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Best Script: Fired on Mars by Nick Vokey & Nate Sher­man (USA, 2016).

Best De­sign: The Ab­sence of Eddy Ta­ble by Rune Spaans (Nor­way, 2016).

Best An­i­ma­tion Tech­nique: Velo­drool by San­der Joon (Es­to­nia, 2015).

Best Sound: Squame by Ni­co­las Brault (Canada, 2015).

DHX Pub­lic Prize: Fired on Mars by Nick Vokey & Nate Sher­man (USA, 2016).

Cana­dian Film In­sti­tute Award for Best Cana­dian An­i­ma­tion: Blind Vaysha by Theodore Ushev. Hon­or­able Men­tions: 4 min 15 sec au Reve­la­teur by Moia Jobin-Paré, Be­gone Dull Care by Paul John­son.

VIA Rail Award for Best Cana­dian Stu­dent An­i­ma­tion: Ni­hil by Khoebe Magsaysay (Sheri­dan Col­lege, 2016). Hon­or­able Men­tions: Der Tod Ist ein Dandy by Daniela Var­gas (Van­cou­ver Film School), The Cl­i­toris by Lori MalepartTraversy (Con­cor­dia), De Racines et de Chaines by Fran­cis La­celle & Robert M. Lepage (INIS), Bounc­ing Blun­ders by Wil­liam Martin (Sheri­dan Col­lege)

Miyazaki, Ronja was pro­duced by NHK, NHK En­ter­prises and Dwango in col­lab­o­ra­tion with Stu­dio Ghi­bli and Saltkråkan, The Astrid Lind­gren Co., with an­i­ma­tion by Poly­gon Pic­tures.

An English lan­guage ver­sion of the 26-episode ti­tle is in pro­duc­tion in Lon­don (nar­rated by Gil­lian An­der­son and star­ring Teresa Gal­lagher as Ronja), to launch on Ama­zon Prime Video in the United States and United King­dom this fall.

The show has also been picked up by Univer­sum in Ger­many, which will re­lease four Blu-ray vol­umes in the run up to Christ­mas and hold a pro­mo­tional cin­ema re­lease. In­ter­na­tional broad­cast­ers now on­board in­clude Yowu (Spain), VRT (Bel­gium), Canal Once (Mex­ico) and Jeem TV (Mid­dle East). FEA­TURES Cy­ber Group Sets Iqbal as First Fea­ture to Dis­trib­ute re­leased in France in Au­gust to crit­i­cal ac­claim. The French-Ital­ian project is a co­pro­duc­tion of 2d3D An­i­ma­tion, Ger­tie and Mont­par­nasse Pro­duc­tions. TELE­VI­SION Bento Box, Daven­port Start Kids and Fam­ily Divi­sion James Cor­den ( Into the Woods) and Emmy nom­i­nee Ilana Glazer ( Broad City) are join­ing T. J. Miller ( Dead­pool) as lead voice cast mem­bers in Emo­ji­movie: Ex­press Your­self. Columbia Pic­tures will re­lease the film Aug. 11. ... Van­cou­ver- based Big Bad Boo Stu­dios ( 1001 Nights, Lili & Lola) in part­ner­ship with TVO Kids has OK’d pro­duc­tion on a new orig­i­nal an­i­mated se­ries, 16 Hud­son. ... Jane Fonda will be voic­ing an evil sor­cer­ess in the new TV movie Elena and the Secret of Avalor, which will pre­miere Nov. 20. ... A new orig­i­nal web­slin­gin’ toon will de­but on Dis­ney XD next year with the ar­rival of Marvel’s Spi­der­Man. Marvel An­i­ma­tion and Fam­ily En­ter­tain­ment SVP Cort Lane an­nounced the new show at New York Comic Con. ... DreamWorks An­i­ma­tion and Net­flix an­nounced that sea­son two of Voltron: Leg­endary De­fender will pre­miere ex­clu­sively on the stream­ing ser­vice on Jan. 20. ... Women in An­i­ma­tion awarded the 2016 Phyl­lis Craig Schol­ar­ship to CalArts stu­dent Tracey LaGuerre. She is a CalArts char­ac­ter an­i­ma­tion sopho­more, and stood out to the schol­ar­ship com­mit­tee for her pas­sion for sto­ry­telling and com­mu­nity ser­vice. ... Se­ries cre­ator Adam Reed has de­clared his in­tent to end his adult spy spoof com­edy Archer af­ter three more sea­sons, for an even 10. FX an­nounced it was re­new­ing the pop­u­lar show for three more short sea­sons of eight episodes each this sum­mer, just af­ter the fi­nale of sea­son 7. ... Pendleton Ward’s smash- hit se­ries Ad­ven­ture Time will end its run in 2018, Car­toon Net­work has con­firmed. ... Tit­mouse, Inc.’ s first fea­ture an­i­ma­tion project Nerd­land — di­rected by stu­dio co- founder Chris Prynoski — has been picked up for North Amer­i­can the­atri­cal dis­tri­bu­tion by Sa­muel Gold­wyn Films. ... Dis­ney is team­ing back up with The Jun­gle Book di­rec­tor Jon Favreau for a live- ac­tion re­make of The Lion King. ... Ge­nius Brands In­ter­na­tional is part­ner­ing with Rob Minkoff, di­rec­tor of Dis­ney’s The Lion King, and Shane Mor­ris, co- writer of Frozen, to de­velop and pro­duce a new an­i­mated preschool se­ries ti­tled Rain­bow Rangers.

(6’7”, Adri­ano Gazza, United King­dom) (3’17”, Leïla Cour­tillon, France)

In honor of the film’s 30th an­niver­sary, VIZ has is­sued a lovely new hard­cover cel­e­brat­ing Stu­dio Ghi­bli’s first fea­ture film. Di­rected by liv­ing leg­end Hayao Miyazaki, Cas­tle in the Sky fol­lows Sheeta, a girl with the power to defy grav­ity, who meets a young in­ven­tor named Pazu while on the run from pi­rates. To­gether, they ex­plore La­puta — a mys­te­ri­ous float­ing city built by a long-lost race. The book is packed cover to cover with gor­geous Ghi­bli art­work, cre­at­ing a vis­ual jour­ney from the film’s con­cept to cul­mi­na­tion, aug­mented by com­ments and in­sights from Miyazaki him­self. By Jerry Sch­mitz [Cameron + Com­pany, $45]

1En­joy 10 days of fan­tas­ti­cal shorts and fea­tures at the 26th Les Nuits Mag­iques in Bè­gles, La Hail­lan and Bordeaux. [les­nu­its­mag­] This week’s must-have discs? The Leg­end of Korra: The Com­plete Se­ries eight-disc set and David Ayer’s Sui­cide Squad. Gamers can also check out the­aters to­day. in

The Red Tur­tle, the first fea­ture by Os­car-win­ning di­rec­tor Michael Du­dok de Wit and the first in­ter­na­tional col­lab­o­ra­tion by the renowned Stu­dio Ghi­bli, presents an out­wardly sim­ple story that can be read on many lev­els in ways that re­call the work of Frédéric Back, Ji í Trnka and John and Faith Hub­ley.

Mov­ing, thought­ful and thought-pro­vok­ing, it in­vites the viewer to re­flect on man’s place in the world, his re­la­tion­ship to na­ture, the re­cur­ring cy­cles of life. Its sim­ple yet strik­ing vi­su­als stand in marked con­trast to the lav­ish stu­dio CG fea­tures of re­cent years. The Red Tur­tle won a Spe­cial Jury Prize at Cannes, beat­ing 17 live-ac­tion films.

Du­dok de Wit was al­ready a well-re­spected fig­ure in in­ter­na­tional an­i­ma­tion for his droll short The Monk and the Fish (1994), and the poignant Fa­ther and Daugh­ter (2000), which won the Grand Prix at An­necy, Hiroshima and Za­greb, and the Os­car for An­i­mated Short. He had con­sid­ered mak­ing a fea­ture, but felt his per­sonal, in­tu­itive ap­proach to film­mak­ing would clash with the col­lab­o­ra­tive meth­ods of stu­dio pro­duc­tion. All that changed when he re­ceived a let­ter from Isao Taka­hata and Toshio Suzuki of Stu­dio Ghi­bli, ask­ing if he would be in­ter­ested in mak­ing a fea­ture with them.

“It was one of the big­gest shocks of my life,” Du­dok de Wit said in a re­cent tele- phone in­ter­view from Lon­don. “I love Miyazaki’s and Taka­hata’s work, then to re­ceive a let­ter from Ghi­bli out of the blue, that just doesn’t hap­pen! Yet it hap­pened to me. My im­me­di­ate re­ac­tion was, ‘Yes! This is my chance!’ Ghi­bli is very au­teur-film ori­ented, they re­spect the di­rec­tor.”

Suzuki ex­plained: “See­ing his film Fa­ther and Daugh­ter made me want to watch a fea­ture-length film by Michael. There­fore, I asked if he would be in­ter­ested in mak­ing a fea­ture for Ghi­bli. His con­di­tion for agree­ing to do this was that Stu­dio Ghi­bli would pro- vide cre­ative guid­ance. I got Isao Taka­hata’s con­sent to be in­volved and the project took off.”

Like many artists be­fore him, Du­dok de Wit re­al­ized the leap from short films to a fea­ture would re­quire a steep learn­ing curve: “Fa­ther and Daugh­ter lasts eight min­utes and took me two years to make. The fea­ture film is 80 min­utes — 10 times longer — and I knew it wouldn’t just be 10 times the amount of work spread over the team: It would be much more.

“In a short film you have one idea, in my case sup­ported by one mu­si­cal com­po­si­tion, that’s it,” he says. “I elab­o­rate the idea un­til it’s reached its nat­u­ral end, whether that takes four min­utes or eight. When you make a fea­ture, you can ex­plore the char­ac­ters, the land­scape, the am­biances. You can use rep­e­ti­tion and ex­plore dif­fer­ences in mo­tions. I work in­tu­itively. For a short film, that’s easy, but a fea­ture film is more com­plex.” Spread­ing the Work Around

The shift to the longer for­mat also meant Du­dok de Wit would be work­ing with a crew of an­i­ma­tors and back­ground artists, rather than mak­ing the film by him­self. He would also be mak­ing the film in France, but vis­it­ing Ja­pan to con­fer with Taka­hata and Suzuki. The col­lab­o­ra­tion oc­cu­pied him for al­most 10 years.

“I’m ba­si­cally an an­i­ma­tor. I sit down and an­i­mate for eight to 12 hours in one go. I al­ways worked that way,” he says. “But when you’re a di­rec­tor, you’re spread all over, you’re in­ter­rupted all the time, you’re di­vided be­tween tasks and ev­ery task is in­cred­i­bly im­por­tant be­cause peo­ple are wait­ing for your opin­ion. I needed to learn how to ver­bal­ize my con­cerns and my wishes. It took me a long time to adapt to a new way of us­ing my brain.”

Du­dok de Wit de­cided to re­count the ad-

Last year was the cen­ten­nial of the Gal­lipoli cam­paign, a key World War I bat­tle fought in Turkey by Aus­tralian and New Zealand mil­i­tary forces try­ing to as­sist the Al­lies in gain­ing a sea route to Con­stantino­ple. The bat­tle dev­as­tated the Aus­tralian and New Zealand forces — the depth of the losses prompt­ing the cit­i­zens of those na­tions to start think­ing about de­ter­min­ing their fu­tures in­de­pen­dent of the Bri­tish monar­chy.

The bat­tle has been ex­ten­sively doc­u­mented Down Un­der, but never as in vet­eran doc­u­men­tary di­rec­tor Leanne Poo­ley’s fea­ture 25 April — her first an­i­mated project. Named for the day the na­tion’s forces joined the bat­tle in 1915, Poo­ley’s film vividly and cre­atively brings the re­al­ity of the bat­tle and the high cost paid by its par­tic­i­pants to cin­e­matic life with dev­as­tat­ing ef­fect.

The film played at the 2015 Toronto Film Festival and in the fea­ture com­pe­ti­tion at An­necy 2016. It had a short the­atri­cal run in Los An­ge­les in Oc­to­ber and is next set to play in Asia.

We caught up with Poo­ley to chat about the movie.

An­i­ma­tion Mag­a­zine: you to this ma­te­rial?

Leanne Poo­ley: 2015 was the 100th an­niver­sary of the Gal­lipoli cam­paign, so there was a view that it was a good time to re­visit the story. It also struck my pro­ducer, Matthew Met­calfe, with whom I’d made my pre­vi­ous film, Be­yond the Edge, that given the im­por­tance of Gal­lipoli on the New Zealand na­tional psy­che it was odd a fea­ture film had never been made about it here.

An­imag: At what point did you de­cide to make this with an­i­ma­tion? What were the in­flu­enc­ing fac­tors in that de­ci­sion?

Poo­ley: It was de­cided to make the film an an­i­mated doc­u­men­tary from the very be­gin­ning. Both Matthew Met­calfe and I were big fans of Waltz with Bashir, and we thought we might be able to use sim­i­lar tech­niques on our film. There have been many doc­u­men­taries made in New Zealand about Gal­lipoli. An­i­ma­tion gave us the op­por­tu­nity to tell the story in a com­pletely new way. If I’m hon­est, I wouldn’t have been not been ani-

An­i­ma­tion of­ten has been de­scribed as dream­like, and the cre­ators of the new Adult Swim se­ries Dream Corp LLC are tak­ing that idea lit­er­ally.

The new hy­brid Adult Swim se­ries, which de­buted its six-episode first sea­son Oct. 23, is a com­edy set in a slip­shod dream ther­apy clinic in which ab­sent-minded Dr. Roberts (Jon Gries) and his as­sis­tants enter the dreams of pa­tients to, sup­pos­edly, help them.

Cre­ated by Daniel Stessen, who pre­vi­ously di­rected the 2013 an­i­mated short The Gold Spar­row, the show uses ro­to­scop­ing and an­i­ma­tion for the scenes that oc­cur in pa­tients’ dreams.

The show has per­sonal ori­gins for Stessen, who suf­fered from night ter­rors and re­cur­ring dreams when he was younger. “I ended up go­ing to a ther­a­pist who did help me fig­ure out what was hap­pen­ing in my dreams, so I wasn’t afraid to go to sleep any­more,” he says. That com­bined with rapidly ad­vanc­ing tech­nol­ogy lead him to the idea for the show.

“And I thought there’s no bet­ter way to show that idea than through the beau­ti­ful and sur­real el­e­ment of ro­to­scope,” he says. “You still get the ac­tor act­ing, and we can make im­pos­si­ble shots out of that. I thought it was a per­fect mar­riage.”

To ex­e­cute his idea, Stessen turned to his friend Michael Garza, who was head an­i­ma­tor on The Gold Spar­row and worked on sim­i­lar se­quences in Richard Lin­klater’s 2006 Philip K. Dick adap­ta­tion, A Scan­ner Darkly.

A Crack Team Garza brought on an­i­ma­tors Jen­nifer Deu­trom and Greg Geisler to do the ro­to­scop­ing and an­i­ma­tion work on the show and set up a sim­ple pipe­line for them to work in.

“It was kind of tricky, be­cause I’m in Austin, Texas, and ev­ery­body else is in Los An­ge­les, so we cre­ated a share sys­tem of files,” Garza says.

Stessen says the dream se­quences are shot in live ac­tion and edited to­gether as they’ll ap­pear in the fin­ished episode be­fore they are handed off to Garza and his team. “We grab it and def­i­nitely have a lot of beer con­ver­sa­tions with Danny about his vi­sion,” says Garza. “But we just kind of take it from there and just start work­ing at it.”

Garza and his team di­vide each scene into in­di­vid­ual shots, assign them to one of the an­i­ma­tors and then be­gin paint­ing and draw­ing di­rectly on top of the im­ages, adding some of the more fan­tas­tic dream-like el­e­ments as they go.

“Some scenes might have mul­ti­ple char­ac­ters and some might just have one char­ac­ter and we kind of split them up nat­u­rally,” says Deu­trom. “There’s only three of us an­i­mat­ing, and Mike will assign maybe one of us to do a par­tic­u­lar char­ac­ter, but some­times it would be one per­son or it could be all three of us would draw the same per­son, so it was a very kind of in­tu­itive process.”

Garza says he works with a soft­ware script of his own in­ven­tion when ro­to­scop­ing. “Through the years I just had so much trou­ble with other soft­ware, I just kind of wanted to make some­thing that was easy for me to use,” he says. “And given that Jen­nifer’s worked in the field be­fore and then our other an­i­ma­tor, Greg, is also very fa­mil­iar with the tech­nique, they both picked it up pretty eas­ily.”

The most shots done for an episode in the first sea­son was about a hun­dred. Episodes re­quire any­where from four to seven min­utes of an­i­ma­tion out of a quar­ter hour, and each episode took gen­er­ally about a month to com­plete, Garza says.

“It was a pretty in­tense sched­ule com­pared to other ro­to­scope projects I’ve worked on,” says Deu­trom. “I came on a lit­tle later than Greg did, and Mike, of course, had been work­ing on it be­fore him, but right when we started work, there was no ram­pup time. It was just, get go­ing!”

When it comes to de­sign­ing dream­like el­e­ments for an­i­ma­tion, the ideas usu­ally started with Stessen. “It def­i­nitely starts with Danny’s vi­sion, and then we kind of we all work to­gether, talk­ing about, ‘This would look cool if it was this way or that way,’” says Garza, who was on set when the live ac­tion was shot.

“We have time to de­velop these con­cepts as it’s be­ing edited,” says Stessen.

The pi­lot screened at New York ComicCon in front of a crowd of about 2,600 peo­ple, which was a happy mo­ment and one of re­lief, says Gries. “They laughed at the jokes and they ooh-ed at the an­i­ma­tion, and their ap­plause was rous­ing,” he says.

As for the show’s fu­ture, Stessen says they’re wait­ing to see how the episodes play out, and hope to score a sec­ond sea­son or­der from Adult Swim. “If you know any­body over there, put in a good word for us,” he says. [

There’s never been a year as ro­bust for an­i­mated fea­tures as 2016, mak­ing this year’s Os­cars race one of the most com­pet­i­tive in the cat­e­gory’s 15 years of ex­is­tence. And that’s great news for an­i­ma­tion fans. The di­ver­sity of sub­ject mat­ter and tech­nique is as deep as ever, rang­ing from beau­ti­ful hand­crafted in­ter­na­tional fea­tures to a sub­ver­sive Rrated CG-an­i­mated hit, to some of the year’s big­gest box of­fice block­busters.

Here is An­i­ma­tion Mag­a­zine’s an­nual run down of the con­tenders for this year’s an­i­mated fea­ture awards race.

An­i­ma­tion Mag­a­zine #262 Stu­dio: LAIKA Dis­trib­u­tor: Fo­cus Fea­tures Re­lease Date: Aug. 12 Box Of­fice: $63 mil­lion world­wide ($47 mil­lion U.S. do­mes­tic) Di­rec­tor: Travis Knight Cast: Art Parkin­son, Char­l­ize Theron, Matthew McConaughey Rot­ten Toma­toes: 97 per­cent fresh Re­ac­tion: “Folks fa­mil­iar with the Ore­gon-based stu­dio LAIKA — the peo­ple re­spon­si­ble for the Freudian wak­ing night­mare Co­ra­line (2009) and the ten­der I-see-dead-peo­ple para­ble ParaNor­man (2011) — know that the com­pany has more or less set the stan­dard for mod­ern stop-mo­tion an­i­ma­tion. But with Kubo and the Two Strings, LAIKA doesn’t so much sur­pass its own pre­vi­ously set bar so much as de­mol­ish it. Watch­ing Kubo turn flat pieces of paper into tiny war­riors or an un­du­lat­ing origami swarm of birds, or an un­der­wa­ter swim­mer sur­rounded by float­ing eye­balls, or a cli­mac­tic stand-off be­tween our hero and a gi­ant, ser­pent-like spirit, you for­get you’re es­sen­tially watch­ing things be­ing painstak­ingly, mi­cro­scop­i­cally ma­nip­u­lated. And then you re­mem­ber that this is in­deed the prod­uct of artists work­ing with small fig­ures on a grand scale, and you find your­self star­ing at the on­screen sound and fury in awe. The work here is fluid and near-flaw­less — which is as apt a de­scrip­tion for the en­tire film as any.” — David Fear, Rolling Stone. Be­hind the Scenes: The non-hu­man pup­pets posed un­usual chal­lenges. Beetle looks like an origami sa­mu­rai, and was the first LAIKA char­ac­ter built with an ex­oskele­ton. “We had to al­low the in­ter­nal hard parts to ride over the in­ter­nal skele­ton,” says Ge­orgina Hayns, cre­ative su­per­vi­sor of pup­pet fab­ri­ca­tion. “There’s a soft foam core that sits around the ar­ma­ture and then all of these breast plates slide over the top of the ma­te­rial.” Beetle’s ar­mor it­self is made of Tyvek, which looks like paper but can’t be torn. Those prop­er­ties, how­ever, made it dif­fi­cult to paint, re­quir­ing a num­ber of tech­niques in­clud­ing rough­ing up the sur­face, dy­ing and spray paint to color it. Mon­key was an­other dif­fi­cult char­ac­ter, as LAIKA’s first fully furred pup­pet, Hayns says. “We ap­proached it more like a live-ac­tion body suit,” she says. “We built her ar­ma­ture and we built on top of it a mus­cle suit ... and then we cov­ered the mus­cle suit with a fur fab­ric suit.” As with the hu­man hair, the fur-like coat was combed through with sil­i­cone to cre­ate a styl­ized ef­fect that was easy to an­i­mate and avoided chat­ter. The sis­ters — since they’re twins, they are por­trayed with iden­ti­cal pup­pets dif­fer­en­ti­ated by their choice of weapon — were all about the cape. Hayns says her team de­signed a cape that could trans­form into wings as the story called for and be used in ev­ery shot (save one) needed for the movie. Awards Chances: Each of LAIKA’s pre­vi­ous films has been nom­i­nated for the Best An­i­mated Fea­ture Os­car — though none have taken home the stat­uette. Kubo is the strong­est film LAIKA has made to date, as well as one of the year’s best films of any type. If crit­i­cal praise were the defin­ing cri­te­rion, it would have the gold locked up, but the film’s box of­fice has not — to date — per­formed as well as its pre­de­ces­sors and it has earned a mere frac­tion of its bil­lion-dol­lar-gross­ing com­peti­tors. The Os­cars like to pre­tend those fac­tors don’t mat­ter, but they clearly do — if not enough vot­ers have even seen the film, its chances of vic­tory are slim. But the qual­ity is there, as is a bit of celebrity fac­tor with the ris­ing star of the highly lik­able Travis Knight. A strong cam­paign that gets Knight out there and makes sure peo­ple see the movie could com­ple­ment the cre­ative as­pects well enough to put Kubo over the top. An­i­ma­tion Mag­a­zine #258 Stu­dio: Walt Dis­ney An­i­ma­tion Stu­dios Dis­trib­u­tor: Buena Vista Re­lease Date: March 4 Box Of­fice: $1 bil­lion world­wide ($341 mil­lion U.S. do­mes­tic) Di­rec­tor: By­ron Howard and Rich Moore; Jared Bush, co-di­rec­tor Cast: Gin­nifer Good­win, Ja­son Bate­man, Idris Elba Rot­ten Toma­toes: 98 per­cent fresh Re­ac­tion: “The film that un­folds from these begin­nings is in many ways a con­ven­tional one, but it un­folds with so much wit, panache, and vis­ual in­ge­nu­ity that it out­strips many a more high-con­cept movie. Its lessons about tol­er­ance, di­ver­sity, and racial pro­fil­ing may be fa­mil­iar, but they are de­liv­ered with a con­vic­tion that is never cloy­ing and fre­quently a touch sub­ver­sive. (As when Judy de­scribes Nick as ‘ar­tic­u­late,’ or pa­tiently ex­plains, ‘A bunny can call an­other bunny “cute,” but when some­one who’s not a bunny …’) “Vis­ually, the film is a giddy de­light, bright and in­ven­tive. Given the wildly vary­ing sizes of their mam­malian cast — from ham­ster to rhino — the direc­tors By­ron Howard and Rich Moore and the co-di­rec­tor Jared Bush have par­tic­u­lar fun with scale and perspective. One mo­ment Judy is too small for her world, un­able to reach the rim of the po­lice depart­ment toi­let with­out leap­ing; the next she is too large, ram­pag­ing through the Habi­trails of Zootopia’s ‘Lit­tle Ro­den­tia’ neigh­bor­hood. And don’t get me started on the movie’s joy­ously wicked sendup of The God­fa­ther, in which Mr. Big, a tiny arc­tic shrew, at­tends his daugh­ter’s wed­ding sur­rounded by gar­gan­tuan po­lar-bear heav­ies.” — Christo­pher Orr, The At­lantic. Be­hind the Scenes: 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 bunny who leaves Bunny Bur­roughs for the big city and a job as Zootopia’s first bunny 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 has to re­turn home a fail­ure. While ear­lier ver­sions fo­cused on the Nick char­ac­ter, it be­came clear in the fall of 2014 — a scant 18 months or so be­fore the movie was to be re­leased — that the story was about Judy. “A lot of stu­dios would say, we can’t do any­thing about it,” says Rich Moore, who joined the pro­duc­tion around this time as di­rec­tor, bring­ing along crewmem­bers like his Wreck-It Ralph head of story Jim Reardon. “But we are so lucky to have a boss in John Las­seter, who is not afraid to — when the right idea presents it­self — say that’s what the story wants to be, that’s the right way to go, let’s make that change.” Re­work­ing the story at that point was less about a com­plete re­vamp than be­ing cre­ative with the work that had al­ready been done, Moore says. “The city it­self didn’t change and the char­ac­ters, for the most part, were rooted in who they al­ways were,” says Moore. “But it was a me­chan­i­cal change of how do we ser­vice our themes and our tone and pit these char­ac­ters against one an­other the best way pos­si­ble.” Awards Chances: Men­tioned last in this sec­tion by virtue of al­pha­bet­i­cal con­ven­tions, Zootopia has all the ear­marks of a front-run­ner that could win the race walk­ing back­wards with 50-pound weights at­tached to its feet. Aside from be­ing a huge hit, vis­ually stun­ning and the best-look­ing CG pic­ture Dis­ney has ever made, Zootopia works on a story level that’s on par with any­thing Dis­ney (or any other stu­dio or film­maker) has pulled off in many a year. A vet­eran of The Simp­sons, Moore brings to Dis­ney that show’s knack for nail­ing top­i­cal is­sues with laugh-out-loud com­edy. But it’s the depth that it’s taken to in Zootopia — all wrapped up in an in­cred­i­bly fun, ap­peal­ing and sat­is­fy­ing story — that re­ally sets this apart as the film to beat.

The Red Tur­tle tells with­out di­a­logue the tale of a man stranded on a de­serted is­land.

Aus­tralian and New Zealand sol­diers man the trenches in the bat­tle of Gal­lipoli, a key World War I bat­tle dra­ma­tized in the an­i­mated doc­u­men­tary 25 April.

A ro­to­scoped ver­sion of Nicholas Rutherford, who plays Pa­tient 088, en­ters his dream world in Adult Swim’s new com­edy Dream Corp LLC.

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