A Sneak Peek from Para­mount and Ilion

Animation Magazine - - Frame- By- Frame -

One of the hot tick­ets at An­necy this el ded­i­cated to the Para­mount Ani ma­tion fea­ture Won­der Park Planet 51, Mor­tadelo and File­mon), fol lows the ad­ven­tures of a young, in­dus­tri­ous Fea­tur­ing the voices of Matthew Brod­er­ick, son, Ken Jeong, Mila Ku­nis and John Oliver, the Amuse­ment Park) is

“I think it’s a real feast for the eyes,” says dent of Para­mount An ima­tion. “It’s the story of a young girl who is a bud­ding en­gi­neer, has an amazing imag­ina tion and loves to build things. She faces some Mireille So­ria

as Trolls and The Boss Baby Cap­tain Un­der­pants, the Mada­gas­car and hits such as Home, Spirit: Stal­lion of the Ci­mar­ron and Sin­bad at DreamWorks. She is also The SpongeBob SquarePants Movie: It’s a Won­der­ful

di­rected and writ­ten by se­ries vet­eran Tim Hill. “It’s a vari­a­tion on the It’s a Won­der­ful Life hu­mor, as well as a big heart!”

Mon­ster on the Hill Luck says she’s ex­cited about the new an­i­ma­tion notes. “Each movie was driven by the story An­i­ma­tion movie by its qual­ity and how it will is noth­ing quite like shar­ing a great movie ex

Lewis and Bon­nie Arnold.

Bird Karma by long­time DreamWorks an­i­ma­tor Wil­liam Sala zar; and Bilby, di­rected by Pierre Per­ifel, JP Sans ies of imag­i­na­tion through an­i­ma­tion.” Bird Karma and Bilby

on! They had to chal­lenge our tech­nolo­gies in be­fore. It was ex­cit­ing to see the stu­dio’s in cred­i­bly tal­ented artists stretch their mus­cles

Bird Karma able greed and the ac­ci­den­tal dis­cov­ery of the con­se­quences when too much is not enough. Bilby Cilella. Set in the harsh en­vi­ron­ment of Aus

at the stu­dio any­more, so we had to get it for this short. We are also us­ing the stu­dio’s brand line — in Bilby. You’ll also be able to see the Dragon 3, which we are show­ing at An­necy.”

ing thing is that we have these fan­tas­tic fran chises here at DreamWorks, and we will con tinue to bring them back in new movies each year. We also have orig­i­nals such as Spooky Jack and Ever­est [reti­tled Abom­inable on our slate, and I can eas­ily say that we have some years.”

When asked about the chal­lenges of so mistic. “I can’t tell if it’s a chal­lenge, but there is a dan­ger of hav­ing a lot of movies out there like DreamWorks, Pixar, Dis­ney and il­lu­mina bet is on the qual­ity of our movies, and from

An­i­ma­tion Mag­a­zine: Maybe, we can start - ers about Cy­ber Group Stu­dios’ ori­gins? Pierre Siss­mann: now have two stu­dios in Paris and in Tourco What are some of the most in­ter­est­ing projects you have worked on in the past? I can cite at least three or four. First Ta­tonka, a CGI se­ries I wrote in Olivier Le­lar­doux and which is now on CCTV in China af­ter hav­ing been re­leased all over the world. We are tur­ing the se­ries char­ac­ters Michel Gay, and which at one se­ries about fam­ily val­ues, for. And of course, Chron­i­cles iconic char­ac­ter. We are now sea­son of the show. Taffy, our tation of the ad­ven­tures of Tom Sawyer also and child­hood ad­ven­tures, which were ar­eas I

O the festival this year is Sébastien Lau­den­bach, who is best known The Young Girl with­out Hands. His airy, lov­ingly crafted Vi­brato cen­ters on a widow look­ing back at all the

for the short was the days draw­ing it from the at­tic to the cel­lar when I was a young art stu dent,” says the di­rec­tor. “Se­condly, be­cause I had a girl­friend who was a guide there, and she ex me about it. So, when the me the chance to make wanted to fo­cus on the build­ing and its ar­chi­tect, Charles Garnier.”

The Young Girl with­out Hands, he made it with TVPaint, us­ing a lit­tle Cin re­calls. “And then Brazil, Korea, south­west of France, in ho­tel rooms, used them as the can­vas of my shots.”

sound de­signer, a fo­ley artist, a sound mixer and two voice ac­tors. The Lau­den­bach’s movie. He notes, “I had a small bud­get, but I didn’t have bud­get, but large free­dom!”

Lau­den­bach says he loved the sweet free­dom and the chance for im was a big chal­lenge and changed my life,” he adds. “But I think each The Girl with­out Hands, but dif­fer­ently with a team, with­out los­ing my free­dom. That’s a new chal­lenge for me. Mak­ing a movie, even a short one, is still tough work. But it was dif­fer­ent for Vi­brato. It felt as if it made it­self — as if I only had to re­veal it. It was a strange feel­ing, but also very ex­cit­ing!”

The cre­ative di­rec­tor says that an­i­ma­tion seems to be more cre­ative than ever be­fore. “I don’t know if we are liv­ing in kind of golden age, it is too early to say that. All around the world there are new kinds of

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