Stuff We Love

Animation Magazine - - Frame- By- Frame - By Rocío Ál­varez

Now that your Spring Clean­ing is done, we trust you’ve cleared up some room on your shelves for more awe­some art books and must-have home video sets — or more room in your rooms for more shelves! Either way it’s good news, be­cause af­ter a brief hia­tus we have quite the back­log of rec­om­mended ti­tles to keep your door­bell ring­ing with de­liv­er­ies all month long.

Early Man back their val­ley from Lord Bat­man Ninja JoJo’s Bizarre Ad­ven­ture) with char ac­ter de­signs by Afro Samu­rai cre­ator on Gotham’s Rogues Gallery un­der the Mary and the Witch’s Flower kids’ clas­sic The Lit­tle Broom­stick brings to life brave Mary’s ad­ven­tures at the En­dor school of magic. The beau­ti­fully an­i­mated de­but from Stu came to NorAm via GKIDS, with an English dub fea­tur­ing Ruby Barn­hill, Kate Winslet and Jim Broad­bent. Bo sives “Cre­at­ing Mary and the Witch’s Flower Padding­ton 2 bear from dark­est Peru re­turns to de­light home audi Whishaw) sets his heart on a beau­ti­ful ing Bren­dan Glee­son) and un­furls the schemes of dis­guise mas­ter Phoenix nee Paul King di­rects once more for Peter Rabbit Pot­ter’s mis­chievous hero Will Gluck’s take, the feud en) and Mr. McGre­gor lates over the af­fec­tions of tur­ing Mar­got Rob­bie, Eliz­a­beth De­bicki and Daisy Rid Flopsy Turvy mini Hon­or­able Men­tions: If all the amazing buzz hasn’t con­vinced you about Black Pan­ther Sui­cide Squad: Hell to Pay le Rick with Rick and Morty S3 car­toon fans can snag The DePatie-Fre­leng Col­lec­tion: Mis­terand The Dog­fa­ther on DVD or BD from Kino Clas Maya the Bee: The Honey Games Yona Yona Pen­guin

on Aardman’s Shaun the Sheep div­ing back into the world of an­i­mated shorts other artists and writers, but you some­times do­ing a TV show,” says Snow­den. You can’t al ways do what you want to do, but for a short, it’s our own thing – al­though we did con­sult

Fine agrees. “It’s fun to add lit­tle touches that makes the char­ac­ters come alive, like Dr. Fran

One of the chal­lenges on An­i­mal Be­hav­iour char­ac­ters were dif­fer­ent sizes. We had to get some crazy an­gles to make it work, and we’re an­gles for the shots.”

Of course, we have to ask them the golden ques­tion about the del­i­cate art of work­ing says Snow­den. “I do more of the de­signs, and that we talk about. We usu­ally agree on the gen­eral things.”

found a won­der­ful way of liv­ing and work­ing to­gether har­mo­niously. “We met each other in tell us that they could never work with their wives or hus­bands, but we think it’s quite fan Pig as a young girl, is also an artist.)

but at the same time, you can get tired of see ing the same CG look, that’s why it’s so great The Bread­win­ner When we came out with Bob’s Birthday, The Simp­sons was huge, and our short be­came a

don’t lose sight of the story and char­ac­ters,” he

Snow­den adds, “Show ev­ery­thing with a sense of hu­mor. Don’t get bogged down with and stick with it.”

had to have the kind of hu­man qual­i­ties — like the rounded mouth of a baby — that would mouth.

“I think the hard­est thing for our ef­fects art right, be­cause it can’t be too wet or too full or not full enough. So, we had my mom come in one could see how they’re made and how they ing her cook­ing, and my mom was

Shi gave the an­i­ma­tors oo­dles tion that leaned into a more “car toony” style. The di­rec­tor was af­ter a look that was or­ganic, squishy and round. Things needed to look like they’d been hand­made, and the sur­round­ings needed to give the au­di­ence a sense of warmth.

My Neigh­bors the Ya­madas. Shi ture through seem­ingly or­di­nary mo­ments in the lives of his charac ters. And this led her to doc­u­ment the lives and habits of many Chi nese ma­tri­archs liv­ing in the neigh­bor­hoods near her. The di­rec ments that con­veyed the world she

“I was ex­cited to show ev­ery de tail of what a Chi­nese im­mi­grant home would look like, what kinds of things would be com­mon for them to have, how they would set too, and I loved her aes­thetic. She also un­der­stood the de­tails of a Chi­nese im­mi­grant house­hold, and and Oak­land for ref­er­ence. I was for­tu­nate to

for scenes like this where there’s a lot of great and car chases and ev­ery­thing else.”

cred­i­bles, there have also been huge boosts in the most am­bi­tious mo­ments in an­i­ma­tion. And it’s a good thing, too, be­cause Bird wanted

gy was barely there,” says Bird. “There were some things we had to let go of be­cause we couldn’t quite do them, and the light­ing was not quite there, either. This movie is a much big­ger scale movie and the light­ing is more

Based on the manga by Waki Yam­ato, this meets the hand­some Shi­nobu and dis­cov­ers their fam­i­lies are fall­ing in love. But war with Rus­sia is on the hori­zon, call­ing her Shy Norim­ichi and over the same elu­sive class­mate, Nazuna. But Nazuna, mother’s de­ci­sion to re­marry and leave their coun­try­side the clock and give them a sec­ond chance to be to­gether. But far­ther away from the real world – un­til they risk los­ing sight of re­al­ity al­to­gether.

John Las­seter, orig­i­nally set to di­rect, an­nounced at her ab­sence from the third movie and set­ting Woody and Buzz In­side Out. Fol­som took over writ­ing du­ties from Rashida Jones and Will MacCor sound­track.

heard that, let’s try some­thing else.’ But that’s

Songs, of course, are a tra­di­tional el­e­ment of score — the in­stru­men­tal mu­sic — and its sound­track, The Shape of Wa­ter score for Fox Search­light Pic­tures’ Isle of Dogs, cuts for Isle of Dogs con­tains leit­mo­tifs from clas­si­cal score.

“I read some strange things,” he says. “I read me. It’s real, ex­ist­ing, li­censed mu­sic from some

Work­ing once again with di­rec­tor Wes An­der The Grand Bu­dapest Ho­tel and the an­i­mated Fan­tas­tic Mr. Fox where we would try and cre­ate a magic im­agery taiko drums as the ba­sis of the in­stru­men­ta­tion, a very strange com­bi­na­tion of in­stru­men­ta­tion.”

the orches­tra for Isle of Dogs is larger than the one Anderson. “If we go back to Fan­tas­tic Mr. Fox, there and to the vi­su­als, and the mu­sic had to match that,” he notes. “We re­duced the orches­tra to a min­i­mum. There was only one sin­gle in­stru­ment in each sec­tion. Isle of Dogs, though, is col­ored by the achieve­ment Wes had in Grand Bu­dapest Ho­tel, where he showed his ob­ses­sion about frame, of his char­ac­ters within the frame. The qual­ity of the an­i­ma­tion [in Dogs way, and not be as re­strained as we de­cided to do on Mr. Fox.”

taiko drum­mers are ac­tu­ally seen on screen, which you know what’s com­ing be­fore and af­ter. I need

nom­i­nee) Bruno Coulais, scor­ing the French/Lux White Fang of­fered an­i­mated re­al­is­ti­cally and do not talk — or even think out loud — and even their hu­man counter di­a­logue in White Fang

Coulais — whose an­i­ma­tion cred­its in­clude Song of the Sea Co­ra­line and The Se­cret of Kells ements in cre­at­ing the score for White Fang. “The in a more con­ven­tional way, while the Ir­ish tradi shout,” Coulais says. “The mu­sic cre­ates, in con­trast we are not in real re­al­ism, the mu­sic has an es

Isle of

On a younger skew­ing show like Mup­pet Babies the au­di­ence to con­sider. “You can make

Which is not to say the mu­sic can’t still be sical lan­guage, and at the same time wa­ter can be even more in­tri­cate than live ac­tion. “You tend to be able to use a lot more notes throw­ing more in­stru­ments and more or­ches tral notes at stuff to make it have that sort of an­i­ma­tion, orches­tral feel that we all re­late to. Live ac­tion these days tends to be go­ing more sad­ness within about three sec­onds, and it’s

Just as an art di­rec­tor will cre­ate a visu al­ways the world in which the story is tak­ing ac­ters in­habit a world with elec­tric­ity. “If there

unique range of mu­si­cal in se­ries. Kief er de­scribes him­self and Ba­sichis as “vo­ra­cious con­sumers of has a side gig as a DJ), which

8Fight­ing for Fe­male Vis­i­bil­ity. One of the big high­lights of this year’s events is the Women in An­i­ma­tion World Sum­mit

Among the an­i­ma­tion in­dus­try movers and shak­ers sched­uled for the Sum­mit are Julie Ann Crom­mett Solène Az­ernour Sky­lan­ders Academy), Hélène Ler­oux Back to the Moon), Bin-Han To Re­volt­ing Rhymes), Fawn Veera­sun­thorn Wreck-It Ralph 2), Mark Osborne The Lit­tle Prince), Eric Beck­man An­thony Leo The Bread­win­ner), Car­los Sal­danha Fer­di­nand), Shuzo Shiota tures), Bon­nie Arnold How to Train Your Dragon tril­ogy), Vicky Jenson Shrek), Dorota Ko­biela Lov­ing Vin­cent), Nora Twomey The Bread­win­ner), Vanessa Mor­ri­son Mireille So­ria Cara Speller dios). For more info, visit www.wom­eni­nan­i­ma­tion.org.

Fi­nally, we have Droners, which is a great vites view­ers to dive into the world of drone warm­ing. I would men­tion free­dom of cre­ation and ex en­ter­tain young view­ers while also con­tribut the chal­lenges of the world ahead. The big chal­lenges are de­liv­er­ing to our cli cre­ative tal­ents around the world and also the world — to­gether with Dominique Bourse, in France and Richard Gold­smith in the U.S., last four decades. I feel that to­day’s world has be­fore. All of this is thanks to the evo­lu­tion of tech­nol­ogy, the tal­ent of an­i­ma­tors and story tell­ers around the world, the schools which have and to whom we con­trib hen­sive and im­mer­sive stories. taught me about how to deal with cre­ative is sues, syn­er­gies and al­ways look at the big­ger me that con­tent is al­ways the key. I don’t think there is a se­cret for cre­ation of kids’ and fam ily en­ter­tain­ment and bring ing kids and fam­i­lies to­gether in a world that is very of­ten Of course, use all what tech­nol­ogy brings to us to­day, mix­ing it with hu­man tal­ent to cre­ate great sto­ry­telling for the small or big screen. me as some­one who, dur­ing ways tried to do his best to of­fer use­ful con­tri­bu­tions and al­ways tried to learn from oth­ers, but I will let them be a most of all, I would like to work with those that will con­trib­ute to bring­ing val­ues to chil dren as they grow in a global world. As Fed UNESCO, told me when I or­ga­nized UNESCO’s bring chil­dren of the world to­gether through are global in val­ues, so that they get to know each other for the fu­ture, this will be a gi­ant pas­sion. Pas­sion for cre­ation, for telling stories, unit­ing chil­dren and fam­i­lies. This is what has

I women through the ages, you might want to show them Rocío Ál­varez’s bril­liant short, Sim­bio­sis Car­nal

“The idea was to cel­e­brate sex­u­al­ity in a free way, far from con­ven­tions,” some books about sex­u­al­ity and his­tory, and I re­al­ized how fe­male sex ual­ity was ‘dis­cov­ered’ and hid­den many times through­out his­tory. I tried to in­clude that fact, and also in­clude our an­i­mal ori­gin and cur­rent world

A homes in Trevor Jimenez Week­ends walk­ing from his mom’s home to his dad’s car, based on the feel­ing “When I shared it with friends, it started these in­ter­est­ing con­versa at my dad’s.”

Jimenez, who has worked as a story artist on Coco, Find­ing Dory, The Lo­rax, Rio and Ice Age: Dawn of the Di­nosaurs and is listed as a cre­ative con­sul­tant on the TV se­ries We Bare Bears,

S attraction for manga and anime fans. To­day, though, I am vis­it­ing as Astro Boy and Kimba the White Lion.

re­mains the heart of Tezuka’s world. As soon as you get off the Ya­man­ote line train, you are wel­comed by Astro Boy won­der­ful mu­ral fea­tur­ing all the fa­mous Tezuka char­ac­ters, while the

lobby is full of Tezuka mer­chan­dise, and even the stairs and cor­ri­dors are dec­o­rated with col­or­ful illustrations.

gath­ered un­der one roof, to­gether with Tezuka Osamu’s old work­room.

be­fore his un­timely death,” he says.

When we ar­rive at the stu­dio, we are told to leave our shoes at the as­sorted Tezuka goods.

served here. Tanaka is kind enough to show us some of the orig­i­nal

make orig­i­nal works any­more. “Right now, we are hired by other stu­dios to work on their ti­tles, fol­low­ing their in­struc­tions,” he says. “We take care of draw­ing, an­i­ma­tion, sto­ry­board­ing, col­or­ing — but we don’t do

a book writ­ten by Tezuka in his child hood called Our Earth of Glass. The base­ment is home to an “An­i­ma­tion the ta­ble where Tezuka worked. Out side, there are im­i­ta­tions of the hands and feet of sev­eral char­ac­ters from Tezuka, while in­side the en­try hall, a fur­ni­ture greets vis­i­tors. Fans can also ga and a beau­ti­fully de­signed room

I rins ti­tled O Kaiser. To­day, Brazil’s an­i­ma­tion sec­tor has grown mer­cial in­dus­try. The coun­try’s many an­i­ma­tion stu­dios have gar nered in­ter­na­tional con­tracts from coun­tries around the world Boy and the World. O Kaiser larger each year.

wide recog­ni­tion work­ing in the U.S. — in­clud­ing Car­los Sal­danha, Rio and Fer­di­nand were huge hits for Blue Sky. heavy­weights.

states Belli Stu­dio founder Aline Muxfeldt Belli.

ing to bol­ster Brazil­ian con­tent on tele­vi­sion, the govern­ment re In­dia and Ger­many, more re­cently the U.K.” — but Brazil­ian stu­dios

Chal­lenges re­main for the boom­ing sec­tor. While Jonas Brandão tion in­dus­try is still very frag­ile,” he says. “There are not many stu Paulo, Rio de Janeiro and Porto Ale­gre.” Belli adds, “Fundrais­ing is not an easy task … we have to meet sev­eral Brandão re­mains con­cerned about han­dle sub­si­dies.

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