Skydance Media’s animation and family entertainment division is an artist-friendly studio dedicated to producing a bold and original slate of animated and family programming, in conjunction with the company’s TV divisions. Launched in March of 2017, Skydance’s animation division formed a multi-year partnership with Madrid-based Ilion Animation Studios to develop and produce a slate of high-end - dance founder David Ellison is passionate about animation and fully committed to , team in both Los Angeles and Madrid.
“Our goal is to create an animation studio that attracts diverse and collaborative artists to create fresh and imaginative content that resonates with audiences around the world,” say Bill Damaschke, Skydance Media’s President of Anima-
“We’re truly in start-up mode, building an animation studio from the ground up,” adds Damaschke, who oversaw the release of animated franchise hits such as Madagascar, Kung Fu Panda, How to Train Your Dragon, and The Croods during his two decades at DreamWorks Animation. “ projects fully staffed up with talented artists, writers, and producers. We are attending Annecy International Animated are hosting and attending a variety of re - ation of talent.”
Skydance Animation’s upcoming slate includes: Luck, directed by ( Kung Fu Panda 3, How to ), is a comedy that pulls back the curtain on the millennia-old battle between the organizations of good luck and bad luck that secretly affects our daily lives. Jonathan Aibel & Glenn Berger (The Kung Fu Panda trilogy, Trolls) are writing the script. (working title), directed by
Whether it’s a mechanical shark tram full of tourists or Buzz Light These attractions ideally give fans a chance to
These Directors, ride designers and engineers are mak erything from “Avatar Flight of Passage” at Ani mal Kingdom to “Turtle Talk with Crush” at Cali
Minnie’s Runaway Railway” at Disney’s Holly attraction featuring Mickey Mouse and Minnie ducer for Walt Disney Imagineering. “It’s based Mickey Mouse shorts and will lizing new technology to bring this unique ride vision Animation — the creators of the Emmy style of the Mickey Mouse shorts is translated the immersive animated fun.”
together attractions based on the Despicable Me and Minions characters. They wanted to be sure audiences felt as close to the Minions at their the screen, so they consulted with the creators of the stories and the characters. For the studio and the viewers, there needs to be a sense of conti
I blockbusters like Batman Begins The Tree of Life and Cloud Atlas. artist knew he was in for something entirely Deadpool 2.
fore everything that you’ve learned,” he says. “What was interesting to me about Deadpool 2 since we worked together back on The Matrix ed in the real world.”
able when executing shots. “Mike Vezina for our visual effects work.”
zelton, Double Negative Vancouver was the biggest contributor to the feature, well as the “Convoy Chase” sequence. Frame lic mutant battles. Sean Konrad at Method Stu Ryan Reynolds.
instance, we had versions of Ryan or his stunt
es. However, the unwritten rule was not to movie. “The intent from the outset was to mir tion director, so there are some hilarious humor and Hong Kong action.”
duction, which shot in Vancouver. As Glass ex will use. There’s one shot that is almost a minute long in which we did a mo where we were able to allow creativity to
Deadpool 2. “A lorry with a series of trailers
D tations for an established cinematic Mission: Impossible - Ghost Protocol. However, Jurassic World: Fallen Kingdom
Jurassic Park, because we’re making the movie for the fans,” says Vickery.
team. “There are many gags throughout the Jurassic Park, as well as to Dracula and King Kong,” notes the vfx through the sense of form and silhouette of
The goal was to honor and bring something lot about different colorful markings animals have … It’s about dinosaurs trying to attract
Blue and Indominus Rex, all of whom have have unique characteristics. J.A. and I tried to bring a new element to the movie by rethink ing about what these dinosaurs would do, how the unique characteristics of these animals that bring interest to the audience.”
al effects shots,” notes Vickery. “ILM London of effects artists who have done a lot of de struction work, so they did all of the work in scenes after they’ve left the island that fea
to work on the movie. Scanline tackled a load logue with some Tyrannosaurus and Mosasau