FESTS AND EVENTS In This Cor­ner Wins An­necy’s Jury Honor

Animation Magazine - - Frame- By- Frame - Fes­ti­val Stop Mo­tion Mon­treal

Su­nao Katabuchi’s In This Cor­ner of the World won the Jury Award for fea­ture films at the 2017 An­necy In­ter­na­tional An­i­ma­tion Fes­ti­val. The Au­di­ence Award for fea­tures was pre­sented to Lov­ing Vin­cent and the Cristal for a fea­ture to Lu Over the Wall. Other win­ners: Au­di­ence Award:

2Artists, ac­tors and cos­play­ers will de­scend on So­Cal for Long Beach Comic Con. [long­beach­comic­con.com] Ideatoon ini­tia­tive. of­fers 3 days of shorts, mas­ter­classes and mix­ers. [stop­mo­tion­mon­treal.com]

Few fran­chises have en­joyed the kind of giddy pop­u­lar­ity that’s come for the De­spi­ca­ble Me fran­chise. The films — along with the spinoff film, Min­ions — have per­me­ated the pop-cul­ture space with sto­ries about an alien­ated hero named Gru, who strug­gles with his de­sire to be evil, and the leagues of ca­nary-yel­low crea­tures who want noth­ing more than to be­come his de­voted fol­low­ers and do his bid­ding.

With this sum­mer’s De­spi­ca­ble Me 3, the film­mak­ers found them­selves at the helm of an ea­gerly an­tic­i­pated re­lease that some­how had to feel new and stay true to the char­ac­ters au­di­ences al­ready loved from the pre­vi­ous movies. The film shows us an­other side of Gru by in­tro­duc­ing us to his twin brother, Dru, an up­beat and not nearly as evil “twin” who is des­per­ate to learn his brother’s di­a­bol­i­cal ways. Their fam­ily story be­comes the next chap­ter.

“Dru’s per­son­al­ity re­ally came to be through a back and forth be­tween the writ­ing, the draw­ing, Steve Carell, and the an­i­ma­tion,” writes Eric Guil­lon, char­ac­ter de­signer on the film, through a trans­la­tor in an email to An­i­ma­tion Mag­a­zine. “Ok, so they are twins, but the key for me is the hair. As twins, they have a strong re­sem­blance, but one is bald and one is not. … I think, the story be­tween the two brothers starts right there. My first in­stinct is to work with con­trasts. So start­ing with black and white brings fur­ther pos­si­bil­i­ties: fat, skinny,

sys­tem in Arnold — a pow­er­ful Monte Carlo ray trac­ing ren­derer orig­i­nally de­vel­oped with Sony Pic­tures Image­works — to give the char­ac­ters depth and meet the in­tense dead­lines on the project.

Car­los Zaragoza, pro­duc­tion de­signer for the project, worked to de­velop en­vi­ron­ments that were vis­ually in­ter­est­ing and fresh while also fa­mil­iar to the au­di­ence. Along with the rest of the team, he had to stay close to the orig­i­nal vi­sion of the film in order to keep the movie on track

Roughly 600 artists, rang­ing from spe­cial­ists who came onto the film or spe­cific tasks to those who were part of the en­tire pro­duc­tion, con­trib­uted to the film. The bulk of the an­ima- tors were in Van­cou­ver while most of the core de­sign team was in Los An­ge­les.

The film­mak­ers also worked out how to visualize the ab­stract worlds of Face­book, In­sta­gram, Spo­tify, Drop­box and other apps for the project. Each be­comes a place with more “con­tent” than we might ex­pect from what we see on our phones.

NBA leg­end Kobe Bryant taps an­i­ma­tion icon Glen Keane to an­i­mate him for the short Dear Bas­ket­ball, turned out to be an eye-open­ing ex­pe­ri­ence for both su­per­stars. By Charles Solomon.


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