TELEVISION Mike Judge’s ‘Tour Bus’ Greenlit by Cinemax
Beavis and Butt-Head and King of the Hill creator Mike Judge is returning to animation, with Cinemax placing an eight half-hour episode order for the country-music themed cartoon Mike Judge Presents: Tales from the Tour Bus.
Co-created by Judge, musician Richard Mullins and Dub Cornett (co-writer, The Last Ride), the series will chronicle the on-the-road adventures of eccentric country music stars. Judge and Cornett executive produce, with Bob Engelman ( The Mask) as co-EP and Mullins as producer. Illumination Entertainment has adjusted its release schedule with The Secret Life of Pets 2 knocked back a year to July 3, 2019; Minions 2 coming forward to July 3, 2020; and Sing 2 set for Christmas Day 2020. ... Shout! Factory and Toei Animation inked a deal to bring the Digimon Adventure tri. anime movies to North American home viewers. ... China will be the guest country for this year’s Annecy International Animated Film Festival and MIFA. ... Fox Searchlight acquired worldwide rights to Wes Anderson’s stop-motion animated feature Isle of Dogs, which is being produced by Indian Paintbrush in London and due out 2018. ... The Weinstein Co. will release Leap!, a FrenchCanadian CG animated feature set in a late 19th century Paris ballet school, on March 3. ... SC Films picked up international sales rights to Pachamama, the first 3D CG feature film produced by Damien & Didier Brunner’s company, Folivari. ... Belgium-based Studio 100 N.V. acquired a majority interest in German brand management and media company m4e AG. ... Quebec-based Squeeze has come onboard Troll, the Tale of a Tail, an animated feature film set to be 100 percent produced in Canada. ... Vancouver’s ConVRter Technologies Inc. and Conxion Creativa of Colombia have joined forces to form Last Studio Standing Inc., which it claims is the largest hand-drawn animation studio in the Americas. The studio’s focus will be on sci-fi animated features and TV productions, including science-based kids’ content as well as adult-targeted co-productions. ... Indie distribution company DRG has partnered with BAFTA-winning Wildseed Studios to fund pilots in Q1 2017 and distribute Wildseed’s content. ... Sony Pictures Home Entertainment expanded its partnership with Genius Brands to include worldwide marketing and distribution of the Kid Genius and Baby Genius labels and properties. SPHE also has taken an equity stake in Genius Brands. ... Writer-director Makoto Shinkai’s critically acclaimed animated blockbuster Your Name. will be coming to North American theaters on April 7, 2017 through Funimation Films.
Brad Bird will be honored with the Cinematic Imagery Award from the Art Directors Guild at its 21st Annual Art Directors Guild’s Excellence in Production Design Awards. ... In recognition of the first animated feature adaptation of Antoine de SaintExupéry’s classic novella The Little Prince, director Mark Osborne is being named a Chevalier (or knight) of France’s Order of Arts and Letters. ... Deluxe Entertainment Services has tapped Kerry Shea to head its 500-person Vancouver studio, overseeing day-to-day operations for the company’s global visual effects brand Method Studios and TV post & VFX brand Encore. ... Zoe Saldana joins the voice cast of Hasbro’s My Little Pony: The Movie, due in theaters Oct. 6. ... Sarah Levy has been promoted to the new role of COO of its Viacom’s Global Entertainment Group. She previously was COO of Viacom Kids & Family Group. ... ACM SIGGRAPH has selected Mikki Rose as the SIGGRAPH 2019 Conference Chair. ... Julia Bond has been appointed BBC Children’s first Commissioning Executive for Scotland and Northern Ireland, effective March 1. ... Deirdre Brennan has been tapped as GM of Sprout. Tyrus Wong, the driving force behind the design of Walt Disney’s Bambi (1942), died Dec. 30. He was 106. Carrie Fisher, known worldwide for playing Princess Leia in Star Wars, died Dec. 27 shortly after suffering a heart attack. She was 60. [
Bendazzi’s epic undertaking to map the full history of animated entertainment — from ancient artists’ use of implicit movement to the modern global industry — actually came out over a year ago. But, I finally received a set of my own, and I am eager to join historian-educators Maureen Furniss and Tom Sito in enthusiastically endorsing it.
Continuing the scholarly work of 1994’s Cartoons, Animation seeks to go beyond the household names to uncover the innovators and turning points at risk of erasure from the global memory. Bendazzi lays out his narrative first chronologically, then regionally. The increasingly hefty books are sectioned into eras defined by turning points: The First Period (0-1908), or “Before Fantasmagorie”; The Second Period (1908-1928) “The Silent Pioneers”; The Third Period (1928-1951) “The Golden Age”; Vol. 2 covers The Fourth Period (1951-1960) “The Birth of a Style” and Fifth Period (1960-1991) “The Three Markets”; and Vol. 3 is solely devoted to “Contemporary Times.”
While there are a good number of photographs and stills, the blackand-white encyclopediae comfortably rely on informative storytelling — which, especially with the early materials, does a better job of describing the works and their importance than an image gallery could. Bendazzi and his contributing writers strike a great balance of fact and narration, making scholarly valuations without bogging the text down in academic jargon.
The cost may seem like a heavy outlay, but it is negligible in the face of the research, parsing of information, organization and sourcing that went into Animation (the bibliography can easily send you down several brand-new research rabbit holes). Besides, all three volumes are also available on Kindle for a considerable price break.
8Over 50 animated feature projects will be vying for financiers’ and buyers’ attention at Cartoon Movie in its new Bordeaux location. [cartoon-media.eu] adaptation — better cancel my 4 o’clock meeting, too. Today also marks the start of WonderCon Anaheim, Calif. [comic-con.org/wca] in
The iconic Album store in Paris will test the wallets, the bookshelf space and the ability to read French of animation fans of any age or persuasion. By Charles Solomon.
Batman’s been through a lot since he debuted in the pages of Detective Comics #27, but it’s taken until now — more than 75 years later — for anyone to have the kind of serious fun with the character seen in The LEGO Batman Movie, which arrives Feb. 10 in theaters from Warner Bros.
“He’s been interpreted a lot of different ways, from the comic books to the Adam West stuff, to Super Friends to Frank Miller and Tim Burton and Christopher Nolan and all of that,” says director Chris McKay. “And yet we were looking for a new way into this story, this character — a way that only we could do it. And one of the things we thought of, or had observed, from the history of Batman is that no one’s ever really gone at Batman’s central problem. Which is: Can Batman be happy? Can Batman get over the thing that happened to him when he was a little kid, the murder of his parents?”
That’s a big question, but it’s one that
bring to the big screen an action-packed and emotional take on the life of the Caped Crusader. By Tom McLean.
helped McKay when he pitched the idea to Warner Bros. and LEGO as something like “Jerry Maguire or About a Boy, but as directed by Michael Mann.” That didn’t even get to the sense of humor, which McKay says he wanted to be along the lines of the 1981 classic Airplane!, in that there were going to be a lot of jokes and there would be some for adults and some for kids. (It was important to McKay to make the movie family friendly, as the most recent Batman films — Nolan’s trilogy and last year’s Batman vs. Superman: Dawn of Justice — are geared toward an older audience, leaving kids without a chance to see the Caped Crusader on the big screen.)
The movie features as the voice of Batman Will Arnett, reprising the role from 2014’s The LEGO Movie; with Michael Cera as Robin; Zach Galifianakis as Joker; Ralph Fiennes as Alfred; Rosario Dawson as Batgirl; and Billy Dee Williams as Two-Face (finally!).
really create a lot of life behind the eyes of these characters, those were the challenges. And the animators — I had a great group of animators and amazing animation leads who were super game and up for the task and fought really hard all the way.”
The schedule on the movie was especially tight, encompassing about two and a half years from starting with a treatment to the final movie. Animated entirely at Animal Logic in Sydney, Australia, Coleman says he started with three animators on the movie in April 2015, with a slow build up to the bulk of the animation, which started in September 2015 and ran through December 2016. In all, about 60 animators worked on the film, with 49 working at the same time being the largest crew. Animators were completing about six seconds of work per week.