FEA­TURES Plymp­ton’s Toon School Re­opens in Jan­uary

Animation Magazine - - Frame- By- Frame -

Mul­ti­ple award-win­ning and two-time Os­car nom­i­nated an­i­ma­tor Bill Plymp­ton will re­open the Plymp­ton School of An­i­ma­tion for a twom­onth in­ten­sive course both on site at the Plymp­toons stu­dio in New York City’s Chelsea neigh­bor­hood, and on­line.

Start­ing Jan. 9, the hand-drawn an­i­ma­tion mae­stro be­hind Cheatin’ and Guard Dog (among many oth­ers) will give Mon­day night lec­tures in his stu­dio cov­er­ing ev­ery phase of mak­ing an an­i­mated short. The last ses­sion will fea­ture a screen­ing of all the re­sult­ing an­i­ma­tion from the course, with the goal of cre­at­ing fes­ti­val-wor­thy films.

Each grad­u­at­ing stu­dent will re­ceive a for­mal de­gree from Bill Plymp­ton’s An­i­ma­tion Univer­sity. Tu­ition is $2,000. Plymp­ton will also of­fer the lec­tures as a weekly, pri­vate on­line course for a $1,000 fee, which in­cludes two pri­vate re­view ses­sions via Skype. Email in­quiries to stu­dio@plymp­toons.com.

[mole­sk­ine.com, $19.95]

4Toast 2016’s an­i­mated achieve­ments with the 44th An­nie Awards! [an­nieawards.org]

wanted us to look for the hu­man in­side each char­ac­ter,” writes Guil­lion through a trans­la­tor in an email to An­i­ma­tion Mag­a­zine. “To tell you the truth, this is not an an­i­mal movie. It is, first of all, a hu­man ad­ven­ture. That ex­plains why there is a cer­tain styl­iza­tion of the char­ac­ters, in or­der to keep it es­sen­tial, to pre­vent the eye from stop­ping on a too-com­pli­cated de­tail. We wanted the ex­pres­sion, the act­ing, to pre­vail.”

Guil­lon, who helped Jen­nings bring a huge ensem­ble cast into the movie, had to work on an ar­ray of an­i­mals and find a way to make each one re­lat­able and sym­pa­thetic.

“There is no char­ac­ter that is easy to ap­proach; some are even more dif­fi­cult than oth­ers,” writes

Makoto Shinkai’s global break­out anime fea­ture Your Name. wins hearts hon­estly via body swap­ping, nat­u­ral dis­as­ters and dreams that tran­scend time, and vies for awards gold. By Tom McLean.

ment of time dur­ing the day where you could sort of tran­scend dif­fer­ent lives and di­men­sions, if you will.”

A Stel­lar Shakeup The earth­quake and tsunami that rav­aged Ja­pan in 2011 was said to be an event that oc­curred ev­ery thou­sand years, Shinkai says, prompt­ing him to think about a re­cur­ring nat­u­ral dis­as­ter as a plot de­vice, lead­ing di­rectly to him us­ing the comet crash as the flash­point for the story’s events.

De­vel­op­ing th­ese ideas into a screen­play

know, ev­ery­one says it’s for kids and I’ve al­ways sort of bat­tled that a lit­tle bit.”

Af­ter fund­ing on an­other project fell through, Mort re­turned to do “one more Chuck Steel film in my base­ment on my own” and sent a 30-sec­ond teaser to friend and pro­ducer Joseph D’Mo­rais. D’Mo­rais man­aged to raise fund­ing for a 15-minute short called Chuck Steel: Rag­ing Balls of Steel Jus­tice, which pre­miered at the U.K. film fes­ti­val FrightFest in 2013, where, he re­calls, it “went down a storm” and got the duo the green light to de­velop a full-length, R-rated fea­ture. Dirty Work Tram­pires now has around 20 an­i­ma­tors work­ing across 25 sets and pro­duc­ing roughly a minute’s worth of footage a week. For

Garth Jen­nings

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