­lis as head of de­vel­op­ment for pro­duc­tion and distri­bu­tion house Nel­vana. ... Bardel En­ter­tain­ment has hired Lenny Brown as man­ager, busi­ness de­vel­op­ment. ... Deluxe En­ter­tain­ment Ser­vices Group has brought on for­mer Tag World­wide CEO John Paul­son as pres­i­dent and gen­eral man­ager, fea­tures and ad­ver­tis­ing post ser­vices. ... Luma has hired in­dus­try vet Jill Gil­bert as ex­ec­u­tive pro­ducer of an­i­mated con­tent. Gil­bert is charged with over­see­ing, de­vel­op­ing and man­ag­ing Luma Toons orig­i­nal an­i­mated con­tent and an­i­ma­tion ser­vice work ... Stoopid Buddy Stood­ios wel­comes long-time col­lab­o­ra­tor Zeb Wells as an ex­clu­sive in-house pro­ducer; and long­time Com­edy Cen­tral exec El­iz­a­beth Porter has been hired as head of de­vel­op­ment. ... Sony Pic­tures Image­works an­nounced four hires for its Van­cou­ver head­quar­ters: Se­nior VP of Pro­duc­tion Michelle Grady; VP of Artist Man­age­ment Ryan Poll­reisz; vet­eran Vis­ual Ef­fects Su­per­vi­sor Sue Rowe; and Art Di­rec­tor Daniel Cox. [

Need some­thing to oc­cupy your hands when GPS-sig­nal loss sab­o­tages your quest for Poké­mon? Be­jew­eled ad­dicts and Dis­neyphiles alike will love this kid-friendly match­ing game pop­u­lated by emoji ver­sions of your fa­vorite Disney-Pixar films (more than 400 of them!)

The game adds a col­lect­ing el­e­ment to the fa­mil­iar puz­zle play. Com­plet­ing “Mis­sions” earns you coins and gems to trade for mystery boxes, un­lock­ing dif­fer­ent char­ac­ters (and their spe­cial pow­ers). You also col­lect item emo­jis, with your hoard show­ing up in the Disney Emoji Blitz key­board to share through SMS, email and Face­book Mes­sen­ger. Caveat: On my Sam­sung An­droid, us­ing the DEB board is con­vo­luted and time con­sum­ing. Hon­estly, I could have driven to my friend’s house and shown them my col­lec­tion in per­son in the time it took to get it set up and send an emoji. But the game is cute and ad­dic­tive, and by the time they work out the bugs I’ll have a small army of heart-eyed princesses at my dis­posal.

1It’s the 45th an­niver­sary of Walt Disney World! To­day on disc:

For the re­make of the 1977 Disney an­i­ma­tion/live-ac­tion hy­brid fea­ture Pete’s Dragon, di­rec­tor David Low­ery ( Ain’t Them Bod­ies Saints) wanted El­liot the dragon to be a green, fuzzy, cud­dly, lov­able dragon pat­terned par­tially af­ter his cat.

In other words, de­spite shooting the movie in Mid­dle Earth’s stand-in New Zealand, he

SRyan Quincy ig­nores the norms of time-travel sto­ry­telling in pur­suit of char­ac­ter-driven ac­tion and hu­mor for Disney XD’s hit By Tom McLean.

outh Park vet­eran Ryan Quincy was toy­ing with a time-travel based idea for a new an­i­mated se­ries at Disney TV An­i­ma­tion, but kept com­ing up with the same warn­ing about work­ing in that genre from any­one he pitched it to.

“It was, ‘If you do that, then you’re go­ing to have to deal with the rules (of time travel),’” he says. “And I was like, ‘Do you?’ Maybe you don’t.”

It was that kind of think­ing that lead Quincy to cre­ate Fu­tureWorm!, an an­i­mated ad­ven­ture com­edy about a 12-year-old ge­nius and his in­ver­te­brate pal from the fu­ture hav­ing all kinds of strange ad­ven­tures across the space-time con­tin­uum with lit­tle re­gard for time-travel con­ven­tions.

“We didn’t want to do what has been done a lot, of go­ing back in time and in­ter­act­ing with his­tor­i­cal fig­ures or fig­ur­ing out who knocked the nose off the sphinx or those types of things,” he says. “We’re very mind­ful of not do­ing that type of stuff.”

View­ers got their first look at the show in a hand­ful of shorts that de­buted last year. The full ver­sion pre­miered Aug. 1 on Disney XD.

“Do­ing those shorts was great be­cause it chal­lenged me to tell a story in 90 sec­onds,” says Quincy. “Once we got picked up to se­ries, we brought that over as sort of the foun­da­tion: cut­ting to the chase and just mov­ing quickly. The show is very much about for­ward mo­men­tum, leap be­fore you look kind of stuff, be­cause I think kids re­ally re­spond to that kind of stuff.”

The suc­cess of the shorts in­formed the show and its “sam­pler plat­ter” for­mat, as the staff has dubbed it, of each half-hour be­ing com­prised of 11-, three- and seven-minute seg­ments. Quincy came to Disney TV An­i­ma­tion af­ter 14 years as an an­i­ma­tion di­rec­tor and pro­ducer on South Park and cre­at­ing the adult an­i­mated com­edy Out There, which aired for one sea­son on IFC. Much of the ap­peal of com­ing to Disney was the chance to make shows he could let his chil­dren watch. It also let him tap into his own child­hood love of Marvel Comics, Star Wars and The Mup­pets for in­spi­ra­tion, as well as access to the tal­ented in­house brain trust at Disney

With comics-based movies dom­i­nat­ing the box of­fice, it’s no sur­prise that se­ries like Marvel’s Ul­ti­mate Spi­der-Man vs. The Sin­is­ter Six are dig­ging deeper into the long boxes for in­spi­ra­tion and bring­ing the mostre­cent fan sen­sa­tions to an­i­ma­tion.

The four-episode arc “Re­turn to the Spi­derVerse,” which be­gan air­ing Aug. 27 in the se­ries’ reg­u­lar Satur­day at 8 p.m. times­lot on Disney XD, marks in its fi­nale the an­i­mated de­but of Spi­derGwen, one of Marvel’s most pop­u­lar “new” char­ac­ters in years.

The se­ries also has its share of voice act­ing sur­prises, with Dove Cameron of Disney Chan­nel’s Liv and Mad­die voicing Spi­der-Gwen, Seth Green repris­ing the voice of Howard the Duck, the re­turn of vet­eran Spidey voices Milo Ven­timiglia and Christo­pher Daniel Barnes, and even a cameo by Jon Polito, a fa­vorite ac­tor of the Coen broth­ers.

Ex­plain­ing how all this comes to­gether is Har­ri­son Wilcox, Marvel’s di­rec­tor of an­i­ma­tion de­vel­op­ment and pro­duc­tion.

An­i­ma­tion Mag­a­zine: Why did you de­cide to go back to the Spi­der-Verse and use so many of these fan-fa­vorite char­ac­ters from the comic books?

Har­ri­son Wilcox: When we did Spi­der-Verse in sea­son three, that was when Spi­der-Gwen came out in pub­lish­ing and be­came a huge hit. ... We didn’t have time — as an­i­ma­tion takes a year and a half to go from story con­cept to fi­nal project — to put Spi­der-Gwen in sea­son three. So we knew if we were go­ing to do Spi­der-Verse again in sea­son four, we knew we wanted to put her in the story in a big way.

An­imag: Who is Spi­der- Gwen, why is she sig- nif­i­cant and why has she been so pop­u­lar?

Wilcox: Back in pub­lish­ing, in the early 1970s, around is­sue 120, Peter Parker and Gwen Stacy were in a ro­man­tic re­la­tion­ship, and Gwen Stacy died in Spi­der-Man’s arms in a very dra­matic fash­ion that has shaped the char­ac­ter for the fol­low­ing decades. And Dan Slott in pub­lish­ing was telling a story about trav­el­ing into dif­fer­ent Spi­der-Verses and in one of those re­al­i­ties there was a ver­sion of Gwen Stacy who was not only alive but also the Spi­der-Woman, the hero of that re­al­ity. That re­ally clicked with peo­ple at a time when we’re see­ing a lot more fe­male heroes take a front row to what’s hap­pen­ing in pub­lish­ing.

An­imag: How did Dove Cameron end up voic- ing Spi­der- Gwen?

Wilcox: We thought it would be from time to time a good op­por­tu­nity, since we air on Disney XD, to cast some­one — when it seems right — from a Disney XD show or a Disney Chan­nel show. We had been fa­mil­iar with Dove Cameron’s work and at the time the De­scen­dants film was com­ing out, and not only does Dove sound the part but she ac­tu­ally looks the part of Gwen Stacy and she is a life­long comic-book fan — she knows the char­ac­ters, knows the world, knows Spi­der-Man, knows Gwen Stacy. At the time, it had not been out very long but she was aware of Spi­der-Gwen and was su­per ex­cited to play the part and that’s some­thing we al­ways try to lean on when we can: our voice tal­ent be­ing as ex­cited as we are about bring­ing our char­ac­ters to the screen.

An­imag: What im­pact will the end­ing of this arc have on the se­ries go­ing for­ward?

Wilcox: The plot from early in the sea­son, where the Siege Per­ilous is shat­tered and Miles is trapped in our world while his mother is trapped in the world he is from, is re­solved by the end of this arc in a way that has some per­ma­nence, and in a sense it wraps up Miles’ over­all arc for the sea­son. And so now that that has been put to bed, Peter and Miles’ re­la­tion­ship is go­ing to have to grow and change as we move to­ward the end of the sea­son. ... We go into our next arc and once we get there it all domi­noes down the back half of the sea­son to the fi­nale in a big way. [

The Peter Parker and Miles Mo­re­ales ver­sions of Spi­der-Man team up for the four-part “Re­turn to the Spi­der-Verse” arc.

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