TELE­VI­SION Mike Judge’s ‘Tour Bus’ Green­lit by Cine­max

Animation Magazine - - Frame- By- Frame -

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.

Di­rec­tor Chris McKay wanted LEGO Bat­man Movie to have a big­ger scale and a Gotham City that looked as good as it has in any of the live- ac­tion Bat­man films.

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