The Cat’s Re­gret (Le Chat Qui Pleure) Di­rected by Alain Gag­nol

Animation Magazine - - Frame- By- Frame - By Mo­jtaba Moosavi

Y Alain Gag­nol Phantom Boy, A Cat in Paris with imag­i­na­tion. His short Le Couloir The Gorge) was nom­i­nated for an An­necy The Cat’s Re­gret is bound to at­tract lots of at­ten­tion as well.

Le Couloir, which was about a man hired to stay seated on a chair all day long to watch over a cor­ri­dor,” he says. “Now, in have al­ways found it in­ter­est­ing to show im­mo­bil­ity in an an­i­mated movie. I think

gian stu­dio Lu­nanime), a young boy who can’t stand his younger brother learns a

The Cat’s Re­gret, I wanted to tell the story of a boy who has the strong de­sire to kill his younger mated movie!”

The fre­quent Folim­age col­lab­o­ra­tor says the short for­mat re­quires a cer­tain a bit like the dif­fer­ence be­tween a novel and a short story. Cre­ation is all about of stories.”

When asked to name some of his fa­vorite an­i­mated shorts, Gag­nol is quite ity in short movies and the dif­fer­ent kinds of vi­su­als. It’s a for­mat that is very much same kind of art in or­der to make more money!”

Ál­varez says most of the work was done by her­self, with the aid of trainees from Brus­sels’ La Cam­bre school. She used TVPaint to

but they only worked be­tween one and three weeks each,” she notes. “I did

She says one of her big­gest chal­lenges was boil­ing down all her many trate his­tor­i­cal facts with­out be­ing too di­dac­tic,” says the di­rec­tor. “And, of Ál­varez ev­ery­one knows that an­i­ma­tion is not only for chil­dren, but it’s also a very in­ter­est­ing way to share ideas and feel­ings.”

at the same time.”

When an­i­ma­tion di­rec­tor Luis Usón was in his early twen­ties, he toons and, for some rea­son, al­ways rooted for char­ac­ters like Wile E. Coy ote or Sylvester who never seemed to catch their neme­ses. That’s how the After­work was formed.

worked on After­work

“Our big­gest chal­lenge was cre­at­ing a clas­sic car­toon char­ac­ter

— There is a very in­ter­est­ing video anal­y­sis by him on ARTE chan­nel,

tional value to me, but some­times they wouldn’t mean any­thing to

grate­ful that ev­ery­thing worked out the way it did!”

Ira­nian an­i­ma­tion di­rec­tor Mo­jtaba Moosavi Mr. Deer faces and have for­got­ten hu­man­ity.

room that had to look like a sub­way train. “You can see dolly shots in

Mr. Deer as a fea­ture. with Mr. Deer. We are ac­tu­ally in talks to work on the movie with an

Look­ing back at the last two years, he adds, “Mak­ing a short with

A huge fan of Aardman An­i­ma­tions and LAIKA, Moosavi is keen to ies such as The Box­trolls, Chicken Run and Kubo,” he adds. “I am also a big fan of Wes Anderson’s movies. Fan­tas­tic Mr. Fox is awe­some!”

a time,” adds Kub­ota. “Now, of course, ev­ery­thing is CG. The good thing about dig­i­tal tech­nol­ogy with. On the other hand, though, it lacks ana­log an­i­ma­tion’s warmth. At least that’s what I feel.

and movie the­aters.

Kimba, Princess Knight, Black Jack, Phoenix and many more of the mas­ter’s char­ac­ters con­tinue rich le­gacy lives on. For more info, visit tezukaosamu.net/en.

One of Brazil’s hottest an­i­mated fea­tures this year is Tito and the Birds The End of the Line Ci­dade Cinza) and An­dré Say I Am Only Seven­teen), the movie fol­lows the with his own iden­tity.

The movie fea­tures an orig­i­nal score by Gus­tavo Kur lat and Binho Fef­fer, who also did the mem­o­rable score for Boy and The World

The an­i­ma­tion of Tito and the Birds was han­dled by Mon­ica’s Gang, Yel­low Wood­pecker Farm, Wee Boom). clude 2096: A Story of Love and Fury , An­other Day of Life Noah’s Ark. Pro­duced by Fabi­ano Gul­lane and Wal­ter Salles. A retelling of the Bib­li­cal story fea­tur­ing songs by Vini­cius de Mo is han­dling in­terna tional sales.

City of Pi­rates. Di rected by Otto Guer world of the car­toon­ist and his an­i­mated char­ac­ters.

The For­eigner. Di­rected by Cristal win­ners Luiz Blog years, but never over­comes the daily strug­gle to re­con cile the dif­fer­ences be­tween her Catholic faith and the mystical world views of the Yanomami.

I sen­sus is the nat­u­ral en­emy of a good idea. And I’m much bet­ter in meet­ings than at meals.

bal­a­bala words that we must say.”)

Bour­lon, the founder and CEO of the Bel that one of the rea­sons Hans bought us was to about a dozen an­i­mated shows on all the lead stand China.” I didn’t have the heart to tell Hans that no one un­der­stands China, not even the Chi dles, “You know, we Chi­nese have been con­fus­ing our­selves for cen­turies.”

ron Gomes, the Sin Asia. Sharon un­der the world bet­ter than I, and she’s led the charge for P. King Duckling on Dis­ney Ju­nior in the U.S., and Su­per Wings

ment agency that over­sees all me­dia, will be ground rules for how con­tent is made and dis trib­uted in China, in­clud­ing in­ter­na­tional an ima­tion. These re­forms have not been widely cov­ered out­side of China, but in­side China — on so­cial me­dia, and in the lo­cal trades — ev­ery one’s talk­ing. dia, ra­dio and tele­vi­sion; the emer­gence of a and broad­cast; and the net­work’s ‘man­age­ment blind side’ have now be ket, but at the same time, they also itive com­mu­ni­ca­tion from either the tra­di­tion led to a de­cline in govern­ment cred­i­bil­ity. This

af­ter each of our meet­ings to ask our Chi­nese friends and col­leagues what they thought folks like us. How would the changes af­fect tions? Would sell­ing con­tent into China

The GM of one of the big­ger global that the govern­ment cared about. Now they to work quickly to get new con­tent out. Soon, there will be quo­tas on ev­ery­thing. The cur­tain is clos­ing on for­eign con­tent in China.” Dur­ing ges­ture with both his arms to il­lus­trate a cur tain clos­ing. Ev­ery­one in the room swal­lowed hard.

But an­other old friend with ties to the Chi nese govern­ment took a more re­laxed view. Over a din­ner which in­cluded sev­eral here stay mod­ern. So maybe there will be a few new

B Rich — in­tro­duced sev­eral fe­male char­ac­ters ing their hey­day. Lit­tle Dot, Lit­tle Lotta and Lit­tle Au­drey were col­or­ful and whole­some char­ac­ters that echoed the stan­dards and

This month, the three girls have been re de­signed and re­tooled for the dig­i­tal age and will be the stars of their own DreamWorks/ Har­vey Street Kids. The show fol­lows their ad­ven­tures as they ex se­ries seems to be a won­der­ful re­turn to a to their dig­i­tal de­vices and se­dated with en

to do a show that was re­ally car­toony and cen­tered on three strong, dis­tinc­tive fe­male artist and writer whose many cred­its in­clude Dis­ney’s Phineas and Ferb, Mickey Mouse and Star vs. The Forces of Evil. “The take was, what if

on such di­verse shows as The Simp­sons, Ro­bot Chicken and Dawn of the Croods al­ways feels like it’s sum­mer or the week­end on the show. We don’t have any adult char­ac­ters, and it’s a to­tal kid so­ci­ety — all set dur­ing that time af­ter school or be­fore you go home to din dy­nam­ics that are re­ally time­less and uni­ver­sal.”

sion­ate on the show. Also, in our show Dot is African Amer­i­can, as we wanted to bring di ver­sity to Har­vey Street so that it re­ally re

For the show’s vi­su­als, the cre­ative team af­ter­noon” feel­ing and mood of child­hood. “We

Ev­ery­thing old is new again, and Moose and Squir­rel are back in a big way this year. Jay Ward, Alex Anderson and Bill Scott’s beloved an­i­mated char­ac­ters Rocky and Bull­win­kle, who made their TV de­but mod­ern an­i­mated DreamWorks se­ries, which be­gan stream­ing on Ama­zon in May.

Su­per­noobs, Big Time Rush, Johnny Test) and Jay Ward’s daugh­ter, Tif­fany Mr. Pe­abody & Sher­man, Ge­orge of the Jun­gle) fol­lows the ad­ven­tures of the clever Butera) are there to make their lives more

Fel­lows, an an­i­ma­tion vet­eran whose many cred­its in­clude stints on Dis­ney’s Doug and Nick’s The Fairly Od­dPar­ents, tells us that he Su­per­noobs and was think­ing about what to do next new Rocky and Bull­win­kle show. “I thought it was kismet,” says Fel­lows. “You don’t get of fered to run such a leg­endary show from such a leg­endary cre­ator ev­ery day. It was truly a

“There are a hand­ful of char­ac­ters in TV ani ma­tion that are as lov­able as Rocky and Bull win­kle,” he adds. “Bull­win­kle is so sweet and clas­sic best friend who al­ways goes along with They made you laugh, and you al­ways rooted for them. There was also this gen­uine sweet­ness un­der all the hu­mor. Of course, Bill Scott and June Foray were amazing as the voices.”

and a half ago and hit the ground run­ning. col­lab­o­ra­tive ef­fort be­tween the writers and

cool look cre­ated by vet­eran char­ac­ter de signer and art di­rec­tor Chris Mitchell, who also worked on DreamWorks’ The Mr. Pe­abody & Sher­man Show. “Thanks to Chris’s work, we says Fel­lows. “When I came on board, it was Some of the artists came from the Pe­abody & Sher­man Our goal was to have some­thing that is styl ized, mod­ern and beau­ti­ful, and winks at the his­toric ori­gins of these amazing char­ac­ters.”

Fal­lows says he was a huge fan of the Warner Bros’ Ter­mite Ter­race artists and the he re­calls. “All those clas­sic Chuck Jones and Robert McKim­son shorts and the mu­sic they used — they’re all in my head. All the great sil li­ness, wild sto­ry­lines and amazing char­ac­ters me through my ca­reer at Nick­elodeon, too … I much TV these days!”

When brothers Shane and Chris Johns, Michi­gan, they were used to

Years later, when they moved to New York show called Big City Greens this month on Dis­ney Chan­nel.

Grav­ity Falls, My Life as a Teenage Ro­bot), fol­lows the tri­als of a mis­chievous coun try boy named Cricket Green who moves to the big city with his sis­ter, Tilly, and their fam­ily.

dreams and sit­u­a­tions,” says Shane. “Kids can feel like an out­sider and alone at some stage in their won’t al­ways be new and un­fa­mil­iar to you.”

and that’s what we wanted to bring to the show.”

Chris and Shane were work­ing on the Nick elodeon se­ries Har­vey Beaks when they started to think about ideas for Big City Greens. That’s room at Dis­ney, where the writers lay down says Chris. “Then we work closely with sev­eral with so much cre­ativ­ity. It’s a very col­lab­ora or­gan­ism that evolves with each take.”

The brothers, who are also known for creat Reed Gun­ther cow­boy), tell us that work­ing on an an­i­mated

A FLCL Fooly Cooly) FLCL Pro­gres­sive and FLCL Al­ter­na­tive. Pro­gres­sive

FLCL, it blew us away,” says Ja­son DeMarco, senior VP and cre­ative FLCL for the cur­rent gen­er­a­tion, we couldn’t re­sist the chal­lenge.”

Di­rec­tor Kazuto Arai’s in­volve­ment with the new se­ries grew out of what he thought was Six Hearts Princess, I met char­ac­ter de­signer Chikashi Kub­ota, who asked if I wanted to work on the sto­ry­board for the new FLCL,” Arai re­called in

lar as FLCL won the orig­i­nal its fans, yet break enough new ground that it doesn’t feel like a re­run. of Pro­gres­sive vince the fans that it is a se­quel to FLCL, but sode the orig­i­nal FLCL fo­cused on ‘de­vi­a­tion from the ev­ery­day life.’ traor­di­nary world.”

Fooly Cooly had a free­wheel­ing nut­ti­ness When Arai talked to the orig­i­nal di­rec­tor, Ka zuya Tsu­ru­maki, the older artist urged him to fol­low that model. “Di­rec­tor Tsu­ru­maki said that he wanted the new FLCL to be made with a young cre­ator’s in­stincts. When he made the orig­i­nal FLCL same in the new FLCL.”

The orig­i­nal Fooly Cooly about the drea­ri­ness of life in his home­town here. Only the or­di­nary.” Min­utes later, all hell

Théo de Mar­cousin) about an imag­i­na­tive boy’s friend truly dumb­founded that he story, which is called Os­car and Hoo,” re­calls Erbes, who na­tional chil­dren’s me­dia be­came a best­seller in the U.K. and asked for a Os­car and Hoo For­ever).”

Of course, the book’s beau­ti­ful story and lush illustrations made it a nat­u­ral for a TV the stu­dio’s cre­ative team, which in­cluded show as a chil­dren’s se­ries. “We changed the lives next door, and re­named it Ella, Os­car & Hoo the CNC and PROCIREP/ANGOA, we were all

Dis­cov­ery MENA — and many other broad

Ella, Os­car & Hoo by Nor­maal, at their An­goulême and Paris stu feel­ings and the en­ergy of child­hood.

ing from Michael’s use of wide frames and size ra­tio be­tween char­ac­ters and back­grounds. The essen We also in­tro­duced in each sive, ab­stract se­quence to moment — an homage to Michael’s other shorts such Father and Daugh­ter and The Aroma of Tea — which is what many call the lost emo­tion and each day is a new ad­ven­ture where Ella, Os­car and Hoo are learn­ing from each other,” he notes. “Be­cause when you’re a

The team be­hind Ella, Os­car & Hoo yond the lim­i­ta­tions of their room and elec level,” notes Erbes. “The na­ture around them dis­cov­er­ies, big emo­tions and fun daily ad­ven tures, which are a mix­ture of re­al­ity and kids’ out in the sky.”

“Hol­ly­wood and the big an­i­ma­tion stu­dios are look­ing to see how it these for­mats — vir­tual re­al­ity, aug­mented re­al­ity, ex­tended re­al­ity? You have ing the stories when you know it will be in­ter­ac­tive? All of these dif­fer­ent for­mats have dif­fer­ent ways to bring the same ideas and feel­ings to the

how these stories in­ter­act with the au­di­ence so that it’s be­liev­able, and doesn’t show the ma­chin­ery the au­di­ence, while re­tain­ing the be­lief in the sto­ry­telling by the artist and the au­thor. The way the a sto­ry­teller would change the way a story is told to match the au­di­ence. Piggy

I tive Doo­dle, cel­e­brat­ing the magic and ge­nius of French age to the trail­blaz­ing artist and illusionist on the re­lease À la con­quête du pôle The Con­quest of the Pole

Di­rected by Hélène Ler­oux fre­quent Google Doo­dle an­i­ma­tor) and François-Xavier “Fx” Goby The Story of an Idea, To Build a Fire), Back to the Moon is also one of the VR shorts show­cased at An­necy

“Google’s Doo­dle guide­lines are to ed­u­cate Trip to the Moon). He was a true search his work. We also want to en­ter­tain au­di­ences, so most of his back­grounds, so for the de­signs I wanted to the nar­ra­tive is set in a toy store. We didn’t want too many tiny de­tails, so you can clearly fol­low the ac­tions and ex

Ler­oux and Goby re­ferred to the work of the great ani Pup­petoons. “He had

you no­tice that all his de­signs and crea­tures were very ic way of de­sign­ing char­ac­ters. They are charm­ing as well.

When asked about the method­ol­ogy of their cre­ative called Rain or Shine at Nexus,” he duc­tion, de­sign, re­search, story ed when we add lay­ers to it. Once

er­ing all the var­i­ous lev­els of in­ter­ac­tiv­ity, try­ing to an­swer ex­actly all the dif­fer­ent things and beats that you go­ing to the same time.”

sim­i­lar soft­ware to what they use to cre­ate reg­u­lar CG an ima­tion. “We use all the tools that we use in our stu­dio;

Ler­oux and Goby be­lieve more col­lab­o­ra­tive and de­liver es in the fu­ture. “Those tools al­ready ex­ist in the VR world,” sayd Goby. “How­ever, as long as these worlds by them­selves, they still miss the ex­cite­ment that you can have when you watch a movie in a big the­ater ence any­more.”

go­ing to work or com­ing out of a train sta­tion,” notes Ler­oux. con­nect with the story. He used all his ma­gi­cian tricks that un­der­stood back then that tech­nol­ogy was there to serve

no. They’ve gone from that to Space Ex­plor­ers: A New Dawn

Right now, they’re not able to di­vulge much

Malaysia has been switch­ing up gears and in­creas­ing its pace of de­vel­op­ment with the cre­ative con­tent in­dus­try — which is rapidly grow­ing sta­ble sec­tor. The goal has al­ways been about es­tab­lish­ing Malaysia as a re­gional Cre­ative Hub: one that nur­tures both the tal­ent and in­dus­try to serve re­gional and global needs.

To date, there are about 11,000 pro­fes­sion­als work­ing in the Malaysia’s cre­ative con­tent and tech­nol­ogy in­dus­try. Most of them are pro­vid­ing in-depth cov­er­age within key cre­ative seg­ments, such as an­i­ma­tion, games, vis­ual ef­fects & new me­dia, mul­ti­me­dia as­sets for apps, and con­tent-en­abled de­liv­ery plat­forms. Com­pa­nies in Ring­gits ($302 mil­lion) in 2016 alone, mak­ing it the fastest grow­ing tech­nol­ogy mar­ket­place in the last three years.

Deep div­ing into any of the in­dus­try sub-seg­ments will bring up some sur­pris­ing in­sights. Take the an­i­ma­tion sec are mind-bog­gling — mar­ket rev­enues for an­i­ma­tion and re­lated ef­forts have reached 187.7 mil­lion in 2016, trans­lat­ing to an es­ti­mated 11.2% boost from 2014 to 2016. Equally as im­pres­sive is the games mar­ket. From a con­sump­tion - lion rev­enue fore­cast in 2017, ad­her­ing to a year-on-year growth rate of 16.3%. In terms of mar­ket size, there are 14 mil­lion Malaysian gamers, and 7.8 mil­lion of them are pay­ing cus­tomers. Tak­ing this data into ac­count alone sug­gests that one out of ev­ery two Malaysians are gamers and vo­ra­cious con­sumers of qual­ity dig­i­tal con­tent and ser­vices re­lated to these im­mer­sive ma­te­ri­als.

Malaysia is keen on fur­ther ac­cel­er­at­ing the cre­ative de­vel­op­ment seg­ment and the mas­sive pool of tal­ents is ready to delve into this new mar­ket­place. This in­cludes build­ing new dig­i­tal tech­nolo­gies, grow­ing the ecosys­tem, and en­sur­ing that its ef­fects are trans­lated to give value be­yond the dig­i­tal space.

- tro­duced to em­power tal­ents was the In­tel­lec­tual Prop­erty Cre­ative Chal­lenge (IPCC). A plat­form like IPCC — which has now be­come a must-at­tend event for po­ten­tial cre­atives — has opened an­other door into an­i­ma­tion and videogames de­vel­op­ment. IPCC has of­fered many pro­fes­sion­als the op­por­tu­nity to cre­ate in­dus­try milestones.

An­other step in­cludes es­tab­lish­ing the Malaysia An­i­ma­tion and Cre­ative Con­tent Cen­tre (MAC3), an in­cu­ba­tion and ac­cel­er­a­tor ini­tia­tive which gives the cre­ative de­vel­op­ment sec­tor an­other boost and opened many doors. The lat­est of these ef­forts is the pub­lic-pri­vate sec­tor ini­tia­tive be­tween MDEC and UOA with in­dus­try part­ners in launch­ing a premier games in­cu­ba­tor known as LEVEL UP Inc.

This move al­lows MDEC to lever­age the tremen­dous po­ten­tial Malaysia has to of­fer as an in­vest­ment lo­ca­tion as well as of­fer a tal­ent sup­ply line for the cre­ative con­tent in­dus­try. There is a need to pro­vide sup­port for lo­cal con­tent de­vel­op­ment ef­forts and to feed fur­ther growth of the ecosys­tem. This is im­por­tant for dig­i­tal games de­vel­op­ment: This is the pri­mary rea­son such spa­ces are es­sen­tial.

Malaysia is no longer tak­ing baby steps; It has now grown into a cham­pion for the cre­ative con­tent in­dus­try. While there is much more to be done, there is no doubt that things are now in place and mov­ing in the right di­rec­tion. It is now a mat­ter of build­ing more pace within the con­tent ecosys­tem and match­ing this to the speed of growth of other en­gines of in­no­va­tion and eco­nomic de­vel­op­ment in Malaysia. For more info, contact Michelle Sta Maria, Head of Busi­ness De­vel­op­ment @ michelle@mdec.com.my

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