Animation Magazine

Author: Mercedes Milligan

  • Peacock Doubles Kids’ Animation Slate with Fresh Originals & DreamWorks Franchise Shows

    Peacock Doubles Kids’ Animation Slate with Fresh Originals & DreamWorks Franchise Shows

    Peacock announced the pickup of a flurry of animated series picked up today to bolster its animation slate for youngsters. Inspired by the hit DreamWorks Animation movies, Megamind’s Guide to Defending Your City and Abominable and the Invisible City will bring fans deeper into these animated worlds, while original preschool series Press Start!, Team Mekbots Animal Rescue and Dino Pops approach all-new toon horizons. Plus, Babble Bop! returns for a second season.

    The new series orders join previously greenlit make-and-do series The Makery, Peacock Original event Curious George: Cape Ahoy and DWA toons Archibald’s Next Big Thing Is Here!, Cleopatra in Space, Where’s Waldo? and Dragons Rescue Riders: Heroes of the Sky.

    More on the upcoming slate:

    Abominable and the Invisible City
    Abominable and the Invisible City

    Abominable and the Invisible City (DreamWorks Animation) is a CG comedy-adventure series that continues the wild and wooly fun of DreamWorks Animation’s Abominable. Through Everest the yeti, Yi, Jin, and Peng know that there’s a whole magical world out there, and now it’s even closer than they think! When they discover that their surroundings are teeming with magical creatures in need of their help, the kids will set out on extraordinary and heartfelt adventures throughout their city and beyond.

    Executive producer is Jim Schuman, co-exec producer is Katherine Nolfi. Story editors are Tiffany Lo and Ethel Lung.

    Dino Pops
    Dino Pops

    Dino Pops (Mobius Lab Kids, production unit for Cisneros Media) is set in a vivid, hyper-realistic land inhabited by ferocious – and often silly – dinosaurs. While the landscape and dinosaurs may be prehistoric, modern elements familiar to kids, from ice cream cones to race cars, will burst onto the scene and delight viewers. Dino Pops will deliver engaging and easy-to-digest bursts of dinosaur-related information aimed at preschool-aged children.

    Every episode will showcase different dinosaurs and delve into their traits and attributes. From T-rex to Triceratops, Raptors to Titanosaurs, the secrets of the inhabitants of a very different world will be revealed in hyper realist animation with a twist that makes it a perfect bite sized morsel of funtainment.

    Dino Pops consulted with the renowned Argentinian paleontologist Dr. Diego Pol for all dinosaur information and facts. Pol and his team have discovered fossils of over 20 new species of dinosaurs, including the discovery of Bagualia alba. This 10-ton, 40-foot-long with a 10-foot neck dinosaur roamed the wilds of Patagonia 179 million years ago and will be making its TV debut on Dino Pops.

    The 13 x 30’/52 x 5′ series is created by Ailing Zubizarret, who executive produces with Maria Benel and Nico Ferrero. Matt Doyle serves as head writer.

    Megamind
    Megamind

    Megamind’s Guide to Defending Your City (DreamWorks Animation) is the CG series follow-up to the hit movie, where Megamind goes from being a supervillain and the scourge of Metro City to a superhero who’s learning on the job. He’ll be bringing the audience along for the ride, as Megamind’s trusty brainbots will be recording everything, making him the world’s first superhero influencer.

    Alan Schoolcraft and Brent Simons, who wrote the 2010 feature, are executive producing the series alongside Eric Fogel. JD Ryznar is co-exec producer and story editor.

    Press Start!
    Press Start!

    Press Start! (Cyber Group Studios) is a CG comedy-adventure mash-up about Sunny and his sister Rue, who are all about the exciting, fast-paced world of the 24 Karat Quest video game. Athletic, brave and funny, Super Rabbit Boy is the hero of this fantastical game world. When the siblings end up able to play IN the game, their life is flipped upside down. Across the series, every episode takes place in Sunny and Rue’s “real” world home and in Super Rabbit Boy’s “game” world.

    Once Sunny or Rue zap themselves into the SRB game world, they become part of the quirkiest, coolest, craziest super-hero partnership any kid ever imagined as they team up with the Game-World’s unparalleled guardian, Super Rabbit Boy, to save the SRB game world from total destruction by Villain Bosses. In the process, Sunny and Rue become Super Rabbit Boy’s powerful pixelated partners.

    Based on the best-selling, award-winning Scholastic book series by author-illustrator Thomas Flintham, Press Start! (52 x 11′) highlights the lead characters’ East Indian heritage in both the storytelling, a diverse writers room and the inclusion of other talent participating in the series. Executive producers are Pierre Sissmann, Dominique Bourse, Karen K. Miller and story editor Scott Kraft.

    Team Mekbots Animal Rescue

    Team Mekbots Animal Rescue (More Minds Studio, M2 Animation) is an animated preschool series that inspired kids to see the outsized good they can do in the world, and how they can be a HUGE help to all living things! Climb in, power up and save the day with Team Mekbots (a.k.a. Mateo, Kawhi, Mei-Lin and Frost): four animal-loving kids from around the world use their tech skills to create giant Mekbots – each inspired by a different animal. In every adventure, the kids save animals all over the globe and show that teamwork, environmental smarts and compassion make you a hero. Oh, and robotic animal powers help, too!

    The 39 x 7′ series is executive produced by Rob Hudnut and Mads Munk. Shane Amsterdam is story editor, and Steed Sun is art director.

    Babble Bop!
    Babble Bop!

    Babble Bop! (Dark Slope), renewed for season two, is a musical dance jamboree series for preschoolers; a foot-tapping, hand-clapping, baby-bottom wiggling, sing-along world of music, dance and preschool play. With a mix of new takes on classic nursery rhymes and original songs, this inclusive short-form series is intended for social and emotional learning for the pre-k set.

    Heroes Lily, Hugo, Miguel, Izzie and Sam will play the day away movin’ and boppin’ and havin’ a ball to awesome, catchy, repeatable — and sometimes very familiar — songs. With new characters animals and brand-new song styles the second season continues to hold up a magnifying glass to the little things in their life: having a snack, dressing up, drawing with crayons, watching the clouds, or playfully helping their parents (who are always around if not on camera) as best they can.

    Babble Bop! (84 x 2.5′ and 7 x 30′) is executive produced by Dan Fill and Raja Khanna, produced by Christine Thompson. Luke Jurevicius and Tim D.P. Thompson are series directors. Katherine Stanford is the show’s writer.

  • People on the Move: SPA’s Karen Toliver Named Netflix Animation VP, eONe Taps Ruedilyn Cox to Lead ‘Kiya’

    Oscar-winning producer Karen Toliver (Hair Love), who as a production executive has helped usher some of the most successful and celebrated animated features to the big screen, is taking the next step in her illustrious career as Vice President of Animated Film at Netflix, Variety reports. Toliver will be responsible for two to three animated features per year, working alongside Gregg Taylor, VP Animated Feature Content. She will officially join the Netflix team in March, reporting to VP Kids & Family Melissa Cobb, who describes her incoming colleague as “an executive with exceptional passion for animation” and “a strong vision for the future of storytelling in the medium.”

    Karen Toliver
    Karen Toliver

    Toliver is joining the global streaming giant from Sony Pictures Animation, where she currently serves as EVP Production under President Kristine Belson, and most recently developed the Oscar-nominated SPA/Netflix collab The Mitchells vs. the Machines and produced Matthew A. Cherry’s Academy Award-winning short Hair Love (with Lion Forge Animation). She joined the studio as EVP Development in 2017, and was named EVP Creative in 2019. Belson noted in the announcement that Toliver has been “so impactul” at the studio in the last four years.

    Toliver joined SPA from Blue Sky Studios, where she developed Ferdinand, and supervised production on both Rio movies and three of the Ice Age feature films. Prior to that, she was a production executive at Disney, where her credits include Brother Bear, Chicken Little and Meet the Robinsons, and she is credited with bringing in the story inspiration for The Princess and the Frog.

    Toliver told Variety: “It has been an absolute dream working with Kristine Belson and her game-changing team at Sony Pictures Animation. The experience has been instrumental in shaping how I approach producing. Storytelling in animation continues to evolve and expand, and I am excited to join the team at Netflix to continue to break new ground.” Netflix’s animated feature slate for 2022 includes Henry Selick’s Wendell and Wild, Guillermo del Toro’s Pinocchio, Nora Twomey’s My Father’s Dragon, Chris Williams’ The Sea Beast and Richard Linklater’s Apollo 10 ½: A Space Age Childhood, premiering at SXSW.

    Ruedilyn Cox
    Ruedilyn Cox

    Hasbro’s Entertainment One (eOne) announced the hire of Ruedilyn Cox as VP Global Franchise Strategy & Management for Kiya, effective immediately. Cox will be based in London and report to Esra Cafer, Senior Vice President, Global Brand Management, Family Brands at eOne. Greenlit last year, the new 52 x 11′ preschool series centers on a young superhero and her best friends, featuring a diverse cast of characters inspired by the natural beauty and culture of Southern Africa. The show is due to launch in multiple markets in 2023 through linear/digital platforms including Disney Junior/Disney+ (worldwide) and France Télévisions. “Kiya is our next big preschool IP, and we are thrilled to see where she takes the brand. We are confident that Kiya will be successfully positioned as the next great preschool franchise under her strong leadership,” said Esra Cafer, SVP Global Brand Management, Family Brands.

    Cox will be responsible for driving long-term franchise and content strategy and vision for growth of Kiya across Hasbro’s Blueprint globally. She will partner with multiple functions to set, align and drive the long-range global brand strategy and global content production and rollout plans for the exciting new-to-market brand, leading a small and empowered team of directors and coordinators to maximize potential and efforts both within her team and across the business. Cox will be working cross-functionally with teams, including Production, global and regional Toys & Games, Content Sales, Digital Gaming, YouTube & Social Media, Consumer Products, LBE, Promotions, Entertainment Brand Marketing, Legal and Finance.

    Prior to Hasbro, Cox was the Head of Marketing at Acamar Films where she was globally responsible for franchise development and marketing communications of the preschool animated series Bing and its many touchpoints including cinema releases, apps and consumer products. Previously, she spent years at Warner Bros. as Senior Brand & Marketing Manager, Harry Potter Global Franchise Development.

    [Sources: eOne, Variety]

     

  • Women in Animation Awards 36 Emerging Creatives with 2022 Scholarships

    On Friday, February 11, 2022, as part of the 2022 BRIC Talent and Innovation Summit, via a special video presentation, Women in Animation’s Chair of Education Hsiang Chin Moe proudly announced the 36 recipients from all over the world of this year’s WIA Scholarships — the largest group to receive cash awards and honorable mentions to date.

    The WIA Scholarship Program is an annual award committed to furthering deserving animation students who demonstrate artistic talent, a passion for animation, a financial need, and a promising future in the field of animation. Student members of WIA were encouraged to apply, no matter in what region of the world they are academically pursuing their animation career interests. The scholarship pool totals $28,000 and also features workshops, tutoring opportunities, animation equipment and software packages for recipients of the 2022 cycle from industry partners Animation Focus, Animation Mentor, Autodesk, Foundry, Laika, Toon Boom and Wacom.

    “Providing direct support to future generations of animation creatives through WIA’s Scholarship program is essential to creating a more just and diverse animation industry. I am extremely proud of this diverse and talented group of 36 artists — and all the students in the world — who keep creating and sharing their stories. The much-needed change starts with all of you,” says Moe.

    Out of 170 applications from 72 schools across the U.S. as well as Australia, Brazil, Canada, Colombia, Finland, France, Germany, Indonesia, Mexico, Mongolia, Netherlands, Poland, South Korea, Spain and the Philippines during the 2021-2022 program, the WIA scholarship committee selected these 18 amazing students as most deserving of scholarships, in addition to 18 students as honorable mentions.

    The scholarship recipients are (in alphabetical order):

    • Anya Butler from California Institute of the Arts
    • Laura Alejandra Correal Cardenas from Savannah College of Art and Design
    • Anna Dinh from California State University Long Beach
    • Elena Fazio from Ringling College of Art and Design
    • Bekka Goldstein from Ringling College of Art and Design
    • Meghan Graham from San Jose State University
    • Yulong Jones from Ringling College of Art and Design
    • Jennifer Nie from California Institute of the Arts
    • Nomin Ochir from Rocky Mountain College of Art & Design
    • Chelsea Ortega from School of Visual Arts
    • Daphne Reynolds from Ringling College of Art and Design
    • Vanessa Schneider from Animationsinstitut of Filmakademie Baden-Württemberg (Germany)
    • Lou Thoby from Ecole MoPA – Motion Pictures in Arles (France)
    • Jennifer Wu from Sheridan College (Canada)
    • Kaiyun Yang from Ringling College of Art and Design
    • Ollie Yao from School of Visual Arts
    • Irida Zhonga from University of Groningen (The Netherlands)
    • Joy Zhou from California Institute of the Arts

    “The WIA Scholarship program is a perfect example of how given the proper tools, training and support, these brilliant students will be making the change we are working so hard toward in the animation field,” says Marge Dean, WIA President. “I am overjoyed to see we are building a truly global community with applicants from Australia, Brazil, Canada, Colombia, Finland, France, Germany, Indonesia, Mexico, Mongolia, Netherlands, Poland, South Korea, Spain, and the Philippines. I can’t wait to see what these brilliant artists will do.”

    The scholarship winners’ full bios and website links can be found on the WIA scholarship page.

    Beyond those students who received cash scholarships, WIA also announced 18 Honorable Mention Winners who were awarded software and/or workshop packages to boost their animation skills. For yet another year, Toon Boom supported the WIA Scholarship Program with both software and scholarship funds. One-year bundled licenses of Storyboard Pro and Harmony Premium were awarded to finalists as well as virtual training. In addition to supporting the cash prize pool, Autodesk benefited this year’s recipients with licenses of their 3D modeling and animation software. Winners have the choice between one-year subscriptions of Autodesk Maya or Autodesk 3ds Max.

    Three WIA scholarship recipients will each receive a place in a 2022 class with Animation Focus, which provides online animation tutoring on a 1 to 1 basis with a professional feature film character animator — 1 hour per week for 4 weeks. Scholarship partner Animation Mentor offered one WIA Animation Scholarship winner a six-week workshop of their choice from several course options, including Maya Workshop: Animation Basics and Cartoony Animation for 3D Animators.

    Foundry will award $2,000 in scholarship funds together with a permanent Production Collective license to its suite of products, including Nuke Studio, Katana, Mari and Modo. Stop-motion powerhouse Laika joins the WIA Scholarship Program for the first time this year, giving out two cash awards up to $2,000 to two deserving students who specialize in stop-motion, to foster future talent that shares the same passion for the medium. Wacom is donating Cintiq Pro 16s — professional-level technology that will set the talent apart for both freelancing work and their creative portfolios, making them more hirable in the animation industry.

    “I am beyond thrilled and in awe of the continued generosity of our sponsors and partners who have made these gracious donations that will allow our talented and deserving students the ability to reach their dreams and surpass our expectations. I know our Honorable Mention winners will do great things with access to these software and workshop prizes,” says Moe.

    For more information or to join WIA, visit womeninanimaton.org.

     

  • Nickelodeon Picks 10 Promising Talents for Writing & Artist Programs

    Nickelodeon has identified 10 participants for its annual Writing and Artist Programs, designed to develop the next generation of creative voices from underrepresented communities. Helmed by the ViacomCBS Office of Global Inclusion and aligned with the company’s Content for Change initiative, for its 22nd annual Writing Program, four aspiring television writers will have the opportunity to hone their skills while working at the Nickelodeon studio and six emerging artists will develop their craft during the 10th annual Artist Program.

    The news comes on the heels of the second year of remote programming, which marked the most successful year ever for Nickelodeon’s Creative Talent Development & Outreach team. All five artists from the 2021 Artist Program were staffed on Nickelodeon productions and all four writers were staffed on projects across ViacomCBS.

    “Nickelodeon’s long-running Writing and Artist Programs continue to provide aspiring creative minds with the tools to help launch their careers and deliver inclusive stories that reflect the voices of our diverse audiences,” said Marva Smalls, Executive Vice President, Global Head of Inclusion, ViacomCBS and Executive Vice President, Public Affairs, Kids & Family Entertainment Brands, ViacomCBS Media Networks. “Aligned with ViacomCBS’ Content for Change initiative, these programs also affirm our commitment to ensuring an equitable and inclusive pipeline that removes barriers to entry for underrepresented storytellers and continues our work to change the face of content creation.”

    This year’s addition of Peer Mentoring strengthens the program’s overall impact, providing participants with invaluable one-on-one mentorship, as well as a deeper introduction to Nickelodeon’s culture and inclusive work environment.

    Within the Writing Program, all participants have the opportunity to network with executives and show creators, gain firsthand experience writing scripts, pitch story ideas and attend workshops, seminars, classes and experience working writers’ rooms. These writers will develop their skills with hands-on work during the yearlong program.

    The writers will be individually paired with Nickelodeon’s Linda Halder (Senior Manager, Live-Action Development), Mary Harrington (Executive Producer, Preschool Development) and Conrad Montgomery (VP, Animation Development), who will work with them on professional development, writing and network building at the studio.

    The Writing Program participants are:

    Kobie Scott
    Kobie Scott

    Born and raised in the Big Peach State of Georgia, Kobie Scott was always connected to animation. He was accepted into Georgia Southern University, planning to be a staff writer in the video game industry, but quickly realized TV writing was more his speed. He bought books about scriptwriting and story structure, and took animation classes that gave him a greater understanding of the art form and possibly carpal tunnel.

    Lauren Monroe
    Lauren Monroe

    Lauren Monroe (she/her) is a fat, queer, neurodiverse writer who grew up in Atlanta with a nerdy mom who cosplayed at conventions, taught high school English and instilled a love of fantasy storytelling. Now, Monroe happily writes colorful fantasy worlds for kids with queerness and nuanced perspectives of diverse bodies and brains.

    Hannah Suria
    Hannah Suria

    Hannah Suria is a writer and performer from Orange County, Calif. and the proud daughter of immigrants (a mixed mom from Singapore and a Tamil-Sri Lankan father from Malaysia). Writing stopped being a hobby and became an integral part of her life when, as an aspiring actor, Suria quickly discovered roles for women who look like her were few and far between.

    Frank Paiva
    Frank Paiva

    Frank Paiva (he/they) is a gay and queer person of size from Seattle. Growing up in the early 2000s, they struggled to find a blueprint for the rest of their life in popular media. Newly based in Los Angeles, Paiva writes comedies with heart, with a particular interest in LGBTQ history and expanding the range of body types audiences see onscreen.

    During the six-month Artist Program, aspiring artists will learn from lead artists and practice their craft as they work on an animated series in various stages of production. The Artist Program tracks include storyboard, general design or CG generalist. The CG track was first offered last year to service many of the Nickelodeon Animation Studio’s current and upcoming CG productions.

    The artists are paired with artistic mentors at Nickelodeon to guide their production experience, including: Ashley Kliment (Art Director, The Loud House); Jeff Chozon (Art Director, Transformers) and Jermaine Jose (Art Director, Transformers); Kimberly Mills (Storyboard Director, Big Nate) and Vypac Voeur (Lead CG Generalist, Big Nate); Chris Graham (Supervising Director, Santiago of the Seas); and Sica Von Medicus (CG Supervisor, Max & The Midknights).

    The Artist Program participants are:

    Cherrie Wang
    Cherrie Wang

    Cherrie Wang (Storyboard Track) has spent her entire life doodling on anything she could get her hands on. Her family didn’t understand the world of art and animation, so Wang attended the University of Southern California, where she earned her degree in Computer Science and Engineering. She taught herself how to storyboard via the internet and recently moved back to Los Angeles to pursue her calling full-time.

    Katarina Perez
    Katarina Perez

    Katarina Perez (CG Track) is a Mexican-American artist born and raised in Houston, Texas. When introduced to a 3D animation course in high school, she was enamored by all that you could do in a three-dimensional space. This propelled her to pack up and move to Dallas to pursue a Bachelor of Animation at the University of Texas at Dallas.

    Roger Hernandez
    Roger Hernandez

    Born in the Greater Los Angeles area to immigrant parents from El Salvador, Roger Hernandez (CG Generalist Track) could always look to his parents as pillars of support, and despite limited resources, they got him through college where he pursued his dream in CG animation at Cal State Northridge. Though truly a CG generalist, his primary focus is CG modeling. Sculpting 3D models is his passion and it is his goal to share his vision and talent through his art.

    Emily Monjaraz
    Emily Monjaraz

    Emily Monjaraz (General Design Track) started her career illustrating kids’ books and doing graphic design for toy companies that encourage girls to pursue careers in STEM. Her mission is to create content for children learning how to harness their differences into super-powers as well as create stories and characters that represent the world in which she grew up.

    Booker Jackson
    Booker Jackson

    Booker Jackson (Storyboard Track) is from Sacramento, California, and was captivated by animation from a young age after seeing a fun Nickelodeon behind-the-scenes segment about a day in the life of a story artist. Jackson is passionate about diversifying the world of animation and mentoring those who will come after him.

    David Lu
    David Lu

    David Lu (General Design Track) hails from Vancouver, Canada, where he spent his formative years watching a variety of cartoons that influenced him into becoming an artist. Convinced by his family that art was not a feasible career, Lu went to the Bay Area to write code in exchange for cold hard cash. However, Lu’s artistic desires were not satisfied, so for the past couple of years he has been focused on building his portfolio to break into the animation industry and live his childhood dream of creating cartoons.

    Alumni of the programs who have gone on to hold positions on Nickelodeon shows include May Chan (co-Executive Producer, The Astronauts), Sarah Jacques (Art Director, Santiago of the Seas), Anna Hill (Storyboard Artist, The Loud House), Ahn Bui (BG Painter, Middlemost Post), Samuel Pagán (CG Generalist, Rugrats), Carl Edward Mongan (Storyboard Revisionist, Kamp Koral), Angel Hobbs (Staff Writer, That Girl Lay Lay) Marisa Torres (Background Painter, Santiago of the Seas), Jonathan Butler and Gabriel Garza (co-Creators, Bella and the Bulldogs) and more.

    Outside of Nickelodeon, many program alumni have gone on to freelance and staff positions at various networks, including Showtime, HBO, DreamWorks, Netflix, Comedy Central, Disney Channel, Disney+, Kids’ WB!, ABC, FOX, PBS, Cartoon Network, and the CW.

    For more information on the Nickelodeon Writing Program, visit @NickWriting on Twitter and @NickWritingProgram on Instagram and nickwriting.com, or @nick_artists on Instagram and nickartist.com for the Artist Program. The next submission period opens July 1 and runs through August 1, 2022.

  • Welcome to ‘The House’: How Nexus Crafted an Eerie-Elegant Intro for the Netflix Anthology

    Welcome to ‘The House’: How Nexus Crafted an Eerie-Elegant Intro for the Netflix Anthology

    To open the doors of the studio’s three-part auteur animation original for Netflix, Nexus Studios turned to directors Nicolas Ménard and Manshen Lo. The duo came up with a monochrome, hand-drawn title sequence to welcome viewers into the tactile stop-motion world of the anthology, which comprises three stories directed by Emma De Swaef & Marc James Roels, Paloma Baeza and Niki Lindroth von Bahr.

    The House - Main Title (Nexus Studios)

    The House - Main Title (Nexus Studios)

    Ménard and Lo created a visual language that contrasts with — but also encapsulates — the three distinct stop-motion worlds of the film, delicately filled with tension. Viewers are taken on an eerie tour through The House that sets the tone for the dark comedy that is to follow. Drawing inspiration from 19th century woodcuts as a starting point for their creative process, the pair committed to only showing the essential when creating these shape-shifting environments.

    The House - Main Title (Nexus Studios)

    The House - Main Title (Nexus Studios)

    As the audience is transported up a living staircase and over a sinking checkerboard floor, tension and anticipation builds, elevated by the soundtrack of Oscar-winning composer Gustavo Santaolalla (Brokeback Mountain, Babel).

    On the hunt for a suitable typeface, the pair fortuitously stumbled upon Fermín Guerrero’s “Brick”. The design was inspired by the signage of three prominent pubs in London’s East End. With Art Deco traits and a trace of Art Nouveau heritage, it was the perfect companion to the vignette aesthetic of black prints on black screen. Working with graphic designer Jolin Masson, the trio captured a balance between animation and typography, reminiscent of antique picture books.

    The House - Main Title (Nexus Studios)

    The House - Main Title (Nexus Studios)

    “What struck us when watching the anthology was that although the house had similar features from chapter to chapter, it didn’t seem to have a specific layout. It was shape-shifting. This gave a rather eerie quality to the spaces featured in the films; one struggles to create a mental map of the place. So that felt like a great foundation for the theme of our intro sequence,” Ménard and Lo observed.

    The House premiered January 14 on Netflix and is available to stream worldwide. Read more about the project in Animation Magazine‘s feature story here.

    Nexus Studios is a global creative studio with locations in London, L.A. and Sydney. Its long list of projects include Oscar-nominated short This Way Up, BAFTA-winning title identity “The Fearless Are Here,” Grammy-nominated feature Happier Than Ever (Disney+, Billie Eilish, Robert Rodriguez) and Emmy-nominated immersive film Back to the Moon. Learn more at nexusstudios.com.

  • Mickey Cel Helps Heritage’s First All-Disney Auction to $3.4M

    Mickey Cel Helps Heritage’s First All-Disney Auction to $3.4M

    Heritage Auctions wrapped its first “All Things Disney” Animation Art Signature Auction on Feb. 7 with $3,412,812 in sales — thanks to the artistic and historic allure of Disney Renaissance films, Mickey Mouse and legendary artist Mary Blair. The successful event drew 4,136 global bidders who snatched up all 1,532 lots in the sale.

    “Our first ‘All Things Disney!’ auction was a home run,” Heritage Auctions Vice President and Animation & Anime Art Director Jim Lentz said. “Every single lot sold to impressive results. We saw strong prices across the board for everything from major collections of vintage Disney maquettes to Disney World War II artwork, Disney Storybook art and even Disneyland Theme Park Props. Disney animation art was front and center, with strong prices from the Golden Age of Disney to the Disney Renaissance films of the 1990s and early 2000s. The Disney Renaissance films came into their own as a force to be reckoned with this sale.”

    The Disney Renaissance films – those created since the mid-1980s – enjoyed unprecedented auction success in the event. Among the highlights:

    The Little Mermaid cel
    The Little Mermaid production cel (Disney, 1989)

    Three dozen bids poured in for The Little Mermaid Ariel Production Cel (Walt Disney, 1989) until it closed at $36,000 – more than seven times its pre-auction estimate. Seen in the 47th minute of the film, it captures Ariel marveling at her new legs, acquired in a trade for her singing voice so she can go on land to pursue Prince Eric.

    A Who Framed Roger Rabbit Roger and Jessica Rabbit Production Cel and Photo Background (Walt Disney, 1988) brought a winning bid of $19,200, more than seven times its estimate. The 16-field hand-painted production cel includes both the film’s title character, Roger, and his ultra-appealing wife, Jessica Rabbit in an image from the climactic scene in which they are about to be lowered into a vat of “Dip.” Bearing a Disney seal, the cel is from the next-to-last Disney feature to use painted cels.

    The auction included 13 lots from The Lion King, two of which yielded five-figure results: Simba Concept Art by Thom Enriquez ($18,000) and Pride Lands Concept Art by Thom Enriquez ($13,200).

    Other highlights included Hercules Megara Maquette (Walt Disney, 1997), which soared to $16,800, a Mr. Incredible Reference Maquette from The Incredibles (Pixar, 2004) signed by Brad Bird ($12,000) and an Aladdin Presentation Cel on Key Master Background that brought a winning bid of $1,980.

    Disney Animation Desk
    Walt Disney Animation Studios desk and scene stacker.

    A Disney Studios Feature Film Animation Desk and Scene Stacker tripled its pre-auction estimate when it reached $9,000. This “Kem Weber-like” animation desk was used by veteran Disney animator Kathleen Bailey, who was a lead key assistant animator who used this desk for her work on The Little Mermaid (1989), The Prince and the Pauper (1990), The Rescuers Down Under (1990), Beauty and the Beast (1991), Aladdin (1992), The Lion King (1994), Pocahontas (1995), Runaway Brain (1995), The Hunchback of Notre Dame (1996), Hercules (1997), Mulan (1998), Tarzan (1999), Fantasia 2000 (2000), The Emperor’s New Groove (2000) and Treasure Planet (2002).

    While Disney Renaissance reached new auction heights, the event’s top price was realized by a spectacular lot dubbed “the Holy Grail for Disney Animation collectors.” A Shanghaied Mickey Mouse Production Cel Setup with Key Master Background and Publicity Photograph Group of 7 (Walt Disney, 1934) more than tripled its pre-auction estimate when it sold for $84,000. The setup is believed to be one of fewer than 25 black and white Mickey Mouse key master setups remaining in private hands. It is notable that this black-and-white nitrate production cel includes its original hand-painted key master production background. It once was in one of the early Animation Art Museum Shows for a company called Museum Graphics in California in the late 1970s.

    A Carousel of Progress Disneyland Park Entrance Poster (Walt Disney, 1967) drew 19 bids before ending at $28,800, nearly four times its pre-auction estimate. The attraction originally opened at the 1964 New York World’s Fair, sponsored by General Electric and transferred to Disneyland, where it opened in 1967. It was said to be one of Walt Disney’s favorite World’s Fair attractions. Created by Ken Chapman, this is a rare and highly sought-after, original, hand-pulled, silk-screened Disneyland Park Entrance poster for the ride in Tomorrowland.

    The sale featured lots from many of the most beloved Disney films. From the studio’s first animated feature, a Snow White and the Seven Dwarfs Snow White, Bashful, Happy and Dopey Production Cel on Master Pan Production Background (Walt Disney, 1937) also soared past pre-auction expectations, climbing to $33,600 against an estimate of $5,000.

    Cheshire Cat concept art
    “Cheshire Cat” concept by Mary Blair, Alice in Wonderland (Disney, 1951)

    In an event that cast a spotlight on numerous artists, none shone brighter than Mary Blair. The artist many recognize as Walt Disney’s favorite produced 36 lots that found new homes in the auction, including seven of the top 10 results. Among the top Blair works in the sale:

    • Peter Pan War Dance Concept Painting Original Art (Walt Disney, 1953) $43,200
    • Peter Pan Big Ben Concept/Color Key Painting (Walt Disney, 1953) $34,800
    • Alice in Wonderland Cheshire Cat Concept/Color Key Painting (Walt Disney, 1951) $32,400
    Madame Upanova maquette
    “Madame Upanova” maquette, Fantasia (Disney, 1940)

    In addition to the modern maquettes mentioned above, the sale included extraordinary vintage maquettes, such as:

    • Fantasia “Dance of the Hours” Madame Upanova Animator’s Maquette (Walt Disney, 1940): $14,400
    • The Brave Little Tailor Mickey Mouse Animator’s Maquette with Book (Walt Disney, 1938/1939): $10,200
    • Fantasia “Dance of the Hours” Ben Ali Gator Maquette (Walt Disney, 1940): $10,200

    For complete results of the first-ever “All Things Disney” auction, visit HA.com/7268.

     

  • Feature Animation Returns to Strength at Goya Awards

    Feature Animation Returns to Strength at Goya Awards

    The 36th Goya Awards are set to take place this Saturday, February 12,  and this year Spain’s motion picture Academy was able to fill out four full slots for both the animated feature and animated short film categories. Awards watchers may recall that in 2021, a single longform title ran uncontested and took the premio: Spanish-Argentinian co-pro Turu, the Wacky Hen (La Gallina Turuleca). Hybrid short Blue & Malone: Impossible Cases took the shortform honors in a more robust contest.

    The animation and VFX titles contending for the honors this weekend are:

    Best Animated Motion Picture:

    • Gora Automatikoa | Dir. Esaú Dharma, David Galán Galindo, Pablo Vara (39 Escalones, The Other Film Prod.) [Trailer]
    • Mironins | Dir. Mikel Mas, Celia Rico (Cornelius Films, Wuji House, Peekaboo Animation, Walking The Dog; Spain/Belgium) [Trailer]
    • Save the Tree! | Dir. Haizea Pastor, Iker Álvarez (Baleuko, Polar Studio, Tortuga Studios; Spain/Mexico/Brazil) [Trailer]
    • Valentina | Dir. Chelo Loureiro (Ábano Prod., Antaruxa Studio, El Gatoverde, Sparkle Animation) [Trailer]
    Goya short nominees
    Clockwise: Nacer, The Monkey, Selection Process, Umbrellas

    Best Animated Short Film:

    • Nacer (Birth) | Dir. Roberto Valle (Auntie Films, UniKo, Filmakers Monkeys) [Trailer]
    • Selection Process | Dir. Carla Pereira (tvON Production) [Trailer]
    • The Monkey | Dir. Lorenzo Degl’ Innocenti, Xosé Zapata (Lightbox Animation Studio, Sardinha em Lata; Spain/Portugal) [Trailer]
    • Umbrellas | Dir. José Prats, Álvaro Robles (Bigaro Films, Moukda Prod.; Spain/France) [Trailer]

    Best Special Effects:

    • The Good Boss | Raúl Romanillos, Míriam Pique
    • The Grandmother | Raúl Romanillos, Ferran Piquer
    • Mediterraneo: The Law of the Sea | Àlex Villagrasa
    • Way Down | Pau Costa, Laura Pedro

    In non-animation items of note, Fernando León de Aranoa’s workplace comedy The Good Boss (El buen patrón), starring Javier Bardem, this year became the most-nominated film in the Awards’ history with 20 nods, including Best Picture and Best Director. The full list of 2022 Goya nominees in all 28 categories is available here.

  • Animation Steals the Show at NYICFF 25th Anniversary Season

    Animation Steals the Show at NYICFF 25th Anniversary Season

    The Oscar-qualifying New York International Children’s Film Festival (NYICFF; nyicff.org) launches its 25th Anniversary season as North America’s largest and most prestigious film festival for young audiences on Friday, March 4. In addition to commemorating its 25th anniversary, the 2022 Festival will mark its celebratory return to the cinema and in-person events. NYICFF announced today its 2022 Opening, Centerpiece, and Closing Programs.

    “Our 25th Anniversary lineup is a truly joyous celebration of resilience with filmmakers overcoming the challenges of our times to make fresh, unique, and vibrant new films with meaningful messages for eager young audiences,” said Programming Director Maria-Christina Villaseñor.

    The Festival will kick off on March 4 at SVA Theatre (333 W. 23rd Street, New York) and run weekends through March 19. The Shorts for Tots and other programs for ages five and under will be offered exclusively online. From thousands of entries submitted from around the globe, the Festival selected approximately 100 feature and short films to screen. Each program is carefully curated for NYICFF’s dedicated audience of over 28,000 children, families, educators, filmmakers, cinephiles and industry professionals.

    Where Is Anne Frank?
    Where Is Anne Frank?

    NYICFF will open with Oscar-nominated director Ari Folman’s (Waltz with Bashir) extraordinary new animated film Where Is Anne Frank? (France, Israel, Belgium, The Netherlands, Luxembourg), which made its debut at the Cannes Film Festival and will now celebrate its East Coast Premiere at the Festival. A brilliant reimagining of Anne Frank’s story, the visually vibrant animated feature crosses time periods and settings, creating a unique take that is both timely and timeless, deeply meaningful, and wholly original.

    One night Kitty, the most famous imaginary friend in history, suddenly materializes as a fully fledged girl from the ink-filled pages of Anne Frank’s diary. She doesn’t understand where her old friend has gone (or why, for that matter, their former home has become a tourist attraction). Kitty leaves behind her 1940s dress and dons jeans and sneakers, all the better to set out to solve the mystery. Aided by a resourceful pickpocket and befriending a group of young refugees seeking safe homes and community like anyone else, Kitty criss-crosses through time and takes us from the streets of contemporary, colorful Amsterdam through to gray war-era Germany and back. While Anne’s now ever-present name has been reverently affixed to bridges and schools and hospitals, Kitty fears her friend’s true legacy is being forgotten.

    An urgent and poignant detective story and anthem for social justice from award-winning filmmaker Folman, Where Is Anne Frank? is imbued with fantastical animated sequences (‘40s era Clark Gable on horseback!) and a modern punk sensibility (complete with glorious Karen O soundtrack) and is an essential history for audiences of all ages.

    Oink
    Oink

    Also screening on Opening Night is the North American Premiere of Oink, a warm, witty, and meticulously handcrafted animated feature that marks the Netherlands’ first feature-length stop-motion animated film, directed by Mascha Halberstad. The helmer returns to NYICFF, having previously screened her short Fox and Hare at the festival. Halberstad is co-founder of Holy Motion animation studio with Marleen Slot (Viking Film). Oink is a Netherlands-Belgium co-production.

    Fabulously bespectacled nine-year-old Babs has the perfect life in the Netherlands, with parents who see to it that she has a lovely home and only the healthiest vegetarian meals on her plate. But what she really, really wants is a dog to call her own. So when Babs’ grandfather, an American with a curiously rootin tootin’ cowboy accent, suddenly appears on the scene, he just may be the key to her perfect pet. Instead, he finds Oink, a lovable if constantly, er, digesting, pig, whom he gifts to Babs. Yet Babs’ mother is less than thrilled and insists that Oink stays only on the condition he passes a rigorous puppy training program. Add to that her grandfather’s secret nefarious connection to the Sausage King competition organized by The Society for Meat Products from Fresh Pigs, and Oink is full of cheeky humor, porcines behaving badly and people behaving even worse. It’s an uncannily realistic and genius stop-motion charmer that will have you snorting and cheering.

    Turning Red
    Turning Red

    Disney and Pixar’s Turning Red, the debut feature by Oscar winner Domee Shi (Pixar short Bao), will screen on Friday, March 11 as NYICFF’s 2022 Centerpiece film. Produced by Lindsey Collins, Turning Red launches on Disney+ on March 11.

    Turning Red introduces Mei Lee (voice of Rosalie Chiang), a confident, dorky 13-year-old torn between staying her mother’s dutiful daughter and the chaos of adolescence. Her protective, if not slightly overbearing mother, Ming (voice of Sandra Oh), is never far from her daughter—an unfortunate reality for the teenager. And as if changes to her interests, relationships and body weren’t enough, whenever she gets too excited (which is practically ALWAYS), she “poofs” into a giant red panda!

    The Festival will close with the East Coast Premiere screening of Richard Linklater’s highly anticipated new animated feature film Apollo 10 ½: A Space Age Childhood on Saturday, March 19. The film will release globally on Netflix. (Be sure to pick up the April issue of Animation Magazine to read more about both Turning Red and Apollo 10 ½.)

    Apollo 10 ½: A Space Age Childhood tells the story of the first moon landing in the summer of 1969 from two interwoven perspectives – the astronaut and mission control view of the triumphant moment, and through the eyes of a kid growing up in Houston, Texas who has intergalactic dreams of his own. Taking inspiration from Academy Award-nominated filmmaker Linklater’s own life, Apollo 10 ½: A Space Age Childhood is a snapshot of American life in the 1960s that is part coming of age, part societal commentary, and part out-of-this-world adventure. The film will release globally on Netflix.

    Apollo 10 ½: A Space Age Childhood
    Apollo 10 ½: A Space Age Childhood

    “Ari Folman’s Where Is Anne Frank is a captivating film to launch the NYICFF 2022 festival, with an imaginative re-envisioning of Frank’s diary that connects its core essence to the present, and singularly utilizes animation to make this enduring tale come alive. Oink is an unapologetically absurd and amusing story that gently asks us to reflect upon the impact our choices have on the world around us, while also showcasing the uncanny art of fully analogue stop-motion animation,” added Villaseñor.

    “We’re also overjoyed to celebrate winning storytelling, expanded diversity in the field, dynamic animation, and a charming ode to the power of being thirteen with Domee Shi’s first feature, Turning Red, on the heels of her Oscar-winning short Bao. And fittingly, alongside NYICFF’s silver anniversary, we close by celebrating an enduring commitment to the artistry of film and a rich examination of childhood, from the stunningly creative mind of seasoned filmmaker Richard Linklater with his brilliant new feature Apollo 10 ½.”

    For the past 25 years, NYICFF has screened thousands of films that introduce young audiences to complex topics and portray rich, thought-provoking stories from voices historically excluded from mainstream media. NYICFF’s curated programs help young people think critically to better understand themselves, others, and the complicated world they live in. As NYICFF embarks on its 25th anniversary, the organization remains steadfast in its commitment to turn the tide and increase diverse representation in children’s media, an effort reflected in its Festival programming, Industry Forum and FilmEd Classroom programs alike.

    NYICFF’s 2022 film slate celebrates creativity and unlocks vast new possibilities for a new generation eager to be back in person and grasping their futures. Whether NYICFF’s cinematic young protagonists are mapping new paths in space, devising exciting new worlds in film, or grappling with the challenges and joys of growing up with all of its unexpected glory, this year’s filmmakers expertly harness a range of animation and filmic techniques to tell culturally specific and universally relatable stories of hope.

     

  • NFB English Program Combines Animation & Digital Studios

    NFB English Program Combines Animation & Digital Studios

    In a letter to the auteur animation community from Julie Roy, the National Film Board of Canada’s Director General – Creation & Innovation declared that the organization is reaffirming its commitment to the artform within its English Program, and is expanding the Animation Studio to include the Digital Studio team.

    Redubbed the Animation and Interactive Studio, the outfit will build on the NFB English branch’s esteemed reputation by incorporating new innovations and exploring new forms of storytelling.

    “This new structure will reinvigorate and reaffirm the studio’s national mandate to work with and support the animation community, a diversity of experienced and emerging filmmakers and wide-ranging digital artists across Canada,” Roy wrote. “…By combining the two teams, the new studio will be in a privileged position to better connect with talent regardless of region and strengthened in its ability to provide specialized technical and administration support to its production teams.”

    Roy also shared the mission key points for the reformed studio:

    • To work with and support a diversity of experienced and emerging filmmakers, animators and interactive artists from across the country.
    • To produce works that are recognized globally for their creative excellence and innovation; works that help define and expand the genres of animation and interactivity.
    • To leverage our acclaimed expertise in animation filmmaking and interactivity for all NFB projects and productions.
    • To strategically select and continuously develop a slate of animation and interactive projects that work together cohesively to engage audiences and contribute to the success of the NFB as a public producer.
    Rob McLaughlin
    Rob McLaughlin

    To lead this unit, interim Animation Studio overseer Rob McLaughlin has been named Head of the Animation and Interactive Studio. McLaughlin will work with teams in Montreal and Vancouver to define a strategic programming vision for the entire English Program animation and interactive slate, for the financial and human resource management supporting artists working in all regions of Canada. He will work closely with producers Maral Mohammadian, Jelena Popović, Dana Dansereau and Nicholas Klassen.

    McLaughlin has held the interim post since Executive Producer Michael Fukushima retired, assuming the role in May 2021.

    nfb.ca

  • Music Industry Vet Ricky Anderson Introduces ‘The Tunies’

    Music Industry Vet Ricky Anderson Introduces ‘The Tunies’

    Twenty-year music industry veteran and former Head of A&R at G.O.O.D. Music, Ricky Anderson announces the launch of the new animated musical video series, The Tunies. Produced by Neko Productions, the series is now available globally on YouTube. The new series offers families the opportunity to enjoy song and dance together while reinforcing social-emotional lessons.

    The Tunies follows an animated preschool musical group that share fundamental messages while offering families a way to enjoy song together. Lead character Avery and his diverse group of friends Rex, Bella, Rio, Frankie and Bianca welcome you to join the crew as they dance and sing about key foundational and educational topics such as: manners, picking up after yourself, staying safe and more! His fun-loving friends are a mix of anthropomorphic animals and kids that blend fantasy with real life.

    Launched only two months ago, The Tunies has already amassed nearly 6 million views and well over 100,000 watch hours, gaining the interest of A-listers including Christina Milian, Jimmie Allen, 2 Chainz and Pusha T.

    “As a father of three, I find myself having to listen to children’s music — oftentimes on repeat! I couldn’t believe that there was nothing better out there for families to enjoy together. I saw an opportunity to reimagine the genre, taking my skills and knowledge in the industry, to create music and video that the entire family can actually enjoy together, while still focused on everyday routines and children’s development,” said Anderson.

    The Tunies team is composed of leading music industry talent, including Grammy-nominated producers HazeBanga and Ahmad Muhhamad, who have worked with Selena Gomez, Mariah Carey, MIA and Beyoncé. In addition to musical talent, partners include content and licensing expert Jacqueline Vong (Playology International), formerly recognized for work on The Wiggles and Peppa Pig, award-winning YouTube specialists Little Dot Studios and pop-culture and ecommerce partner CultureFly.

    The CGI animation is brought to life by the team at Neko Productions. The studio boasts notable credits in the children’s space, including Sonic the Hedgehog, Marvel’s Avengers, Monster High and Barbie.

    “As soon as I heard about this project and the story behind it I knew we had to be a part of it,” said Lirit Rosenzweig Topaz, Executive Producer for Neko Productions. “At Neko, we put our heart and soul in every project. We wanted to bring Avery and his friends to life in an appealing and fun way. Being a parent myself it is important to create engaging educational content for kids and families to watch.”

    Moving forward with purpose, Anderson is launching The Avery Chase Foundation alongside The Tunies later this year, to honor his late son Avery. A portion of The Tunies proceeds will go back to providing support to parents and families who have lost their children.

    New episodes of The Tunies launch every week on YouTube. Follow Avery and the band on Facebook, Instagram and thetunies.com.

     

  • Grover, Ron & Shaun Vie for British Animation Awards

    Grover, Ron & Shaun Vie for British Animation Awards

    The finalists were announced today for the prestigious British Animation Awards 2022. Rewarding the very best in British animation across a variety of categories, the British Animation Awards (BAAs) – now in their 26th year – attract the great and the good from across the industry to this biennial celebration of their craft.

    This year’s main ceremony is being held at London’s BFI Southbank on March 10, with four satellite live events happening in Stirling, Salford, Cardiff and Bristol for the first time. Presented by comedian Miles Jupp and headline sponsored by Hanna-Barbera Studios Europe, the awards will unveil the latest names to join the list of illustrious winners from past years which includes Nick Park, Joanna Quinn, Tim Burton, Martin Freeman, Simon Tofield and Gorillaz.

    Competing for honors in the Best Long Form category are: Aardman Animations’ Shaun the Sheep: The Flight Before Christmas in which our titular wooly hero mounts a daring rescue mission to save Timmy the Lamb from the local Christmas market; Sesame Street’s The Monster at the End of the Story, an animated adaptation of The Monster at the End of This Book starring Grover, Elmo and Cookie Monster; and Locksmith Animation’s debut feature Ron’s Gone Wrong, an animated science fiction comedy about an awkward 11-year old and his walking, talking digitally-connected ‘device’.

    This year introduces two new categories to the BAAs: the Cutting Edge Award and the Wildcard Award. Introduced in 2020, the Lamb Award will return to recognize another rising star in animation/VFX production, with candidates nominated by an established studio. Three additional award categories will be announced on the night of the ceremony.

    While the bulk of the awards are decided by a panel of industry experts, the two BAA Audience Awards – for Best Short Film and Best Music Video – are voted for by audiences viewing online and there is a special Children’s Choice category voted for by pupils at Cadoxton Primary School, Barry, South Wales.

    “After a particularly tough couple of years the animation scene in the UK remains thriving and productive. To see such a quantity of excellent work submitted to the BAAs is evidence of the dedication and creative ingenuity in all who work in animation,” said BAA Director Helen Brunsdon and Producer Kieran Argo. “More than ever in 2022, the British Animation Awards wish to bring the wonderful community together in London to celebrate the wonderful achievements over the last two years.”

    The nominees are:

    Best Long Form

    Sesame Street’s: The Monster at The End of the Story – Dir: Mark Taylor

    Ron’s Gone Wrong – Dir: Jean- Philippe Vine, Sarah Smith, Octavio E. Rodriguez (Co-Director)

    Shaun the Sheep: The Flight Before Christmas – Dir: Steve Cox

     

    Best Voice Performance

    Taika Waititi and Ricky Gervais – Save Ralph

    Menna Trussler – ‘Beryl’ in Affairs of the Art

    Ben Whishaw – ‘Paddington’ in The Adventures of Paddington

    Bella Ramsey – ‘Hilda’ in Hilda “The Fifty Year Night”

    Bel Powley- ‘Little My’ in Moominvalley

     

    Best Children’s Series

    The Brilliant World of Tom Gates – Dir: George Sawyer

    Milo – Dir: Chris Capstick

    Hilda “The Deerfox” – Dir: Andy Coyle

     

    Best Children’s Preschool

    The Adventures of Paddington – Dir: Adam Shaw, Chris Drew

    Hey Duggee – Dir: Grant Orchard, Sander Jones

    Circle Square – Dir: Greg Mcleod

    Milo – Dir: Chris Capstick

    Pip & Posy – Dir: Matt Tea

     

    Best Animation in a Commercial

    The Girl Who Built a Rocket – Dir: Neeraja Rj

    Breath of Nature – Dir: Peter Szewczyk

    Save Ralph – Dir: Spencer Susser

    MotoGP Returns – Dir: Anton Alfimenko

     

    Best Music Video

    Rocket Freudental “Der Stuhlkreis” – Dir: Ged Haney

    Mama Jerk and the Ladyfingers “Mountain” – Dir: Harrison Fleming

    Foo Fighters “Chasing Birds” – Dir: Emlyn Davies, Josh Hicks

    Christy Moore “The Voyage” – Dir: Jessica Patterson

    Jamie Cullum “Age of Anxiety” – Dir: Neil Pymer

     

    Writers Award

    Circle Square “Pizza Mystery” – Myles McLeod

    Affairs of the Art – Les Mills

    Ron’s Gone Wrong – Peter Baynham and Sarah Smith

    The Rubbish World of Dave Spud “Twinfestation” – Madeleine Brettingham

    Shaun the Sheep: The Flight Before Christmas – Mark Burton and Giles Pilbrow

     

    Best Post Graduate Film

    O Black Hole! – Renee Zhan – National Film & Television School

    Eating in the Dark – Inari Sirola – Royal College of Art

    Other Half – Lina Kalcheva – National Film & Television School

     

    Best Short Film

    FlattenTheCurve#1 – Dir: Studio Desk, Kathrin Steinbacher, Emily Downe

    Meow or Never – Dir: Neeraja Raj

    Save Ralph – Dir: Spencer Susser

    Black Slide – Dir: Uri Lotan

    Affairs of the Art – Dir: Joanna Quinn

     

    Best Original Music

    Sol – Dir: Gráinne McGuinness

    I Am Odd – Dir: Rory Russell

    Robin Robin – Dir: Dan Ojari, Mikey Please

    Edgar’s Christmas – Dir: Kyra Buscho, Constantin Paeplow

    Love Monster – Dir: Rufus Blacklock

     

    Best Social Good

    Typically – Dir: Anna Ginsburg, Caitlin McCarthy

    Diabetes Symptoms – Dir: Angie Phillips, Phoebe Halstead

    Up River: A Shadventure on the River Severn – Dir: Tom Stubbs

    You Being You – Dir: Kong Studio

    Sinking Feeling – Dir: Mark Spokes

     

    Best Under-Graduate

    To Be a Goat – Dir: Milda Karguadaite – University of Creative Arts in Farnham

    True Colours – Dir: Hanna Lea Wyttenbach – Arts University Bournemouth

    Case Closed – Dir: Lucy Gatenby – Falmouth University School of Film and Television

    @Scroll Alice – Dir: Céline Ufenast – University of Creative Arts in Farnham

    Suburb – Dir: Miles Jezuita – Arts University Bournemouth

     

    Best Use of Sound

    Elliot from Earth “Wednesday pt. 2” – Dir: Mic Graves, Tony Hull, Rhys Byfield, Mikey Please

    Hilda “The Deerfox” – Dir: Andy Coyle

    The Rubbish World of Dave Spud “Burning Wheels” – Dir: Ed Foster

    Zog and the Flying Doctors – Dir: Sean Mullen

    Pip & Posy “Swapsies” – Dir: Matt Tea

     

    Best Design

    Ron’s Gone Wrong – Dir: Jean- Philippe Vine, Sarah Smith, Octavio E Rodriguez (Co-Director)

    Jingle Jangle: A Christmas Journey – Dir: Ian Spendloff

    Raised By Wolves – Dir: Steve Small

    Circle Square “Jungle House” – Greg McLeod

     

    Best Factual

    Save Ralph – Dir: Spencer Susser

    Timeline – Dir: Osbert Parker

     

    Lamb Award

    Sanna Räsänen – Art Director and Puppet Maker- Nominated by One6th

    Teifi Cadwallader – Animator – Nominated by Cloth Cat

    Lisa-Mae Evans – Mid Look Development Artist Nominated by Blue Zoo Animation

    Emilie Brown – Lead Props Modeller – Nominated by Blue-Zoo Animation

    Hodan Abdi – Production Co-ordinator – Nominated by Illuminated Films

     

    Cutting Edge

    Save Ralph – Dir: Spencer Susser

    Sub-Surface – Dir: Alex Robinson

    Dead Pixels S2 – Dir: Jamie Jay Johnson

     

    Wildcard (Awarded to animations of any duration deemed ‘extraordinary’)

    Timeline – Dir: Osbert Parker

    Boris Johnson Eats a Pot Noodle in the Bath – Dir: Ross Butter

    Strange – Dir: Cameron Carr

    Squib “When All of This Is Over” – Dir: Baz Sells

    Hench Girl Summer – Dir: Beatriz Antunes

     

    Best Immersive Animation

    Peace of Mind – Dir: Ben Steer

    The Beast – Dir: Grant Berry & Dane Winn

    Madrid Noir – Dir: James A. Castillo

     

    britishanimationawards.com

     

     

  • ‘Family Guy’ Producer Maggie Mull Inks Overall Deal with 20th TV

    Writer-producer Maggie Mull, whose original live-action comedy series Maggie is soon to debut on Hulu, has signed a multi-year overall deal with 20th Television to continue the new show (co-created by Justin Adler) and create new animated and live-action comedies for all platforms.

    “Maggie Mull is a wildly funny home-grown talent who can literally do it all, and we are obsessed with the truly special upcoming Hulu comedy she wrote with Justin Adler,” said 20th Television President Karey Burke in the announcement. “We are so glad she said ‘yes’ to this deal and look forward to many successful years together.”

    Mull has served as a writer, producer and supervising producer on FOX animated comedy hit Family Guy for several years, and has also written for adult toon Camp WWE, produced by Film Roman, Stoopid Buddy Stoodios and WWE Studios for WWE Network.

    Prior to wading into animation, Mull cut her teeth as a staff writer for Dads and a writer-producer on Adler’s Life in Pieces, both produced by the former 20th Century Fox Television.

    “I feel so beyond lucky to have had my first writing job with 20th and it’s by no mistake that I’ve worked exclusively with them ever since,” Mull commented. “To continue my creative relationship with them is a dream come true for me, as long as I don’t have to take a new ID photo.”

    Mull is represented by UTA and Hansen Jacobson attorneys Ken Richman and Robby Koch.

    [H/T Variety]

  • People on the Move: Jim Henson’s Creature Shop, Hero4Hire Execs; Teddy Newton Joins Psyop & More

    Jim Henson’s Creature Shop (creatureshop.com) has hired industry vet Dawn Turner as Director of New Business Development. Turner will identify and cultivate new global business opportunities for the iconic studio, focusing on promoting the services it can provide clients in film, TV, advertising, live theater/events and AR/VR. She will especially focus on the Shop’s practical animatronic and puppet work along with expanding the scope of its work in performed animation utilizing the award-winning Henson Digital Puppetry Studio proprietary real-time CG puppeteering technology.

    Dawn Turner
    Dawn Turner

    “Jim Henson’s Creature Shop is known the world over for creating some of the best-known characters in entertainment. I want everyone in the industry to know the full scope of our capabilities, not only in the world of practical creature effects but also with digital puppetry and the exciting new opportunities it offers for all kinds of creative endeavors,” said Turner. “From delivering more improvised and lifelike character performances and effects in real-time, to shortening the post-production turnaround process and cutting post-production costs, the possibilities of the Henson Digital Puppetry Studio are endless and I intend to make sure the creative community has the opportunity to learn all about this amazing technology.”

    Before joining Henson, Turner was a producer in business development at Technicolor Creative Services and served as a producer of VFX and animation on a number of creative projects. Some of her credits include Star Wars: The Rise of Skywalker, Nim’s Island, Bruce Almighty, Scary Movie 4, The Boondocks, Star Wars: The Clone Wars, Shark Tale and Madagascar. Turner also served on the awards committee for the Visual Effects Society for several years and is a member of the Producers Guild of America, Women in Animation and Women in Film.

    Jane Wu
    Jane Wu

    Emmy-nominated studio Hero4Hire Creative (hero4hirecreative.com) has appointed Jane Wu as Creative Director, bringing over 13 years of experience in art direction and animation design for commercials, films, documentaries, and TV series. With Hero4Hire, Wu’s multidisciplinary expertise will serve the studio’s pipeline of motion design, character animation, and mixed media projects. “I’m thrilled to join Hero4Hire because of their vibrant and fun body of work and I’m excited to grow here as a creative leader and an artist!” Wu shared.

    Wu started her career as a storyboard artist, then branched out to animation and motion design. Her work has been featured on Netflix, A+E, AMC, PBS Kids, History Channel, ABC, Nickelodeon, Disney and FX on titles like What We Do in the Shadows, Sid the Science Kid, Tidying Up with Marie Kondo and Soul of a Nation — which has drawn rave reviews for Wu’s animated Afrofuturism sequence. She has also art directed and worked on commercials for Preacher, The Walking Dead, The Kid Who Would Be King and Family Guy, as well as major brands. A native New Yorker and first-generation Asian American, Wu graduated from Pratt Institute, majoring in Film & Animation and earning awards for her animated student film Book Girl & Cabinet Girl. She previously served as Art Director at award-winning creative agency BIGSTAR.

    Teddy Newton
    Teddy Newton

    Today, global creative powerhouse Psyop (psyop.com) announced the signing of their latest award-winning talent, Teddy Newton, adding another top-tier director to their robust roster. Newton is a multi-disciplinary animation artist and director who created the Oscar-nominated animated 2010 Pixar short Day and Night. Just this December, Newton worked alongside the Psyop team on the holiday short Snow Day for the popular mobile game Clash of Clans. The short has earned over 27 million views on YouTube so far. “Having long admired and worked with Psyop on the most recent spot Clashmas, I’m excited to now be a member of this leading creative team,” said Newton.

    Over his career, Newton has been an integral part of Brad Bird’s team, including storyboarding and writing the song “Duck and Cover” for The Iron Giant. He contributed to many story and design concepts in both Incredibles films, including the conception of Pixar’s Incredibles short Jack Jack Attack. In addition, Newton has served as a story and design contributor on other award-winning Pixar films like Ratatouille, WALL-E and the series of Toy Story franchise shorts. He was a character concept and visdev artist on The Iron Giant, The Incredibles, Ratatouille, Presto and Up; his original sketches hang in the hallways of Pixar headquarters. Newton is currently designing for Bird’s next animated feature and in development on multiple animated projects.

    Shenny Jaffer
    Shenny Jaffer

    Post-production collective Smile + Wave (smileandwavepost.com) has welcomed Shenny Jaffer to the team, joining Ashley Monaghan as Executive Producer. Jaffer brings extensive experience across advertising, animation and motion graphics to the post, where she will support strategic and creative efforts from planning to execution. “Smile + Wave’s approach is not only unique but also innovative. In this new world, our clients continue to look for cost-effective ways to create impactful content. Smile + Wave offers just that and more,” Jaffer noted. The move marks her first foray into post production.

    Having emigrated from East Africa to Canada as a child, Jaffer initially pursued a career in the medical field before shifting her focus to advertising. After landing a role as a receptionist at Ogilvy, she was soon assisting a team of seven producers in the broadcast department, before moving on to producing herself. She then transitioned to animation, producing at a 2D/3D/mograph studio. Throughout her career, Jaffer has worked with directors, creatives, marketing teams and major brands including Coca-Cola, Cadbury, Kronenbourg, IBM, Dove and Tim Hortons. As Head of Integrated Content & Broadcast at Wunderman Thompson, she was able to rejuvenate the in-house post offerings and bring in a healthy revenue stream. On contract as an Executive Producer for Alter Ego, she brought a much-needed perspective of agency/client relationships to the supplier side.

    Derick Tsai Destiny 2
    Derick Tsai | Destiny 2 (Bungie)

    Following its recent acquisition by Sony for $3.6 billion, Bungie announced via its Destiny Bulletin Twitter feed Thursday that Derick Tsai has been named Head of Development for Destiny Universe Transmedia, charged with adapting the Destiny videogame IP across new mediums including film, TV, animation, books, comics and audio formats.

    Tsai was previously director for Riot Games’ acclaimed League of Legends animated shorts. Prior to joining Riot, Tsai garnered over 15 years of experience across games, animation and film at outfits such as The Walt Disney Company, Marvel Studios, Universal Pictures, Obsidian, Crystal Dynamics, HyperX and more.

    People on the Move 2
    Lana Castleman | Cindy Kelly | John Blas | Mythical Games

    More exec moves:

    • Mythical Games expands globally in Q1 with its first Asia office in Seoul and first European office in Stockholm, thanks to $150M in Series C funding raised last year. Mike Kang has been named VP of Business Development for APAC; Jikhan Jung will be VP of Production. Adam Schaub will be Head of Mythical Europe & Studio General Manager. The company has also acquired technology and staff from Shortround Games (Brighton, U.K.) — the incoming eight-person team will continue to be led by Studio Director Andrew Hubbard.
    • Thunderbird Entertainment Group Inc. (Atomic Cartoons et al) appointed Lana Castleman to Director, Marketing & Communications. Based in Toronto and reporting to Richard Goldsmith, President of Global Distribution & Consumer Products, Castleman is responsible for leading all trade marketing and communications across Thunderbird’s production divisions.
    • Aniventure named Disney/Pixar veteran John Blas its Chief Marketing Officer to lead the global marketing and brand strategy for the production company, responsible for all marketing aspects across all verticals. He will also support development of key franchises and properties.
    • Genius Brands International appointed 25-year exec Cindy Kelly to the newly created position Head of Advertising Sales & Co-Chief Revenue Officer for Kartoon Channel!, working alongside recently appointed Co-Chief Revenue & Marketing Officer Todd Steinman. Kelly will oversee advertising sales, brand, content and event sponsorships, while Steinman spearheads subscriptions and marketing.
  • ‘Futurama’ Has a Bright Future with New Episodes on Hulu

    ‘Futurama’ Has a Bright Future with New Episodes on Hulu

    Fry, Leela and Bender will be making a special delivery of brand-new sci-fi adventures to Hulu! 20th Television Animation and Hulu announced today the return of Matt Groening and David X. Cohen’s brilliantly subversive animated sci-fi comedy, Futurama. The announcement was made  by Craig Erwich, President, Hulu Originals & ABC Entertainment, and 20th Television Animation Head Marci Proietto.

    “When presented with the opportunity to bring fans and viewers new episodes of Futurama, we couldn’t wait to dive in. This iconic series helped blaze the trail for the success of adult animation since its initial launch and we look forward to Matt & David continuing to pave the way and further establishing Hulu as the premiere destination for fans of the genre,” said Erwich.

    Proietto added, “What I love about animation is that it’s possible for a successful show to take a pause and then resume years later, even on a different platform, and pick up right where it left off. Futurama is one of those shows. The excitement from Hulu about returning Matt and David’s genius creation for all-new episodes has been off the charts. I’m thrilled that this incredible team will get to tell more stories, and that our Planet Express crew will have more adventures together. It’s a win for the fans who have loved the show since the beginning, and for the ones who will now discover it for the very first time.”

    The order is for 20 new episodes and the series will go into production in February, with a 2023 premiere. The show’s returning voice cast includes stars Billy West, Katey Sagal, Tress MacNeille, Maurice LaMarche, Lauren Tom, Phil LaMarr and David Herman.

    “I’m thrilled to have another chance to think about the future… or really anything other than the present,” said Cohen.

    Groening commented, “It’s a true honor to announce the triumphant return of Futurama one more time before we get canceled abruptly again.”

    First airing on FOX from 1999-2003, Futurama was brought back in 2007 with four direct-to-DVD movies that subsequently aired as 30-minute episodes on Comedy Central. Based on their success, Comedy Central ordered new seasons of the series which made a triumphant return to television in June 2010. Futurama is only the second series in the history of the medium to go back into production based on the strength of its DVD sales and repeat airings on cable.

    Over the course of its storied run, Futurama earned six Emmy Awards — including two for Outstanding Animated Program — seven Annie Awards, two Environmental Media Awards and two Writers Guild of America Awards. Over its seven seasons spanning two decades, 140 original episodes were produced, with the then-final episode airing on September 4, 2013.

    Created by Groening and developed with Cohen, Futurama focuses on the life of Philip Fry (Billy West), a 25-year-old pizza delivery boy who accidentally freezes himself on December 31, 1999 and wakes up 1,000 years later with a fresh start at life and a “diverse” new group of friends including Leela (Katey Sagal), a tough but lovely one-eyed alien and Bender, a robot who possesses human characteristics and flaws.

    The series is produced by 20th Television Animation, part of Disney Television Studios, with Rough Draft Studios, Inc. contributing the animation.

  • HBO Max Auditions Hip-Hop Adult Comedy ‘Storytown’ from ‘Hamilton,’ ‘Woke’ Alums

    The evergreen combo of toons and tunes is getting an adult animation twist in Storytown, a new musical comedy series in development at HBO Max from Kevin Hart’s HartBeat Productions and Michael D. Ratner’s OBB Pictures. An animatic presentation is being prepared for the project

    The series is headed by composers Khiyon Hursey (Broadway’s Hamilton, Witness Uganda) and Harrison Richlin (Soundtrack), who are co-writing with Jay Dyer, executive producer of Hulu’s animation-infused Keith Knight comedy Woke. All three serve as exec producers.

    Storytown will center on a grandfather and grandson — when the youngster starts stirring up trouble in the streets, grandfather sets out to guide him with the life lessons he learned from various rapping fairytale characters while growing up in the fantastical Storytown.

    Also exec producing are Hart, Bryan Smiley, Mike Stein and Tiffany Brown for HartBeat, and Michael Ratner, Scott Ratner and Elias Tanner for OBB Pictures.

    [Source: Deadline]

     

  • Cartoon Movie Unveils 8 Eurimages Co-Pro Nominees

    Cartoon Movie Unveils 8 Eurimages Co-Pro Nominees

    The Council of Europe’s Eurimages Fund and Cartoon have joined forces once again to determine this year’s winner of the Eurimages Co-production Development Award. A cash-prize of €20,000, this award was created to promote the Fund’s role in encouraging international co-production from the initial stages of a project — while recognizing the special qualities and strengths of these animated feature collaborations.

    Eight of the 57 projects in various stages of creation selected to present at Cartoon Movie (March 8-10) have been nominated:

     

    At the Ark at 8
    At the Ark at 8

    At the Ark at 8

    Produced by Zooper Film (Germany) – Co-produced by Now Films (Germany), Parka Pictures (Denmark) & Hydralab (Denmark)

    • Based on the suc­cess­ful nov­el by Ulrich Hub, ​At the Ark at 8 is an updat­ed ver­sion of the sto­ry of Noah’s Ark. At the Ark at 8 is nar­rat­ed from the per­spec­tive of three pen­guins break­ing the only-two-of-each-species-rule by secret­ly embark­ing the Ark as three­some, explor­ing with humor and insight ancient and con­tem­po­rary ques­tions raised by the bib­li­cal myth.

     

    Born Happy
    Born Happy

    Born Happy

    Produced by Atom Art (Latvia) – Co-produced by Letko (Poland) & Pikkukala (Finland)

    • Dur­ing sum­mer break, nine‑year-old Ilze joins her fam­i­ly in the rain­for­est where they live with the Pemon tribe close to the Devil’s moun­tain. When Mom needs to fly Dad to a hos­pi­tal, Ilze vol­un­teers to look after her three‑year-old broth­er, Alex. How­ev­er, instead of pay­ing atten­tion to her broth­er, Ilze’s nose is stuffed in a book. When final­ly Ilze looks up, she dis­cov­ers that Alex has dis­ap­peared into the jun­gle. Excit­ing and some­times risky adven­tures unfold as she sets out to find him before their parents return.

     

    Flow
    Flow

    Flow

    Produced by Dream Well (Latvia) – Co-produced by Sacrebleu Productions (France) & CINÉ-LITTÉ Productions (Germany)

    • After a ter­ri­ble flood wreaks hav­oc on the world, a stub­born­ly inde­pen­dent cat is forced to share a small boat with a group of oth­er ani­mals. Get­ting along with them turns out to be an even greater chal­lenge for him than sur­viv­ing the flood.

     

    Living Large
    Living Large

    Living Large

    Produced by Barletta (Czech Republic) – Co-produced by Novanima Productions (France) & NOVINSKI (Slovakia)

    • It is the begin­ning of the school year. At 13 years old, Ben dis­cov­ers the effects of puber­ty on his class­mates, who have changed a lot — espe­cial­ly Claire, who is now real­ly pret­ty. Ben would like her to notice him, but he is hung up on his weight, and even the school nurse wor­ries about him. Despite his pas­sion for cook­ing, Ben decides to go on a long and dif­fi­cult diet. To face the bul­ly­ing from Max and his gang, Ben can count on the sup­port of his crazy fam­i­ly and his friends Claire, Eric and Sonia. They start a band for the Christ­mas show, at the end of a year that made them all grow up, with con­fi­dence in them­selves, in life and in love.

     

    Melvile
    Melvile

    Melvile

    Produced by Need Productions (Belgium) – Co-produced by Creative Touch Studios (France) & Special Touch Studios (France)

    • After more than 25 years of absence, Paul Rivest returns to Melvile. He knows this lit­tle town pret­ty well, hav­ing spent all his sum­mer vaca­tions there as a child with his grand­moth­er. Feel­ing respon­si­ble for the death of his first love and his best friend in a fire that destroyed the region the sum­mer of his 15th birth­day, his return to Melvile forces him to stir up the past. As Paul dis­cov­ers the real rea­sons for Ruth and Thomas’s death, his stay in Melvile turns into a night­mare — the town of Melvile is not done with him.

     

    Starseed
    Starseed

    Starseed

    Produced by Special Touch Studios (France) – Co-produced by Aparte Film (Romania)

    • Love­ness, a lit­tle albi­no girl, tries to sur­vive in a poor neigh­bor­hood in Zim­bab­we iron­i­cal­ly named Los Ange­les. One day, she has a strange encounter in the King Black for­est. Dan­ger is near, she risks her life if she stays on Earth.

     

    Trip to Teulada
    Trip to Teulada

    Trip to Teulada

    Produced by Isla Productions (France) – Co-produced by 2d3D Animations (France) & Mommotty (Italy)

    • Assun­ta, an elder­ly woman, col­laps­es from exhaus­tion. She is res­cued by her neigh­bor Fati­ma, a Syr­i­an teenag­er. When the old woman regains con­scious­ness, she makes a strange dis­cov­ery: her apart­ment is now invad­ed by the peo­ple who lived in her child­hood vil­lage in Sar­dinia. She then relives the ups and downs of her youth, when NATO decid­ed to estab­lish in her small heav­en one of their biggest mil­i­tary maneu­ver­ing fields, forc­ing them to flee their home­land. ​Trip to Teulada” is a sort of home­com­ing for Assun­ta, but it also is the meet­ing of two immi­grants from dif­fer­ent back­grounds and dif­fer­ent times, who will help each oth­er go a long way.

     

    Young Vincent
    Young Vincent

    Young Vincent

    Produced by Submarine (Netherlands) – Co-produced by Tchack (France)

    • The young Vin­cent has trou­ble fol­low­ing the rules and prefers wan­der­ing around through nature, alone or with his broth­er Theo. But all his par­ents see is a troublesome, dis­obe­di­ent child. So, they send him away to board­ing school. Lone­ly and far away from home, Vincent finds solace in his imag­i­na­tion, and he writes long, illus­trat­ed let­ters to Theo. Then, he befriends a popular boy named Paul, who also likes draw­ing. Paul is Vincent’s only friend, but their friend­ship is com­pli­cat­ed. Vin­cent finds a way to escape from board­ing school using his dreamworld and imag­i­na­tion. He runs all the way back home, where he finds Theo wait­ing for him.

     

  • 3rd Blue Water Film Fest Expands Program with Animation Magazine, Dell

    3rd Blue Water Film Fest Expands Program with Animation Magazine, Dell

    Animation Magazine, Dell Technology and the Blue Water Film Festival are teaming up to expand the festival’s international scope, including animated short and feature films as a main category in the 3rd annual event, running from June 2-8 online and in-person in San Diego, California.

    Blue Water Film Festival will showcase a number of features and shorts and will expand its programming with a selection of animated films that will anchor in celebration of U.N.-designated World Oceans Day (June 8). The theme encompasses all marine animals and aquatic species as a component of biodiversity as well as livelihoods of people, especially those who live closest to the oceans. Winners and finalists entered into the competition will be shown throughout the festival dates.

    The Festival’s Blue Carpet Awards are presented to cinematic artists whose exemplary work shines in the environment and the evolution of making a better world for humanity. Past recipients from 2020 and 2021 winners included Ocean explorer Dr. Sylvia Earle and world shark photographer Valerie Taylor.

    “Animation is a thriving component of the arts and entertainment today,” says Jean Thoren, Publisher of Animation Magazine. “We are witnessing a true renaissance in this visual medium. It’s exciting to see how animation is inspiring audiences and making an impact worldwide.”

    “We are thrilled to expand and showcase these timely and relevant environmental animated films,” said Blue Water Film Festival Executive Director Greg Reitman.

    The winning feature film will receive a Dell mobile laptop which includes Intel Xeon W11955M CPU (8-core, 2.6GHz), 32 GB RAM, 4K UHD+ Touch screen with 100% Adobe RGB, Nvidia RTX A2000 GPU, 2TB M.2 NVMe SSD.

    “We are honored to be able to present the Impact Environmental Award at the 2022 Blue Water Film Festival,” says Matthew Allard of Dell Technology, sponsor of Blue Water Film Festival.

    Themed on our “Big Blue Planet,” the Blue Water Film Festival’s purpose is to encourage attendees to think broadly about how climate change affects planet Earth and deeply about the universal concerns and actions needed to bring us into balance. Roughly 50% of all film selections are non-U.S. productions, helping to fulfill the festival mission of promoting cross-cultural understanding through film.

    The full 2022 Blue Water Film Festival line-up and additional honorees will be announced May 1. Film submissions are now open via FilmFreeway here.

    www.bluewaterfilmfestival.org

  • Psyop Sets World Premiere of Eco Animation ‘Bottle Cap’ at Clermont-Ferrand

    Psyop Sets World Premiere of Eco Animation ‘Bottle Cap’ at Clermont-Ferrand

    LA-based creative content studio Psyop has announced the world premiere of its most-recent short film, Bottle Cap from directors Marie Hyon and Marco Spier, at the Clermont-Ferrand International Short Film Festival in France (Jan. 28-Feb. 5). The animated short film follows a fiddler crab named Shelton, who becomes an unwitting accomplice in the business of extinction as his dreams of being “average” are co-opted by new dreams of power and destiny.

    “Psyop takes great pride in supporting creators, and bringing their unique voices to life. We are thrilled to see the curtain raised on Marie and Marco’s vision for Bottle Cap at Clermont-Ferrand International Film Festival — their unique creative voices, and this vitally important story belong with a global audience,” said Neysa Horsburgh, Psyop Chief Strategy Officer.

    Bottle Cap
    Bottle Cap

    Hyon and Spier were inspired to create Shelton’s journey when they traveled thousands of miles to a remote island off the coast of Brazil, only to be met by a bottle cap being washed up onto the beach. The two were moved to take action against ocean plastic pollution in the way they best know how – tell stories in the hopes that the narrative might inspire change.

    “It has been a passion of ours to tell the tale of our little fiddler crab, Shelton, for a very long time,” said Hyon and Spier. “To do so at Clermont-Ferrand, at the world’s preeminent short film festival, is indeed a thrill and we especially look forward to the response of their renowned audience. We believe stories have the power to change behavior — we are excited and hopeful that in sharing our film, we can shine a light on real world problems and inspire all of us to become leaders for a better world.”

    Bottle Cap
    Bottle Cap

    The directors created Bottle Cap at Psyop — the award-winning animation studio they co-founded with Todd Mueller, Kylie Matulick and Eben Mears — using Unreal Engine, with the support of an Epic MegaGrant. The short is produced in association with Parley for the Oceans, Content for Change and Epic Games.

    “Bottle Cap was truly a labor of love for everyone involved. We were able to assemble the perfect team for the project — all long-time collaborators of the two directors. It really was a family affair at the end of the day, and everyone poured heart and soul into every frame of the film,” added Andrew Linsk, producer / executive producer.

    Synopsis: Size matters to a fiddler crab — claw size, that is. And it’s a problem for Shelton. When a plastic bottle cap stands in for his worthless digging claw, Shelton believes he is about to become a god. But for a crab who hated being different and instead dreamt of being ‘just average,’ this kind of glory will come at a horrible cost.

    Watch the trailer at psyop.com.

    Bottle Cap
    Bottle Cap

    Bottle Cap pops off Psyop’s 2022 short film slate, with further selections at festivals throughout Europe and the U.S. to be announced soon.

    Founded in 2001, Psyop is a creative content studio creating award-winning commercials, shorts, VR experiences, games, web series, VFX, interactive and digital. Recent commissioned projects from the Psyop talent stable include spots for hit games Clash of Clans, Apex Legends and Runeterra, the Aldi “Christmas Carrot” holiday ad, KFC’s Colonel Sanders anime dating sim spoof and the viral Ghibli-esque Travel Oregon campaign.

    psyop.com | clermont-filmfest.org

    Bottle Cap

     

  • Adult Swim Re-Ups Workplace Comedies ‘Birdgirl’ & ‘Smiling Friends’

    Adult Swim Re-Ups Workplace Comedies ‘Birdgirl’ & ‘Smiling Friends’

    Adult Swim, the #1 destination for young adults, announces season two renewals for two of its hit animated comedy series, Birdgirl and Smiling Friends. The second season of Birdgirl is set to premiere this summer, while the return of Smiling Friends will be announced at a later date. Fans can now stream season one of both series on the Adult Swim hub on HBO Max.

    In season two of Birdgirl, the Birdteam is back and still not learning from their mistakes. Judy Ken Sebben and the Birdteam attempt to navigate the troubles of modern corporations, tackling everything from ethics in new tech, to cancel culture and rejuvenating skin sack health fads. Will they fail? Spectacularly! But sometimes it’s not about the solutions we come up with, it’s about the new problems we make along the way.

    Birdgirl is a half-hour animated comedy series starring Paget Brewster (Criminal Minds, How I Met Your Father) and executive produced by Erik Richter (Harvey Birdman, Attorney at Law) and Christina Miller. The animation studio is Global Mechanic, and the series is produced by Adult Swim’s Williams Street Productions.

    Smiling Friends
    Smiling Friends

    Smiling Friends first premiered on Adult Swim on January 9 , when fans were treated to a full run of the entire season that night. The premiere was #1 amongst all ad-supported cable with T12- 17, P18-24/34, and W18-24/34 during its 12a-1:45a time period. The block, excluding sports, also won among M18-34/49 and M25-54. As new episodes continued to air during its regular time slot over four weeks it saw double and triple-digit improvements in audience delivery of the prior four weeks’ average.

    Smiling Friends follows the employees of a small company dedicated to bringing happiness to a bizarre yet colorful world. The quarter-hour animated series is co-created by Michael Cusack (YOLO: Crystal Fantasy) and Zach Hadel (Hellbenders) and animated by Princess Bento Studio.

     

  • Kaboom Fest Sets Full Program of Explosive Animation

    Kaboom Fest Sets Full Program of Explosive Animation

    The Netherlands’ energetic, artistic and not-to-be-missed animation event Kaboom Festival is ready to present another exciting program for its hybrid 2022 event, themed “Myths & Fairytales”. Dutch fans (and accredited professionals) can visit this “Animation Valhalla” in Utrecht and Amsterdam, while outside the borders audiences can tune in online from March 28-April 3.

    Among the program highlights are the Feature Films in Competition program and Best of the Season which flaunt the variety of voices, stories and styles that have emerged in this year’s long-form feats. For example:

    • Where is Anne Frank? | Ari Folman | The story of Anne Frank remains a crucial one to tell. We can all agree on that. So, dear parents, arrange a special family night out to educate ánd entertain your children with this wonderful take on a diary that must never be forgotten!
    • Belle | Mamoru Hosoda | Maximalist at its core, Belle is a film of grand ideas, of familiar themes, and of the good old beloved anime sentimentality. Yet, for all its lush visuals and extravaganza, the film is also a heartfelt commentary on how we deal with pain and sorrow.
    • Bob Spit – We Do Not Like People | Cesar Cabral | Building on a short film and a TV series, the film is a weird, post-modern, even philosophical rollercoaster embracing the subversive, countercultural and anarchic spirit of Angeli’s original cartoons. The question remains: can Bob escape Angeli’s brain and teach him a lesson for killing him off?
    • Flee | Jonas Poher Rasmussen | The triple Oscar-nominated documentary is the engrossing and unflinching story of Afghan refugee Amin, who fled his country in the ’80s to live as an openly gay man. It’s also the true story of the director’s close friend.

    The competition lineup will also present Fortune Favors Lady Nikuko, My Sunny Maad, Poupelle of Chimney Town, Archipel and a black and white double bill of The Timekeepers of Eternity and Insect. The Best-of selection also includes Cryptozoo, Wolfwalkers and The Ape Star.

    Kaboom Feature Films
    Top: Where Is Anne Frank?, Belle. Bottom: Bob Spit, Flee.

    The Shorts in Competition section includes seven themed programs in addition to two collections each of documentary shorts and Dutch shorts, plus commissioned films, “New Directions,” “Offbeat Shorts” and the ultimate “Bonkers Shorts.” Meanwhile, the Immersive Media program will include a Best of Kaboom 2021 retrospective and six VR projects in competition, including the mesmerizing bird’s eye view of post-climate change Europe presented in Swarm.

    Tied to the 2022 Kaboom theme, Myths & Fairytales is an out-of-competition lineup of films that explore our shared yet diverse storytelling roots, from the ’80s psychedelia of Marcell Jankovics’ Son of the White Mare to the cutting-edge, yet antique and romantic, silhouette animation of Michel Ocelot’s Princes & Princesses. Shorts collections will also present a timeline of both Fairytales from Around the World, Dark Fairytales, stories of inclusion and exclusion, and a spotlight on oft ignored folklore and fairytales from indigenous people and ethnic communities around the world, such as the Hawaiian mo’olelo of Kapaemahu, the story of two-spirit beings with healing powers.

    The festival will also spotlight on Estonian studio Nukufilm and its legacy of stop-motion animation, including the children’s feature Captain Morten and the Spider Queen, the surreal musical romance-adventure Lisa Limone and Maroc Orange and the studio’s award-winning shorts — including Riho Uhnt’s hairy exploration of power dynamics, The Master, about a dog and a monkey whose human doesn’t return home, and must find a way to live together.

    For in-person attendees, Kaboom is hosting Installations, ranging from a comics collection about animal rights, illustrated observations on dating and absurd pop-up drawing shelters for scribblers to spy on their subjects from. Mannenmythen will definitely offer food for thought, as siblings Max and Tosca seek to explode myths of traditional, unchanging masculinity and give men an overdue chance to emancipate their identity from cultural expectations. (You go, guy.)

    Tickets for Kaboom Festival 2022 go on sale in mid-February. kaboomfestival.nl

    Kaboom Festival Programs
    Top: Kapaemahu, Swarm. Bottom: The Master, Mannenmythen.