Madrid-based The Thinklab Media and U.K. studio Kapers Animation have debuted the first images from their upcoming CGI feature film Inspector Sun and the Curse of the Black Widow, now in production for a Summer 2022 release.
Directed by Julio Soto Gúrpide (Deep), the noir-tinged family thriller set in a world of parallel human and insect civilizations conjured by screenplay writer Rocco Pucillo (Middlemost Post), who won the 2013 Samuel Goldwyn Writing Award for Inspector Sun. Producers are Adriana Malfatti Chen, Gúrpide, Karl Richards, Peter Rogers, Jason Kaminsky and Pucillo.
The family-friendly murder mystery tale unfolds in the glamorous travel age of the 1930s, on a seaplane en route from Shanghai to San Francisco. Humans travel in the cabin, while insects luxuriate in their own Titanic-sized accommodations below. With shades of Charlie Chan and Agatha Christie, Inspector Sun — voiced by actor-comedian Ronny Chieng (Crazy Rich Asians, Shang-Chi and the Legend of the Ten Rings) — is the most famous investigator in the all-spider police force, and finds himself once again on the many-legged trail of his nemesis, the Red Locust.
The Kapers Animation film is a co-production of The Thinklab Media and Gordon Box in association with 3 Doubles Producciones. Produced in partnership with Radiotelevisión Española, with the support of the Spanish Institute of Cinematography and Audiovisual Arts, financed by the Government of Navarre and the Spanish Official Credit Institute, and with support from Epic Games through Epic MegaGrants. Kapers is handling worldwide sales.
The BFI has unveiled the latest slate from the government backed Young Audiences Content Fund (YACF), revealing 12 brand-new and distinctive commissions, a recommission and five new development awards from across the U.K. This new slate lands following the recent success of YACF backed content such as animated preschool series Milo — which launches on Channel 5’s Milkshake! today.
Addressing a deficit of new distinctive children’s content that inspires and reflects the lives of young people in the U.K., the YACF is designed to contribute up to 50% of the production costs for projects that have secured a broadcast commitment from a free-to-access, Ofcom regulated platform, and supports producers to develop new ideas within this field. Today the YACF announced an enriching mix of animation, comedy, drama, sci-fi, political documentary and news.
The slate marks the first time ITV2 has ordered YACF-backed content; Channel 5’s Milkshake!, CITV, Channel 4, S4C and BBC ALBA all have brand-new commissions within this portfolio, including Terry Pratchett’s The Abominable Snow Baby, commissioned for Channel 4 as this year’s animated Christmas Special.
Previously announced as development projects, Pop Paper City (Milkshake!) and The Sound Collector (CITV) are today unveiled as commissions. The BFI has confirmed a 10% conversation rate of development awardees to commissions for the YACF, which is 5% higher than the industry standard, further demonstrating the positive role the YACF development support is playing.
The production slate includes a total of 12 new production awards, resulting in 42 supported productions made to date, with spend totalling £27.1M (approx. $38.4M USD) from launch in 2019 until the end of year two. The YACF has granted 129 development awards totalling £3.3M ($4.7M) – an average of £25,600 per award.
Following a successful Spending Review, the YACF will continue into its third year and receive up to £10.7M ($15M) from the Department for Digital, Culture, Media and Sport for year three of the pilot scheme, totalling up to £44.2M ($62.5M) for the three years.
“We are so overjoyed that, despite the challenges of the past year, we are still continuing to make such a vital contribution to the children’s media landscape. To see all of these new unique and distinctive projects commissioned that speak to public service values and reflect and represent the U.K. is truly wonderful,” said Jackie Edwards, Head of Fund. “We are thrilled that we are achieving a conversion rate of 10% of development to production, showcasing the Fund’s use of resources and the value for money within the sector. Public service content is now, more than ever, such a vital resource for young audiences, serving a range of different stories that offer a varied and broader perspective for young minds in the U.K., that are free and accessible to all.”
Minister for Media and Data John Whittingdale said, “I’m pleased that a new raft of exciting productions for young audiences will be brought to life through this round of awards. It is fantastic to see this publicly funded scheme continues to support homegrown talent and original TV that inspires young people and properly reflects the world they live in.”
Pop Paper City
YACF production awards – animation & hybrid projects:
Channel 5’s Milkshake! 52 x 11′ vibrant preschool mixed-media craft series Pop Paper City, produced by LoveLove Films IP and their first series commission. Pop Paper City is an innovative, vibrant 3D show that blends crafting and storytelling as it follows the adventures of a group of unique friends who live in Pop Paper City, the capital of a captivating paper world. The show’s philosophy is ‘Creating Adventures Together’. In each of the 11-minute episodes, the characters find a new way to have fun together by creating new parts of their already impressive world, using craft to overcome challenges and complete their adventure. Live-action montages with a ‘Helping Hand’ within the show teach children how to make the paper creations along with the characters, encouraging ‘doing as well as viewing’ in this beautiful series.
Louise Bucknole, VP Programming Kids, ViacomCBS Networks International, U.K. & Ireland, commented: “We’re delighted to be welcoming the wonderfully creative Pop Paper City to Milkshake! thanks to our ongoing partnership and support from the BFI’s Young Audience Content Fund. Pop Paper City is a unique and engaging show that blends craft and adventure that is perfect to inspire the creativity of preschoolers, whilst teaching them the value of friendship and teamwork and it joins a broad range of best in class U.K. produced kids content on Milkshake!”
The Sound Collector
CITV 60 x 5′ stop-frame and live-action series The Sound Collector, produced by Eagle vs Bat. The Sound Collector lives in a tiny house under an old watermill with his best friend and pet, Mole. Every day is full of potential as the Sound Collector puts in his hearing aids and headphones, grabs his mic and heads out into the world to collect sounds on his tape recorder – sounds that fascinate him and sounds that we maybe take for granted. At SIX inches high, he is full of wanderlust in a world providing a never-ending symphony for him to explore and capture one sound at a time.
26 x 7′ New preschool animation Happy (Paper Owl Films) for CITV and S4C. A series that follows the adventures of a little hedgehog called ‘Happy’. Our unlikely hero learns how to build the emotional resilience needed to ‘go with the flow’ and find a balance amid life’s noise and haste. This show tells us all that it’s OK not to be OK… and importantly it offers ways to cope when challenging feelings get in the way: building strong friendships and realising that those challenging moments will pass. But of course good moments don’t last forever either, so if we have a good feeling, we should share it. Because the more we share our good feelings, the more good feelings there are in the world.
Happy
S4C 8 x 20′ children’s drama and animation series Dwdl a Fi, produced by Cynhyrchiadau Ceidiog Creations Cyf. A new drama and animation series featuring Dwdl – an animated character helping children to deal with mental health issues. Based on real life experiences and using a blend of dramatic live action and surreal animation the series will raise awareness of mental health conditions, such as anxiety, lack of confidence, OCD, Grief and PTSD and discuss different ways of dealing with those conditions and the emotions they cause.
Sioned Wyn Roberts, S4C’s Children Commissioner, said, “We are delighted to announce a range of brand new series for children and young people in Wales. Our latest programs include appealing and timely series that address important topics such as mental health and emotional well-being in a subtle and fun way. From sci-fi to the election to wellbeing – our new slate of productions are diverse and inclusive and will inform, educate and captivate our young audiences. We are extremely grateful to the Young Audiences Content Fund for their support in enabling us to bring these productions to life on screen.”
Dwdl a Fi
Channel 4 Animated Christmas Special based on Terry Pratchett’s The Abominable Snow Baby, produced by Eagle Eye Drama. Produced by Eagle Eye Drama, the production company recently launched by the team behind global drama brand Walter Presents. The animated Christmas special is based on a short story from a bestselling book of Christmas tales (Father Christmas’ Fake Beard) by one of Britain’s most illustrious and well-loved authors, Sir Terry Pratchett. The magic of Pratchett, the legendary national treasure and maverick British author who sold over 100M books worldwide and has been translated in 40 languages, comes to life in this half-hour program. The Abominable Snow Baby tells the story of a quintessentially English town which is thrown into disarray by a huge snowfall and the dramatic appearance of a 14-feet-tall Abominable Snow Baby.
Channel 4 Head of Drama, Caroline Hollick, said, “Terry Pratchett’s The Abominable Snow Baby is a magnificent, heart-warming, riotously funny story about love, courage and compassion. Witty, entertaining and deeply moving in equal measure, it captures the spirit of Christmas with Sir Terry’s unique charm.”
Learn more about the BFI’s Young Audiences Content Fund at www.bfi.org.uk/yacf.
LatinX in Animation (LXiA) is excited to announce its first-ever Animation Day as part of the Los Angeles Latino International Film Festival‘s 20th edition. Co-founded in 1997 by actor, director and producer Edward James Olmos, LALIFF is a high-profile event that showcases the talents and perspectives of Latinx filmmakers from all over the world.
Animation, however, had not yet had its standalone day at the event — until now. Including sponsors such as Warner Bros. Animation and Cartoon Network Studios, Animation Day’s packed line-up boasts exclusive premieres, panel discussions, an animated shorts contest and master classes.
From June 2-6, the audience will have access to LXiA’s first-ever Animated Shorts Program, presented by Cartoon Network Studios’ recently announced animated shorts content initiative Cartoon Cartoons. In keeping with LALIFF’s international lens, the program will feature the works of directors across Colombia, Mexico, Argentina, Australia, Germany, the U.K. and the U.S. The jury includes Manny Hernandez, executive producer for the upcoming Cartoon Network Studios series We Baby Bears; Doreen Spicer-Dannelly, Executive Producer & CEO of Spicerack Productions, Inc.; and Carlos Zaragoza, production designer for Sony Pictures Animation’s original animated musical Vivo (coming to Netflix this summer). The selected all-around best animated short will be awarded a one-year subscription to Storyboard Pro presented by Toon Boom.
Animation events kick off on Thursday, June 3 with the live debut and Q&A of Crypt TV‘s first animated horror drama for Facebook Watch, Woman in the Book. Directed by Jeanette Jeanenne and Jeanette Moreno King, the series’ lead voice talent features Diane Guerrero and Alfonso Herrera.
Lindsey Olivares
On Friday, June 4, the full day of fun begins! Virtual coffee chats, or cafecitos, will spotlight professionals from studios that include Warner Bros. Animation, Cartoon Network Studios, Walt Disney Animation Studios, Disney Television Animation, Netflix and Nickelodeon Animation Studio, capturing the scope and variety of perspectives in the animation industry.
Among the highly anticipated cafecitos is a discussion with some of the team behind Sony Pictures Animation’s The Mitchells vs. The Machines, which is out now on Netflix, including producer Phil Lord, production designer Lindsey Olivares, and head of story Guillermo Martinez. Charise Castro Smith, screenwriter and co-director on Disney’s forthcoming feature Encanto will hold a cafecito conversation with the film’s producer Yvett Merino. Additional cafecitos will feature power hitters such as Nickelodeon‘s VP of Recruiting and Talent Development Camille Eden; creator & executive producer of Cartoon Network Studios’ Victor & Valentino,Diego Molano; and a roundtable discussion with Disney Television Animation.
In support of industry professionals, Nickelodeon Animation Studio will also provide exclusive talks with recruiters in Storyboarding and Design as well as artist portfolio reviews. Complementing this, Animation Day will feature a set of masterclass workshops and talks. In partnership with Netflix, Animation Day will include a Writing for Animation Masterclass aimed at preparing emerging writers with the necessary skills to land their first writing gig. Instructors for the three-hour class include Maya and the Three writer/director/executive producer Jorge Gutierrez, alongside Sherley Ibarra, Animation Outreach & Engagement, and Creative Executive Julian Malagon. Walt Disney Animation Studios will also present a Masterclass discussion with Carlos López Estrada, director of Raya and the Last Dragon, in conversation with film journalist Carlos Aguilar.
Carlos López Estrada
LALIFF’s Executive Director, Rafael Agustín, remarked, “Animation is an often- underappreciated art form that is sometimes mislabeled as a ‘genre’ when it’s actually a medium. LALIFF is proud to spotlight the array of storytelling and industry professionals that make up this very special sector of the entertainment industry.”
Animation Day owes its carefully curated line-up to the Latino Film Institute’s newest signature program: LatinX in Animation (LXiA). Launched in 2018 by Co-Founders Magdiela Hermida Duhamel and Bryan Dimas, LXiA was acquired by the Latino Film Institute the following year in 2019. LXiA represents a diverse group within the animation, VFX and gaming industries and is dedicated to uniting a talented pool of innovators with heart to create exceptional stories across multiple platforms. LXiA does so by organizing activities and events focused on networking, community service, and professional development. But LXiA has never had an Animation Day all its own.
“I feel like I’ve been preparing my whole life to create, empower and unite a group of people with entertainment,” said Duhamel. “Animation Day at LALIFF is one of those milestones that brings credibility and visibility to our community.”
Dimas added, “What I am most proud of LXiA for is just the general enthusiasm and passion from the animation community. We started as a small group of 60 people, and now, even with a pandemic, we have over 2,500 members in less than three years. It’s definitely a movement we’re building.”
LALIFF will run June 2-6. Animation Day will be held Friday, June 4. For the LALIFF full programming slate and schedule please visit www.laliff.org. Tickets go on sale May 11.
For more information on LatinX in Animation, please visit www.latinxinanimation.org or contact info@latinxinanimation.org.
Fans worldwide received a special surprise this Goku Day (May 9), the annual Dragon Ball celebration inaugurated in 2015, when Toei Animation revealed today that a new Dragon Ball Super movie will be released in 2022. Creator Akira Toriyama aims to bring fans a unique feature-length adventure in the new project, according to the studio.
The Dragon Ball phenomena began in 1984 when Toriyama’s manga made its Japan premiere in Shueisha’s Weekly Shonen Jump – becoming a top ranked title throughout its 10 and a half years of publication. Since then, the manga’s popularity has continued to grow with an astonishing record of 260 million copies sold worldwide and counting. And with Dragon Ball’s ever-increasing popularity, it has expanded beyond manga to include TV animation, movies, games and merchandising.
Now, 37 years after the launch of the original manga, Dragon Ball continues to evolve and will reach new heights starting with this new large-scale movie. The new release will be the second film based on Dragon Ball Super, the manga title and the anime series which launched in 2015. The first such movie was the 2018 release Dragon Ball Super: Broly, which was a smash hit with audiences – setting a worldwide box-office record of over $120 million.
Planning for the new film project was kicked-off in 2018, before the release of Dragon Ball Super: Broly, with the goal of telling a large-scale story that would build on the enthusiastic response for the previous theatrical series and the current global fervor for Broly. Toriyama himself has picked up his pen to deliver a fascinating story that fans desire. From the magnificent story composition to character design to the lines of the script, Toriyama has worked passionately with the greatest attention to detail and highest quality standards – creating a Dragon Ball movie unlike any other in its history and one that will surely be a blockbuster with fans.
Toriyama — who created the original story, screenplay and character design — marked the Sunday announcement with a special mention to Dragon Ball fans shared to dragon-ball-official.com:
“An all new movie since Dragon Ball Super: Broly is currently in the making!
Just like the previous movie, I’m heavily leading the story and dialogue production for another amazing film.
I really shouldn’t talk too much about the plot yet, but be prepared for some extreme and entertaining bouts, which may feature an unexpected character.
We’ll be charting through some unexplored territory in terms of the visual aesthetics to give the audience an amazing ride, so I hope everybody will look forward to the new movie!”
Follow developments on the new flick with #DBSuperMovie and via Toei Animation’s social channels.
After six days filled with highlights from the world of animation, the 28th Stuttgart International Festival of Animated Film came to an end on the evening of May 9 with the grand ITFS awards ceremony. Though the entirety of the ITFS media library — including recordings of lectures and presentations — will be available to accredited users until May 16.
“We have professionalized our online festival. Initially planned as a hybrid event, the complete changeover to an online only ITFS21 may have been unfortunate at first glance. However, we have been able to hugely benefit from last year’s experience,” said Ulrich Wegenast, Artistic Managing Director of ITFS. “We succeeded in creating glamour at the galas and personal interaction through our ITFS VR Hub as well as numerous interactive lectures. Those formats created the possibility of excellent face-to-face discussions and chance encounters – in a much more pleasant atmosphere than created through video conferences! Regarding the program line-up, we are pleased to have been able to represent diversity not only in gender and sexuality, but also in ecological, social and, above all, aesthetic terms. This year, we also witnessed an incredible variety of animation techniques, which honestly didn’t make the task of our juries easier. Content-wise, the corona crisis has been reflected in animation production: ITFS has seen many grave animated films that deal with illness and care.”
The motto of this year’s virtual festival, Creating Diversity, was reflected across film and gaming and reflected on tracks such as Focus on France, Pandemic Animation and Women in Animation & Games. The ITFS VR Hub allowed visitors to mingle virtually in locations modeled on familiar Stuttgart venues, and even take in musical performances at the virtual club. Via OnlineFestival.ITFS.de, viewers could enjoy more than 400 short and feature films in the free online live stream. International animation celebrities and promising young filmmakers presented themselves and their work in numerous talks, lectures, master classes and workshops, including David Silverman (The Simpsons), Tomm Moore (Wolfwalkers), Shoko Hara (Just a Guy), Regina Pessoa (Uncle Thomas: Accounting for the Days) and Jalal Maghout (Have a nice dog!).
The short films have totalled more than 16,000 views so far, the feature films were watched more than 5,000 times. Almost 8,000 viewers watched the live stream between Tuesday and Saturday, and around 500 users logged onto the ITFS VR Hub during the festival. The workshops for children and young people inspired more than 200 participants. 1,400 accredited professionals attended the lectures available on ONLINE PRO. Over 160,000 page views were recorded on the festival website OnlineFestival.ITFS.de: 5,500 users from a total of 59 countries since May 3. The projected revenue was exceeded by 20% and almost doubled compared to the year before.
“For quite a long time, we have kept our hopes up for organising a hybrid festival, in line with last year’s announcements. Once again, we enjoyed the advantage of reaching people all around the world with the second online edition – visitors that would otherwise not have been able to attend the festival at all. And we were able to try out different ways of translating various parts of the program into new digital formats,” said Dieter Krauß, Commercial Managing Director of ITFS. “Thanks to the support of our fans from all over the world as well as our partners and supporters, we were able to master the challenge and put on a great festival. Nevertheless, we look forward to the upcoming edition of ITFS from May 3 to 8, 2022, allowing audiences and industry representatives alike to be able to meet in person.”
Winners of the ITFS film competition — including the Oscar-qualifying Grand Prix for short film, were announced in a ceremony reception held on the ITFS VR Hub, presented by State Secretary Petra Olschowski, Stuttgart’s Mayor Fabian Mayer and Carl Bergengruen, CEO of MFG Film Funding Baden-Württemberg, with musical accompaniment by Linda & Andrew. The Tricks for Kids Award (see below) and Trickstar Professional Awards. were announced in the preceding days.
Precieux
Grand Prix – Grand Award for Animated Film, State of Baden-Württemberg and the City of Stuttgart (15,000€): Precieux / Precious | France | Director: Paul Mas, Producer: Perrine Capron, Marc Jousset | Je Suis Bien Content
Jury statement: “Tackling subjects familiar to all of us, that of being othered and misunderstood, of bullying and of friendship, Precious skilfully handles the sensitive narrative with subtlety and a gentleness of expression. The story presents complex layers of social forces in a seemingly simple narrative. The gentle pace, quiet atmosphere and minimalism of the Mise en Scène, not only gives a sense of isolation, but holds the attention of the viewer, pulling them closer to evoke a deeper sense of empathy. Through the story, there is gradual accumulation of pressure and tension borne by the protagonist as the masterfully constructed narrative presents her painful lessons, yet leaves the viewer to wonder whether the experience has changed her for the better or for the worse. Precious is a timeless animation that touched us all and kept us thinking.”
Special Mention: Only a Child | Switzerland | Director: Simone Giampaolo, Producer: Gabriella de Gara | AMKA Films Productions
Jury statement: “Only a Child deserves the honor of receiving the Special Mention of the 28th Stuttgart International Festival of Animated Film, because it is a collaborative project, celebrating the plethora of designs, styles and techniques that a century of animation has brought to the World. By adding animation to an important voice from the past, Only a Child reminds us all, that only by believing in and acting as one responsible global community, there is a way forward for humanity on earth. Some may comment that Only a Child is part of a campaign, but this campaign, this movement, that unites young people across countries, cultures and nationalities, is exactly what we need right now, to understand how humanity can succeed in the great game of evolution.”
Jury: Candice Gordon (Berlin), Anita Killi (Norway), Anna Mantzaris (Sweden), Monique Rénault (The Netherlands), Morten Thorning (Denmark)
Have a Nice Dog!
Lotte Reiniger Promotion Award for Animated Film– Award for best graduation film (10,000€, sponsored by MFG Filmfunding Baden-Württemberg): Have a Nice Dog! | Germany, Syria | Director: Jalal Maghout, Producer: Karsten Matern | Filmuniversität Babelsberg KONRAD WOLF
Jury statement: “In Have a Nice Dog! we are dragged into a waking nightmare, a reality for many people in the world, but which is unimaginable to most. This is therefore an extremely valuable story, told in imaginative ways to express the horrors of war and the desperation of fleeing in an over-crowded rubber dinghy. This is an uncomfortable film to watch. The deformed characters, the woozy, morphing visions. The world appears to be made from fragile paper-mâché, cut-up and distorted. This is Guernica of a modern age, where dreams are Facebook posts and nightmares are at your door. This intelligent film is full of visual metaphors that intensify the viewer’s interest with every revisit. The aesthetic choices creatively express the confusion, compounding terror and the sense of hopelessness. The Jury found Have a Nice Dog! to be a highly impressive and important film.”
Special Mention: Jestem tutaj / I’m here| Poland | Director: Julia Orlik | The Polish National Film, Television and Theatre School Lodz
Jury statement: “Our special mention goes to I’m here. The film has a clever film language that never let’s us look away from the main character. While life is moving around her she is always in the centre of our view, and with a minimalistic expression she, and the film, still expresses incredible emotional depth. The jury found this film very touching and empathetic. A film sensitive and intelligently told, cutting into our deepest fears and emotions about death and loss.”
Young Animation – Award for the best student film (2,500€, sponsored by the Landesanstalt für Kommunikation Baden-Württemberg and MFG Film Funding Baden-Württemberg): Have a Nice Dog! | Germany, Syria | Director: Jalal Maghout | Karsten Matern School: Filmuniversität Babelsberg KONRAD WOLF
Jury statement: “A disturbing exploration of a man’s deteriorating psychological state caused by the ravages of war. Boldly drawing a dotted line between war and the refugee crisis, the film follows the disintegration of the wall between reality and nightmare, leading to isolation and the search for escape that is forever elusive. Have a Nice Dog! is layered, atmospheric, visually and emotionally full of grit. It often toys with the right juxtaposition of dynamism and phantasmagorical imagery. However, its real mastery is in its coherence articulation of the consequence of war on the individual. The sound design is bold and its absorbing parallel narratives and scenic nuances will yield on repeat festival viewings.”
Special Mention: The Song of a Lost Boy | U.K. | Director: Daniel Quirke, Producer: Jamie MacDonald | NFTS – National Film and Television School Beaconsfield Film Studios
Jury statement: “A light-hearted, finely animated, somewhat ironic look at the sudden emergence of puberty in a young choirboy. Playing with the simple metaphor of the protagonist losing his voice, The Song of a Lost Boy is a well-crafted, sublime use of puppetry, light, movement and sound to illustrate themes of self-discovery and ‘finding your own voice.’ It does all this while heavily leaning on themes of the divine with post-futuristic apocalyptic tropes, and it works.”
Jury: Akin Akinsiku (London), Daniel Höpfner (Berlin), Daria Kashcheeva (Prague)
Wolfwalkers
AniMovie – Award for the best animated feature film: Wolfwalkers | Ireland, Luxembourg, U.S.A. | Directors: Tomm Moore, Ross Stewart | Producers: Paul Young, Nora Twomey, Tomm Moore, Stéphan Roelants | Cartoon Saloon (global sales), Melusine Productions
Jury statement: “Wolfwalkers is the third in a series of animated films by Tomm Moore in which Irish-Celtic motifs from art and myth are translated into stylish animated films. For us, this film, which he directed with Ross Stewart, represents a new high point in this series because it now adds depth to the level, ornamental style without appearing conventional. Almost every shot could be a painting in itself. The cooler colors of the city and interiors contrast with the intoxicating colours of autumnal nature. And even the special perception of the world of wolves, who sense smells much more strongly than humans, is visualized in a surprising and convincing way and the feeling of walking on four legs through the dynamic camera movements. The score and the song about the wolves are the perfect accompaniment. With just a few strokes and excellent voice acting, four strong characters are depicted in a drama about life and death: the foreign English girl who wants to escape the preordained role as a servant, the funny, wild nature girl who needs help and friendship so much, the father, torn between duty to the Lord Protector Cromwell and concern for the disobedient daughter and Cromwell, who does what he believes is his job: to bring order and economic progress to Ireland, which also means to tame and subjugate nature, and, should it not be possible, to destroy it. All this is told in this film at an increasing pace leading up to a furious showdown which breathlessly carries away and emotionally touches the audience, children and adults alike. In the guise of a semi-historical fantasy film, a highly topical message is conveyed to us, namely that we must rethink our relationship to nature. That we must dare to allow wilderness — and also wildness — into our hearts. With the wolves, the filmmakers have chosen the perfect symbol for this message.”
Special Mention: Josep | France, Spain | Director: Aurel, Producer: Serge Lalou | Les Films d’Ici Méditerranée, Imagic TV | The Party Film Sales
Jury statement: “Josep by the director and illustrator Aurel sheds light on a largely unknown chapter from the time of European fascism: the fate of the Catalan illustrator Josep Bartoli, who, fleeing from Franco, is imprisoned in a French concentration camp where hunger, disease and violence reign. In a half-documentary, half-fictional narrative framework that spans its arc to the present day, the film portrays one of the former camp guards, who tells his grandson about his friendship with the painter on his deathbed. The film is appropriately complex in its design, both through the different layers of the narrative and in the artwork, which in the biographical flashbacks is largely based on the impressive drawings by Bartoli, which he made in the camp. The somber, often sketchy, still images of captivity are followed at the end by scenes in the bright, warm colors of Mexican exile. Josep surprises with many historical details, it shocks, moves and stimulates reflection, about European history, xenophobia, about courage in difficult times — and about the role of art.”
Trickstar Nature Award – Award for the best international animated short film that deals with the topics of climate protection, biodiversity, environment, and sustainability (7,500€, sponsored by Verband Region Stuttgart):. Migrants | France | Directors: Hugo Caby, Zoé Devise, Antoine Dupriez, Aubin Kubiak, Lucas Lermytte, Producer: Carlos De Carvalho
Jury statement: “Climate change is one of the biggest issues we’ll be facing in the coming decades. Melting glaciers and rising sea levels are just a few of the countless facets which come along with global warming. Times are changing and many of us won’t have the same environments and societies anymore as they used to know. In order to survive, people need to leave their beloved homelands, so it is the job of the privileged ones to help them to find their new places in our community. Once more the key is cohesion instead of supremacy to overcome this challenge, because we’re all on the same raft. That’s why the jury chooses Migrants as the winner of the Trickstar Nature Award 2021. This film convinced us not only how the story showed the many levels of this frightening topic. But also in which unique style the film was realized. The film is warming but simultaneously uncomfortable. He is touching but also contradictory. He is on point but leaves enough space too to build our own interpretation about this issue. In other words Migrants will stay in our minds and leave a lasting impression. That’s what good films do.”
Jury statement: “We decided to give a special mention to Haboo because we found it to be a very sensitive and touching film with a very clever use of the material it’s talking about as the medium of the film. The ending was especially putting the whole film together and shared a light on the phenomenon of the Haboob in south Iran.”
Jury: Caroline Attia (Paris), Kay Hoffmann (Stuttgart), Pascal Shelbli (Zürich)
Cha
Fantastic Award – Award for the best animation talent (1,000€, sponsored by the FANtastic jury): Cha | U.K. | Director: Gagandeep Kalirai, Producer: James Bowsher | NFTS – National Film and Television School Beaconsfield Film Studios
Jury statement: “Sometimes a smell is enough to reactivate memories. Like in our winning film Cha by Gagandeep Kalirai, where a cardamom capsule evokes the Sikh massacre in Delhi in 1984. The unagitated yet haunting narrative style convinced us just as much as the elegant lines, the flowing transitions, the interweaving of then and now, animations and photos and, last but not least, the conciliatory ending. At a time when conflicts between different groups of people are fought out with all vehemence, this personal memoir is a reminder to finally overcome these rifts.”
Special Mention: Mon ami qui brille dans la nuit / My Friend who Shines in the Night | France | Directors: Grégoire De Bernouis, Jawed Boudaoud, Simon Cadilhac, Hélène Ledevin, Producer: Moïra Marguin | GOBELINS, l’école de l’image
Jury statement: “Our Special Mention goes to Mon ami qui brille dans la nuit by Grégoire De Bernouis, Jawed Boudaoud, Simon Cadilhac and Hélène Ledevin. We liked the literally friendly shine of the main characters, the helpfulness across the borders of being and the combination of animation and real film.”
Jury: Folke Damminger, Jürgen Frick, Sebastian Heck, Dorothea Kaufmann, Michaela Rehm, Karen Schmitt, Sven Schoengarth, Sabine Willmann
New World Classic Animation Award – Award for the best use/implementation of music in an animated short film (2,500€, sponsored by Instant Music Licensing). Flower Duet | U.K. | Director: Haemin Ko
Jury statement: “Flower Duet by Haemin Ko has realised the mood of the given song very aesthetically. Film composer Yin Lu also managed to perfectly integrate the main theme of Leo Delibes Song ‘Flower Duet’ into the soundtrack. We are pleased to present the ‘New World Classic Animation Award’ to Haemin Ko, as image and sound create a beautiful symbiosis and perfectly underline the drama of the ephemeral.”
Special Mention: Abadabude | Germany | Director: Kim-Quy Nguyen
Jury statement: “As a counterpoint, we would like to give a ‘Special Mention’ to the short film Abudabude by Kim Ngyuen. Naïve animation meets classical music, as well as not quite adult content. This entertains and provokes in equal parts. Amoeba copulations in Tchaikovsy’s ‘Nutcracker’ rhythm, including the inevitable climax … definitely worth a mention.”
Jury: Michael Fakesch (Rosenheim), Elisabeth Jacobi (Vienna), Zeljko Lopicic (Stuttgart), Daniela Schübel (Stuttgart)
Roberto
Tricks for Kids Award– best animated short film for children (cash prize of 4,000€, sponsored by Studio 100 Media): Roberto | Spain| Director/Producer: Carmen Córdoba González
Synopsis: 15 years have passed and Roberto is still in love with his neighbor, but she prefers to hide ashamed of her body. With his art and an old clothesline as the only ways of communication, Roberto has a plan to push his beloved to face her monsters at once.
Jury statement (six children between 11 and 13 years, three girls and three boys): “The theme of Roberto was very convincing. Although the film has no dialogue, many emotions are conveyed. We understood many feelings through the appropriate music. The twist at the end was very surprising. The message we got was: ‘Every person is beautiful just the way they are.’”
Special Mention 1: Reven og Nissen / The Tomten and the Fox | Norway, Sweden, Denmark | Directors: Yaprak Morali, Are Austness, Producers: Ove Heiborg, Thomas Gustafsson, Johan Palmberg
Synopsis: A hungry fox hunts for food on a cold winter night. He sneaks into a small farm to steal a snack when he is caught by the Tomten who guards the farm.
Jury statement: “The film has a beautiful atmosphere. The characters and the scenery are very lovingly designed. We liked the message of the film: Don’t always think about yourself, but also care about others!”
Special Mention 2:Les Chaussures de Louis / Louis’ Shoes | France| Directors: Théo Jamin, Kayu Leung, Marion Philippe, Jean-Géraud Blanc | MOPA – L’Ècole du Film d’Animation et de l’image de Synthèse
Synopsis: Louis, an eight-and-a-half-years-old autistic kid arrives in his new school and he is about to introduce himself.
Jury statement: “The film is very lovingly designed. Sharing the mind of an autistic person with the audience is also a very beautiful idea. It can help to understand autistic people better. In addition, the topic is conveyed very well through the images.”
Friends, I was all Zoomed out. I had closed my camera. I had muted myself, indefinitely.
The cause of my suffering was not uncommon: virtual market fatigue.
Keynotes were no longer worth noting. Q&A had come to mean quiet and awkward. And I had nothing to say in the chat except “naptime?”
So, I pulled the plug on all the Habbo Hotel-like market experiences and I decided to wait until the real-life markets were finally resuscitated, however long that might be.
But then something happened that made me reconsider my embargo on online markets.
I got an email about MIP China.
MIP China
As someone who attended the inaugural MIP China in Hangzhou, I have to admit I have what the Chinese call “a big heart” for this particular market. When I first showed up in person back in 2017 with my freshly printed bilingual business cards, I really didn’t know what to expect.
All I knew was that China had been very good to me and my old company, Little Airplane Productions, and I wanted to try and give something back to the local animation industry.
So, I gave a speech on preschool IP creation. I was a one trick pony and that was my one trick.
What followed was a week of career-changing meetings and meals. I met a dozen or so high-level Chinese government and business leaders, many of whom have remained close friends and colleagues to this day. MIP China helped me plant the seeds for what would become my new venture, China Bridge Content, whose focus is the intersection of China and the world.
So, not only will I attend this year’s event, but I’ll give a presentation on building co-productions with Chinese partners that can succeed globally. As an executive producer on two popular China/U.S. co-productions — Super Wings with Alpha and P. King Duckling for Disney Junior U.S. — I have some strong opinions on what to do in China and, just as importantly, what not to do.
So, now I am now a two-trick pony, my second trick being knowing how to work with China.
Super Wings
All of this is to say that I will be happily joining MIP China in June (with virtual bells on), and I strongly encourage you to do the same. Although you won’t be able to visit Hangzhou’s serene West Lake, or drink green tea from freshly-picked Hangzhou tea leaves, you will be able to:
1) Make powerful friends. The roster of guests this year includes execs from the top Chinese media companies including iQIYI, Youku and Billibilli, all of whom are actively creating, buying and co-producing shows. MIP China’s Partnership Forum will use their proprietary algorithms to make sure you get one-on-one face time with all of the leading China and APAC buyers.
2) Seek financing. Among the attendees will be a variety of Chinese venture capital outfits looking to build relationships with IP owners, distributors and animation studios. “Joint Venture” is also a phrase you’ll hear quite often at MIP China, as many of the largest brands in the world, including Disney and Universal, operate in China through their local joint ventures.
3) Access the world’s biggest market. The Chinese middle class has grown to 400 million people, which is roughly twice the population of all Western Europe. There are now more kids in China than there are people in the United States. And there are as many humans living in Shanghai as there are living in Australia. If yours is a global company, you must be in China.
4) Experience the future. From the coveted algorithms that drive TikTok’s success, to the creation of super apps like WeChat, China is no longer a follower in the world of IP innovation. China has taken the lead in using new technologies to deliver novel entertainment experiences. This year’s MIP China guest list includes Chinese global tech leaders Huawei and Tencent.
MIP China, Coffee Reception. [Photo: Josh Selig]
So, there you have it. My heartfelt plug for MIP China.
Now, I realize that some of you may have been drinking the anti-China Kool-Aid lately. All I can say is that I believe it behooves us all to keep an open mind. As Xi Jinping said, “China needs to learn more about the world, and the world also needs to learn more about China.”
But if that’s too Pollyanna for you, as Tom Friedman says, “We are doomed to work together.”
Regardless of your politics, I do hope to see you at MIP China in June. Unmuted.
Josh Selig is the Founder and President of China Bridge Content, a company committed to building strong creative and business ties between China and the world. He is the Emmy-winning creator of many popular children’s shows including Wonder Pets and Small Potatoes. He is the former CEO of Little Airplane Productions, which was acquired in 2017 by Studio 100. He has written articles for The New York Times and Hong Kong’s South China Morning Post.
A local Jamaican production team — which includes two students currently enrolled at the University of the West Indies (UWI) — is set to produce an animated short film entitled 11 Robot Reggae Band for the 52nd season of the beloved children’s series Sesame Street. The team was selected from a pool of entrants who responded to a call for pitches from Sesame Workshop during this year’s KingstOOn Animation Conference and Film Festival, which took place from April 21 to 25.
The winning team includes Animation Majors at UWI’s Caribbean School of Media and Communication (CARIMAC), Chevon Irving and Tajha Winkle, with local animator George Hay on board as their Project Advisor/Mentor.
“We are beyond words. It’s truly a great honor for us to be working on a project for Sesame Street. The whole world will be seeing this. It’s a very big deal!” said Irving.
The call for pitches was organized by the KingstOOn Animation Conference and Film Festival and Sesame Workshop, and was open to Jamaican citizens as well as permanent residents enrolled as students. Artists were invited to submit animated and mixed-media short film pitches to be reviewed by Sesame Workshop Film Producer Kimberly Wright, and considered for inclusion in Sesame Street‘s 52nd season.
“We are so excited to commission 11 Robot Reggae Band for our Season 52 line-up, and to work with Chevon, Tajha and George,” said Wright. “Sesame Street has a long history in Jamaica; first through its partnership with Beaches Resorts and now with KingstOOn. We’re pleased to continue showcasing the invaluable talent of local animators and artists.”
Sesame Workshop is the non-profit educational organization behind Sesame Street, the pioneering television show that has been reaching and teaching children since 1969. An innovative force for change, with a mission to help kids everywhere grow smarter, stronger and kinder, Sesame Workshop is present in more than 150 countries, serving vulnerable children through a wide range of media, formal education and philanthropically funded social impact programs, each grounded in rigorous research and tailored to the needs and cultures of local communities. www.sesameworkshop.org
KingstOOn was organized by the Government of Jamaica through the Youth Employment in the Digital and Animation Industries (YEDAI) Project, in collaboration with the World Bank. The objectives of KingstOOn are to provide Jamaican and Caribbean animators with ways to continue learning about the global industry, create opportunities for producers to generate profits from their projects, and to showcase diverse content, including film and animation products from around the world.
Leading European media company and pay-TV broadcaster Sky confirmed additional cast for upcoming animated Sky Original movie The Amazing Maurice on Friday. David Tennant (Doctor Who), Ariyon Bakare (His Dark Materials), Rob Brydon (Roald & Beatrix: The Tale of the Curious Mouse), Julie Atherton (Avenue Q) and YouTuber Joe Sugg.
They join the stellar line-up of Hugh Laurie (Avenue 5), voicing the antihero cat Maurice; Emilia Clarke (Game of Thrones) as the mayor’s bookish daughter, Malicia; David Thewlis (Wonder Woman) as Boss Man; Himesh Patel (Yesterday) as Keith; Gemma Arterton (The King’s Man) as Peaches; and Hugh Bonneville (Downton Abbey) as the Mayor in the highly anticipated adaptation of Sir Terry Pratchett’s award-winning children’s novel.
In The Amazing Maurice, Maurice is a streetwise ginger cat who comes up with a money-making scam by befriending a group of self-taught talking rats. When Maurice and the rodents reach the stricken town of Bad Blintz, they meet a bookworm called Malicia and their little con soon goes down the drain.
Rob Brydon / Ariyon Bakare / David Tennant
The film is co-produced by Sky, Ulysses Filmproduktion and Cantilever Media in partnership with Global Screen, with animation studios Studio Rakete (Hamburg) and Red Star Animation (Sheffield). The film has the full support of the Terry Pratchett estate and is produced in association with Narrativia. Producers are Julia Stuart (Sky), Emely Christians (Ulysses), Andrew Baker and Robert Chandler (Cantilever Media) and Rob Wilkins (Narrativia). The film is directed by Toby Genkel, co-director is Florian Westermann, from a screenplay by Terry Rossio.
The Amazing Maurice and His Educated Rodents is a children’s fantasy by Sir Terry Pratchett, published by Doubleday in 2001 and has sold nearly 90 million books worldwide. It was the 28th novel in the Discworld series, but the first written for children. It is a lively and entertaining adventure inspired by the German fairy tale about the Pied Piper of Hamelin and a parody of the folktale genre. Pratchett won the annual Carnegie Medal for the book – children’s literature’s highest award. Despite many other awards, honorary degrees and the knighthood that followed, Pratchett always emphasised that this was the award of which he was most proud.
The 28th Stuttgart International Festival of Animated Film (ITFS) honored the winners of the German Animation Screenplay Award, the Animated Games Award Germany and the Trickstar Business Award in the joint Trickstar Professional Awards Ceremony on Friday evening.
The German Animation Screenplay Award honors the best screenplay for an animated feature film. The Award comes with prize money of €2,500 sponsored by Animation Media Cluster Region Stuttgart (AMCRS). The aim of the award is to contribute to the improvement of content quality and to underscore the importance of professional screenplay writing and the creation of attractive films. The 2021 prize goes to Butterfly Tale by Heidi Foss and Lienne Sawatsky (Ulysses Filmproduktion GmbH, CarpeDiem).
Jury statement: “Butterfly Tale introduces us to the microcosmos of the monarch butterflies, one of the most beautiful butterflies in the world, which unfortunately is increasingly threatened by climate change and crowing cultural landscapes. It is a story about the courage not to give up despite supposed handicaps and to fight for one’s goals. Also, it addresses the threat of environmental destruction by humans without a moralizing undertone. An adventurous coming-of-age story is told with a lot of dialog humour, which shows us how challenges can become opportunities.”
A Special Mention goes to The Girl in the Flying Washing Machine by Danielle Bouteille/Daniel Reittinger (Austria).
Endzone – A World Apart
The Animated Games Award Germany is awarded to the German computer game which stands out from competition by its special visual design and aesthetics. The jury pays particular attention to artwork, imagery and character design. The award’s objective is to strengthen the interlinking of games and animated film as regards content, as well as promote the artistic quality of games. The award is sponsored by the MFG Medien- und Filmgesellschaft Baden-Württemberg and comes with prize money of €5,000. Presented for the fifth time, this year’s winner is Endzone – A World Apart (Gentlymad Studios/Assemble Entertainment), a survival construction game in which the players build a new civilisation after a nuclear catastrophe.
Jury statement: “The strategy-building game by the Wiesbaden-based studio Gentlymad is characterised by numerous visual details as well as technical features that allow good accessibility despite complexity. The jury is amazed by such a complex work, that sums up to a whole in both micro and macro aspects. Every aspect of the game contributes to the atmosphere, from the delicate swaying of trees up to massive thunderstorms. Due to the multitude of playful possibilities and the steadily increasing level of difficulty, players are challenged above all strategically. Different scenarios also offer various narrative approaches, which are reinforced by the character design. The result is an willful, yet a varied strategy-building game with survival characteristics — that is convincing both — on the gameplay and visual level.”
A Special Mention goes to Lost Ember (Mooneye/Sinikka Compart), in which the players are immersed in a world where nature has reclaimed the ruins of an ancient culture.
The Trickstar Business Award is the world’s first animation prize with an explicit focus on business and awards companies and projects characterized by an innovative and groundbreaking business approach. The prize is sponsored by Verband Region Stuttgart and endowed with €7,500 prize money. The winner is Mitmalfilm UG and producer/filmmaker Uli Seis.
Jury statement: “This year the jury of the Trickstar Business Award is pleased to reward Mitmalfilm UG, for the company perfectly embodies the Award’s core. Mitmalfilm UG develops crossmedial animation that sparks creativity amongst children; a worthwhile purpose with a convincing business model behind it. Their documentation showed relevance to the market and business potential, as well as an innovativity and promise that the Trickstar Business Award stands for. Also, from the point of view of the industry, Mitmalfilm UG stood out amongst this year’s submissions. Their way of making animation accessible for children brings the medium even closer to new generations, and perhaps plants some seeds for future creators to be screened at ITFS. And lastly, the jury was taken by the company’s aim to find a commercial way to fund animated shorts.”
Lost Ember
FMX 2021 came to a successful close Friday. The first online edition of Stuttgart’s Conference on Animation, Effects, Games and Immersive Media offered 178 presentations and 100 live Q&As, presented by 388 speakers, viewed by 2.200 participants from 45 countries. The three-day virtual event attracted the participation of 66 companies and schools to the FMX Forum, giving insights into their innovative products, services and curricula.
With its unique exchange of ideas dedicated to the central theme Reimagine Tomorrow, FMX 2021 has left a deep impression. It became clear that the future of the industry is promising, even though it has been disrupted in unprecedented ways. “We took this year’s theme Reimagine Tomorrow quite literally,” said Mario Mueller, FMX Project & Program Manager. “Together with our speakers and partners, we not only took a look at the future of entertainment but also reinvented FMX itself. We are very pleased that FMX was such a success, and that we were able to contribute to a profound exchange within the industry.”
“Conferences like FMX have always been vital to what we do, as they provide opportunities to learn from the industry and share stories that inspire new ideas,” commented Ingrid Johnston, Head of Production at Animal Logic. “Staying connected with our global film community is more important than ever and FMX’s virtual conference has made it more accessible to people, with the flexibility to attend sessions in your own time.”
The program featured iconic speakers like Victoria Alonso and Danielle Costa from Marvel Studios, and visual effects veteran Doug Trumbull. The audience gained insights into the latest state-of-the-art VFX projects such as WandaVision, Godzilla vs. Kong and Jim Button and the Wild 13. Wonderfully animated movies were discussed, for instance, Soul and Over the Moon. Breathtaking advances in cutting-edge technology were presented, covering topics like digital humans and expanded realities. All this made FMX a remarkable event for its audience of professionals and students from around the globe.
Over the Moon
Keynote speaker Florian Gellinger, Co-founder and Executive Producer at RISE | Visual Effects Studios, said, “I’m eternally grateful to Mario Mueller and his team to make FMX 2021 happen, against all odds, and the way they adjusted to the current limitations was most impressive. Broadcasting from a beautifully designed studio and presenting an amazing line up of international speakers underlined the status of FMX as the most important CG conference in Europe and meeting point for professionals from around the world.”
Most of the conference sessions will be available on the digital FMX platform until July 31, 2021; for those catching up, tickets are still available to purchase in order to view the recorded sessions.
The 26th FMX will return in Spring 2022 — whether in Stuttgart or online.
Beloved Jim Henson creations Gonzo and Pepé the King Prawn feature in a new promo video announcing the Muppets first-ever Halloween special, Muppets Haunted Mansion, debuting this fall exclusively on Disney+.
Muppets Haunted Mansion takes place on Halloween night, when Gonzo is challenged to spend one very daring night in the most grim grinning place on Earth …The Haunted Mansion. The brand-new special will feature a star-studded Muppets cast, celebrity cameos, all-new music and spooky fun for families to enjoy together. (Details TBA!)
The announcement was made today to help celebrate the Disney Parks, Experiences & Products’ “Halfway to Halloween” event.
Leading kids’ entertainment specialist CAKE has announced its partnership with Bureau of Magic, an award-winning studio that creates, writes and produces inclusive family entertainment, on 2D animated, heartfelt comedy series: Dog Bird & Me.
“Over the last year, we have been working with Bureau of Magic on the development of Dog Bird & Me.,” said Ed Galton, CEO of CAKE. “We hope the result is a uniquely uplifting and entertaining show that encourages positivity and acceptance through fun stories dedicated to the kid in all of us!”
Based on the picture book series created by Bureau of Magic EP and writer Abram Makowka, Dog Bird & Me has been developed and will be produced by Bureau of Magic and the newly-formed CAKE Productions; 52 x 11-minute episodes are planned. While the series is aimed at 4-7 year-olds, Dog Bird & Me will provide a fun family co-viewing experience which celebrates curiosity, playfulness and empathy through simple, fun and relatable stories told from a child’s perspective.
“Dog Bird & Me began as drawings for my son and his preschool class,” Makowka explained. “Developing this personal project with CAKE has been a gift. We can’t wait for the world to see what we’ve been working on!”
Dog Bird & Me tells the story of six-year-old Avery, a big-hearted kid with even bigger ideas, and his curious sister, Dog Bird, who looks like a bird on the outside, but on the inside, she’s a dog. They live with their parents, great grandma and friends in Family Forest – a warm, wonder-filled and welcoming alpine family camp community, where humans and animals are equals and everyone is delightfully different. Together, they go on playventures, discovering answers to their big questions, bringing their big ideas to life, and learning about themselves and others along the way. Dog Bird & Me is about understanding and acceptance — What’s on the inside is what matters most.
The new series join London-based CAKE’s development and production slate alongside Angry Birds: Summer Madness (Netflix), Mama K’s Team 4 with Triggerfish Animation (Netflix), Angelo Rules with TeamTO (France Télévisions, Canal+ and Super RTL), Space Chickens in Space with Anima Estudios (Disney EMEA), Pablo with Paper Owl (CBeebies) and Mush-Mush & The Mushables with La Cabane and Thuristar, currently premiering internationally on Boomerang.
The Bureau of Magic (BoM) creates and produces signature stories, including the hit animated series Lost in Oz, now streaming on Amazon and broadcasting on major networks throughout the world including Nickelodeon and Disney. BoM projects have been nominated for 15 Emmy Awards, winning four, including Outstanding Children’s Animated Program. BoM recently partnered with Banijay’s Zodiak Kids to co-produce the original adventure-comedy series Save the Legends! and is currently developing series with Paramount TV Studios, Universal Television Alternative Studios, Appian Way and Electric Hot Dog. BoM is represented by CAA.
The Ottawa International Animation Festival (OIAF) and Mercury Filmworks invite Canadian creators to join Pitch This! 2021, a competition that aims to kickstart a new animated series concept. The deadline for submissions is June 15 at 5 p.m. EDT.
Pitch This! is a highlight of The Animation Conference (TAC), the OIAF’s industry-focused forum that runs September 22 to October 3. During its 17 years as part of the OIAF, TAC has helped launch many projects including 2020’s winner, The Silly Duck Wizard. Creator Terry Ibele spoke about the impact of the win:
“Winning Pitch This! was a truly phenomenal experience that pushed my project into development. OIAF also partnered me with mentor Julie Stewart, whose expertise helped refine my pitch. As a result, I signed with a production company (who I met at the festival) a few weeks later.”
As the OIAF returns online for 2021, all its programs including Pitch This! will have wider reach. Not only will professional development opportunities be more accessible than ever before, but a program like Pitch This! can open up doors for new voices.
“Without the physical and financial barriers of attending the Festival to participate in the popular event, we hope to see even more diverse projects and stories and highly encourage underrepresented creators to submit to the program,” said Azarin Sohrabkhani, OIAF’s Industry Director. “This opportunity includes a valuable mentorship component with animation executives, access to development resources, and will give creators the attentive ear of potential partners, collaborators and financiers.”
Ten semi-finalists will be partnered with experienced mentors from the industry, who will not only offer invaluable feedback on their idea but, throughout the summer months, will also help them prepare for their 10-minute pitch in front of the judging committee.
The two presentations making the biggest impact will face-off in the Finale, going head-to-head in front of a panel of platform executives and the entire TAC audience. Finalists will compete to win the prize package from Pitch This! partners, which includes a $5,000 cash prize courtesy of Mercury Filmworks, a Harmony Premium Annual license and online training course courtesy of Toon Boom, and two TAC Animapasses to OIAF 2022.
Heath Kenny, Chief Content Officer at Mercury Filmworks, commented, “After such a fantastic experience at last year’s event we really wanted to reconnect with our community of Canadian creators and continue to share our development teams experience and collective knowledge. Our energy and our passion is devoted to helping Canadian creators find their voice and bring original content to a global marketplace and what better platform than Pitch This!”
Mercury Filmworks will complement the Pitch This! mentorship with a series of workshops for mentees on developing and pitching content from an indie Canadian studio perspective.
Pitch This! 2021 is open to Canadian projects only, spanning all demographics from preschool to adult series. Inclusive projects and underrepresented creators are strongly encouraged to apply, in particular women, BIPOC and 2SLGBTQIA+ members of the animation community. Proposals should include: project format and target demographic; a project synopsis, including logline and character descriptions; at least one episode synopsis; and the bios of key creators. Concept art is recommended but not required.
All application information for Pitch This! 2021 can be found here.
Film festival entries for OIAF are open until May 31; more info at animationfestival.ca.
Management and production firm The Cartel has bolstered its team with the addition of industry vet Kimberley Mooney as its newest manager in their kids and family department. She will report to Partner and Manager Bradford Bricken, who oversees the division. The announcement was made by Co-Founders and Co-CEO’s Stan Spry and Jeff Holland.
Mooney joins The Cartel from Nickelodeon, where she served as the Senior Director of Animation Development. Prior to her time at Nickelodeon, she spent 10 years at Disney, finishing her tenure as a Manager of Development where she helped developed series such as Fish Hooks, Tron – Uprising, Motorcity, Randy Cunningham: 9th Grade Ninja, Star vs. the Forces of Evil, Penn Zero: Part-Time Hero, Pickle & Peanut, Milo Murphy’s Law, Billy Dilley’s Super Duper Subterranean Summer, the award-winning Gravity Falls, DuckTales, Tangled and Big City Greens.
“Kimberley loves animation and the wonderful artists who create it,” said Bricken. “We couldn’t be more excited to welcome this tireless artist advocate to our team.”
Mooney’s hire reinforces The Cartel’s commitment to expanding its reach in the kids, family and animation business. As recently announced, the company partnered with former Netflix and Nickelodeon executive Jenna Boyd to launch Field Day Entertainment, a talent-centric production company that focuses on creating premium kids & family content for streaming platforms.
The Cartel represents some of the top showrunners, writers, creators, producers, directors, animators, artists and companies in the industry. The Cartel, which has produced and financed more than 100 movies and series over the last decade including the animated GLAAD Award nominated series Twelve Forever for Netflix, currently produces Creepshow for AMC’s horror streaming platform Shudder, and Syfy’s new 10-episode series Day of the Dead.
The main trailer, official key art and voice cast for Pretty Guardian Sailor Moon Eternal The Movie Part 1 & Part 2 have stepped into the (moon)light. As previously announced, the double feature adventure of Naoko Takeuchi’s beloved sailor-suited heroines will premiere worldwide (outside Japan) on Netflix on June 3.
Synopsis: When a dark power enshrouds earth and a dark circus troupe appears after a total solar eclipse, the scattered Sailor Guardians must reunite to bring light back into the world…
Sailor Moon Eternal
The Eternal movie is directed by Chiaki Kon (The Way of the Househusband, Nodame Cantabile: Paris Edition & Finale), with music by Yasuharu Takanashi (Pretty Guardian Sailor Moon Crystal, Pretty Guardian Sailor Moon Crystal Season III), with Kazuko Tadano (Pretty Guardian Sailor Moon, Yu-Gi-Oh! Sevens) responsible for character designs and TOEI Animation / Studio DEEN for animation production.
Sailor Moon Eternal
Voice cast includes:
Stephanie Sheh is Usagi Tsukino/Sailor Moon
Kate Higgins is Ami Mizuno/Sailor Mercury
Cristina Vee as Rei Hino/Sailor Mars
Amanda C. Miller is Makoto Kino/Sailor Jupiter
Cherami Leigh as Minako Aino/Sailor Venus
Sandy Fox is Chibi-Usa/Sailor Chibi Moon
Veronica Taylor as Setsuna Meioh/Sailor Pluto
Erica Mendez is Haruka Tenoh/Sailor Uranus
Lauren Landa is Michiru Kaioh/Sailor Neptune
Christine Marie Cabanos as Hotaru Tomoe/Sailor Saturn
Robbie Daymond as Mamoru Chiba/Tuxedo Mask
Michelle Ruff is Luna
Johnny Yong Bosch is Artemis Deby Dayberry is Diana
Watching the dazzling visuals on display during the eight-episode run of the hit Marvel Studios/Disney+ series WandaVisionwas one of the VFX highlights of the past season. The team at Digital Domain delivered around 350 VFX shots for the show, which featured various homages to classic TV sitcoms and a spectacular battle of Super Witches, the first glimpse of Chaos Magic and a face-off between superhero Vision and his clone.
We caught up with Marion Spates (Lost in Space), the show’s Emmy-winning VFX supervisor at Digital Domain, who noted, “We had dozens of Digital Domain artists and technicians working across three locations and two countries. Each department coordinated with the others to ensure that everything from rigging to animation to cloth was on the same page. That gave us the flexibility to create feature-level effects in a TV timeframe without missing a beat.” Here is what Spates shared with us:
WandaVision (courtesy Digital Domain)
Animag: Can you tell us when you started working on the project and how long you had to deliver the shots?
Marion Spates: We started work on WandaVision back in January 2020, and we were on set in late February, but the week after we went into lockdown and production halted. It wasn’t until September that filming resumed, and it ran through October. At that point we were all working from home, but we collaborated with Marvel Studios every step of the way. We turned in the last shots in February of this year.
How many people worked on this project with you atDigital Domain?
It’s hard to put an exact number on how many people from Digital Domain worked on WandaVision. Team members jumped in to help out where needed, then moved on to another project. We probably had around 65 compositors working on the show at any one time, but the work was split between our offices in L.A., Vancouver and Montreal. Overall, around 287 people touched the project at one point or another.
WandaVision (courtesy Digital Domain)
What would you say was the biggest challenge of delivering the visuals for WandaVision?
It was an ambitious project from the start. Marvel fans are used to a high level of visual excellence, regardless of the platform, so we created feature-quality effects in a condensed period of time. And we did it all during a pandemic! Fortunately, Digital Domain is organized in a way that allows us to cooperate between departments, so the same tools we use on films we can use on TV – or ads, games, digital humans. The main difference is just the timeline.
Which VFX tools did you use to deliver the goods?
We used all the traditional softwares: Maya, Nuke, Houdini and V-Ray for rendering.
What did you enjoy most about creating the visuals for this world?
One of the best parts of this project was bringing a new Marvel character (White Vision) to life. Our entire team worked extremely hard to make this character be the best it could possibly be, and we were invested in his creation very early in the process, as soon as Marvel sent us the concept art. It’s really the little details that stand out. Creating an all-white character can be difficult, so we created an iridescent, prismatic effect similar to when light hits a bubble. You only see it when White Vision moves at certain angles and under certain lighting conditions, but it adds depth to the character. It’s those types of little things that really brought him to life for us. Marvel characters are all iconic, and everyone at Digital Domain can be extremely proud of our work.
WandaVision (courtesy Digital Domain)
How did you make the VFX scenes for the show stand out from other similar shows and movies we have seen in recent years?
It starts with the script. Marvel pushes the boundaries with story and complexity, and the episodic format gave them room to try things they had never done before. We also challenged ourselves wherever we could. That’s true of all the projects we work on, and the creativity and originality in Marvel’s properties lets us try things we’ve never even considered before. For example, the Vision asset was initially built in 2015 and has been in use ever since, so we decided to redo the textures from scratch. We knew that we would be getting extremely close to Vision and White Vision, so we decided to use everything at our disposal to make it look as realistic and impressive as possible, even in close up shots where there are two of him, when Red Vision is fighting White.
Can you talk about how you met the challenge of creating cinematic-quality effects on a TV production?
In terms of quality, Marvel treated the episodic show as if it were a film project. They wanted to maintain that cinematic quality fans are used to, and our management team really helped us to achieve this. We had an excellent producer, Suzanne Foster, helping us manage schedules and making sure that we had the right talent in place. The time frame was different, but ultimately, in terms of the work, we approached it the same way we would a feature film.
WandaVision (courtesy Digital Domain)
How did you collaborate with the showrunner and director?
Marvel was an excellent partner throughout the process. We worked with Matt Shakman (who directed every episode) and Tara DeMarco (the VFX supervisor) from the start. They brought us into the process during the previs and postvis stage, and we were able to offer our creative input. For some of the work we did, including the Chaos Magic, we worked closely with them and tried out over 100 iterations.
What do you think is the most important factor to consider when you are working on a large-scale,VFX-driven project which features well-known characters?
Understanding the language that’s already been established is a large part of it, and knowing how far you can push it. It’s important to make sure you stay true to what has been established in the past, while also making room for changes that allow the work to improve. As artists, we love that these films continually challenge us, and constantly make us wonder if there’s a better way to do this, or if we can add new touches to make it stand out.
WandaVision is available to stream on Disney+. Learn more about Digital Domain visual effects studio at digitaldomain.com.
The Bikini Bottom gang is back for their latest adventure in The SpongeBob Movie: Sponge on the Run, making a splash on Blu-ray and DVD July 13, from Paramount Home Entertainment. The family-friendly film will also be available as part of the SpongeBob 3-Movie Collection on Blu-ray or DVD.
The Blu-ray and DVD releases are overflowing with an ocean of fun-filled bonus content for kids to enjoy at home this summer: Continue the Kamp Koral adventure with young SpongeBob and Patrick in their all-new mini-movie! Plus, check out deleted storyboard scenes, then sing-along and dance with lyric and music videos by Snoop Dogg & Monsta X, Tainy & J. Balvin, and more. Learn to draw young SpongeBob and young Gary with step-by-step activity lessons, then explore behind-the-scenes with the cast, crew and characters of this wildly fun animated movie.
Synopsis: SpongeBob SquarePants, his best friend Patrick, and the Bikini Bottom gang star in their most epic adventure movie yet! When SpongeBob’s beloved pet snail Gary goes missing, a path of clues leads SpongeBob and Patrick to the powerful King Poseidon, who has Gary held captive in the Lost City of Atlantic City. On their mission to save Gary, SpongeBob and his pals team up for a heroic and hilarious journey where they discover nothing is stronger than the power of friendship.
Bonus features (Blu-ray & DVD):
Mini-Movie – I’m Urchin You to Leave
Campfire Songs
“Agua” Music Video by Tainy & J. Balvin
“How We Do” Lyric Video by Snoop Dogg and Monsta X
“Krabby Step” Lyric Video by Tyga, Swae Lee & Lil Mosey
“Agua” Lyric Video by Tainy & J. Balvin
Campfire Stories
Deleted Storyboard: Wake Up
Deleted Storyboard: Sumo Ninja
Camp Coral Buddies
The Ballad of SpongeBob and Patrick!
I ♥ Camp Coral by SpongeBob SquarePants
Camp Arts and Crafts
Drawing the Cutest Camper Ever
Drawing the Cutest Snail Ever
The Amazing Stages of Animation
But Wait…There’s S’mores!
The Wonders of the Patty Mobile
Sponge on the Run is written and directed by series veteran Tim Hill, from a story by Hill, Jonathan Aibel & Glenn Berger. Produced by Paramount Animation and Nickelodeon Movies in association with MRC, a United Plankton Pictures production, with animation by Mikros Image. The film features the voice talent of Tom Kenny, Awkwafina, Matt Berry, Clancy Brown, Rodger Bumpass, Bill Fagerbakke, Carolyn Lawrence, Mr. Lawrence and Reggie Watts.
9 Story Media Group announces the Season 2 greenlight of their hit animated series Let’s Go Luna!. Premiering on PBS KIDS this month, the new season will follow Leo, Carmen and Andy around the globe as they travel to 16 destinations with Luna the Moon, voiced by Judy Greer (Archer, Ant-Man, Jurassic World).
Let’s Go Luna! (52 x 11′), produced by 9 Story’s award-winning animation studio Brown Bag Films, encourages kids ages 4-7 to explore and appreciate world cultures while developing social skills. Each episode consists of two 11-minute animated stories based in one country in order to help kids better understand the traditions and local customs associated with each destination. Working alongside a group of cultural anthropologists and experts to ensure each region is authentically and respectfully portrayed, storyboard artists create visually-driven narratives to highlight each city’s distinctive features.
“This new season gave us the opportunity to return to some of our favorite countries, but also to explore new cultures and cities around the globe,” said series creator Joe Murray (Rocko’s Modern Life, Camp Lazlo). “Now more than ever, we need to teach children about cultural traditions outside of their own household while we continue to promote the acceptance of others.”
Let’s Go Luna! follows the adventures of three animal friends — Leo, a wombat from Australia; Carmen, a butterfly from Mexico; and Andy, a frog from the United States — as they travel the globe with their parents’ traveling performance troupe, “Circo Fabuloso”. At each stop, Luna the Moon guides the trio as they learn about the local region, its people and traditions that make each place unique. Along their travels, the characters learn of a traditional folktale associated with each new location. From language and music, to food and art, each episode ends with a reminder that there’s always more to see, learn and experience with each place you visit.
In the Season 2 premiere (airing May 10 on PBS stations, the PBS KIDS 24/7 channel and PBS KIDS digital platforms), the trio sets out on adventures to Reykjavik, Iceland; Delhi, India; and Kumasi, Ghana.
S2 will roll out in Canada on June 5 on TVO Kids. The series also airs airs on Knowledge Network (Canada), Amazon Prime (U.K., Australia), CJ E&M Corp (Korea), Discovery Kids (Middle East) and Nat Geo Kids (LatAm).
Let’s Go Luna! is executive produced by 9 Story’s Vince Commisso and by series creator and showrunner Joe Murray. Matt Mitchell is directing, with Nora Keely of Brown Bag Films serving as supervising producer and Charley Thomas as producer. 9 Story Distribution International is managing the worldwide distribution and merchandising rights.
For more Let’s Go Luna! resources, games and full episodes visit pbskids.org and the PBS KIDS Games app, including the new Luna’s Postcards Around the World game. Follow along on Facebook and Instagram for new announcements, clips and tips for parents (@LetsGoLunaHQ).
Today, The Pokémon Company International announced the latest season of the iconic Pokémon animated series will premiere in select markets as early as summer — with more premieres coming to additional markets through the end of 2021.
The 24th season of the globally popular animation featuring the newest adventures of Ash Ketchum and his Pikachu will be titled Pokémon Master Journeys: The Series. First-look screenshots and the official season synopsis were also revealed, providing fans of the franchise with another exciting way to celebrate 25 years of Pokémon during this special anniversary year.
Synopsis: It’s a big, big world, but you know where to find Ash and Goh — battling and catching Pokémon from Kanto to Galar! With Pikachu, Cinderace and their other Pokémon beside them, our heroes continue to travel all over the world to research Pokémon for Cerise Laboratory. Along the way, Ash climbs higher in the World Coronation Series rankings, and Goh adds more Pokémon to his Pokédex in his quest to catch Mew. Meanwhile, Chloe takes her first steps as a Pokémon Trainer when she meets a mysterious Eevee. New friends, returning rivals, and exciting adventures await — as the journey continues!
Fans around the world can subscribe to the official Pokémon YouTube channel in anticipation for the upcoming global trailer reveal and stay tuned to their local broadcasters for series launch information in the coming weeks and months.
After a seven-day virtual exploration of the most promising animated projects emerging from Central & Eastern Europe and sharing in the wisdom of filmmaking pros, the 9th CEE Animation Forum has revealed the winners of its 2021 pitching competition across five categories, as well as audience, workshop and partner awards.
In addition to the cash prizes, all juried competition winners together with the audience awarded project will be presented at the special CEE Animation pitching presentation, which will be part of the official MIFA 2021 program.
Birds Don’t Look Back
Feature Films Winner: Birds Don’t Look Back (director Nadia Nackle, producer Sebastien Onomo, Special Touch Studios, France)
Special Mention: Dreamworld (d. Veljko Popovic, Milivoj Popovic, p. Milivoj Popovic, Veljko Popovic, Prime Render d.o.o., Croatia)
Special Mention: Senior Crush (d. Orsolya Richolm, p. Andrea Ausztrics, ULab Kft, Hungary)
TV Series Winner: The Olive Bunch (d. Magnus Kravik, p. Maria Pavlou, Pixel giants, Cyprus)
Special Mention: Starting with Hope (d. Sonia Velvien, p. Kèota Dengmanara, Moukda Production, France)
Special Mention: What the Old Moon Tells (d. Eliza Plocieniak-Alvarez, p. Carol Ratajczak, Blaue Pampelmuse, Germany)
Short Films Winner: Ibis(d. Maria Burgues, Enric Sant, p. Maria Burgues, BLISS PICTURES, Spain)
Special Mention: Patrick in Town (d. Eszter Sandor, Valentina Huckova, p. Valentina Huckova, Young Glass Noodle, Slovakia)
Rising Stars Winner: Desire to Win (d. Michaela Rezova, p. Zuzana Bukovinska, Academy of Arts, Architecture & Design in Prague, Czech Republic)
Special Mention: The Last Drop (d. Anna Tokes, p. Jozsef Fulop, Moholy-Nagy University of Art and Design Budapest – MOME, Hungary)
Audience Award Vast Blue Antarctica (d. Christos Panagos, p. Charalambos Margaritis, Kimonos Animation Studio, Cyprus) CEE Animation Workshop Dreamworld(d. Veljko Popovic, Milivoj Popovic, p. Milivoj Popovic, Veljko Popovic, Prime Render d.o.o., Croatia)
Dreamworld
Partners’ Awards Animation sans Frontieres: Director Miha Reja, Kurent (p. Bostjan Potokar, School of Arts – University of Nova Gorica, Slovenia) Cartoon Movie: Dreamworld (d. Veljko Popovic, Milivoj Popovic, p. Milivoj Popovic, Veljko Popovic, Prime Render d.o.o., Croatia) Vast Blue Antarctica (d. Christos Panagos, p. Charalambos Margaritis, Kimonos Animation Studio, Cyprus) Cartoon Forum: Robot and the Martians (d. Tomasz Niedzwiedz, p. Tomasz Paziewski, Badi Badi, Poland) Cartoon Springboard: Rosie and Sapphire (d. Anna Katalin Lovrity, p. Balint Gelley, CUB Animation, Hungary) Senior Crush (d. Orsolya Richolm, p. Andrea Ausztrics, ULab Kft, Hungary) Ciclic Award: Electra. A Poem(d. Daria Kashcheeva, p. Zuzana Krivkova, FAMU, MAUR film, Czech Republic) Animond Award: The Olive Bunch (d. Magnus Kravik, p. Maria Pavlou, Pixel giants, Cyprus) Kids Kino Industry Award: The Olive Bunch (d. Magnus Kravik, p. Maria Pavlou, Pixel giants, Cyprus)
Animarkt Award: Desire to Win (d. Michaela Rezova, p. Zuzana Bukovinska, Academy of Arts, Architecture & Design in Prague, Czech Republic) The Icebreakers (d. Ignas Meilūnas, p. Justė Beniušytė, Kadru Skyrius, Lithuania)
Julien Papelier, Managing Director of the Audiovisual Unit of Média-Participations, has appointed kids’ animation pro Caroline Audebert as Managing Director of the French production companies of the Groupe Média-Participations (Ellipsanime Productions, Dargaud Media, Dupuis Edition & Audiovisuel and Ellipse Studio).
Audebert is taking over from Caroline Duvochel, who had been in the position since September 2019 and is now becoming Deputy Managing Director for the newly created Média-Participations Development and Innovation headed by Papelier. Duvochel will continue to support Audebert and her team on some projects.
“At a time when our audiovisual projects are increasing in number and diversifying, we are very happy to welcome Caroline Audebert, whose rich experience in animation will enable her and her team to continue and to enhance our dynamic of growth and the strengthening of our studio,” said Papelier. “I am also very happy to be able to count on Caroline Duvochel, who in the coming weeks will take on new challenges for the Group in the fields of innovation, digital transformation and the internationalization of our business.”
A graduate of Les Gobelins and a Masters in Audiovisual Economics and Law from Paris I Panthéon-Sorbonne, Audebert has more than 18 years’ experience in animation and special effects production. She began her career in 2002 as an editor and graphic artist, before joining Millimages in 2005 as assistant director, moving on to Disney Channel France in the promotion programs production department.
In 2007, Audebert joined BUF Compagnie as special effects producer on features including Arthur and the Invisibles 2 & 3, Houba! On the Trail of the Marsupilami, Speedracer, Thor and Upside Down. She then became Design Program Manager at Cisco in 2012 for various cable operators around the world. After three years at Gaumont Animation as production manager on the series Lanfeust Quest, Atomic Puppet and Bric à Broc, she worked on the series Skylanders at TeamTO.
In 2016, Audebert managed the 3D production of the feature White Fang for Bidibul Productions and Superprod before joining Cyber Group Studios in 2017 as deputy director of the studios. While there she supervised animation series for Disney, TF1, FTV, M6-Gulli, Turner-Warner Media, WDR and prioritized the company’s production business on all its sites in France and around the world.
The France AV division of Média-Participations comprises European leaders in animation production Ellipsanime Productions, Dargaud Media, Dupuis Edition & Audiovisuel, which over several decades have produced programs for all audiences, in a variety of technologies and graphic styles, with the constant search for innovation and renewal. Productions include series for French and international broadcasters such as The Fox-Badger Family, Kid Lucky, The Smurfs; and features Yakari and A Spectacular Journey.
Dargaud Shanghai, based in Beijing, supports business and outreach development in China. Their catalog is distributed around the world by Mediatoon International Distribution. Ellipse Studio is the production studio based in Paris and Angoulême. Madlab, partner studio for mutualized services between Ankama and Ellipsanime Productions, is based in Roubaix. www.dargaudmedia.com